Selected Work

Shane Reiner-Roth

everyverything.com

Software Adobe Suite: Illustrator Photoshop

Premiere In DesignRhinocerosAutodesk MayaMaxwell RenderRevitZ-brushSurfcam

FabricationModel MakingCNC Milling3D PrintingLaser Cutting

shanereinerroth@gmail.com+1818 421 0872

621 S. Spring St. Apt 403Los Angeles, California90014

I graduated fromthe Southern California Institute of Architecture (SCI-Arc) in 2014 with a thesis merit of distinction. My thesis,(everyverything), investigated the

through animation and drawing.

SCPS Unlimited, 2014

Modeled, textured, and animated a western town for an upcoming tv series title sequence,and produced serveral pre-vis motion graphics.

scpsunlimited.com

Florencia Pita Studio, Winter 2014

Collaborated in design and color assignmentfor 2014 PS1 Pavilion competition, as well asproduced supplementary book.

fpmod.com

Urban Operations, Summer 2012

Co-produced publication of Wilshire Star Maps,including documents for a residential project.

urbanops.org

SCI-Arc lecture series committee, 2012 - 2013

Chose lecturers for the lecture series and prepared

good time had by all

sciarc.edu

TALL, 2014 - present

Co-founder, concept and image producer towards publications and grants.

tallwork.com

Publications / Exhibitions

Work Experience

CLOG Journal, October 2014

SCI-Arc Spring Show, Spring 2013

Wilshire Star Maps, Summer 2012

The Architectural Review, March 2013

Essay and full image published in‘World Trade Center’ issue. Part of TALL

Oxford School of Architecture Journal, September 2014

Manifesto and full image published in‘Frontiers’ issue. Part of TALL

EDGE_CONDITION Magazine, June 2014

Full Image and statement published in‘Presenting Architecture’ issue.

Drawing published in Folio

Studio work featured in select exhibition.

Produced drawings and concepts for publication.

tallwork.com

VIEWMAKERS

VIEWMAKERS

VIEWMAKERS

HISTORY OF THE WORLD

TRADE CENTER, PART II

Fired, robbed, bombed, and tightroped, the towers of the World Trade Center shared enough tribulation and whimsy in their existence to last two lifetimes. As two very sore thumbs in the southernmost tip of the most famous city in the world, they were a common spectacle on display and in use. Their well executed mix of iconicity and abstraction lent them to familiarity, and the shared height and voided plaza between them allowed their qualities to be observed without rival.

Like the obligatory period at the end of a sentence, the towers were crammed in the margins of nearly every poster for movies set in New York City. As the most well known emblems of late Modernity, the World Trade Center towers were habitually taken out of their routine and fictionalized alongside their twentyeight year lifespan. In movies and television, the few qualities that made the towers distinct were tested and closely examined in an alternate, parallel world.

The towers had their first upset in 1976 when King Kong passed up the Empire State Building to climb the two skyscrapers (they appear close enough to be appropriated as a single massive ladder).

After throwing satellite bits of Tower Two at shooting helicopters, causing one of them to crash just beneath him, he fell to the plaza in between with a big crack and thud.

In that same plaza twenty one years later, Homer Simpson was attending to his booted car when a man in Tower One began to shout obscenities at him. A man in Tower Two apologized on his behalf and claimed that “they stick all the jerks in Tower One.” A man in a tank top several stories up can be seen drying his clothes between the two towers in a scene one might imagine in rural Italy. This sequence bestows the towers with a certain kind of character not often associated with Yamasaki’s unique brand of Modernism.

Fast forward thirty years and the two towers, now extruded to twice their height and decked with multiple sky bridges, supply the materials for an aging Robin Williams android. Alternatively, they are totally decayed (though not at all diminished in familiarity), as seen specifically through the eyes of Morpheus.

Their doubleness is their saving grace as their features are pulled and prodded, and their fine austerity can apparently withstand a lot of editing. The possible futures of the towers could indeed be endless.

published in CLOG, October 2014

HISTORY OF THE WORLD TRADE CENTER, PART II

The Satellite City

The Satellite City

Architecture to Language to Architecture

Figural Monuments

Kremlin Form (Anna Neimark, Advisor)

3 Buildings (Andrew Atwood, Advisor)

Suspended Animation (Marcelyn Gow, Advisor)

Suspended Animation (Marcelyn Gow, Advisor)

Infraordinary (Andrew Atwood, Advisor)

Infraordinary (Andrew Atwood, Advisor)

Infraordinary (Andrew Atwood, Advisor)

Everyverything (Florencia Pita, Advisor)

(a)

1

2

3

4

5

6

7

8

9

Museum of the Captive Lotus (Darin Johnstone, Advisor)

Museum of the Captive Lotus (Darin Johnstone, Advisor)