“Why do I draw my gun and get furious when I hear the word “Sustainable”?” The Jerry H. Labowitz Theatre for the Performing Arts, Apr 24, 2017, 10:30 AM-1:45 PM
‘FURIOUS!—Gallatin’s second PechaKucha event—aims to create an exciting dialogue among the many disparate and active researchers within the Gallatin community. Our hope is to broaden the intellectual exchange within our school and discover new links to each other’s work. The theme this year is FURIOUS!, a word we chose because it captures the passion, fervor, immediacy, and emotional investment we all bring to our work. PechaKucha is a structured presentation format where every participant shows 20 images, each for 20 seconds. The images advance automatically to coordinate with the speaker, creating a fast-pace for showcasing all types of work. It’s fast, furious—and fun!
The Closed World of Biosphere 2: Why an Eccentric Ecological Experiment Still Matters 25 Years Later, Edge effects, Dec. 15, 2016.
Producers: Louise Harpman, Peder Anker, Keith Miller, Mitchell Joachim. Director: Keith Miller. Actor: Priya Patel. Camera: Adam Golfer, Thomas Lau. Editor: Charles Chintzer Lai. Photography: Ivan Specht. Music: DJ Spooky. Production Assistants: Louisa Nolte, Rachel Stern. Participants: Cynthia Allen, Liz Appel, Jamie Berthe, Honor Bishop, Michelle Boukhover, Colin F Brett Nina R Demeo, Pasan Dharmasena, Jacob Ford, Hallie M Franks, Hannah Fullerton, Jason Gabaee, Aaron Gartenberg, Vince Gaudio, Subhankar Ghosh, Celine Rose Gruenberg, Georgina Hahn-Griffiths, Michael Hirschorn, Kristin Horton, Gisela Humphreys, William Kammler, Zoe A Kennedy, Sage Mastakouras, Stacie McDonald, Louisa Nolte, Celeste Orangers, Brennan O’Rourke, Annie Pluimer, Caroline Porter, Alejandro Ribadeneira, Kyle Richard, Arielle Ross, Henry Sheeran, Ivan Specht, Rachel N Stern, Luke Thurmond, Greg Vargo, Aleksei Waddington, John Wedge, Jen Weitsen.
“Untangling Intentions: Teaching the History of Climate Politics,” in Teaching Climate Change in the Humanities, Stephen Siperstein, Shane Hall and Stephanie LeMenager (eds.), (New York: Routledge, 2016), 272-278
“Ouroboros Architecture,” in The Routledge Companion to Biology in Art and Architecture, Charissa N. Terranova and Meredith Tromble (eds.), (New York: Routledge, 2016), 112-135.
This article explores how and why imagined and real environments in space came to serve as models for ecological design of earthly landscapes and buildings in the 1970s. It claims that life in space came to represent the peaceful, rational, and environmentally friendly alternative to the destructive, irrational, ecological crisis down on Earth. Spaceship management aimed narrowly at the biological survival of astronauts, an ethic which also came to dominate ecological design proposals on board Spaceship Earth. The result was a design programme which was at the expense of a wider aesthetic and social understanding of the human condition. The article reviews the work of leading ecological designers of the period, such as Ian L. McHarg, John Todd and the New Alchemists, Alexander Pike and John Frazer, Brenda and Robert Vale, Ken Yeang, Phil Hawes, and others. It situates their projects in the perspective of ecological research methods of the period and puts forward an understanding of their thinking in the context of space exploration. Today’s challenge is to escape the intellectual space capsule that ecologists have created for environmentally concerned architects.
What is a “creative hub”? And what are the necessary factors to make them happen? Certainly, they don’t come out of nowhere, or do they? If not, what factors are of key importance? One or several of these factors play a role: business opportunities, real estate, cultural life, security, access to capital, know-how and universities, and, perhaps, politics. Why do some cities succeed? And why do some creative hubs fade away? And which role does the digital economy play, if any?
Presenting “Times Square Electronic Garden” at the Stories of the Anthropocene Festival, October 26, 4:30pm, at the KTH Royal Institute of Technology, Stockholm.
The “Times Square Electronic Garden” project initiated a conversation about climate change, energy use and green urban spaces. Designed and fabricated by New York University students, this earth bomb featured speakers and live sensors among the plants that connected to our URL. The idea was to “re-nature” Times Square so that the public can contemplate new natures within our cities. We invited people to explore soothing living vegetative surfaces and recognize the stark contrast of their hyper-electrified surroundings. The students designed and built an open central sphere for visitors to circulate through so that they could encounter a microcosm of hanging gardens. Around the sphere we created a greenscape of serpentine living benches for rest, gathering, and contemplation. The whole project, start-to-finish, was erected and removed in a 24 hour period on May 10th, 2016. It was a place to reimagine Times Square’s consumer culture into a truly sumptuous environmental future.
Co-Principal Investigators: Mitchell Joachim, Louise Harpman, Peder Anker. Film Media: Keith Miller. NYU ITP: Namira Abdulgani, Kylin Chen, Ella Dagan, Jordan Frand, Michelle Hessel, Renata Kuba, Gal Nissim, Isabel Paez, Tigran Paravyan, Lutfiadi Rahmanto, Leslie Ruckman, Abhishek Singh, Edson Soares, Katie Temrowski, Jed Watson, Yan Zhao, Yang Zhao. NYU Gallatin: Theo Mandin-Lee, Jordan Marks, Max Mezzomo, Valerie Mu, Shel Orock, Alex Selz, Henry Wang. NYU Staff: Karim Ahmed, Jenny Kijowski, Nicholas P Likos, Lillian J Warner, Matthew Tarpley, Shandor Hassan, Shai Pelled.