Dewey Ambrosino lives and works in Los Angeles. His artistic practice examines the relationship between aesthetic phenomena and cultural conditioning through a wide variety of media. Recent solo exhibitions include Rosamund Felsen Gallery, Las Cienegas Projects, Guggenheim Gallery at Chapman University, and The Shed, Momenta Art in Brooklyn. He has participated in group exhibitions and performances at Samuel Freeman Gallery, Claremont Graduate University; West of Rome Public Art, Pasadena; UCLA Hammer Museum; UCLA Fowler Museum; New Art Center, Newton; Los Angeles Contemporary Designs; Goethe-Bunker, Essen, Denmark; Museum of Contemporary Art, Miami; Museum of Contemporary Art, Los Angeles; Steven Wolf Fine Arts, San Francisco; Coachella; Nueva Cinema Festival; ARCO International Contemporary Art Fair, Madrid; San Art, Ho Chi Min City; Laforet Museum Harajuku, Tokyo; Internationale Kurzfilmtage 49, Oberhausen, Germany; Oulu International Film Festival, Finland; Filmstock International Film Festival, Luton, England; and Three Day Weekend, in Los Angeles and Houston. He received a BFA in Sculpture and a BFA in Industrial Design from University of Illinois, Chicago, in 1991, and an MFA in Art from CalArts in 1994. He is currently a faculty member at Art Center.
Alex Amerri is an award-winning multi-disciplinary designer and artist, living in Los Angeles. Founder of UNMAP Interests design studio, he has undertaken projects ranging from architecture to interior and graphic design, and is driven to manifest the social consciousness of the role of design, designer, and user in society and the larger environment. As an artist, he creates projects in the realm of public practice; he is the founder of RIDE-Arc and has created intricate paintings and sculptures. A graduate of UCLA and holder of a Master’s degree in Architecture from SCI-Arc, Amerri also enjoys designing furniture, fashion, jewelry, and bicycles. He is an advanced competitive cyclist, world traveler, and cultural investigator. He was an active member of the Board of Directors for the Los Angeles County Bicycle Coalition from 2008 through 2014, serving as president for two and a half years.
Cindy Bernard’s career spans nearly three decades. She is best known for photographs and projections that explore the relationship between cinema, memory, and landscape, including the widely exhibited series Ask the Dust (1988–92), now in the collection of The Museum of Contemporary Art, Los Angeles. She is a recipient of numerous grants and fellowships, including a Guggenheim, and her work has been exhibited in museums and galleries in the United States, Canada, Mexico, Europe, and Japan, and was included in the Whitney and Lyon Biennials. Although Bernard first experienced the Schindler House at 3 A.M. in the winter of 1988, her ongoing engagement with the MAK Center and the house began 12 years later with a solo exhibition and the first sound. at the Schindler House concerts. Within a few years she founded The Society for the Activation of Social Space through Art and Sound (SASSAS), which programs summer concerts at the Schindler House to this day. Her interest in sound has spurred several projects including a series of photographs of municipal band shells, which Bernard sees as an architecture of public exchange, and The Inquisitive Musician, an adaptation of a 17th-century German satire. The Inquisitive Musician pits itinerant “beer fiddlers” against the city sanctioned “Kunstpfeifer” and has been performed in New York, in Los Angeles at LACMA, and most recently at the Stedelijk Museum in Amsterdam. Her current project is Vinland, a meditation on the complex and continually shifting relationships between spaces, social and economic structures, and personal and collective histories, centered on two small communities in Newfoundland. Bernard is a professor of graduate fine art (adjunct) at Art Center College of Design and was appointed the inaugural Ruffin Distinguished Artist-in-Residence at the University of Virginia for the 2013-14 academic year.
Andrea Blum is a New York-based artist who designs work for public spaces in Europe and the United States that range in site and scale to include plazas, libraries, exhibition design, domestic space, and furniture. Blum describes her work:
…[considering] the relationship of the social/political world to the private psychological one. My approach has been to combine humor and cynicism to zoom in and out of the conditions, which organize us as a culture, thereby hoping to affect us as individuals. The adage of “what you do in public is different than what you do in the privacy of your own home” explains how and why my interest in public space has moved from the street to the institution to inside the domestic environment. I try to highlight and confuse the differences between these sites in an attempt to promote a social breakdown of content and context.
Blum exhibits in museums, galleries and other exhibition venues, and has had numerous solo exhibitions including La Conservera Centro de Arte Contemporaneo, Murcia, Spain; Stroom Center for Art and Architecture, Den Haag, Netherlands; Henry Moore Institute, Leeds, United Kingdom; and Storefront for Art and Architecture, New York. Blum has built special projects for the 51st Venice Biennale (Italian Pavilion); Maison Rouge, Paris; MUDAM museum, Luxembourg; and l’Observatoire, Marseille. She was commissioned by the Theatre des Champs-Elysees in Paris to be the set designer for a Donizetti opera that previewed in February 2013. Blum has been the recipient of a Guggenheim Fellowship, Graham Foundation Fellowship, SJWeiler Fund, Art Matters, New York State Council on the Arts, and National Endowment for the Arts grants and in 2005 was named Chevalier, Order of Arts and Letters, by the French Minister of Culture. She is a full professor in the Department of Art and Art History at Hunter College and frequently lectures on the relationship of art and architecture.
Olivia Booth has lived for the past decade in Los Angeles, making art, teaching, and occasionally writing about art. Glass is given primacy in her process, often presented in installations or singular works. Her work has been shown at the Armory Center for the Arts, Pasadena; Weekend Gallery, Hollywood; and Mandarin Gallery, Chinatown. She has also been included in group shows at Marc Foxx and the Las Vegas Museum of Art. She received a Durfee grant for her installation at the Schindler House in 2011. In 1996, she graduated magna cum laude from Cornell University with a BA in comparative literature and a BFA in painting. In 2003, she received an MFA from Art Center College of Design.
John K. Chan, Assoc. AIA, LEED AP, is the Design Director of Formation Association. An environmental designer with a portfolio of architectural work spanning from large-scale master planning to cultural and residential commissions, Chan has contributed to an array of award-winning buildings and notable projects nationally and abroad. In the context of international corporate architecture, he has led design teams in the institutional building sector, working with clients including the University of California system and GSA, and working abroad with large organizations such as the multinational Indian conglomerate Tata Group. In 2008, he established Formation Association, an environmental design collaborative leveraging Chan’s extensive work experience into residential and cultural projects pursuing triple bottom line outcomes. Chan has been invited as guest critic to SCI-Arc, Woodbury University School of Architecture, and the USC School of Architecture, and is an advisor with the Friends of the Arid Lands Institute, an education, research, and outreach center at the nexus of water, energy, and climate change. In 2010, he was appointed by the Biola University Art Department as its 2011 Visionary-in-Residence, investigating the convergence of art, architecture, and ecology within a larger cosmological framework, dubbed The Future of Paradise. A LEED accredited professional, Chan is an associate member of the American Institute of Architects and obtained his BA from the USC School of Architecture.
Gene Coleman is a composer, musician, and director. Winner of the 2013 Berlin Prize for Music, he has created over 70 works for various instrumentation and media. Innovative use of sound, image, space and time allows Coleman to create work that expands our understanding of the world. He describes his artistic methodology:
As a composer and filmmaker I have been exploring connections between architecture and music for over 15 years. I have made several music and video works that focus on particular buildings. I think of these works as “portraits” in sound and vision intended to make the audience experience architecture in a new way. My thinking is based on the concept that architecture can be treated as a “text,” using it to generate a musical work that is closely related to it. Another of my ongoing practices is the exploration of Asian music (in particular Japanese music) and how it can be brought into new relationships with so-called “Western” elements. These music video works explore the long and complex cultural exchange between Japan and the West. The very clear references to Japanese architecture in the design of the Schindler House make it truly ideal for the course my work has taken.
Since 2001, Coleman’s work has focused on the global transformation of culture and music’s relationship with other media, such as architecture, video and dance. He studied painting, music, and filmmaking at the School of the Art Institute of Chicago, where his principle teachers included legendary experimental film artists Stan Brakhage and Ernie Gehr, as well as Robert Snyder (music) and Barbara Rossi (painting).
Molly Corey is a Los Angeles-based artist. Her work examines the malleability of memory and the way history is interpreted, revised, and received. Her art is driven by history: art history, social history, political history, and personal history. Through the use of photography, film, video, sculpture and installation her work investigates the political implications of images, the contradictions found in representation, and the slipperiness of “truth and history.” Most recently she has shown her installation Letter From an Unknown Woman at the Schindler House. She has exhibited at The Project, New York; Occidental College, Los Angeles; and the University Art Gallery at UC Irvine, among other spaces. Her writings have been published in The Benefit of Friends Collected: A Journal of Artist-on-Artist Critical Writing, artUS, and the TrenchArt, Casement series. She currently teaches at Loyola Marymount University’s Art Department and USC’s Critical Studies Department. Corey received a BA in anthropology and photography from UC Santa Cruz, an MFA from Otis College of Art and Design, and an MA from UCLA’s Critical and Curatorial Studies program.
Sandy de Lissovoy was born in Berkeley, California and maintains a studio practice in Los Angeles where he lives with his wife and daughter. His interdisciplinary work aims at discovering a medium in the boundaries between sculpture, painting and architecture, creating both solid and ephemeral results. He has recently had solo shows in Los Angeles at Commonwealth and Council, Monte Vista Projects, and Las Cienegas Projects. He is a recipient of an ARC Grant from the Center For Cultural Innovation and will present new work at the Dorsky Gallery in New York in 2015. He received his BFA from the California College of the Arts and MFA from UC Irvine. At Irvine he studied New Genres with Simon Leung, Kevin Appel, Monica Majoli, and Daniel Martinez.
Tim Durfee heads an interdisciplinary architecture office based in downtown Los Angeles that creates buildings, spaces, objects, media, and ideas that pursue unique relevance to how we live today. Recent honors include: 2014 finalist for the Architizer A+ Award for Growth Table (with Iris Anna Regn), the 2013 NextLA Merit Award by the AIA|LA for the L.A.-Frame House (also with Iris Anna Regn), and the 2012 Honor Award for Architecture by the AIA|LA for The Rather Large Array. In addition to Tim Durfee Studio, he is also active in project-based design research through his studio amp, based out of the Media Design Practices MFA program at Art Center College of Design. With amp, Tim conducts multifaceted projects—including exhibitions, installations, films, events, and publications—that examine a variety of contemporary issues and technologies. The next amp project is the forthcoming book MADE UP: Design’s Fictions, edited with Mimi Zeiger. Current and past clients include: LACMA, Hammer Museum, Huntington Library and Art Galleries, the International Center of Photography, Indianapolis Museum of Art, Los Angeles Department of Cultural Affairs, the Community Resources Association of Los Angeles, Target Corporation, ForYourArt, Banning Museum, Intel Corporation, Toyota Corporation, Marianna Kistler Beach Museum of Art, Art Center College of Design, SCI-Arc, Woodbury University, Los Angeles County Metropolitan Transportation Authority, Los Angeles Police Department, Gallery Row, and private commercial and residential clients.
Andy Featherston is an artist living and working in Los Angeles. He earned his MFA from Art Center College of Design, the most expensive art program in the country, where he studied Marx. His practice is based on photography and cinematography as care—a coming, alongside a subject, lost in genesis. His work has been shown… it’s not important.
Andrea Fraser is professor of New Genres at UCLA. Her books include Andrea Fraser: Works 1984–2003 (Dumont, 2003); Museum Highlights: The Writings of Andrea Fraser (MIT Press, 2005); and Texts, Scripts, Transcripts (Museum Ludwig, 2013). Her recent performance Not just a few of us was featured in Prospect 3: Notes for Now, New Orleans. Retrospectives of her work will be presented at the Museum der Moderne, Salzburg, in 2015, and the Museum of Contemporary Art, Barcelona, in 2016.
Jennifer Gilman is an artist, architectural designer, graphic designer, and teacher based in Los Angeles. Describing her artistic process, Gilman writes:
I am using drawing as a way of inhabiting space. Some of my drawings are created at 1:1 scale, the body occupying the building and the drawing simultaneously. I work with a continual responsiveness to the room’s character and detail, the light, the color and texture of the sawdust, the sound and feel of the rope and broom, and the marks they leave. Making and re-making, adjusting, transforming, the drawing continues to evolve over the course of the installation. Employing my entire body in the drawing process as a way of “understanding” Schindler’s built space, and ideas is an approach that dovetails with Schindler’s own interest in the body in its “natural” environment.
Her recent exhibitions include the site-specific installation works Liminal Drift #4, at AREA 405 Gallery in Baltimore and Roma Rossa, at the Gallery of the American Academy in Rome, where she was a visiting artist. She received training in the fine arts and design in New York, Italy, and India, and earned a BFA at Syracuse University, and a Master’s degree in Architecture at SCI-Arc.
Thurman Grant is a Los Angeles-based architect, educator, and curator who specializes in residential and commercial architecture and interiors. Since 2005, he has been an adjunct faculty member at Woodbury University, teaching in both the Architecture and Interior Architecture programs. He has also taught internationally in Italy and China. Grant has contributed to a long list of built residential, commercial, institutional and urban design projects, as well as award-winning design competitions in the US and Asia. Grant was a member of the Los Angeles Forum for Architecture and Urban Design’s board of directors from 2009 to 2013, serving as President from 2012 to 2013 and Vice President of Information from 2010 to 2011. His first independent exhibition, a collaborative on-site installation with artist Olivia Booth at the Schindler House, was part of Schindler Lab, Round One in 2011. Grant is working as co-editor on his first publication Dingbat 2.0, scheduled for publication in 2015.
The extraordinary range of the works of Escher GuneWardena Architecture—small, conceptually rigorous projects; ecologically and socially innovative urban design proposals; and work in the fields of contemporary art and architectural history—reflects the broad cultural interests of the firm’s principals, Frank Escher and Ravi GuneWardena. They frequently collaborate with internationally known contemporary artists, thinkers, consultants, and cultural institutions. Escher GuneWardena addresses issues of sustainability, affordability, the relationship between form and construction, seeking to establish simple formal manifestations of the complexities of each project. Residential projects include the Jamie Residence (2000), the Sola/Wright Residence (2009), and the House with Five Corners (2013). Work on historic structures includes restoration of John Lautner’s Chemosphere and Phase 1 restoration work at the Eames House. Their work was recognized in the 2003 National Design Triennial and in OPEN HOUSE: Intelligent Living by Design, Vitra and Art Center College of Design, Pasadena (2007).
The firm’s interest in contemporary art has led to various art-related projects and collaborations with artists, including Blum & Poe gallery in Los Angeles and numerous installations for Sharon Lockhart, Mike Kelley, Olafur Eliasson, and Stephen Prina. Major exhibitions designed by Escher GuneWardena are the 55th Carnegie International, CMOA, Pittsburgh; Mike Kelley: Eternity Is a Long Time, Hanger Bicocca, Milano; Between Earth and Heaven: The Architecture of John Lautner, Hammer Museum (co-curated by Frank Escher and Nicholas Olsberg); and a Hermès petit h exhibition scenography (2014). Frank Escher, trained at the ETH Zürich, is the editor of the monograph John Lautner, Architect, was the administrator for the John Lautner Archive (1995–2007), and serves on the boards of the John Lautner Foundation, the Julius Shulman Institute, and the Los Angeles Forum for Architecture and Urban Design. Ravi GuneWardena, originally from Sri Lanka, studied at Cal Poly Pomona and in Florence, Italy, and served on the Hollywood Public Art Advisory Panel for the Community Redevelopment Agency of Los Angeles.
Fritz Haeg’s work has included edible gardens, wild landscapes, public dances, educational environments, animal architecture, domestic gatherings, urban parades, temporary encampments, documentary videos, publications, and occasionally buildings for people. Recent projects include Edible Estates—an international series of domestic edible landscapes; Animal Estates—a housing initiative for native animals in cities around the world, which debuted at the 2008 Whitney Biennial; and Sundown Schoolhouse—an itinerant educational program. He is a 2010–11 Rome Prize Fellow and has variously taught in architecture, design, and fine art programs at Princeton, CalArts, Art Center College of Design, Parsons School of Design, USC, and Wayne State University in Detroit.
Haeg has produced projects and exhibited work at MoMA; Tate Modern; Hayward Gallery; Liverpool Biennial; Whitney Museum; SFMoMA; SALT Beyoglu, Istanbul; Casco, Utrecht; Stroom, Den Haag; Arup Phase 2, London; Blood Mountain Foundation, Budapest; Pollinaria, Abruzzo; Israeli Center for Digital Arts; Institute of Contemporary Art, Philadelphia; Indianapolis Museum of Art; Aldrich Contemporary Art Museum; Mass MoCA; deCordova Museum; and most recently at the Walker Art Center for the solo show Fritz Haeg: At Home in the City. His books include The Sundown Salon Unfolding Archive (Evil Twin Publications, 2009) and Edible Estates: Attack on the Front Lawn (Metropolis Books, 2010, 2nd ed.). In 2014, he initiated the long-term commune / farm / homestead / art project Salmon Creek Farm, a 33-acre commune founded in 1971 on California’s Mendocino Coast.
Gregory Michael Hernandez was raised in the Mojave Desert of Southern California, and has lived in Los Angeles since 1995. His work is landscape-based, often contrasting rural and urban contexts, and is informed by how environment shapes the way people think, how context influences perception, and how philosophy, religion, politics, and culture intersect. Hernandez chose the name Exile Child as a working moniker after spending time in Israel, the West Bank, and Gaza in 1999 and 2000. Exile Child is a phrase that refers to themes of dislocation that define the human condition. A child of exile is someone who was born into a state of uprootedness, never having set foot on the homeland.
Hernandez’s work has been shown in solo and group exhibitions at galleries including LA><Art, Emma Gray HQ, Roberts & Tilton, Torrance Art Museum and Armory Center for the Arts in Pasadena. His work is in the public collection of The Museum of Contemporary Art, Los Angeles. Hernandez is the recipient of many awards, grants and residencies including: The Rema Hort Mann Foundation in 2013; Artist-in-Residence at One Colorado, Pasadena, in conjunction with the Armory Center for the Arts, and VAN Residency (Visual Artist Network) at MACLA in San Jose in 2012; and an Emerging Artist Fellowship, California Community Foundation in 2011. Hernandez earned a BS in Drawing and Painting from Biola University in 1999.
Artist Julian Hoeber uses a wide range of media—including sculpture, drawing, filmmaking, installation, and photography—to explore psychology, emotion and narrative. He was born in Philadelphia in 1974, and currently lives in Los Angeles. Hoeber has exhibited in the United States and Europe, and his work was included in Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, MoMA (2009); Panic Room—Works from The Dakis Joannou Collection, Deste Foundation Centre For Contemporary Art, Athens, Greece (2007); Dark Places, Santa Monica Museum of Art (2006); and 2004: Planet B: The Aesthetics of the B-Movie, Palais Thurn & Taxis and Magazin4, Bregenz, Austria, among others. He has had solo exhibitions at Blum and Poe, Los Angeles; Galleria Francesca Kaufmann, Milan; and Praz-Delavallade, Paris. He received an MFA from Art Center College of Design; a BFA from the School of the Museum of Fine Arts, Boston; a BA in Art History from Tufts University; and he also studied at Karel de Grote Hogeschool, Antwerp, Belgium.
In addition to being a principal of the Los Angeles-based design firm Fièvre+Jones, Victor Jones is a cultural activist and writer. He also teaches at the USC School of Architecture. Consequently, he wears two hats as a designer: one as a creative practitioner whose expressions are formed through the making of design objects and installations, another through writing. When making design objects and installations, Jones actively works with community-based groups and non-profit organizations to pursue a range of design projects that instigate change within communities. Whether introducing much needed cultural infrastructure or the refiguring of existing spaces, each project garners citizen participation, often working with underserved individuals and communities most in need of design services. A large part of each project sets out to cultivate connections between design, policy makers, and political agency to attain tangible benefits to the health and safety of all citizens. As a writer, his research projects expand the disciplinary conversation within design discourse to include issues of infrastructure design and remediation, existing and projected. Writing articles and books helps to articulate arguments for understanding the built environment beyond a construct of pure utility—to recognize how culture may actively modify and improve urban life. Articles and books include New Orleans, Ecological Urbanism, Shaping the City: Studies in History, Theory and Urban Design (Routledge, 2013), (IN)FORMAL LA: The Space of Politics (Evolo Press, 2014) and A Bridge for Potenza (2015). Jones has been published in AMC/le Moniteur, the New Orleans Times Picayune, ARTVOICES, and the Journal of Architectural Education. He lives with his partner in Silver Lake.
Martina Kandeler-Fritsch was born in Vienna in 1962. She is the deputy director and the head of art and research management of the MAK — Austrian Museum of Applied Arts / Contemporary Art. Kandeler-Fritsch has curated numerous exhibitions at the MAK, including Design, Design, Shiro Kuramata 1934–1991 (in cooperation with the Hara Museum of Contemporary Art, Tokyo); Oswald Oberhuber, Written Pictures. Up until now.; The Un-Private House (in cooperation with MoMA, New York); Franz West. Merciless; Zaha Hadid. Architecture; Kurt Kocherscheidt. The Continuing Image; and COOP HIMMELB(L)AU. Beyond the Blue (exhibition consultant: Jeffrey Kipnis). She has also curated exhibitions at the MAK Center, including Friedrich Kiesler, Endless Space (in cooperation with the Austrian Frederick and Lillian Kiesler Private Foundation) and Gerald Zugmann. Blue Universe. Transforming Models into Pictures. She has edited and co-edited publications, such as Get Off of My Cloud—Wolf D. Prix. COOP HIMMELB(L)AU. Texts 1968–2005 (Hatje Cantz, 2005) as well as ZÜND-UP. Dokumentation eines Architekturexperiments an der Wende der sechziger Jahre [Documenation of an architecture experiment around the turn of the 1960s] (Springer Wien New York, 2001) and has published papers in numerous art, architecture, and design journals.
Christoph a. Kumpusch is a New York-based architect and the principal of cak-productions. He is the director of Forward-slash, an interdisciplinary practice founded in 2008 and the head of their research division, Back-slash. He has recently been awarded a Graham Foundation grant, is a Leonardo da Vinci Fellow, Rudolph M. Schindler Scholar, USAA Scholar and National Collegiate Engineering Award winner for outstanding commitment to academic excellence. He was a MAK Center Architect-in-Residence in 2003, the co-author of System Wien with Lebbeus Woods, Anthony Vidler, and Manuel DeLanda (2005), the editor of IDEA(L) (2009), IDEA(u)topsy (2010), the author of Detail Kultur (2012) and The Light Pavilion (Lars Müller Publishers, 2013). His latest publication is Urban Hopes: Made in China by Steven Holl (Lars Müller Publishers, 2014). Kumpusch has previously taught at Irwin S. Chanin School of Architecture at Cooper Union, Cornell University, Ohio State University, Pratt Institute, SCI-Arc and Guangzhou University in China. He is a professor of architecture at Columbia University’s Graduate School of Architecture, Planning and Preservation. Kumpusch holds a Ph.D in Architecture and Technology from the University of Applied Arts in Vienna.
Nery Gabriel Lemus was born in Los Angeles in 1977. The subjects in his work range from issues of stereotype and immigration to problems in society that can lead to the failure of families, such as poverty, abuse, and neglect. Lemus has been featured in solo exhibitions at Charlie James Gallery, Los Angeles; Steve Turner Contemporary, Los Angeles; The Bindery Projects, Minneapolis; and Project Row Houses, Houston. His work has also been shown in group exhibitions at LACMA; Hammer Museum; Museo Regional Guadalajara, Jalisco; 2010 Border Art Biennial, El Paso Museum; Common Ground, California African-American Museum, Los Angeles; Armory Center for the Arts, Pasadena; Indianapolis Art Center; Centro Cultural Paseo del Norte, Chihuahua; and Centro Cultural Tijuana, among others. He is a recipient of a California Community Foundation Fellowship, a COLA Fellowship Grant from the Los Angeles Department of Cultural Affairs, and the Rema Hort Mann Foundation Fellowship Award. He is represented by Charlie James Gallery in Los Angeles. Lemus received his BFA from Art Center College of Design in 2007 and his MFA from CalArts in 2009. Lemus also attended the Skowhegan School of Painting and Sculpture in Maine in 2008.
Andrea Lenardin Madden, AIA, employs an approach to architecture and design informed by her Viennese background—while she values tradition, she has a keen desire for experimentation and innovation. Challenging the generic, and infusing artfulness into the mundane, her open-minded approach enables her to create unique design solutions and execute them with rigor and ingenuity. a l m project, Lenardin Madden’s Hollywood-based design studio founded in 2007, focuses on architecture, identity, and packaging design. Its specialty is in creating distinctive environments, from the ground up or as a redesign, and thinking holistically about brand development. Particularly sensitive to context and subject matter, a l m project strives to create works that delight and inspire, that feel relevant, rooted in a sense of place, while still timeless. a l m project works with clients across the US, Europe, and beyond. Lenardin Madden received her Master’s degree in Architecture at SCI-Arc.
Felix Monasakanian is a founding partner of Bureau for Architecture and Design (BAD). Prior to founding BAD, Felix worked on high profile, award-winning projects with internationally renowned design practices including Koning Eizenberg in Santa Monica. He has also taught in the Digital Media Lab at Otis College of Art and Design in Los Angeles. Felix earned his Bachelor’s degree in Architecture from California State University Polytechnic Pomona in 2005.
Susan Morgan has written extensively about art, design, and cultural biography. Her work has been featured in specialist journals and mainstream magazines—publications as diverse as the Archives of American Art Journal, World of Interiors, and The New York Times—as well as in exhibition catalogs, artist monographs and anthologies. Morgan has also conducted numerous interviews for books, magazines, and oral history projects, and her interview subjects have ranged from Paul Bowles to Frank O. Gehry, Johnny Depp to Joan Jonas. With artist Thomas Lawson, she coedited REAL LIFE Magazine, an alternative art publication produced in New York throughout the 1980s. A former contributing editor at Interview, Mirabella, Elle, and Metropolitan Home, Morgan now serves as a contributing editor for Aperture and East of Borneo, the collaborative online magazine of contemporary art and its history, as considered from Los Angeles. In 2012, she edited and introduced Piecing Together Los Angeles: An Esther McCoy Reader, the premiere title from East of Borneo Books. Morgan’s ongoing project about writer Esther McCoy (1904–1989) has received support from the Graham Foundation for Advanced Studies in the Fine Arts, the Beverly Willis Architecture Foundation, the Smithsonian Institution, and the National Endowment for the Humanities. With Kimberli Meyer, she co-curated Sympathetic Seeing (2011), the first exhibition dedicated to McCoy’s remarkable life and groundbreaking work. Currently at work on a biography (Esther McCoy: A Modern Life), Morgan is a 2014 Fellow at the Georgia O’Keeffe Museum Research Center, Santa Fe.
Hillary Mushkin is a visual artist exploring contemporary and historical intersections of visual culture, politics and society. Mushkin frequently collaborates with colleagues from diverse fields including history, poetry, and architecture. Her current work, Incendiary Traces, is a collective art and research project focused on visualizing landscape and international conflict, starting with the region in which she lives. Mushkin’s projects have been exhibited at the Freud Museum, London; Getty Museum, Los Angeles; and White Columns, New York. She has also produced works in alternative contexts including sidewalks, a state park, and the Twentynine Palms Marine Corps base. In addition to her artistic practice, she is a research professor of Art and Design at Caltech, directing a new art, design, science and engineering initiative. Mushkin received a BFA from RISD and an MFA from UC Irvine.
Judith-Karoline Mussel, LEED AP, founder and principal of XP& ARCHITECTURE has more than eighteen years of experience at prestigious firms including Gehry Partners, NBBJ Sports & Entertainment and Coop Himmelb(l)au. She is a licensed architect in California, Germany, and a LEED AP. Mussel provided inspiration and innovative design solutions for projects including the Green Housing for Greensburg Kansas, Larchmond Lotus, a new energy saving and air cleaning façade for the Larchmond Medical Center; (RE)Configured-Assemblage: reconfiguring shipping containers for a mixed use project in Long Beach; Visage Renascence: a new identity and façade for the Pushkinsky Cinema Hall, Moscow; 160,000 square-foot addition to the Technical University in Stuttgart; and Águas de Março, a residence in Venice, CA. In addition to running her practice, she has been teaching for the past four years at UCLA, USC and Woodbury University, and currently at California College of the Arts. Her commitment to education and advanced construction and computer technology research keeps her engaged and involved in the design community.
Based in Los Angeles, Kori Newkirk explores issues of the body, alienation and location. He has had solo exhibitions at the Studio Museum in Harlem, LA><ART, and the Museum of Contemporary Art, San Diego. Notable group exhibitions include the 2006 Whitney Biennial, DAK’ART (the Dakar Biennial, Senegal, 2006), and the traveling exhibition Uncertain States of America (2005–06). Newkirk’s work is in the collections of the Hammer Museum, MCA Chicago, The MOCA Los Angeles, Art Institute of Chicago, Henry Art Gallery at the University of Washington, and LACMA. He received his BFA from the School of the Art Institute of Chicago in 1993 and his MFA from UC Irvine in 1997.
Christine Nguyen is an artist based in Long Beach. She is a collector of shells, minerals, crystals, rocks, and seaweed, and is a lover of photographic processes, sculpture, salt, plants, animals, nature and the cosmos, and the mysterious unknown. Her work draws upon the imagery of nature, the sciences, and the cosmos but it is not limited to technologies of the present. She has been drawn to nineteenth century naturalists like Ernst Haeckel: biologist, philosopher, physician and artist; John Muir: writer, conservationist and advocate of the preservation of the wilderness; and Anna Atkins: botanist and photographer. The work of these individuals concerned itself primarily with the physical world whereas Nguyen’s work is imbued with her own personal cosmology.
Solo exhibitions of her work have been featured at the Hammer Museum (Project), Michael Kohn Gallery, and Andrew Shire Gallery in Los Angeles; Crisp-Ellert Art Museum, St. Augustine; and 10 Chancery Lane Gallery, Hong Kong. Her work has also been included in group exhibitions at the Kunsthalle zu Kiel, Germany; Laguna Beach Art Museum; San Art, Ho Chi Minh City; Sprueth Magers Projekte, Munich; Dancing Elephants Project, Bogotá; and Churner, New York. She received her BFA from Cal State Long Beach and MFA from UC Irvine.
Open Source Architecture is an international research group co-founded by Chandler Ahrens (Washington University in St. Louis), Eran Neuman (Tel Aviv University), and Aaron Sprecher (McGill University). OSA’s work ranges from industrial design to residential and public projects, while always engaging in architectural expertise linked to current technological conditions. The transdisciplinary group investigates new modes of spatiality and materiality made available through the accelerated changes occurring in contemporary cultural, technological, and environmental conditions. Recent projects include: Whiteout, Indianapolis Art Museum (2014); SlrSrf Residence, Los Angeles, (2013); Evolutive Means, New York (2010); C-Chair, Kortrijk, Belgium (2010); ParaMorph, Los Angeles (2009); ParaSolar, Opera Square, Tel Aviv (2009); D-velop Residential complex, Boulogne-Billancourt, France (2008); Performalism, Tel Aviv Museum of Art (2008); I-Grid, Sunset Boulevard, Hollywood, (2007).
Harvey Opgenorth is an artist based in Los Angeles and Milwaukee. His multi-disciplinary practice is propelled by the desire to challenge and illuminate the complex action—and boundless subject—of perception. He continually creates open arenas and experiences for an audience to engage with both the apparent and the covert frameworks that guide the ways in which we see, act, and comprehend the world around us. More specifically, the work questions the contexts of art (from the personal to the institutional) and investigates how these can reveal and/or obscure the meaning of the artworks themselves. He has exhibited at the Art Institute of Chicago, Bodybuilder and Sportsman Gallery, Renaissance Society, and Betty Rymer Gallery in Chicago; Soap Factory, Minneapolis; Milwaukee Art Museum, Adambomb Gallery, Armoury Gallery, Hotcakes Gallery, Milwaukee Institute of Art and Design, and Temporary Contemporary Gallery in Milwaukee; Richmond Center for Visual Arts at Western Michigan University, Kalamazoo; and La Casa Encendida, Madrid. He received a BFA from the Milwaukee Institute of Art and Design in 1999 and has studied at the (AICAD) New York Studio Residency Program hosted by Parsons School of Design.
Nate Page lives in Los Angeles. His work has been seen at No Name Exhibitions at the Soap Factory, Minneapolis; Armory Center for the Arts, Pasadena; Warsaw Academy of the Arts, Warsaw; John Michael Kohler Center for the Arts in Sheboygan, Wisconsin; Cooper Union and Jen Bekman Gallery in New York; and most recently at The Corner Door, Los Angeles. Page has produced many environments with Machine Project in Los Angeles, including A Field Guide to LACMA, Pacific Standard Time Presents: Modern Architecture in L.A., and The Machine Project Field Guide to the Gamble House in Pasadena. His work has been shown at Woodbury University Hollywood Gallery; Institute of Visual Arts, University of Wisconsin, Milwaukee; Otis College; and REDCAT in Los Angeles. From 2001–2004, Page co-directed an experimental artist collaborative and exhibition space in Milwaukee called the Rust Spot. In 2011 he was the recipient of the California Community Foundation Emerging Artist Fellowship and is currently in residence at the Lynden Sculpture Garden in Brown Deer, Wisconsin. He holds a BFA from Milwaukee Institute of Art and Design and an MFA from CalArts.
Michael Parker is a Los Angeles-based artist whose practice explores individual agency and collective action. His performative sculptures meander through ideas of absurdity, temporality, hierarchy and labor. His projects engage with unexpected partners such as linemen-in-training, sauna enthusiast, and California State Parks. These projects often function as platforms for other artists: in Cold Storage (2006), the 40,000 square-foot tilt up refrigerated warehouse construction site series, thirty-five artist projects took place during non-construction hours. In 2009, Los Angeles Trade Technical College’s power pole training yard served as a vertical performance space for fifty men learning to control power while making relay videos and newsprint publications. In collaboration with the youngest of the three living Shakers, Parker created DVD commentaries for Dan Graham’s Rock My Religion and Ken Burns’s Hands to Work; Hearts to God. In his studio in 2011 and 2012 Parker organized steams within and around his ten-foot tall mirror encrusted, egg-shaped sauna sculpture, Steam Egg. Each week the constantly rotating DJ and HerbJ curated sounds and smells for this bottom entry sauna. Parker’s 2014 urban earthwork, The Unfinished, is a 137-foot long obelisk shaped excavation on a post-industrial site along the Los Angeles River. This recumbent obelisk, a to-scale version of pharaoh Hatshepsut’s never completed symbol of absolute power, served as a site for Katie Grinnan’s Astrology Orchestra and Rafa Ezparza’s Simulacrum of Power. In 2015, Parker’s work will be a part of Pomona College Museum of Art’s Project Series Invitational. Parker has worked with the Los Angeles Department of Cultural Affairs, Human Resources, Machine Project, Public Fiction, Center for Land Use Interpretation, Pomona College, Clockshop, Control Room, UCLA’s Interpretive Media Lab, The Journal of Aesthetics and Protest, and High Desert Test Sites. He is a recipient of a Center for Cultural Innovation ARC Grant, Printed Matter Award for Artists, and a McComber-Neely Travel Prize. He teaches sculpture at Cal State Long Beach and has guest taught at Art Center College of Design, CalArts, Pomona College, Otis College of Art and Design, USC, Pasadena City College, and UCLA. Parker holds a BA from Pomona College and an MFA from USC.
Sandra Peters is a visual artist based in Berlin and Abu Dhabi. Peters works with objects and materials that emerge from her engagement with the architecture that surrounds her. The theme of space forms the point of departure for reflections, rendered accessible to experience situatively using various artistic media: (sculpture, installation, sound, moving images, film, performance). This becomes possible, for example, through the displacement of architectural elements. When these are removed from the architectural context and shifted into the exhibition space, their impact is sculptural, while at the same time they enter into a situative connection with the exhibition architecture, which can be heightened through modifications (i.e. alterations to proportions and choice of other materials). In this way, the transfer of an architectural element is accompanied by the dislocation of heterogeneous spaces. Peters’s sculptural work refers to the location or space as such, to its architectural structure and cultural context, and to the history that is inscribed in it. She has had a number of solo and group shows in Germany and abroad, and received her MFA at Dresden Art Academy in 2001. Peters was a visiting artist at Art Center College of Design from 1999 to 2000, and at CalArts in spring 2011 and 2012. Since 2014, she’s been an Assistant Professor in Visual Arts at NYU Abu Dhabi.
Renée Petropoulos is a Los Angeles-based artist. She has exhibited throughout the US and internationally. In Los Angeles, she is represented by Rosamund Felsen Gallery, Santa Monica. Petropoulos has completed numerous national public site commissions, and exhibited at the San Francisco Jewish Museum; Blaffer Museum, Houston; Occidental College Weingart Gallery; and Galerie Krinzinger, Vienna. She is currently a professor at Otis College of Art and Design in the graduate fine arts department. She received her BA and MFA from UCLA.
Brett Cody Rogers is an artist from Glenwood Springs, Colorado, currently living and working Los Angeles. Using the materials of painting and painting itself as a subject, Rogers fluidly interlaces painting with photography and architecture. In recent bodies of work, painted forms and materials are utilized as backdrops for his photographs, and spatial effects captured in his photographs are mined as imagery for his paintings. Rogers’s paintings are first composed with a fixed constant, two lines drawn from corner to corner of the painting, defining edges and boundaries at first glance. Then the notations of painting emerge, large washes of vibrating color influenced by materials in the studio, break in patterns and shapes from masked lines, and painterly textures. The loose shapes and hard geometric abstractions in Rogers’ paintings directly reference and are subjects in his photographs. His work has been exhibited internationally in solo exhibitions at Praz-Delavallade, Berlin and Paris; The Approach, London; and Pepin Moore and David Kordansky Gallery both in Los Angeles. Selected group exhibitions include The Green Gallery, Milwaukee; Aspen Art Museum, Aspen; John Connelly Presents and Swiss Institute both in New York. He received his BFA from RISD in 1999 and MFA from CalArts in 2004. He is represented by Praz-Delavallade in Paris, France.
Born in 1967 in Würzburg, Germany, Karolin Schmidbaur was raised and educated in Munich. Since 1992, she has practiced architecture internationally with COOP HIMMELB(L)AU, via their offices in Vienna, Guadalajara, and Los Angeles. She has been a licensed architect in Germany since 1995 and is currently Design and Managing Partner of COOP HIMMELB(L)AU Vienna and also the Director of their LA office. Completed projects under her lead include the Groningen Museum East Pavilion, Netherlands, completed in 1994, and the Central Los Angeles Area High School #9 for visual and performing arts in downtown LA, completed in 2008. Schmidbaur has been responsible for studio organization and the design portfolio at COOP HIMMELB(L)AU and in charge of the office’s urban research projects since 2009. She has taught design studio at USC and SCI-Arc, and in 2011 and 2012 she taught at the Urban Strategies Program at the University of Applied Arts in Vienna. She studied architecture at the Technical University of Munich. Schmidbaur currently lives in Vienna and Los Angeles.
Sabrina Schmidt-Wetekam, born in Milwaukee in 1979, currently resides in Los Angeles where she has worked for the last ten years at various architecture firms including Callas Shortridge, Lorcan O’Herlihy, and Kanner Architects. Her design work includes single and multi-family housing as well as commercial and institutional buildings. She currently works at Rios Clementi Hale Studios. She received her bachelor’s degree in architecture and minor in painting at Washington University in St. Louis in 2001. She continued to study architecture at MIT where she received her Master’s degree in 2004. Her thesis investigated the San Diego/Tijuana border region and studied the nature of imposed boundaries on the physical landscape.
Axel Schmitzberger is an architect and graphic designer from Vienna, currently residing in Los Angeles. He has worked in various architectural design offices on internationally recognized projects such as Donaucity Vienna, a social housing project of 300 units. He also collaborated with Nofrontiere Design in Vienna on large-scale interactive media installations, and later established the interdisciplinary firm hostcell with partners Robert Mago and Lisa Wiscombe in 2000 through recognized interior design projects for the Austrian National Broadcasting Agency Online Department (ORF ON) and Nofrontiere Design. His participation in the international graphic art periodical +rosebud lead to award-winning contributions. In 2001, he worked for the renowned international design firm Morphosis Architects on several highly visible projects. Aside from ongoing contributions to installations and exhibitions he is currently Associate at Domaen Inc, a contemporary design-build practice in LA. He has contributed his graphic design to several publications with the MAK Center, has been published internationally, and lectured in the United States, Europe and Asia. Schmitzberger received his architectural Master’s degree from the Technical University Vienna. He currently teaches as an Associate Professor at Cal Poly Pomona, after having taught at various academic institutions both in California and Austria.
F. Myles Sciotto is interested in the dynamics of space, sound and the dialogue between architecture and the body. He currently lives in Los Angeles and holds a Lecturer position at USC School of Architecture teaching studios that focus on the role of interactive systems and sound within the field of architecture. He has had the pleasure to teach and/or critique at SCI-Arc, USC, Columbia University, Art Center College of Design, the Art Institute, and Otis College of Art and Design. Sciotto is pursuing his Ph.D at UC Santa Barbara, studying with Marcos Novak. He received his Master’s degree in Architecture from SCI-Arc where he was awarded the Best Thesis Honor studying with Jean-Michel Crettaz, Michael Rotondi and Benjamin Bratton.
Mohamed Sharif is a founding partner of Bureau for Architecture and Design (BAD), a design practice based in Los Angeles. Currently a lecturer at the UCLA Department of Architecture and Urban Design, he previously taught at schools including his alma mater the Scott Sutherland School of Architecture in Aberdeen, Scotland, RISD, Otis College of Art and Design, and SCI-Arc. His essays and reviews have been published in journals and periodicals including: 306090, arq, Constructs, JAE and Log. He currently serves on the editorial board of arq (Architectural Research Quarterly, Cambridge University Press) and on the advisory board of the Los Angeles Forum for Architecture and Urban Design, where he served as President between 2007 and 2009.
Jill Spector is an artist born in York, Pennsylvania who lives and works in Los Angeles. She combines engagements with movement, refined materials, and interpretations of images to create sculpture that embodies multiple forms and identities. Often costumed and implying performance, her works suggest mimicry and roles to be played, placing the viewer into relationships between bodies and objects. Spector’s sculpture contains both figurative forms and abstract gestures, featuring surfaces that appear as image and texture, contributing to an overall sense of masquerade and drama. Spector’s sculptures and collages were part of Made in L.A. 2012 at the Hammer Museum. Works have been included in the exhibition Biomorphic Forms In Sculpture, Kunsthaus Graz (2008); at the Pinakothek der Moderne and Nationaltheater, Munich, as part of Drawling, Stretching and Fainting in Coils… (2007); Baker’s Dozen at the Torrance Art Museum (2010); and Drowning And Swallowing This Text at LACE (2014). Her photography is featured in the cookbook Valeria Napoleone’s Catalog of Exquisite Recipes (London: Koenig Books, 2012). In 2014 Spector and Bret Nicely launched a web-based project, You Need To Clean Up The Dead Rooster, for Light & Wire Gallery. During summer 2014, her temporary outdoor sculpture Untitled Garden Sculpture: Theatrical Hand Light was exhibited at Bolte Lang Stadbiotop in Zurich. Spector was named as one of the Orange County Contemporary Collectors 2013 Fellowship Artists. Her works are included in the Zabludowicz Collection, London and Kunsthaus Graz. She received her BFA from Syracuse University’s School of Visual and Performing Arts and MFA from Art Center College of Design.
Olivier Touraine, Architecte DPLG, Assoc. AIA, is currently a principal at Studio Touraine, created in January 2012 following fourteen years at Touraine Richmond Architects in Venice, CA. TRA won various AIA awards for the One Window House in Venice, and the Visitor Center at the Silverwood Lake State Park in San Bernardino County. Touraine teaches design studios at USC and serves as director of the Italy and Paris programs. He has previously held teaching positions at UCLA, Columbia University, Pratt Institute, and SCI-Arc. He was awarded the Album de la Jeune Architecture in 1994 (best architectural firm under 40). He received the Villa Medicis Hors les Murs grant in 2000 and the title of Chevalier des Arts et Lettres in 2005. Olivier worked from 1987 to 1991 with Renzo Piano on the Kansai Airport Project in Osaka; with OMA/Rem Koolhaas, in Lille on the Congrexpo building in 1991; from 1992 to 1998 with Jean Nouvel in Paris on various projects in France, Eastern Europe, and Asia. He graduated from the School of Architecture of Paris La Villette in 1987.
John Umbanhowar, AIA, LEED AP, is the Los Angeles-based principal of hughesumbanhowar architects. His design process initiates compelling ideas and his solutions are derived through cross-field investigations in materials, technology, and the natural and social sciences. John oversees hughesumbanhowar work and projects from beginning to end, directing the tempo of the offices and acting as its central hub for communications. His hands-on involvement runs from schematic design through completion of construction and post-occupancy. Umbanhower has been integral in several historically significant Los Angeles building projects during his career including renovation of the Troxell House by Richard Neutra and EastWest Recording Studios in collaboration with Philippe Starck. He has been the recipient of multiple AIA and furniture design awards. He speaks frequently on architecture and design, and received his Master’s degree in Architecture from SCI-Arc.
With the exception of a few lengthy excursions into the deserts of the Southwest, Santos R. Vásquez was born, raised, and works primarily in Los Angeles. His art deals mostly with the critique of image and the possibilities of their potential variable meanings and thought processes, taking on a variety of forms and media including photography, film, video, sculpture, installation, performance, writing, sound, and more. Attending East LA College in his formative years marked an influential time for Vásquez, with a punk resurgence in East LA alongside a time before hip-hop became co-opted. Attending Christopher Williams’s lecture classes at Otis College of Art and Design eventually led to UCLA graduate school and the opportunity to work with Paul McCarthy and James Welling. A focus on photography throughout school eventually opened to other forms and combinations advancing Vásquez’s image critique and meaning analysis. He has had opportunities to exhibit in Vienna, New York, and Berlin and sometimes even in Los Angeles. He has recently been collaborating with Viennese artists and collectives, including some former residents of the MAK Center. Vásquez is associated with Galerie Mezzanin and dienstag abend in Vienna, and currently teaches art history at Los Angeles Southwest College.
Emily White is a Los Angeles-based artist and designer. Her work explores the role of human intuition in an environment that is increasingly produced by automated processes and understood in terms of data. Drawings are the foundation of her work. She uses a vocabulary of lines to mine the nuanced visual adjustments that inform our perception as human beings. White’s work ranges in scale from buildings to site-specific installations to machine-made drawings. Her recent projects have appeared at the Getty Museum and the A+D Museum in Los Angeles and Space in Portland. In 2009, White co-founded the office LAYER with Lisa Little. Their collaborations have appeared at the Pasadena Museum of California Art, Skirball Cultural Center, New Children’s Museum, Materials & Applications, and in West Hollywood as part of the city’s Art on the Outside program. She has lectured and published on topics ranging from the aesthetics of inundation to the history of computing in textile production. White has taught graduate and undergraduate level design studios and seminars at UC Berkeley, Woodbury University, and USC. She is currently a full-time faculty member at SCI-Arc. White holds a Master’s degree in Architecture from SCI-Arc and a Bachelor’s degree in Architecture from Barnard College, Columbia University.