⋔ HTTP://CURTISROTH.NET ⋔

[UPDATED 05_17_2017]


Curtis Roth (b. 1986, Portland) is an Assistant Professor at the Knowlton School of Architecture at the Ohio State University and a 2015-2017 resident fellow of the Akademie Schloss Solitude in Stuttgart.

He holds a Master of Architecture degree from the Massachusetts Institute of Technology and was previously a partner of OfficeUS, the U.S. Pavilion during the 14th International Architecture Exhibition – la Biennale di Venezia.

He investigates architecture’s processes of cultural, economic and juridical valuation after the internet through diverse media productions including movies, video games, internet micro-economies, drawings, texts and occasionally irl stuff.

His CV can be found here.


⊿ ATM ⊿


Developing a collection of throbbers, and crowd-sourcing loneliness to online workers.


⊷ CONTACT ⊷


E-mail:

curtis.allen.roth@gmail.com


Phone:

+1 503-708-1370


IRL:

3026 Neil Ave., Apt. C
Columbus, Ohio 43202


⋈ NEWS ⋈


05_18_2017

Curtis talks about cats, bots and dark labor with Clara Herrmann for Schloss-Post.


05_18_2017

Instrument_10: The Exhibition opens at The Akademie Schloss Solitude in Stuttgart.


05_15_2017

Curtis reviews Treacherous Transparencies for the Journal of Architectural Education.


05_15_2017

The Story of the Post-Storage City, authored with Ian Caine will appear in LUNCH 12: Tactics


05_10_2017

Rason Leaks will appear in PLAT 6.0: Absence. Edited by Melis Uğurlu and Rachel Grady.


05_04_2017

Curtis discusses Some Dark Products with Phil Arnold.


05_01_2017

The Spatial Myths of Computing will appear in Thresholds Journal 45: Myth. Edited by Zachary Angles.


02_18_2017

Curtis writes about The Strange Promise of Bad Ideas for SchlossPost.


12_15_2016

Curtis is invited by Ana Miljački to attend M.Arch thesis reviews at MIT SA+P.


11_01_2016

Curtis invited by Leslie Lok to give a lecture for her seminar Drawing City Manifestos at Cornell AAP.


10_05_2016

Curtis invited by Kyle Miller to give a lecture at Syracuse University in Florence entitled Nine Instruments (in Progress).


10_04_2016

Curtis leads the Urban Interventions workshop with Marianna Rentzou and Konstantinos Pantazis of Point Supreme for the architecture program at Syracuse University in Florence, organized by Kyle Miller.


04_25_2016

Past Perfect is exhibited at the 2016 ACSA International Conference: Cross-America's: Probing Disglobal Networks in Santiago de Chile.


04_25_2016

Curtis begins a ten-month residency at The Akademie Schloss Solitude in Stuttgart to develop a manuscript for his forthcoming novel Heavenly States.


04_21_2016

All That is Solid Melts into .ETC... to be exhibited at la Biennale di Venezia.


04_20_2016

Curtis named the winner of Balmond Studio's Radical Rethink design competition.


03_12_2016

Ecstasy Minus Agony will appear in PIDGIN 21: Flushed.


01_12_2016

Anti-Fashion and the Internet Art of Instant Obsolescence to be published in PNYX.


12_29_2015

Towards a Speculative Home-Economics will appear in LUNCH 11: Domestication


12_06_2015

Curtis named the winner of The Journal of Architectural Education's Discursive Images Competition.


10_22_2015

Curtis invited by Matteo Ghidoni to exhibit All That is Solid Melts into .Etc at ARCHIVO | ITALIA for Design Week Mexico 2015


10_19_2015

Curtis invited by Sasa Zivkovic and Leslie Lok to attent mid-term reviews at Cornell AAP


08_15_2015

Curtis begins as an Assistant Professor at The Knowlton School of Architecture


€ INSTRUMENT_10: THE EXHIBITION €

[EXHIBITION] 2017_Akademie Schloss Solitude

Image/Object documentation


↰↑↻ interview on the show ↺↑↳


Any exhibition exhibits three forms of labor: the labor of an artist in the production of things, the labor of an audience in paying attention toward things, and a darker form of labor necessary to make anything appear in the world. This is the labor of shipping things across oceans, of affixing things to white walls, and of documenting things so as to ease their afterlife as images online. This third form of labor is underwritten by an imperative to erase itself so as to naturalize a thing’s status as a medium, greasing an exchange between the labor of an artist and the attention of an audience. For eight months I produced nine instruments for making the dark labor that underlies digital architectural production visible, when considering how to show you all this work it occurred to me to use the first form of labor to exchange the second for the third. For three months the following exhibition was exhibited to a pool of anonymous online workers, what remains are only the leftovers of their spent attention and those odds and ends that accompany any exhibition of things.

Worker: A11DOB7V9YBL4S (b. _?)
"I think the title of the image should be summer math."

"This image has a very summery mood to it. There is a soft orange and pink gradient from top to bottom. There is a black rectangle in the centre of the picture with an unusual black object running through the centre of it. At the top of the rectangle there is a black coloured x mark. There is a slight shadow to one of the objects in the image but it is difficult to distinguish what it actually is. The rectangle has white, grid like lines on its inner border."


Worker: A1VHJTJMAVV0WA (b. _?)
"The title of this image should be: “Broken Pipes”."

"This image is a rectangle set on a gradient. The gradient foes from pink to yellow. The rectangle has two exits of white spongey material on the left and above. Each marked with an x and connected on the inside of the rectangle by black ink. The rectangle has a white pattern ringing the inside."


Worker: A3JT22BLG866CK (b. _?)
"The image title should be modern rectangle beach."

"The image here is quite surreal. The background seems to be a peachy, beige color. There is a speckled liquid flows down that into a drawn box in the center of the image. Afterwards, the picture seems to change into a drawing inside the box. Then on the left and the bottom the drawing flows out of the box and produces some type of speckled liquid flowing out of the box. There xs indicating where the fluid is flowing into and outside the drawn box. In the parts where the fluid is flowing out of the box, the liquid seems to be a lot more wild and dispersed compared to the original flow."


Worker: A2T50IRD435JRZ (b. _?)
"The image title should be looking for a summer vacation."

"This is one neat piece of art. Relaxing for the eyes and pleasant colour. The portion that looks like a ruler indicates a view through a microscope and seeing the finer molecules and porous substance which is drawn above. The reddish orange colour underneath evokes the feeling of having a fire underneath which melts the porous material to liquid. On a philosophical level, the artwork can be seen as a inward look at a person finding out the what makes him and his values come out of him or her if they are taken out."


Worker: A11DOB7V9YBL4S (b. _?)
"The image title should be the duplicated arch."

"The image contains two separate images on a wall. The images are attached to wall by masking tape. The images appear to be duplicates but one of them has been altered. The mood of the image is lonely and industrial. There is a rough feel to the finish of the image and it isn’t very welcoming. There is an experimental, artist studio vibe."


Worker: A1VHJTJMAVV0WA (b. _?)
"This could be titled: “There and Gone”."

"There are two images within this image. The one on the left hand side contains a classical painting with a golden rim. The image on the right side contains a segment of the image that is on the left. The two images are attached to a white wall with tape. The image on the left makes the viewer focus on that specific section. There are many small pins stuck into the wall."


Worker: A32QJF67JMJFKX (b. _?)
"The title of this image should be: “A fractured love”."

"This image features a a renaissance looking painting and a copy of it with the two persons cut out. It’s a colorful image, with all the primary colors present. The subjects in the image seem to be romantically connected. The women looks to love the man more than the man loves the women, given her reaction. The background that remains in the cutout has a lot of vines and foliage behind them. The garb ob the subjects is very sleek, and hangs from both of their bodies."


Worker: A11DOB7V9YBL4S (b. _?)
"The image title should be the dream factory."

"There is a white wall with two images attached to it. On the left side is an image of a painting. On the right there is a similar image but with sections cut out of it. It appears to be inside an art gallery or during a creative discussion. The wall in the background is an off white with several marks on it. The mood of the image is optimistic."


Worker: A5DSYVNGYLCA5 (b. _?)
"title: beautiful architecture of a city view"

"Image contains a track between a architectural place. Its a city neaby a subway. Its a beautiful desining material. Its a architectural place and color is good. Its contain a platform of tracking place. Its full of building places."


Worker: A1K8Z5YH3F15MY (b. _?)
"the title of the image should be lonely mountain."

"Red fort. It look like a mountain. It shape is indifferent. Mountain have no shape and it should be very ideal. Sometimes red fort have the temple at the end point of the mountain. It also look like a sofa chair. Color is dominant and smoothly look like this. It can specified by the soft chair. But shape also look like chair. But not a leg. So i would be specified by the mountain. Mountain have the same color of this image and also it can be not correct shape. I cannot identify this shape. So i choose it look like the mountain. This shape like a cone and more straight. Mountain is very high height and no long. But shape is big. It also look like a ice cream. Creamy like this side shadow color. I can imagine this ice cream without the stick. It is very nice to see."


Worker: A11DOB7V9YBL4S (b. _?)
"The title of this image should be: “Future Junker”."

"This is an image of a car created using digital technology. The car is red and lime green and seems to be driving along a peach coloured road. There are modernist buildings throughout the image. There are many numbers with small arrows floating about the image. The mood of the image is calm and easy going. There is a futuristic and dreamlike quality to the picture."


Worker: A1VHJTJMAVV0WA (b. _?)
"This could be titled: moving into insanity."

"There is a car moving down a red road. The car is red and green. There is a green haze about the entire scene. The car is driving towards a building with gray windows. Around the image are numbers."


Worker: A32QJF67JMJFKX (b. _?)
"The title of this image should be:”Droste Effect”."

"The image is very chaotic. It has many sharp lines and a space like colour palette. There appears to be a stack of images placed on a scanner bed. There are some green coloured finger tips poking out of the edges of theses images. The background colour is dark with a grey strip on the left of the image. There seems to be an image of a notice board behind the first image."


Worker: A11DOB7V9YBL4S (b. _?)
"The image title should be death by computer radiation."

"There is an image of an apple computer on a platform. This is printed onto a stack of images. The images have been put onto a scanner and helf in place with a hand and then scanned to create this image. The colours in the image are black, green and grey. The mood of the picture is very mysterious, it reminds me of the 1990s. There is a triangular shape on the image with a green centre."


Worker: A3JT22BLG866CK (b. _?)
"I think the title of the image should be scanner triangle."

"This image has very surreal and mundane elements to it. It can be simple as a stack of pictures being shown on top of a photocopier machine view. However, it seems to be a bit more complex than that. The background is pure black. There seems to be a green, glowing fingers holding a series of stacked pictures together. The largest picture in the stack seems to show a plain office scene that contains a table along with several fern looking plants. On the very of this larger picture, there is one more picture that seems very out of the ordinary. This smaller picture on the top of the larger picture seems to depict a light green triangle surrounded by a multi-colored green background that is divided into three regions."


Worker: A11DOB7V9YBL4S (b. _?)
"The image title should be collage of hope."

"This image of a condusing [sic] green shape is quietly beautiful. The central shape is surrounded in two white backgrounds. These are in turn on a gray background with a plant texture. Behind this is a black gray gradient. There is also a hint of another geometric shape behind the green one. It appears to be some kind of 3d cube."


Worker: A1VHJTJMAVV0WA (b. _?)
"The title of the image should be the dividing wall."

"There is a red to black gradient in the background of the image. The mood of the picture is avery dark and gloomy. There are several computer windows spread across the image. One of the windows appears to be a map. There is a floating isreali flag and a box full of code or text. It appears to be some sort of political statement about the region."


Worker: A11DOB7V9YBL4S (b. _?)
"This could be titled: Mexico and US"

"This image is computer generated. The background is a red to black gradient. The gradient goes from top to bottom. There are multiple windows on the computer screen. They include a map, two flags, a terminal, and a brick wall."


Worker: A32QJF67JMJFKX (b. _?)
"The title of this image should be: “Digital Warfare”."

"This is a digitally created image. It looks as though it is a screenshot from a computer. The windows feature asian flags and pole aligned at the top. There is a window with a map of japan, east china and the koreas. There is computer code, like hacker text in the background suggesting digital warfare between the countries. There is a lot of black on this image, with almost half of the bottom of the image being completely black."


Worker: A1VHJTJMAVV0WA (b. _?)
"This could be titled: Defcon 5"

"This image is a computer screen with windows open. There are maps of the middle east and two flags. There is also a technical terminal. The primary computer window has a mountain range as the background. The background of the entire image is a red to black gradient."


Worker: A11DOB7V9YBL4S (b. _?)
"The title of the image should be scanned confusion."

"There is a scanned image of, what appears to be, a book page. There is some text at the top edge that reads… open battle game world pact. There are some pink finger tips at the edges of the image. The contrast in the image is quite shartp. There is a black strip the blends into white on the right side of the image. There are two white silouettes of people."


Worker: A32QJF67JMJFKX (b. _?)
"The title of this image should be: “Emptiness Has Room”."

"This image is a cutout, or mixed media type of image. It seems as though it may have been altered in photoshop, but i wouldnt rule it out as a hand cut out. It features a cutout human from a picture sumperimposed on a magazine page. There is a bit of chaos in this image, randomness, but certainly a balance within the image. There is a lot of empty space, which may suggest this is a self portrait, or the artist is trying to convey being missing. Its a colorful image, with lots of picks and whites."


Worker: ASXZQW6YTIPAV (b. _?)
"I think that it should be titled, “ripped from society”."

"There appears to be multiple pictures inside of this picture. Part of it looks like a page that was ripped out of a book. Another looks like the picture of a person was ripped out of a picture, with only its surroundings left. Maybe it is trying to display that this person feels as if they are not really here. Like they do not belong. The colors seem to be runny and bright."


Worker: A7SXWHGK8B40R (b. _?)
"For a title, I would consider: Extracted"

"Theres a lot of mystery when looking at this image. It shows a hand presenting an article with two shapes of a person cut out with pink edge highlights. Who was this person exactly? Someone close to the author of the image? Behind the article, you have fingers at the bottom along with unusual brown shapes. At the very top of the image, you have what looks like brown hair fading into purple. The image seems very experimental overall and abstract. Judging by the article in the center and the other image elements, i get the sense of things being photocopied and reproduced."


Worker: A11DOB7V9YBL4S (b. _?)
"The title of the image should be tropical utopia"

"The image has several palm trees in it. There are purple pink clouds in the background. It appears to be mocked up on a computer. In the very centre of the image there is a google map pointer. There also appears to be a person in a white buttoned shirt. There are white lines that look like mountains toward the bottom of the image."


Worker: A11DOB7V9YBL4S (b. _?)
"I think the image title should be mass hysteria."

"This computer generated image has a lot of strange details. It is centered on a red desination pin. Around the pin are two columns and a massive cat is in the background. The entire image is surrounded by pink clouds. There is also strange red numbers on the side of the image. A blurry car is visible."


Worker: A2NEP51CWP5VQT (b. _?)
"The title of the image should be the cloudy foot."

"The image appears to be open in window for an early version of microsoft. There are many clouds and what seem to be digital outlines of clouds. The background seems to be the bottom corner of a room, with very small, strangely constructed artist easels. The walls are off white with a raised trim around what seems to be a wooden paneling floor. Perhaps, the strangest of all things about the image is the picture of a photorealistic bare human foot in the foreground. Also, odd, on either side of the image seems to be a longitude and latitude. A truly strange image."


Worker: A3PB9NXXMY27CP (b. _?)
"The title should be: “half naked man eats mushrooms”"

"The image has green mountains. The image also has pinkish clouds and what appears to be a pink geographic location. There is a pin beneath a monument. There are three umbrellas. The umbrellas are colored yellow and red. There are palm trees and a window. There is also a shirtless man and a building. There is another geographic location in black. There is a greish car. Some of the clouds are plaid like."


Worker: A11DOB7V9YBL4S (b. _?)
"I think the name of this image should be the white wall is watching you."

"The image is of a plain white wall. There is a drawin pipe running down the centre of the image. There is a black wire running horizontally across the top of the image with what appears to be a light fitting attached. The image has a very flat quality. The mood of the image is very urban and dull. There is a cctv camera on the right side of the image."


Worker: A1VHJTJMAVV0WA (b. _?)
"A good name for this photo would be “Abstract Study of a Bush”"

"This is a very minimalist image of a plant in concrete. The bottom half is pale white concrete. The top is the dark brown shrub. There are also blue pipes lining the image. The scene seems very dingy on the whole. There is a dirty pillow on the left side."


Worker: A1VHJTJMAVV0WA (b. _?)
"This could be titled: The Berlin Wall."

"This image is composed of two colours, white and black. There is a black line running horizontal through the image. The line is rough and appears to be drawn by hand. The mood of the image is lonely and sad. It looks like a modernist paining in a fine art gallery. The image doesn’t have anything that jumps out of grabs one attention."


Worker: A1VHJTJMAVV0WA (b. _?)
"This could be titled: The Berlin Wall."

"This image is composed of two colours, white and black. There is a black line running horizontal through the image. The line is rough and appears to be drawn by hand. The mood of the image is lonely and sad. It looks like a modernist paining in a fine art gallery. The image doesn’t have anything that jumps out of grabs one attention."


Worker: A1VHJTJMAVV0WA (b. _?)
"My suggested title is “Ridiculous on inspect”."

"This image is set on a white grid of plus signs. It is a hectic combination of shapes. It contains trees, people and stores. There are also hills that seem to not fit the size of anything else. There are also red outlines along the ground forming mostly triangles. All of these details combine to form an image that feels right but is ridiculous on inspect."


Worker: A11DOB7V9YBL4S (b. _?)
"The title of the image should be two kingdoms, two worlds."

"This image has two parts. A lower and upper grid of plus signs. The lower grid has another inner grid of green plus signs. Each grid has similar objects on top of it. Objects like rocks, clouds, plants, and trees. The objects lack and sense of scale. Both the grips have piece of water on their right side that seem to be flowing in."


Worker: A1VHJTJMAVV0WA (b. _?)
"The image title should be wishful thinking."

"This image contains many palm tress. They are lining a block of houses with chimneys. There are many rocks placed on the image. The mood of the image is happy and hallucinogenic. There is no clear perspective. Objects like small people and large rocks seem to lack any scale."


Worker: A11DOB7V9YBL4S (b. _?)
"The image title should be the modern utopia."

"The image has a childlike quality with many elements. There is some structure with many boulders and palm trees surrounding it. There are also people interacting with the space. It looks like an architectural plan of a modern city space. The colours in the image are bright and have many pastel tones. The background of the image contains many small crosses."



¡ A SYLLABUS FOR YUNG DISTANCE ¡

[SYLLABUS] 2017_Published in Some Dark Products

Course Description:

This seminar begins with two assertions. First: that the production of architecture is contingent on the manufacturing of our dark products, networked spatial assemblies fabricated through our instruments in order to manage the labor of design across vast distances. And second: That our dark products are disavowed by the discipline, both for proffering an account of design as bodily labor (at odds with our enduring narratives of architecture as intellection), and for proffering an account of space as itinerate transaction (at odds with our historical models of space as Cartesian ooze).

These two assertions are followed by a proposition. That is: that architecture’s instruments might be reformatted, made to make visible the dark spatial products that underlie global architectural production. This proposition is motivated by the belief that to make the spaces of contemporary architectural labor visible is also to render them explicit as acts of design.

This belief is underwritten by a hunch. As in: that learning to redesign our dark products is a tangible step in understanding their dark products, or: the profound ways in which the remote distribution of code is radically torqueing our most comfortable conceptions of power and distance. In learning to talk about distance in alternative ways, this seminar charts a path towards a new politics of space after the internet.

Week 01: Introductory Lecture:


Week 02: Discipline as Distance from Labor:
Lecture:
Underlying the discipline’s autonomy from: economics, or politics, or matter, or et. al., lies a delicately negotiated fissure, cleaving intellection from the bodily labors of production. This lecture will explore rhetorical fantasies such as: history, culture, and conceptuality through which the discipline insulates any work of architecture from the labor of building.

Readings:
Peggy Deamer. “Work.” in The Architect as Worker. ed. Peggy Deamer. (London: Bloomsbury Academic, 2015): 61.
Robbins, Bruce. "Pathetic Substitutes." Assemblage, no. 23. (Cambridge: The MIT Press, 1994): 86.
Magali Sarfatti Larson. Behind the Postmodern Façade: Architectural Change in Late Twentieth-Century America. (Berkeley: The University of California Press, 1993).
Peter Eisenman. “Notes on Conceptual Architecture: Towards a Definition.” Casabella 359-60. (Milan, 1971): 48.

Instrument I:
Working in groups of three, students will survey any spherical object and document it through a collection of three scaled-drawings. This documentation will be performed in such a way that the drawings depict not only the spherical object, but simultaneously document the specific parceling of labor between the three group members in order to complete the assignment itself. The three final scaled-drawings will each be printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 03: Distance’s Managerial Instruments:
Lecture:
If the discipline of architecture is negotiated through the preservation of our distance from work, this distance paradoxically serves as the very construct that maintains architecture’s professional monopoly over the economies of building. This lecture will examine the architectural instrument as a bait-and-switch, whereby labor is both implicitly managed and rhetorically disavowed.

Readings:
Robin Evans. “Translations from Drawing to Building.” AA Files, no.12. (London: Architecture Association Press, 1986): 3. Sarah Hirschman, “Legalizing Architecture: How Congress Defined the Discipline.” Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 12, no. 1. (Minneapolis: University of Minnesota Press, 2015): 17. Dell Upton, “Pattern Books and Professionalism: Aspects of the Transformation of Domestic Architecture in America, 1800-1860.” Winterthur Portfolio 19, no. 2/3. (Berkeley: The University of California Press, 1984): 107. John Macarthur, “Irregularity.” in The Picturesque: Architecture, Disgust and Other Irregularities. (London: Routledge Press, 2007): 110. Curtis Roth, “On Our Dark Products.” in Some Dark Products: A Travelogue of Nine Instruments for Architecture. (Stuttgart: Edition Solitude Press, 2017).

Instrument II:
Working in groups of three, but separated by a minimum distance of 50 meters, students will survey any spherical object at least 50 kilometers from the nearest student and document it through a collection of three scaled-drawings. This documentation will be performed in such a way that the drawings depict not only the spherical object, but simultaneously document the distances between the object being surveyed and the group members performing the labor of its documentation. The three final scaled-drawings will each be printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 04: Our Dark Products:
Lecture:
The disciplinary fissure between drawing and building is not a symbolic distance but a physical expanse, fabricated by the operating protocols of architecture’s instruments, the bureaucratic organization of architectural work and the software platforms that remotely manage the privileges of architectural authorship. This lecture will posit the work of (making) architecture as a (designed) work of architecture.

Readings:
David Harvey, “Globalization and the ‘Spatial Fix’.” Geographische Revue, year 3, issue 2. (Berlin: Geographische Revue, 2001): 23. Henry Russel-Hitchcock, “The Architecture of Bureaucracy and the Architecture of Genius.” Architectural Review, no. 101 (1947): 4. Mabel O. Wilson, Jordan Carver, Kadambari Baxi. “Working globally: The human networks of transnational architectural projects.” in The Architect as Worker. ed. Peggy Deamer. (London: Bloomsbury Academic, 2015): 161. Sean Cubitt. “The Political Economy of Cosmopolis.” in Digital Labor: The Internet as Playground and Factory. (New York: Routledge Press, 2013).

Instrument III:
Working individually, students will survey any spherical object and outsource its documentation into a collection of three scaled-drawings. This documentation will be performed in such a way that the drawings depict not only the spherical object, but simultaneously document the financialization of labor necessary to complete the assignment itself. The three final scaled-drawings will each be printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 05: The Demediation of Distance:
Lecture:
The disciplinary fissure between drawing and building is not a symbolic distance but a physical expanse, fabricated by the operating protocols of architecture’s instruments, the bureaucratic organization of architectural work and the software platforms that remotely manage the privileges of architectural authorship. This lecture will posit the work of (making) architecture as a (designed) work of architecture.

Readings:
Nicholas Negroponte. The Architecture Machine: Toward a More Human Environment. (Cambridge: The MIT Press, 1973). Felicity Scott. “Discourse, Seek, Interact.” in A Second Modernism: MIT, Architecture, and the “Techno-Social” Moment. ed. Arindam Dutta. (Cambridge: MIT Press, 2013). Nicholas Negroponte. “Towards a Humanism Through Machines.” AD Magazine, no. 9. (1969). Lawrence Lessig. “The Laws of Cyberspace.” Berkman Klein Center, Harvard University. (1998). Accessed October 10th, 2016.

Instrument IV:
Working individually, each student will survey any spherical object at least 50 kilometers away and document it through a collection of three scaled-drawings. This documentation will be performed in such a way that the drawings depict not only the spherical object, but simultaneously document the specific technologies of vision employed to traverse the distance between the object being surveyed and the student performing the labor of its documentation. The three final scaled-drawings will each be printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 06: Midterm Presentation
Instrument V:
Working in groups of three, students will survey any spherical object and outsource its documentation into a collection of three scaled-drawings. The documentation will be outsourced across a political border. This documentation will be performed in such a way that the drawings depict not only the spherical object, but simultaneously document the border’s imposition of political power on the content of the drawing itself. The three final scaled-drawings will each be printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 07: Their Dark Products:
Lecture:
Despite the enduring myth that the near-instantaneity of code collapses space, computation politicizes distance by modifying the properties of space in ways that confound architecture’s enduring conceptual models. This lecture will outline the repertoire of techniques through which code transmogrifies the staid conventions of space into something like Yung Distance.

Readings:
Alexander Galloway. “How Control Exists After Decentralization.” in Protocol. (Cambridge: MIT Press, 2004): 1. Gean Moreno, Ernesto Oroza. “Generic Objects” E-Flux, no. 18. (2010). Accessed December 9th, 2016. Benjamin Bratton. “The Nomos and the Cloud.” The Stack. (Cambridge: MIT Press, 2015): 19. Seb Franklin. “Control.” in Control: Digitality as Cultural Logic. (Cambridge: MIT Press, 2015): 3. Curtis Roth, “On Their Dark Products.” in Some Dark Products: A Travelogue of Nine Instruments for Architecture. (Stuttgart: Edition Solitude Press, 2017).

Instrument VI:
Working individually, students will use the online labor platform Mechanical Turk to design a script for managing the labor of a minimum of thirty-five online workers, each developing the schematic design for a spherical object. The designs will not only depict particular schematic concepts for a spherical object, but simultaneously document your own script’s digital management of the creativity of your hired laborers. The thirty-five schematic designs will each be presented through one architectural drawing each, printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 8: The Politics of Yung Distance:
Lecture:
The alternative configurations of Yung Distance harbor a new politics of space, far removed from the well-worn dichotomies of near or far, public or private and open or closed that have historically structured the spaces of democracy. This lecture will situate a new politics of space in an era of Yung Distances.

Readings:
Jacques Ranciere. “Ten Thesis on Politics.” Theory and Event, vol. 5 no. 3, (2001) Keller Easterling. “Disposition.” in Extrastatecraft: The Power of Infrastructure Space. (New York: Verso Books, 2014). Hito Steyerl. “Proxy Politics.” E-Flux, no. 60. (2014). Accessed December 9th, 2016. Eyal Weissman. “The Politics of Verticality.” Open Democracy. (2002). Accessed December 9th, 2016.


Instrument VII:
Working individually, students will outsource the rendering of one of the thirty-five schematic designs for any spherical object (produced during the previous assignment) to an offsite image production firm. This rendering will be outsourced in such a way that the image depicts not only the spherical object, but the economy of remote image production resulting in the final image. The final rendering will be printed at 24” x 36” in landscape format and presented at the beginning of the next class.


Week 9: Tripping on Yung Distance:
Lecture:
If Yung Distance proffers a catalog of alternative spatial politics, then it also implies new creative strategies for emancipation, from hacking extra-state infrastructures to neo-avant-garde laziness. The final lecture in the course examines the most interesting trajectories for something like freedom after Yung Distance.

Readings:
Boris Groys. “The Weak Universalism.” E-Flux, no. 15. (2010). Accessed December 9th, 2016. McKenzie Wark. “Hacking.” in A Hacker Manifesto. (Cambridge: Harvard University Press, 2004): 44. Alex Williams, Nick Srnicek. “#ACCELERATE MANIFESTO for an Accelerationist Politics.” Critical Legal Thinking. (2013). Accessed December 9th, 2016. Antoni Negro, “Reflections the Manifesto.” in #ACCELERATE# The Accelerationist Reader. ed. Robin Mackay, Arman Avenessian. (Falmouth: Urbanomic Media ltd. 2014): 363.

Instrument VIII:
Working individually, students will outsource the fabrication of the rendering produced during the previous assignment. This fabrication will be outsourced in such a way that it not only results in the production of a physical object, but documents the itinerate flows of materiality necessary for the spherical object’s construction. The final object will be a minimum diameter of 48” and presented at the beginning of the next class.


Week 10: Penultimate Presentation
Instrument IX:
Working individually, students will return to Mechanical Turk in order to outsource the writing of an essay about the object produced during the previous assignment. This essay will be outsourced in such a way that it not only describes the architectural significance of the object, but the parceling of the text itself into discrete blocks of organized labor. The essay will be a minimum of 2500 words.


Week 10: Penultimate Presentation
The final spherical object will be present in its totality.


☹ DECORATING VILLA WOLF ☹

[GAME] 2017

Villa Wolf


Look, idk, I was depressed for a while. For personal reasons I’d rather not go into here. Things just weren’t going according to plan. I thought making a video game might cheer me up, or at least cheer you up, which is probably the next best thing.

Mies was depressed for a while too. Things just weren’t going according to plan. He’d produced a set of plans in the late 1920s for Erich and Elisabeth Wolf for a not-so-modest house in Gubin; a small town sliced in half by the Polish/German border. Mies thought of it as something altogether new, what some historians would later refer to as his first truly modern residence. But Elisabeth was less and less enthused by the prospect of modernity as construction dragged on. She took it upon herself to soften the whole affair, ivy crawling across the exterior, crown molding and tacky furniture stuffing the insides, etc. As you might have guessed, Mies and Elisabeth had a falling out before construction was completed. Later on, a not-entirely modern house that wasn’t entirely Mies’, nor entirely Elisabeth’s, was blown to smithereens during the second modern war.

Inneneinrichtung der Villa Wolf


Now there’s some talk about rebuilding Villa Wolf. Some longshot idea of tourists traveling to an obscure German suburb to see an obscure work of a modern master. Problem is, nobody’s really sure what constitutes Villa Wolf. That is: whether Villa Wolf is the house that Mies drew (but never built) or the object decorated by Elisabeth and blown to bits some years later. Not much survives of either villa, a few preliminary drawings from Mies and a grainy snapshot of Elisabeth’s overstuffed interior. Forensic historians are working to reconstruct the Wolf’s expansive furniture collection, but the whole thing seems like a lost cause.

At the time, it seemed to me that more interesting than this or that Villa Wolf, was the idea of a villa permanently trapped in some kind of purgatory between a drawing and a building. I wanted to make a video game that would let people endlessly speculate on possible permutations of Villa Wolf, a way of preserving the house without crushing the ambiguity of the whole affair. For the last few months I’ve been dumping an archive of .obj furniture into Mies’ preliminary drawings. I pay people on the net extremely small amounts of money to perpetually redecorate the villa. So far I’ve collected a few thousand possible Villa Wolves, some of which can be seen at http://wolves.villas

Idk, honestly the whole thing made a lot more sense to me at the time, but like I said, I was in a bit of a mood. Anyway, I hope it cheers you up a bit. ↲⇵↶ click to dl ↷⇵↳

Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Villa Wolf, gameplay still


Possible Villa Wolf_001


Possible Villa Wolf_006


Possible Villa Wolf_021


Possible Villa Wolf_033


Possible Villa Wolf_040


Possible Villa Wolf_049


Possible Villa Wolf_055


Possible Villa Wolf_063


Possible Villa Wolf_074


Possible Villa Wolf_081


Possible Villa Wolf_086


Possible Villa Wolf_093


Possible Villa Wolf_099


Possible Villa Wolf_105


Possible Villa Wolf_111


Possible Villa Wolf_114


Possible Villa Wolf_119


Possible Villa Wolf_120



⌓ M1N3 ⌓

[ECONOMY] Launching in late 2017

M1N3 promotional video


M1N3 is the first online agency to M1N3 the crowd-economy for original architectural concepts. M1N3 supplies high-quality design concepts for a diverse range of project types, from outlines for journal submissions to conceptual diagrams for skyscrapers. We provide both academic and professional designers with the ability to efficiently outsource the conceptual labor of architectural production to an online pool of skilled concept M1N3rs, while offering the most exciting minds in contemporary architectural thinking the opportunity to monetize their intellection by joining one of our innovative concept M1N1ng pools.

At M1N3, we believe that architecture after the internet is a post-authorial act of collection. Our purpose is to accelerate this proposition by outsourcing the labor of thought itself, treating architectural ideas as tradable commodities while providing both our clients, and our M1N3rs, with the ability to profitably integrate their practices into emerging concept economies.

To learn more about M1N3’s agenda and crowd-mining practices, visit us at http://M1N3.agency, or contact a representative at info@M1N3.agency for more details.



The intellectual space of architectural production has never been more diverse. As the figure of the architect disintegrates into that of an abstract content manager, fragmented agendas, aesthetic genres and histories contest one another for profitable market-shares of a crowded disciplinary economy. Conventional wisdom stipulates that to survive the dissolution of the architect one should consolidate their shtick, i.e. focus the legibility of their intellectual project, differentiate it from their competitors, and corner a shrinking market audience enfranchised by recognizable techniques.

At M1N3, we reject the nostalgia of subjectivities made-marketable through the scarcity of their intellectual projects. We anticipate the implosion of the architect by accelerating thought itself as a financial commodity for navigating the volatility of contemporary discourse. We believe that after architects, you are no longer your ideas. We believe that your intellection can keep pace with future market instability by efficiently outsourcing your concepts just like your renderings, your structural details or your construction documents. We believe that you deserve a flexible intellectual labor M1N3 capable of providing you with the highest quality architectural concepts at an affordable price.

Whether you’re working on a master’s thesis, an installation in PS1’s courtyard or developing a luxury condominium complex, we engineer custom M1N1ng solutions perfectly suited for your unique needs. These M1N1ng procedures are flexible in order to accommodate the diverse tastes of our clients, from scripting micro-labor platforms such as Mechanical Turk to our exclusive Premium M1N1ng pool, we can harvest hundreds of architectural concepts in a matter of hours or fine tune that one idea you need.

At M1N3, we retain no authorial rights over the architectural execution of concepts once they’re delivered to you, and all unused concepts are sent to The Recycling Pool, ensuring that the concepts we provide our clients are always as fresh as possible.



The aging binaries setting agency against autonomy, the profession against the academy or building against thinking are no longer productive. These structures work to obfuscate the simple fact that architectural thought has always been a market economy like any other, where financial currency takes the form of tenure tracks and curricula vitae. As an architectural intellectual, your thoughts are already financial instruments through which you ascend the economies of contemporary discourse. At M1N3, we believe that continuing to ignore the obvious economic realities of architectural discourse is disingenuous, and this why we’ve worked to pioneer our Premium M1N1ng pool.

Our Premium concept M1N1ng pool offers architectural thinkers a convenient currency exchange platform to convert the cultural capital of architectural intellection into monetary capital, by supplying high quality architectural concepts to our clientele. By joining our Premium M1N1ng pool, you join some of the brightest minds in contemporary architecture in order to market your thoughts for a diverse range of architectural project types, from graduate seminar outlines to new town plans.

To meet the often unpredictable needs of the concept economy, we strive to maintain a diverse pool of concept M1N3rs specializing in everything from New Urbanism to Parametricism. Whatever your intellectual agenda is, we can help you convert your thoughts into capital.

The members of our Premium M1N1ng pool work as contract laborers paid on commission for every concept they develop, this provides you with the intellectual freedom to only participate in projects that interest you, and because our M1N3rs work in absolute anonymity, you’re free from any legal or authorial responsibilities stemming from the project’s eventual execution.

To learn more about how you can transform your intellectual labor into capital, get in touch by applying to join our Premium M1n1ng pool.



Q: Is M1N3 really selling architectural concepts?

A: Yes, M1N3 is both a functioning limited liability corporation, registered in the state of Ohio, and an intellectual project devoted to re-imagining architectural labor as an anonymous form of content management. The realization of our disciplinary ambitions are contingent on M1N3’s financial viability. This means that we’re committed to furthering your practice by selling high quality architectural concepts at an affordable price.

Q: Does M1N3 maintain any intellectual property rights over their concepts?

A: No, when you purchase your concepts from M1N3, you’re acquiring all of the authorial rights conventionally associated with intellectual labor. This includes not only the right to architecturally execute the concept as you see fit, but additionally, the right to promote and market your conceptual properties or their aesthetic derivatives. This means that M1N3 will never ask you to acknowledge our role in the development or marketing of your project, and we’ll never re-use your concepts in any other context.

Q: Does M1N3 guarantee my satisfaction?

A: Yes, our concept delivery packages typically consist of five to ten, fully refined, architectural concepts for you to choose from, providing you with the flexibility to choose the perfect concept. Additionally, all of our concept M1N1ng processes are iterative, meaning that if, for whatever reason, you’re unhappy with our concept delivery package, we’ll keep M1N1ng original architectural concepts until we’ve refined an idea that you love.

Q: Can M1N3 work within my project’s tight time-frame?

A: Yes, our M1N1ng processes deliver hundreds of concepts in a matter of hours. While each project is unique, this typically allows us to deliver our final concept package to you less than one week after our initial consultation meeting.

Q: Why is M1N3 anonymous?

A: By maintaining our anonymity, and never disclosing the names of our M1N1ng pool members, M1N3 is dedicated to de-coupling the intellectual labor of architecture from subjectivity. This gives architectural concepts the necessary anonymity to be traded as abstract commodities, and provides our M1N3rs with the intellectual freedom to develop innovative ideas, without the responsibility of their consequences.