https://everythingchanges2020.org Every. Thing. Changes. 20—20 Thu, 02 Jul 2020 03:48:19 +0000 https://everythingchanges2020.org en https://everythingchanges2020.org/Loren-Adams Mon, 29 Jun 2020 21:16:47 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Loren-Adams site 1: Bestor Architecture 2030 Hyperion Ave, Los Angeles, CA 90027&nbsp; Loren Adams, ArchitectRegulatory Nonsense Orhan Ayyüce, ArchitectAnthony Carfello, Editor, EducatorTory J. Lowitz, ArtistJakob Sellaoui, Architect Our neighborhoods are a direct product of the regulatory documents which shape them: Codes, standards, regulations, policies, legislation. These documents exist to guide decision-making towards “good” built outcomes and protect us – the public – from nefarious actors. But they seem to be failing. The specific things we choose to regulate – and the method by which we choose to measure compliance – tells a story about what we, as a society, collectively value. What could our cities be if regulations were written by poets, choreographers, philosophers, an A.I.? If we embrace linguistic ambiguity, would the language of our built environment begin to reflect the novel, poetic language of its regulations? Would it facilitate architecture that better serves our communities? In “Regulatory Nonsense”, the Los Angeles Zoning Code is re-written by a bespoke deep-learning text generator ‘bot, trained on poetry, creative prose, and personal accounts of place. The language of regulation becomes an instrument for reorienting value away from capital and towards public good. <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/cd9f7bc614a8acd331ef96da281b82d7c4ccb5135e196af561046049bb1a8233/LorenAdams_RegulatoryNonsense_1_WebPlaceholder.jpg" data-mid="77272476" border="0" src="https://freight.cargo.site/w/1000/i/cd9f7bc614a8acd331ef96da281b82d7c4ccb5135e196af561046049bb1a8233/LorenAdams_RegulatoryNonsense_1_WebPlaceholder.jpg" /> Bio Loren Adams is an interdisciplinary designer and educator with a background in architecture, digital fabrication, robotics, and public policy. She is broadly interested in the way things are made, what they are made from, and how advanced technologies might offer us new opportunities for sustainable form- and place-making. Formerly based in Los Angeles, Loren now resides in Melbourne, Australia. She has taught extensively at RMIT, Monash University, and The University of Melbourne, where she was the inaugural coordinator of the Melbourne School of Design Robotics Lab. In 2019, Loren led a travelling studio to Los Angeles, during which her architecture students were required to plan a heist. She currently leads the Computational Design team at Grimshaw Architects in Melbourne. @lorenfrances https://everythingchanges2020.org/John-F-Atkinson Mon, 29 Jun 2020 21:59:23 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/John-F-Atkinson site 3: Judson Studios 200 S Ave 66, Los Angeles, CA 90042 John Atkinson, Sound Artist Slow Walk Through Whiplash Sam Bloch,&nbsp;JournalistJulie Smith-Clementi &amp; Frank Clementi, Architects Hyunch Sung,&nbsp;Landscape Architect, Artist Climate science predicts a near-future L.A. with year-to-year “whiplash” between even hotter, drier summers and more intense rainstorms delivered by atmospheric rivers. How will this change our perception of the city? The work explores this question via the construction of an ambient soundscape of cli-fi phenomenology, imagining the climate whiplash of the 2020s and beyond via digital manipulations of two field recordings from the same day in early June: One, walking through L.A. during the early days of the George Floyd protests, the other, a summer thunderstorm recorded in New York City. <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f8061fba3bf9af70271c57a0f9eea03a0eb8e18cf9c2ac490cdf1aee76289f47/John-Atkinson_Long-Walk-Thrru-Whiplash_01-Precedent.png" data-mid="77074721" border="0" src="https://freight.cargo.site/w/1000/i/f8061fba3bf9af70271c57a0f9eea03a0eb8e18cf9c2ac490cdf1aee76289f47/John-Atkinson_Long-Walk-Thrru-Whiplash_01-Precedent.png" /> <img width="2480" height="1648" width_o="2480" height_o="1648" data-src="https://freight.cargo.site/t/original/i/3e89006ed352c38ddf7b1685959d631b121c587eeba5561e8fa6d16c2944e8a8/JohnFAtkinson_2.jpg" data-mid="77380454" border="0" src="https://freight.cargo.site/w/1000/i/3e89006ed352c38ddf7b1685959d631b121c587eeba5561e8fa6d16c2944e8a8/JohnFAtkinson_2.jpg" /> Bio John Atkinson performed in Brooklyn, NY-based experimental rock group Aa (“Big A little a”) for over a decade, releasing three critically acclaimed albums along the way. Hailed by Pitchfork for creating a “spectacular, expertly sculpted 3-D sound world,” the band’s unique brand of DIY maximalism united interlocking, multi-drummer polyrhythms with dense layers of noise and psychedelia. As a solo sound artist, John creates electronic soundscapes from field recordings of natural, urban, and industrial settings. This source material is sculpted into abstract music that is unmistakably digital yet infused with a distinctly organic sensibility, embodying the complex ecologies of the 21st century anthropocene. He has released several solo and collaborative albums on Gertrude Tapes, Florabelle Records, and Fluid Audio, and scored films including Two Plains and a Fancy, a Western praised as “imaginative and visionary” by The New Yorker. www.johnatkinson.org@johnnnyaa insta @johnnnyaa twtr https://everythingchanges2020.org/Orhan-Ayyuce Thu, 02 Jul 2020 03:48:19 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Orhan-Ayyuce site 1: Bestor Architecture (remote from another location)2030 Hyperion Ave, Los Angeles, CA 90027 Orhan Ayyüce, Architect Sidewalk Forum Loren Adams, ArchitectAnthony Carfello, Editor, EducatorTory J. Lowitz, ArtistJakob Sellaoui, Architect Los Angeles contains multitudes, as any large city anywhere. But here, scale and size and separation continue decade after decade to make the feeling of any one location less multitudinous than it actually is. In other words, one can stand "here" and completely forget the existence of "there," as L.A. history re-teaches us over and over. The intersection of Wilshire Blvd. and Santa Monica Blvd. is one such place. It's the front door of the luxury lounge that is Beverly Hills, but also a bus stop where those leaving to return to other "theres" stand en masse as thousands drive past. On the occasion of the L.A. Forum's Every. Thing. Changes. project, a group will spend August 8, 2020, at this intersection facilitating a day of curbside workshops and discussions. Participants will consider these corners of Wilshire Blvd. and Santa Monica Blvd. as a nexus and explore what understandings might emerge from hours of observation and deliberation. Inspired by the 1970s East L.A. collective Asco and their work, “First Supper (After a Major Riot),” where the artists presented one of their surreal performances on a traffic median, this effort will be presented on the sidewalk across from the Waldorf Astoria, visible to all passersby. Bio Orhan Ayyüce is a senior editor for Archinect and also writes for other domestic and international publications. His writing is translated to many languages in Europe, Asia and Middle East. He writes articles and interviews about architecture, urbanism, people, politics, arts and culture. He has taught architecture, landscape architecture, and urban design at California Polytechnic University, Pomona and Woodbury University in Burbank in all levels of undergraduate school to graduate school. He is currently a full time professor at East Los Angeles College.&nbsp; Additionally, he teaches urbanism and architecture at Escuela Libre de Arquitectura in Tijuana, Mexico. Orhan Ayyüce is a recognized name in architectural schools and a well-known design critic in Southern California and beyond. Orhan Ayyüce Video by Jesus Martinez https://everythingchanges2020.org/Sam-Bloch Mon, 29 Jun 2020 21:59:25 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Sam-Bloch site 3: Judson Studios 200 S Ave 66, Los Angeles, CA 90042 Sam Bloch, JournalistClimate Change Chic in the Garb-Age John Atkinson, Sound ArtistJulie Smith-Clementi &amp; Frank Clementi, Architects Hyunch Sung, Landscape Architect, Artist “The sun shines brighter. The hottest days are hotter. The wettest days are wetter, due to brief, powerful storms that dump buckets of tropical rain on the city. So how do we feel? What are we wearing?” <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/84579f5bff52e079b1df3d533454ab9a5393fa39719268e4367b923a0869360a/SamBloch_Writing.jpg" data-mid="76956012" border="0" src="https://freight.cargo.site/w/1000/i/84579f5bff52e079b1df3d533454ab9a5393fa39719268e4367b923a0869360a/SamBloch_Writing.jpg" /> Bio Sam Bloch is a journalist in New York. A staff writer at The Counter, he has also written for The New York Times, L.A. Weekly, Places Journal, Art in America, CityLab, Artnet News and others. A graduate of the Columbia Journalism School, he used to live in one of Los Angeles’s shadiest neighborhoods. @samkbloch Climate Change Chic in the Garb-Age Los Angeles in the twenties. Urban heat is dissolving the clouds and banishing a few white wisps to the periphery. With clearer skies, the sun shines brighter. The hottest days are hotter, and the wettest days wetter, due to brief, powerful storms that dump buckets of tropical rain on the city. So how do we feel? And what are we wearing? On a typical day in this future, I might step out onto a sidewalk that burns like sand in powerful sunlight. The asphalt roads shimmer. It’s a long walk to the bus stop, and in the heat, my heart beats faster. Blood rushes to my skin. And how should I cool down? Imagine wearing a hemp or linen dress, long and loose. Like an ancient wind tower, it pulls air rising from my feet to my neck, and it whooshes over my skin. A soft breeze to carry the heat away. In hot, arid climates, airflow keeps us cool, and so does moisture. Think of a shade tree that imperceptibly mists the air around it. Though science fiction or metaphor, could I take a tree with me, as I journey through the streets—a personal, portable canopy? The leafy branches of a young sapling, extending out and over my head, would cast about six feet of shade in every direction. Underneath, I would feel like myself again. My blood circulates normally again. I think clearly. I stop squinting. And when this tree matures, let’s say, the portable canopy would become less a parasol than a cocoon. A full-body shelter that droops and shelters me fully from the sun, as if inside a weeping willow—cool, damp and dark. During now-seasonable winter scorchers, my arboreal outfit would wither in the heat. At home, I would pull off the leaves and soak them in an ice bath. Before I venture outside, I wrap them around my arms and legs. I trudge down the street in my climate armor, absolutely soaked, trailed by drops of water. I am an island. In the years ahead, scientists predict climatic whiplash—the year-to-year snap, from dry to wet, that we normally experience before mudslides in the foothills. Atmospheric rivers—“giant conveyor belts of water in the sky,” a veteran journalist called them—will carry more Pacific moisture from the ocean, and heavier rains will make landfall. Could a wearable shelter protect us from both sun and rain? Could that same suit, which keeps me moist in oppressive heat, also keep me dry and warm during a downpour? And could it allow me to be my most productive—that is, could it free my hands for something else? Something other than clutching an umbrella, or impulsively grabbing a free newspaper to protect my hair from a sudden shower as I run to my car? During weeks of constant, 95-degree heat, more wildfires will torch the landscape. Dust and smoke will mingle with ozone. A gust will blow in and I cough, harsh and brittle. Imagine converting that tree suit into a mask. I wrap the misty, fragrant leaves around my head, fitted like a mask. They clean and filter my air—whether the stuff of fires, or the respiratory aerosols emitted by a wide-eyed pedestrian, rubbernecking as they pass me. I breathe in, and the air is fresh and cool. https://everythingchanges2020.org/Anthony-Carfello Thu, 02 Jul 2020 03:39:35 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Anthony-Carfello site 1: Bestor Architecture 2030 Hyperion Ave, Los Angeles, CA 90027 Anthony Carfello, Editor, EducatorApril 23, 2022 Loren Adams, Architect Orhan Ayyüce, ArchitectTory J. Lowitz, ArtistJakob Sellaoui, Architect Two entry points to Los Angeles in the early 2020s. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/a8941959bd38aa15eb6b8fe925b45ee3bd31b9273d90de7946b4a55185067e45/AnthonyCarfello_Writing.jpg" data-mid="76955793" border="0" src="https://freight.cargo.site/w/1000/i/a8941959bd38aa15eb6b8fe925b45ee3bd31b9273d90de7946b4a55185067e45/AnthonyCarfello_Writing.jpg" /> Bio Anthony Carfello is co-editor of the online journal Georgia and an instructor for Temple University’s Los Angeles program. From 2009–19, he managed exhibitions at the MAK Center for Art and Architecture in West Hollywood. He is currently co-editing the forthcoming re-print and translation of the architect Giovanni Brino's Los Angeles. La città capitalista (1978).secondarytext.com April 23, 2022 "Do you think it is likely or unlikely that other riots and disturbances like those in 1992 will occur in the City of Los Angeles in the next five years?" asks the survey that Loyola Marymount University has conducted on each of the fifth, tenth, fifteenth, twentieth, and twenty-fifth anniversaries. 2017 yielded an increase of "Yes" responses from each category of those answering—across age, education, and race. Fifty-eight percent overall and sixty-nine percent of eighteen- to twenty-nine-year-olds viewed the same city from multiple angles and agreed that enough fumes were in the air to ignite. In 2020, sparks from the usual source of unchecked police brutality proved that data accurate. I teach a college class where students approach L.A. through juxtaposition. We'll meet at a park, then visit another, or stop by several diners in the Valley, or stroll different boulevards. Contrasting each site as one vantage point among many, our various entries produce a "portrait" of the city, a dérive for Metro and freeways. We'll spend today at two extremes, considering the possibilities of this year's Loyola survey and discussing why unrest was sensed last time. What were/are the signs in the landscape? I asked them to read Anna Deavere Smith's play Twilight: Los Angeles, 1992—a document of the crucial word choice, "riot" or "uprising"—shaped by two hundred interviews with locals immediately following that era-defining event. In El Sereno, we visit reclaimed houses. Years ago, whole neighborhoods of small bungalows were taken and emptied by Caltrans for the extension of the I-710 Freeway that never occurred—in 2020, they were taken back. The students and I amble around the block after meeting with the Reclaiming Our Homes organizers who shared their experiences. We buy mangoes from a stand in someone's driveway and I ask the class if they think anyone should have been surprised that Angelenos grew indignant seeing over one hundred structures sitting unoccupied while thousands slept outside. A caricature of inequality. Sheffield Avenue has recouped its population since, with nearly ninety housed and off the street, many of them children. The new social infrastructure continues to grow, from daycare and carpentry services to the gardens—not to mention the legal clinic as the residents continue to rack up wins in court. A woman passing on the sidewalk chats us up and asks what the students have noticed. "This, like, feeling in the air," one answers while making a fist. She elaborates, and we classify it as a spirit of refusal: refusing displacement, refusing control—menacing police continue "securing" abandoned houses, mobilizing people continue freeing them—and refusing a status quo that says once power is exerted the story ends. The thirty-two houses reanimated to date haven't turned the tide on homelessness, but the effort has had a massive impact as a bookend to the whitewashing and gentrification of the past decades. The speculators who used to hover over the city like police helicopters now have to account for the growing movement of Californians—catalyzed by Black and Brown mothers—intent on returning vacant properties to beneficial use. I tell the class about other repossessions, from Oakland to Anaheim. One student describes it as "newly" public space. We leave, drive, and arrive at 10000 Santa Monica Boulevard, a glaring forty-story apartment tower (named Ten Thousand) in Century City. An amenity-packed resort where both a Wellness and Performance Concierge and a Lifestyle Concierge await and the monthly rents range from $17,000 to $81,000. The hostile high-rise stands aloof from the surrounding low-profile buildings. We look up as balconies ascend on the north and south facades, running parallel to the floors rather than jutting out. Each is slightly longer on the next floor higher than the balcony below, emphasizing the edifice's internal class system. We're denied entry by the conspicuously armed guard. I assure him that we're not protestors, claiming that we're an architecture studio enamored with the design. "May we speak to someone?" results in a resistant sales rep offering to show one of the lower-end units, if we "behave." We follow inside as an espresso is rushed out to a Jaguar pulling up, an option for request on Ten Thousand's exclusive app. Two front desk employees stare the class down as if processing facial recognition scans. "Fortress L.A." has militarized higher ground since the 1980s, connecting today's vertical gated and segregated communities with their forebears Hidden Hills and Bel-Air. No one is here who "shouldn't" be. Home to agents, celebrities, and mini-oligarchs, refusal of the pedestrian was poured into the foundation. The Protection Concierge's phone lights up every time there's a march through Beverly Hills but the hit-and-run issue last year passed without notice. From four levels up, the class gazes out of the floor-to-ceiling windows at the country club across the street, then down to the country club within the complex. We count the guards and trace the paths of gates. Anti-public space. Our tour leader references the butler, chef, and pet services. Fresh green juice awaits after a swim. A promo reel playing on an oversized screen informs us that "assistance with your devices from the Tech Concierge is just one text away." Every task is someone else's to do. Back in the lobby, residents exude suspiciousness until greeted with honorifics. A student asks why there's so much security in an area that's notoriously safe, prompting vagaries from our guide about "the unique concerns of high-net-worth individuals." The refusal of others by people who require others for everything. We're told that "Ten Thousand meets all needs" as we're shown the lounge and swiftly escorted out. Standing in the manicured median opposite the entrance, sun reflecting off of the glass turns our gaze toward eastbound traffic. We discuss which of the city's dispositions is on display inside this obstinate obelisk versus in El Sereno, which histories inform housing ostentation versus housing desperation. As much as spaces can represent lessons learned and attempts to remedy wrongs, they can also stand for a refusal to listen. https://everythingchanges2020.org/Polaris-Castillo Thu, 02 Jul 2020 03:39:36 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Polaris-Castillo site 1: Bestor Architecture 2030 Hyperion Ave, Los Angeles, CA 90027 Polaris Castillo, Artist "utilizing google maps to triangulate the course of my desmadre (chaos) over the years" Lorena Garcia, Landscape ArchitectViva Padilla, Poet, Editor Cameron Stallones, Artist, Musician This hand drawn illustration also uses Photoshop and Illustrator to create a digital piece that feels a little bit like a postcard. Viva Padilla's poem captures a wide range of ideas and scenes from a well-lived life. The goal is to embody her text emotionally through image, which is the challenge. The piece take bits and pieces from the text and translates them visually, as poetry can be filled with abstract metaphors. To give these metaphors a visual can make that abstraction stronger, while surrounding it with a living, breathing world. The method of making also utilizes a monochromatic look to the art, echoing old vintage comics or book covers with no real detail in color. This gives the line art a dreamlike memory based feeling, something that is washing away before our grasp. Adding too much detail to a piece can make it feel too vibrant, present. But this isn't about the present. <img width="1500" height="2500" width_o="1500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/3b93da79c32fbb87ecf76ccbae10dc2c4dff72d39e4e046c59b3edac7574036c/PolarisCastillo_UtilizingGoogleMaps_3234245142.jpg" data-mid="76439970" border="0" src="https://freight.cargo.site/w/1000/i/3b93da79c32fbb87ecf76ccbae10dc2c4dff72d39e4e046c59b3edac7574036c/PolarisCastillo_UtilizingGoogleMaps_3234245142.jpg" /> Bio I'm Polaris Castillo, a Los Angeles based Mexican-American artist. I have been drawing ever since I was in my other's womb. I use a range of tools, from dry media (pencil, charcoal, pastels) to watercolor painting. I also combine pencil art with dreamlike, postcard-esque digital illustrations without much detail in color. I love the line art to be the star, with color playing the role of an emoter, but not so much a focal point. I love solid colors and big, bold negative spaces to enhance design elements. I specialize in capturing memories like plucking fish out of a pond. They are constantly in flow, some swimming deeper into a darkness too deep to explore. I'm also a filmmaker and screenwriter, and I bring the process of producing a film to my art making here. In film, our job is to re-capture memories long gone on video. To reclaim and emotion that was once there. With still visual art, we have to capture that in one image that won't move. @missingcosmonaut https://everythingchanges2020.org/Yvonne-Estrada Thu, 02 Jul 2020 03:39:41 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Yvonne-Estrada site 4: 2512 Micheltorena Street garage - by Reservation Only (REGISTER)&nbsp; Yvonne Estrada, Poet, PhotographerPortal Yara Feghali &amp; Viviane El-Kmati, Designers Terry Wolverton, Novelist, Poet As described in Terry Wolverton’s essay, the Woman’s Building was an important home for women’s art and activism in the 1970s and 80s. But so many women were not there: women who lived in neighboring Lincoln Heights or in Chinatown, women who were too young or too old to participate, women whose economic circumstances did not allow them to devote themselves to their creativity. In “Portal,” the iconic doorway into the Woman’s Building is re-imagined — crowded with women who had never set foot there before, finding a home within an expanded vision of that space. Bio Yvonne M. Estrada has exhibited her photographs at the Vincent Price Art Museum, Avenue 50 Studio, Antioch University Artistic Uprising, and Cal Poly Pomona. Estrada is the author of the chapbook, My Name on Top of Yours, a crown of sonnets accompanied by original photographs. Her poems have recently appeared in Talking Writing, Lit For Life, Fourth &amp; Main and in the anthologies, The Coiled Serpent: Poets Arising from the Cultural Quakes and Shifts of Los Angeles; Wide Awake: Poets of Los Angeles and Beyond; and EXTREME: an anthology for social and environmental justice. Yvonne is an Emergency Medical Technician, riding in an ambulance throughout L.A. County. Many of her poems and photographs are inspired by what she sees on the streets and in the emergency rooms of the region. @code3poet https://everythingchanges2020.org/Yara-Feghali-Viviane-El-Kmati Thu, 02 Jul 2020 03:39:43 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Yara-Feghali-Viviane-El-Kmati site 4: 2512 Micheltorena Street garage - by Reservation Only (REGISTER)&nbsp; Yara Feghali &amp; Viviane El-Kmati, Designers Be.longing Yvonne Estrada, Poet, Photographer Terry Wolverton, Novelist, Poet Be.longing looks at 20 different residential neighborhoods in L.A. to tease out the particularities of their domestic front porches. The focus is on the story of Amal, a woman who is on a journey driving through L.A.’s neighborhoods in search of her own queer community. Stereotypical symbols of queer culture and their manifestation on the houses’ front porch. The projected, immersive experience allows visitors to maintain social distancing guidelines by remaining in their cars and watching from inside. The “drive-by” portrays a filmic diary of sorts, viewed through the visitors’ own car windows as if they were themselves driving through the reconstructed queer neighborhoods. <img width="3976" height="2652" width_o="3976" height_o="2652" data-src="https://freight.cargo.site/t/original/i/c06447efc2c99266c7d57958e3e75bf6443e2c1f2b0a19ad1464e1fed326a948/LA_FORUM_FARLEY04.jpg" data-mid="80503473" border="0" src="https://freight.cargo.site/w/1000/i/c06447efc2c99266c7d57958e3e75bf6443e2c1f2b0a19ad1464e1fed326a948/LA_FORUM_FARLEY04.jpg" /> <img width="3976" height="2652" width_o="3976" height_o="2652" data-src="https://freight.cargo.site/t/original/i/25786aade71294806b724f1e51e29dcc2c72dab450ed36eedd5466e0821d7982/LA_FORUM_FARLEY01.jpg" data-mid="80503514" border="0" src="https://freight.cargo.site/w/1000/i/25786aade71294806b724f1e51e29dcc2c72dab450ed36eedd5466e0821d7982/LA_FORUM_FARLEY01.jpg" /> <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/9ea29fce6e311f52107ed36c40622c366f210225b2be9eb28af05958e72c724c/LA_FORUM_FARLEY10.jpg" data-mid="80503516" border="0" src="https://freight.cargo.site/w/1000/i/9ea29fce6e311f52107ed36c40622c366f210225b2be9eb28af05958e72c724c/LA_FORUM_FARLEY10.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b48de15e2a0d1869a27d7b04edea5c1bef6f57ed349099883b1bcb5e9cb2c245/YFeghaliVElKmati_BeLonging_02.jpg" data-mid="76433633" border="0" src="https://freight.cargo.site/w/1000/i/b48de15e2a0d1869a27d7b04edea5c1bef6f57ed349099883b1bcb5e9cb2c245/YFeghaliVElKmati_BeLonging_02.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/738068ea85bcd384a220b8506e9314115049cdd170ecae5882780522c63e4ee5/YFeghaliVElKmati_BeLonging_05.jpg" data-mid="76433636" border="0" src="https://freight.cargo.site/w/1000/i/738068ea85bcd384a220b8506e9314115049cdd170ecae5882780522c63e4ee5/YFeghaliVElKmati_BeLonging_05.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/11376632904bceed4660efd44e69b361b91bcbbbd46cae62dcf936a2cf45fc81/YFeghaliVElKmati_BeLonging_06.jpg" data-mid="76433637" border="0" src="https://freight.cargo.site/w/1000/i/11376632904bceed4660efd44e69b361b91bcbbbd46cae62dcf936a2cf45fc81/YFeghaliVElKmati_BeLonging_06.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/4ddd47552090ac32f95488d084e51c371956d0a69e1e5a681afec46ef0788452/YFeghaliVElKmati_BeLonging_04.jpg" data-mid="76433635" border="0" src="https://freight.cargo.site/w/1000/i/4ddd47552090ac32f95488d084e51c371956d0a69e1e5a681afec46ef0788452/YFeghaliVElKmati_BeLonging_04.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f0ca71dfb8de7dc150da772f9f0172f5bce6f862cac1e25447d021a0489c0356/YFeghaliVElKmati_BeLonging_07.jpg" data-mid="76433638" border="0" src="https://freight.cargo.site/w/1000/i/f0ca71dfb8de7dc150da772f9f0172f5bce6f862cac1e25447d021a0489c0356/YFeghaliVElKmati_BeLonging_07.jpg" /> Bio FollyFeastLab is an experimental design studio based in Los Angeles, co-founded by Yara Feghali and Viviane El-Kmati. FollyFeastLab creates visually-led immersive and interactive experiences to address present social and urban themes. follyfeastlab.com Yara is a Lebanese architect, and a lecturer at University of California, Los Angeles Architecture and Urban Design UCLA AUD teaching design studio at the graduate level. She also taught at the Städelchule Architecture Class (SAC) in Germany. Her research work interrogates the territories of architectural education core curriculum, and speculates on the role of emerging technologies in designing our cities using new media. @feghali.yara Viviane is a Lebanese narrative designer and creative technologist who works at the intersection of design, technology and speculative fiction. Her work imagines and prototypes the future of urban spaces using new media and storytelling techniques. Viviane’s broader research interest focuses on the role of artificial intelligence in designing future cities and its cultural significance. @viviane.el.kmati https://everythingchanges2020.org/Lorena-Garcia Thu, 02 Jul 2020 03:40:35 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Lorena-Garcia site 1: Bestor Architecture 2030 Hyperion Ave, Los Angeles, CA 90027 Lorena Garcia, Landscape Architect In. Memorial. Polaris Castillo, Artist Viva Padilla, Poet, Editor Cameron Stallones, Artist, Musician In response to Viva’s text, In. Memorial. is a series of vases as street objects for people to present tributes to their memories, beloved ones, or historic events. The project is composed of five pieces made by using a technique called coiling -- an ancient method to shape clay into vessels. The gestural contours and freewheeling, robust shapes are inspired by organic outlines of human body and nature, reflecting the influence of Valentine Schlegel among other ceramists from the 1950s. These vases are an invitation to the community to rest their memories in the city, placing flowers to honor their lives and universal feelings concerning public tragic events. The installation is accompanied by a visual piece in which Lorena, starting from Viva´s experiences, navigates through her own map of memories, along with visions of vases splashed throughout the urban grid, and following the hypnotizing tunes by Cameron Stallones/Sun Araw. To my grandmom. To all the people who have lost their lives due to the pandemic and police brutality. RIP. <img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/e38579242b8ded7699be678ca9828ec2ece6aa92c08dbf72db1ebf84f37d8a81/LA_FORUM_FARLEY88.jpg" data-mid="80503838" border="0" src="https://freight.cargo.site/w/1000/i/e38579242b8ded7699be678ca9828ec2ece6aa92c08dbf72db1ebf84f37d8a81/LA_FORUM_FARLEY88.jpg" /> <img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/5d717d70355e43f47bec5f409fc88c785a1230dbd0e4ed3d79055a27c69fbde7/LA_FORUM_FARLEY85.jpg" data-mid="80503837" border="0" src="https://freight.cargo.site/w/1000/i/5d717d70355e43f47bec5f409fc88c785a1230dbd0e4ed3d79055a27c69fbde7/LA_FORUM_FARLEY85.jpg" /><img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/16e32b51bdc62bc4cfb497ea291b9fe2372d4fe6f9ae37eafa5f32f3f105730a/LA_FORUM_FARLEY76.jpg" data-mid="80503839" border="0" src="https://freight.cargo.site/w/1000/i/16e32b51bdc62bc4cfb497ea291b9fe2372d4fe6f9ae37eafa5f32f3f105730a/LA_FORUM_FARLEY76.jpg" /> <img width="2100" height="1575" width_o="2100" height_o="1575" data-src="https://freight.cargo.site/t/original/i/1abb6a5a261acab4ef427fb75e443d0d3004eba3dad4df77349696176b5a114f/LGarcia_InMemorial4.jpg" data-mid="77304455" border="0" src="https://freight.cargo.site/w/1000/i/1abb6a5a261acab4ef427fb75e443d0d3004eba3dad4df77349696176b5a114f/LGarcia_InMemorial4.jpg" /> <img width="2194" height="1428" width_o="2194" height_o="1428" data-src="https://freight.cargo.site/t/original/i/d58f2b6921eb95c37fe46a90cfee19a07233dad062a7bfdccb0daee3a14c74d7/LGarcia_InMemorial_0-crop.jpg" data-mid="76440157" border="0" src="https://freight.cargo.site/w/1000/i/d58f2b6921eb95c37fe46a90cfee19a07233dad062a7bfdccb0daee3a14c74d7/LGarcia_InMemorial_0-crop.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/cc13eb5391bfd5c49eee8d717af50dc796f142bed318bfa61b16258838cee3f0/LGarcia_InMemorial_3.jpg" data-mid="76440160" border="0" src="https://freight.cargo.site/w/1000/i/cc13eb5391bfd5c49eee8d717af50dc796f142bed318bfa61b16258838cee3f0/LGarcia_InMemorial_3.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/27c34b3c2aa394015407fa1ea591095a1e8c092e23d36940ea22c04dc6e1b94c/LGarcia_InMemorial_2.jpg" data-mid="76440159" border="0" src="https://freight.cargo.site/w/1000/i/27c34b3c2aa394015407fa1ea591095a1e8c092e23d36940ea22c04dc6e1b94c/LGarcia_InMemorial_2.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/15ec52c565893d03ca326fdd830426618516720d2aee5852100d86bbc18aee93/LGarcia_InMemorial_5.jpg" data-mid="77304454" border="0" src="https://freight.cargo.site/w/1000/i/15ec52c565893d03ca326fdd830426618516720d2aee5852100d86bbc18aee93/LGarcia_InMemorial_5.jpg" /> <img width="2096" height="1426" width_o="2096" height_o="1426" data-src="https://freight.cargo.site/t/original/i/080330e56df644d335b864bbd9650b9470349ccb521e5107214fbb5195ab85dc/LGarcia_InMemorial_1.jpg" data-mid="76440158" border="0" src="https://freight.cargo.site/w/1000/i/080330e56df644d335b864bbd9650b9470349ccb521e5107214fbb5195ab85dc/LGarcia_InMemorial_1.jpg" /> Bio Lorena Garcia is a landscape architect and educator. Founder of PUENTEALAMEDA, an international landscape architecture firm based in Los Angeles and Madrid that explores creative and collaborative designs which address the complexity of natural processes, with projects as Reina Sofia Museum Master Plan (Madrid, Spain), Hotel Kamaroti (Sifnos, Greece), MediaLab-Prado Gardens (Madrid). As a designer, she studies experimental forms of representing the landscape through collages, which she has published in multiple independent zines over the years. Recently, Lorena took up ceramics and has begun to play with the medium to explore new potential urban objects. She moved to Los Angeles in 2012. Currently she is lecturing at the Landscape Architecture&nbsp;Department in the&nbsp;College of Environmental Design at Cal Poly Pomona, and&nbsp;at the Madrid School of Design (Spain). @puentealameda @cokiracha dpla-la.com https://everythingchanges2020.org/Silvia-Herrasti-Paulina-Herrasti Thu, 02 Jul 2020 03:40:38 +0000 Every. Thing. Changes. 20—20 https://everythingchanges2020.org/Silvia-Herrasti-Paulina-Herrasti site 2: Elephant Art Space 3325 Division Street, Los Angeles, CA 90065 Silvia Herrasti &amp; Paulina Herrasti, Artists Sanctuary MUTUO, ArchitectsLisa Teasley, Author, ArtistImogen Teasley-Vlautin, Artist, Composer The diptych includes one fabric piece depicting a landscape. With a stroke of romanticism, it aims to take us back to the basic, seeking answers about our identity, our true essence, our castle, our sanctuary … The quest is represented by an applique of a seemingly simple, yet robust structure, photographed and printed on canvas. Hand-embroidered symbols represent the belief that all societies have the same basic needs. Sanctuary is about the power of empathy – on acknowledging the other – as a foremost step to build communities. The second element of the diptych is a photograph of an assemblage of found objects, including amulets and talismans, strategically placed to find static and aesthetic equilibrium. The piece raises questions on consciously practicing collaborative negotiations. Multiculturalism is integrated as a symbol of participation. The juxtaposition of traditional hand stitching and the modern photograph indicates the constant struggle to find equilibrium: the inner and the outer. A symbol lexicon complements the photograph. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b3c8074e6a71c9067bdf84ae1bdb10eb57fc48c8df4e01c6c9cc78e16b50b439/P-S-Print.jpg" data-mid="81886205" border="0" src="https://freight.cargo.site/w/1000/i/b3c8074e6a71c9067bdf84ae1bdb10eb57fc48c8df4e01c6c9cc78e16b50b439/P-S-Print.jpg" /> <img width="3024" height="3120" width_o="3024" height_o="3120" data-src="https://freight.cargo.site/t/original/i/4699ca83e47c3142cbc9537e96b8873d8be35544a8276b600a99e1c5f6a58816/P-S-Textile.jpg" data-mid="81886206" border="0" src="https://freight.cargo.site/w/1000/i/4699ca83e47c3142cbc9537e96b8873d8be35544a8276b600a99e1c5f6a58816/P-S-Textile.jpg" /> <img width="1000" height="2000" width_o="1000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/823385349b6dea2bb66885ff9a6efcf8371bb4b17380888fe0a385f3c5be0d09/P-S-Lexicon-sm.jpg" data-mid="81886260" border="0" src="https://freight.cargo.site/w/1000/i/823385349b6dea2bb66885ff9a6efcf8371bb4b17380888fe0a385f3c5be0d09/P-S-Lexicon-sm.jpg" /> <img width="2500" height="1500" width_o="2500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/cbdfd84ff4057b5984c3c391df3e5796ac1c9d1f69810e3d4d05f31334eebdb1/P-SHerrasti_Sanctuary_1.jpg" data-mid="76440302" border="0" src="https://freight.cargo.site/w/1000/i/cbdfd84ff4057b5984c3c391df3e5796ac1c9d1f69810e3d4d05f31334eebdb1/P-SHerrasti_Sanctuary_1.jpg" /> <img width="3456" height="4608" width_o="3456" height_o="4608" data-src="https://freight.cargo.site/t/original/i/71e9799eb2850499580c98854aa9b4382c1dcce61635799647ccf762776ed0de/P-SHerrasti_Sanctuary_4.jpg" data-mid="76440305" border="0" src="https://freight.cargo.site/w/1000/i/71e9799eb2850499580c98854aa9b4382c1dcce61635799647ccf762776ed0de/P-SHerrasti_Sanctuary_4.jpg" /> <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/c729d9e9d300394a593fa510bcc348b84d100c5d56593b1460c3589afecdb21a/P-SHerrasti_Sanctuary_6.jpg" data-mid="76440307" border="0" src="https://freight.cargo.site/w/1000/i/c729d9e9d300394a593fa510bcc348b84d100c5d56593b1460c3589afecdb21a/P-SHerrasti_Sanctuary_6.jpg" /> <img width="466" height="640" width_o="466" height_o="640" data-src="https://freight.cargo.site/t/original/i/788844ac61a814b9c2700f8471e64b1c15c87a965732858356106b2ee64cbbb7/P-SHerrasti_Sanctuary_2.jpg" data-mid="76440303" border="0" src="https://freight.cargo.site/w/466/i/788844ac61a814b9c2700f8471e64b1c15c87a965732858356106b2ee64cbbb7/P-SHerrasti_Sanctuary_2.jpg" /> <img width="3456" height="4608" width_o="3456" height_o="4608" data-src="https://freight.cargo.site/t/original/i/741f0dded7024a282d0e85c577414d65851a4c724f7599024cba7156c9b6dc49/P-SHerrasti_Sanctuary_5.jpg" data-mid="76440306" border="0" src="https://freight.cargo.site/w/1000/i/741f0dded7024a282d0e85c577414d65851a4c724f7599024cba7156c9b6dc49/P-SHerrasti_Sanctuary_5.jpg" /> Bio We collaborate as a team to create art. Born in Mexico City, multicolor markets have beenour source of inspiration. Objects, which we believe have a soul, find us by chance. Symbols and messages help us understand that nothing is as it seems. There is always a deeper meaning. Art connects us to that spiritual exploration. Through our pieces, we analyze themes of balance, self-discovery, and acceptance. We find it necessary to deconstruct our false identity to find our true essence. By integrating objects that talk to us through their flawed perfection, we aspire to incite empathy between all, with the understanding that we can each make a difference by simply being aware of the other. Everyday utilitarian objects influence our work, reaffirming our notion of beauty being everywhere, just like the symbols and messages waiting to guide us as soon as we take the time to recognize them. @psherrastiP&amp;S Herrasti psherrasti.com