Christina Ciardullo, Michael Morris, and Rebeccah Pailes-Friedman
Planetary Aspirations: Building the Future
What does the process of designing spaces for people look like when we travel beyond the Earth? When design is broken down to its pure or core components, what remains the same and what is wholly re-imagined? Join Space Exploration Architecture (SEArch+) in conversation as we take an inside look at the dynamics between interdisciplinary partners collaborating on the marriage of architecture, science, and engineering as they build for other atmospheres. The partners will discuss their unique perspectives on their award winning work and what it means for the design process on and off the planet.
Christina Ciardullo, AIA, co-founder/partner, SEArch+, is an architect working at the intersection of the natural world and the built environment. With a background in astronomy and philosophy, her space practice began with positions at Columbia University’s Space Architecture Lab and the Habitability Design Center at NASA Johnson Space Center. In terrestrial practice she has worked for the award winning firms of Ennead Architects, Foster+Partners, and LAVA on such competition winning projects as the Shanghai Planetarium, winning Leading Innovation in Resilient Waterfront Development for the FARROC competition, and the 2020 German Pavilion for the Dubai Expo, and applied her sustainable research at the NYC City Planning Department. She is a recipient of the 2016 Buckminster Fuller Institute Fellowship and 2015-2016 Anna Kalla Fellowship at Carnegie Mellon University where she taught interdisciplinary studios designing closed-loop sustainable ecosystems for Mars with students from architecture, science, and engineering. She is pursuing a PhD at the Yale Center for Ecosystems in Architecture.
Michael Morris, co-founder/partner, SEArch+, is a graduate of The Cooper Union School of Architecture and Parsons School of Design Environmental Design and Fulbright recipient. With his late partner-and- wife Yoshiko Sato, Morris founded the New York City based Morris Sato Studio Architecture in 1996 and the Space Exploration Architecture (SEARC) in 2006. Morris Sato Studio’s multi-disciplinary architecture, art and science collaborations have garnered the firm international commissions and recognition. Concurrent to their practice, Morris (and Sato) have continuously held positions in leading university’s including their alma mater’s Cooper Union, Harvard, and Parsons, co-founding Space Studio’s I-X at Columbia University and Pratt Institute. Awarded the NASA X-Hab Innovation Grants in 2016 and 2017, Morris and Rebeccah Pailes-Friedman with Melodie Yashar worked with Pratt architecture and industrial design students to define and prototype Mars transit and surface habitats.In 2016, the team’s Mars transit habitat project- MOTH was exhibited at the Intrepid Sea Air and Space Museum and featured in Scientific America.
Working at the intersection of design and technology, Rebeccah Pailes-Friedman, cofounder/partner, SEArch+, is an expert in human interaction, wearable products and smart textiles. With a background in performance apparel, product design and interior architecture, she is a pioneering researcher in design methodologies and smart materials, and is Professor of Industrial Design at Pratt Institute. She is the author of Smart Textiles for Designers: Inventing the Future of Fabrics; has published many articles; and speaks internationally on design, innovation and the future. Rebeccah brings over 25 years of corporate designing experience in residential interior design, medical, wearable and consumer product design and has held positions as Design Director for Fila, Champion and Nike. She is founder of Interwoven Design Group, an interdisciplinary design consulting practice that creates innovative, thoughtful and efficient products, and one of the founding partners in SEArch+, where she works to apply her design theories and practice to extraterrestrial environments. She was named one of IDSA’s (Industrial Design Society of America) 20/20 for both her work promoting diversity in design and Interwoven’s design work on the APEX exosuit which was recognized with a SPARK Platinum Design Award.
Do you feel beautiful?
Embracing spectacle in design & production
What do angels, interactive robotic systems, breath, and choreography have in common? Ladenheim traces the process of her recent work, Babyface, created in collaboration with the Robotics, Automation, and Dance (RAD) Lab. Babyface, an interactive dance and robotics performance, centers a cyborg character and breath-activated robotic wings, which become a metaphor for feminized tropes in modern technology and its role in making a spectacle of women’s bodies. The research and installation of this work bridges disciplines ranging from contemporary dance to feminist media theory to somatics to mechanical engineering. This unique interdisciplinary process highlights the multifarious power of spectacle in design and performance.
Kate Ladenheim is a dance artist, designer and creative producer. Her work spans live and digital choreographies and productions, which include media-rich stage performances, dance film, interactive installations, site-specific live and digital curations, robotics research, and augmented reality apps. These works have been presented internationally, including at The Invisible Dog, National Sawdust, Brown University, DanceNOW NYC, The Edinburgh Fringe Festival, and The Performance Arcade (New Zealand). Kate has been invited to residencies at The University of Georgia, the Pocantico Center, and Brooklyn Studios for Dance, and was the 2019-2020 Artist-in-Residence at the Robotics, Automation and Dance (RAD) Lab.
Kate was the founder and producer of CRAWL, an interdisciplinary arts series that took place in unconventional NYC venues. She also designed and co-curated 19 Acts of COVID-19 Bravery, a digital arts series responding to the coronavirus pandemic. Her work across disciplines was celebrated in Dance Magazine, notably as one of their “25 to Watch” and “Best of 2018.” She is currently earning an MFA at ArtCenter College of Design / Media Design Practices.
Empowering People Through Bag Making
Klum House founder Ellie Lum has over twenty years of professional bag making experience. With roots in industrial sewing and small batch manufacturing, Ellie’s superpower is teaching makers to achieve professional-quality results on a home sewing machine—and have a lot of fun while doing it. She’s passionate about empowering folks through sharing her craft.
Interested in trying your hand at a Klum House bag? LSDR attendees can get 10% off their order at Klum House with code LSDR10. Order now and show off your finished bag during one of the LSDR social hours! This code expires on March 31st, 2021, and can only be used once per customer and cannot be combined with any other discounts.
Peyton Scott Russell
The Beautiful Distraction
My 35-year passion for Graffiti Art began in 1984 when I discovered graffiti could be, and is, a form of expressive art. By practicing the controversial side of this craft, I immediately knew it had more to offer than a mindless act of vandalism. I have spent most of the past three plus decades studying, practicing, and teaching graffiti in all its forms.
While attending the School of the Art Institute of Chicago (SAIC), I hid and practiced graffiti outside of the institution. After graduating, I continued to hide and practice it from the institutions for which I worked. Because I struggled to get it recognized as a serious art, I focused my early career as a print maker, sculptor, and teacher, but graffiti always called to me. It was a “Beautiful Distraction” to all the endeavors I pursued. Graffiti allows me to renew myself, explore my environment and infrastructure, recharge, connect with the public, and feel alive with energy, risk, and raw creative expression.
My presentation will capture the process of painting on canvas that incorporates abstract elements informed by the elimination and painting over graffiti called The Buff, and the aesthetics of Graffiti Art itself. I will explain my process, inspirations, motivations, and why I feel graffiti is a benefit to society and not a detriment. Furthermore, I want to show how a name/word can transcend its written meaning. By Style Writing and creative font design, letters of the alphabet become artistic in composition and have visual meanings dictated by the artist that creates them. It can be similar to hieroglyphics, which is where the alphabet originated. It is a full circle of marks and symbols that identify language sounds—back to pictograms of deeper meaning—and now pushed into art elements and design principles that create an artistic expression.
Minneapolis-based artist and instructor Peyton Scott Russell discovered art as a small child. Much of his inspiration came from such youthful passions as dinosaurs, comic strips, fishing, and the great outdoors. Peyton was first introduced to graffiti art in 1984 as a high-school student through the film Style Wars, which had a profound effect on him. From that point forward, he has devoted his time and energy to graffiti art.
Peyton has a B.F.A. from the School of the Art Institute of Chicago and for over three decades has been a professional artist and arts instructor. Peyton has taught and directed classical visual fine arts with nontraditional art to youth and encourages students to be professional artists by focusing on portfolio development, artistic interpretation, and exhibition. Today, with the help of the Bush Foundation Fellowship Program (2012-2014), Peyton is focused on his new arts project, SPRAYFINGER®. He is dedicated to teaching, studying, and practicing Graffiti: The Art of Creative Lettering™. His mission is to increase awareness of graffiti as a teachable art form by working with schools, teachers, and artists on curriculum design, outlines, and lesson plans to deepen the understanding of a long-misunderstood art form.