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                        <loc>https://juwenz.com/dancing-with-the-absence-1</loc>
            
            
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                                            <image:caption>&lt;br /&gt;
&lt;i&gt;&lt;b&gt;Dancing with the absence&lt;/b&gt;&lt;/i&gt; &amp;#x22;Improvements in machinery effect a substitution of labor, comparatively unskilled, for that which is more skilled.&amp;#x22;As a forsaken fan reclaims the stage, trembling with intensity, its blades absent, its sole means of protest becomes a dance on the stage. It&amp;#x27;s challenging to discern whether the fan&amp;#x27;s transformation into a machine was a result of relentless human physical exertion to perform repetitive tasks or whether a human has been replaced by a superior machine. Is the fan dancing due to the absence of blades and audience, or is it dancing because it is being overlooked by a massive system? What level of noise is required for a dance like that to avoid being disregarded?&lt;br /&gt;
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&lt;br /&gt;
A fan found on the streets of Brooklyn, discarded due to a missing blade. Its appearance becomes a movement of derived difference. The absence of the blade and the absence of the audience, as if all stable &amp;#x22;presence&amp;#x22; is shaken by &amp;#x22;absence.&amp;#x22; This is the &amp;#x22;death of the fan,&amp;#x22; a poignant and profound expression of absence conveyed through dance, representing a crisis of meaning. And the absolute void of absence is the encounter with the infinite. Abandoning the static and immutable ontology of presence, the identity of things cannot be separated from the difference brought by absence.&lt;br /&gt;


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&lt;b&gt;&lt;sup&gt;Background&lt;/sup&gt;&lt;/b&gt;&lt;br /&gt;The streets of New York are often full of discarded furniture, and this is an electric fan picked up on the side of the road, discarded because it was missing a fan blade.&lt;br /&gt;
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I say: a flower! &lt;br /&gt;

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and, out of the oblivion into which my voice consigns any real shape, &lt;br /&gt;

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as something other than petals known to man, &lt;br /&gt;

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there rises, &lt;br /&gt;

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harmoniously and gently, &lt;br /&gt;

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the ideal flower itself, &lt;br /&gt;

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the one that is absent from all earthly bouquets.&lt;br /&gt;


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&lt;br /&gt;
————————Stéphane Mallarmé&lt;br /&gt;


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                                            <image:caption>&lt;br /&gt;Absence&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/P1612440738974245922911417498637/IMG_1698.jpg</image:loc>
                                            <image:caption>&lt;br /&gt;Process&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;
&lt;i&gt;&lt;b&gt;Granny&amp;#x27;s Lullaby&lt;/b&gt;&lt;/i&gt; is a performance art installation created on the occasion of the 15th anniversary of the Wenchuan Earthquake in 2023. The work consists of two parts, an interactive installation and a performance art show, in three chapters. Flickering light bulbs and swaying swings form an uncertain space of memories, solidifying the trauma caused by the earthquake across time and space, where uncontrollable disasters, the collision between the collective and the individual, and the shattering and rebuilding of order, gradually fall asleep in the lullaby of childhood.&lt;br /&gt;
&lt;br /&gt;
The trauma caused by earthquakes is not only engraved on the earth, but also written in people&amp;#x27;s memories. No matter where they are, any tiny shaking may pull those who have experienced it back to panic again, and earthquakes are not buried ruins, but a ghost theater that repeats itself in their memories. People try to dissolve this fear with humor: &amp;#x22;You don&amp;#x27;t have to run away from small earthquakes, but you can&amp;#x27;t run away from big ones&amp;#x22;, and the hallucinatory life accompanied by shaking has become a norm. The chandelier is a double metaphor for daily life and disaster warning, while the swing lifts the direct connection between shaking and dizziness and earthquakes and leads to a possibility of childhood. The lullaby is also a requiem, healing memories with memories, taking people away from the cycle of destruction-fear-trauma.&lt;br /&gt;
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An understanding of disaster leads to an understanding of the earth, and the way we look at our habitat may also constitute a path to understanding ourselves.&lt;br /&gt;
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&lt;b&gt;&lt;sup&gt;Background&lt;/sup&gt;&lt;/b&gt;&lt;br /&gt;&lt;span class=&quot;no-wrap&quot;&gt;&lt;i&gt;Granny&amp;#x27;s Lullaby&lt;/i&gt;&lt;/span&gt; is inspired by earthquakes. Fifteen years after I experienced the 2008 Wenchuan Earthquake (magnitude 8) in Sichuan Province, memories triggered by hallucinations of earthquakes were fed with new memories of frequent and real earthquakes, and so self-perception, childhood, and memories, together with chandeliers and vertigo, became entangled. This is a longer and irresistible force after the great force of nature.&lt;br /&gt;
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The Chinese province of Sichuan, where I was born, is a relatively seismically active region due to its geographic location at the junction of the Indian and Eurasian tectonic plates. The magnitude 8 quake struck in my second grade class, during my first language class after the lunch break. The devastating earthquake killed more than 69,000 people and left at least 4.8 million homeless. But for me at the time, I can only remember the chandeliers flickering and flickering like swings from the swaying ceiling of my school at the time.&lt;br /&gt;
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People who live in earthquake zones always know that an earthquake may strike at any time in the future. People in my hometown often say, &amp;#x22;You don&amp;#x27;t have to run away from small earthquakes, but you can&amp;#x27;t run away from big ones,&amp;#x22; as a form of self-joke, which I consider a form of humor in the face of unavoidable disasters, and a placebo secreted by the brain when it is tense. In the face of the many large and small earthquakes that have occurred over the past 15 years, the first thing everyone does is post on social media, &amp;#x22;Was there an earthquake just now?&amp;#x22; &amp;#x22;Why is it disturbing my sleep?&amp;#x22; and so on, as if people have become accustomed to it. However, I felt that subconsciously recognizing an event with people around me was actually a way for individuals to perpetuate and deepen the collective memories and emotions associated with such catastrophic events, creating a kind of &amp;#x22;Reflective Tremors. Later, even when I lived in a place like New York where earthquakes were rare, the slightest tremor, whether it came from a leg-driven table or a passing subway vibration, would arouse my immediate alertness and trigger visions of an impending earthquake.&lt;br /&gt;
&lt;br /&gt;
In response to the subtle yet profound effects of the Sichuan earthquake, this work seeks to explore the intricate conflict between collective memory and self-perception, entwined with the symbolism of chandeliers, childhood and vertigo, like a lullaby in the nighttime hour attempting to soothe the enduring resonance due to the aftermath of a seismic event.&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;
Audience interaction&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/N2218483898815622221774914288653/Granny&#039;s Lullaby | 摇啊摇，摇到外婆桥</image:loc>
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        </url>
            <url>
                        <loc>https://juwenz.com/chickadee-1</loc>
            
            
            <lastmod>2026-08-27T12:28:16+00:00</lastmod>
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                                            <image:caption>&lt;br /&gt;Exhibit at the &lt;b&gt;Coney Island Maker Faire&lt;/b&gt; 2023 Oct&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;Exhibit at the &lt;b&gt;Hudson Valley Maker Faire&lt;/b&gt; 2023 May&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;
&lt;i&gt;&lt;b&gt;&lt;br /&gt;Chickadee&lt;/b&gt;&lt;/i&gt; their name reputedly comes from the fact that their calls make a distincive&amp;#x22;chick-a-dee-dee-dee&amp;#x22;,though their normal call is actually&amp;#x22;fee-bee&amp;#x22;, and the &amp;#x22;chick-a-dee-dee-dee&amp;#x22;call is an alarm call. Three blinds simulate the wings and feathers of a chickadee, the bird brings a warning.&lt;br /&gt;
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                                            <image:caption>Process&lt;br /&gt;
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        </url>
            <url>
                        <loc>https://juwenz.com/24days-silent-image-1</loc>
            
            
            <lastmod>2025-02-26T14:14:25+00:00</lastmod>
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                                            <image:caption>&lt;br /&gt;
&lt;i&gt;&lt;b&gt;24days Silent Image&lt;/b&gt;&lt;/i&gt; interactive installation is inspired by the artist&amp;#x27;s experience of staying for 24 consecutive days in three isolated hotels in three different locations in the year 2022: 7 days at the &lt;a href=&quot;https://www.tripadvisor.com/Hotel_Review-g294217-d25056599-Reviews-Regala_Skycity_Hotel-Hong_Kong.html&quot; target=&quot;_blank&quot;&gt;Regala Skycity Hotel&lt;/a&gt; in Hong Kong, 10 days at the &lt;a href=&quot;https://www.tripadvisor.com/Hotel_Review-g1409067-d7319910-Reviews-Lanting_Hotel-Dayi_County_Sichuan.html&quot; target=&quot;_blank&quot;&gt;Dayi Lanting Hotel&lt;/a&gt; in Chengdu, and 7 days at the &lt;a href=&quot;https://www.tripadvisor.com/Hotel_Review-g297463-d1581205-Reviews-All_Flowers_Village_Hotel-Chengdu_Sichuan.html&quot; target=&quot;_blank&quot;&gt;All Flowers Village Hotel&lt;/a&gt; in Chengdu. The limitations of space affect the sense of time, the sense of reality. The only window that connects to the outside world has also become a frozen, silent image. The internet is the only way to communicate with the outside world, and so the only window with the ability to see the real world becomes a frozen, silent image.&lt;br /&gt;
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&lt;b&gt;&lt;sup&gt;Background&lt;/sup&gt;&lt;/b&gt;&lt;br /&gt;When I returned home for the summer due to COVID-19 isolation policies, I spent 24 days alone in hotels across three different locations. The confined space, scheduled meal deliveries, daily nucleic acid tests, and the view outside my window resembled a static picture, leaving me disconnected from the passage of time. Life&amp;#x27;s conventional concept of time became distilled into basic necessities.As I moved to each new hotel, walking through the long corridors, time seemed to stretch out once more. The uncontrolled duration of time and the picture-perfect scenery outside left me feeling disoriented. Describing the experience and emotions of those 24 days is challenging; my memory feels like fragmented and unfolded paper, and I can only record these observations.&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;Audience interaction&lt;br /&gt;
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                                            <image:caption>&lt;br /&gt;Process&lt;br /&gt;
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        </url>
            <url>
                        <loc>https://juwenz.com/cry</loc>
            
            
            <lastmod>2025-02-26T14:14:25+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://juwenz.com/bug-1</loc>
            
            
            <lastmod>2025-02-26T14:14:25+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U1612231039173074347858789104653/Granny&#039;s Lullaby</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/J1612912947897076544647331019789/bug</image:loc>
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                                            <image:caption>&lt;br /&gt;&lt;b&gt;&lt;br /&gt;
bug&lt;/b&gt;  Surrounded by psychedelic pink and loopholes whether we really exist&lt;br /&gt;
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        </url>
            <url>
                        <loc>https://juwenz.com/damp-season</loc>
            
            
            <lastmod>2026-08-27T12:28:17+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://juwenz.com/ongoing-connect</loc>
            
            
            <lastmod>2026-08-28T04:50:14+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://juwenz.com/100-rochester-1</loc>
            
            
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                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
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&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/P1786762871318549907391174114317/Dancing with the absence</image:loc>
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/S3103710387635291008213392260109/IMG_6880-2.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U3103710387543057287844844502029/IMG_6878-2.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/D3103710387672184496360811363341/IMG_8936.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P3103710387598397520065973156877/IMG_6888-2.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/O3103710387616844264139682708493/IMG_6887-2.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H3103746045597413858398276123661/100-Rochester-line.png</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P3103974134275222983775657098253/IMG_8946.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/V3103974134127649031185980685325/IMG_3456.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/T3103974134256776239701947546637/IMG_8944.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/F3103974134053862054891142478861/IMG_3453.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/R3103974134182989263407109340173/IMG_6891-2.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
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&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/G3103974134090755543038561582093/IMG_3454.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Z3103974134109202287112271133709/IMG_3455.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/P3103974134072308798964852030477/IMG_3452.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
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&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X3103974134238329495628237995021/IMG_6898-2.JPG</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;span class=&quot;boxed-type&quot; style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;b&gt;&lt;i&gt;100 Rochester&lt;/i&gt;&lt;/b&gt; is a research and oral history project about architecture, artists, and time.&lt;br /&gt;
&lt;br /&gt;Beginning with the building where I currently have my studio, the project seeks to trace the transformation of 100 Rochester Avenue from an industrial building into an artists’ studio community, as well as the temporary but significant artistic network that developed there within New York’s independent art scene. In 2017, the building hosted exhibitions and performances including &lt;i&gt;Very Normal&lt;/i&gt;, &lt;i&gt;BRAID&lt;/i&gt;, and &lt;i&gt;Salient Hush&lt;/i&gt;. Since then, generations of artists, designers, architects, and fabricators have continued to work and create within the building.&lt;br /&gt;
&lt;br /&gt;Through architectural records, historical photographs, exhibition materials, artworks, and interviews with artists who have worked at 100 Rochester—both past and present—the project will construct an evolving archive of the building. I am particularly interested in the artists’ early stages of their careers: Why did they come here? What were they making? Who were they working alongside? And how might the space, neighborhood, and relationships within the building have shaped their practices in the years that followed?&lt;br /&gt;
&lt;br /&gt;A central component of the project will be to layer the individual timelines of these artists onto the architectural floor plan of 100 Rochester. The years each artist spent in the building, the studios they occupied, the works they made, exhibitions they participated in, and memories they associate with the space will become individual points within a temporal map of the building. As more interviews and archival materials are gathered, the floor plan will gradually transform into a collective map of people, artworks, and memories.&lt;br /&gt;
&lt;br /&gt;Rather than producing a conventional chronology of the building, I hope to create a living archive in which space, artworks, personal memories, and oral histories intersect—using one building to look back at how a group of artists began their professional lives in New York, and to trace how an artistic community was formed, transformed, and passed on to those who came after.&lt;br /&gt;


&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;
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&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); background: rgb(255, 255, 255);&quot;&gt;&lt;br /&gt;
&lt;b&gt;&lt;sup&gt;Background&lt;br /&gt;
&lt;/sup&gt;&lt;/b&gt;&lt;/span&gt;&lt;br /&gt;
100 Rochester Avenue, Brooklyn, is a former industrial building whose history reflects the transformation of the neighborhood from manufacturing and commercial production toward a contemporary creative community. &lt;br /&gt;&lt;br /&gt;
Built in 1962, the building was originally constructed as a large-scale warehouse and industrial facility, occupying the block between Rochester Avenue, Dean Street, and Pacific Street. &lt;br /&gt;&lt;br /&gt;
By the late 1980s, it was occupied by Halsey Drug, a pharmaceutical company, continuing the building’s role as a site of production and storage. Over the following decades, as Brooklyn’s industrial landscape changed, the building gradually began to accommodate artists, designers, architects, and fabricators. &lt;br /&gt;&lt;br /&gt;
By 2017, spaces within 100 Rochester had become sites for independent exhibitions and performances, including Very Normal, BRAID, and Salient Hush, with the basement functioning at times as an informal gallery. Today, the building continues to house a community of artists and creative practitioners. &lt;br /&gt;&lt;br /&gt;
More than 200 artists have passed through 100 Rochester over the past decade, alongside designers, architects, fabricators, musicians, and other creative practitioners. Across its three floors, the building has become a constantly shifting network of studios, workshops, and shared spaces—a place where different practices intersected during the formative stages of many artists’ careers. This project traces these people back to the building, asking what they were making, who they were working alongside, and what they remember about the space before their practices took them elsewhere. By bringing these individual stories together, the project attempts to reconstruct 100 Rochester not simply as a building, but as a temporary constellation of people, practices, and relationships.&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;&lt;br /&gt;
</image:caption>
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