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PechaKucha Presentation

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Miguel Guitart, Ph.D.

Visiting Associate Professor, Buffalo School of Architecture and Planning, University at Buffalo in Buffalo

The Beginning of Memory

PRESENTED ON NOV 17, 2015
IN BUFFALO @ VOL 14

"The story of Buffalo is inextricably linked to the notion of memory. That memory is now in Danger."

In The Beginning of Memory from PechaKucha Night Buffalo Vol. 14, Spanish architect and academic Miguel Guitart remembers the importance of Buffalo's signature past and visual legacy that has made the city unique, and compels the audience to slow down enough to observe it for themselves, together on a quest to find it's soul once more. In this beautiful poetic performance, he shares a series of ephemeral photos of the city, titled "Americana" with music by Philippe Rombi and excerpts of Laurie Anderson's "The Beginning of Memory", illustrating that despite PechaKucha's fixed format, presentations can take all forms.  

This was "PechaKucha of the Day" on Wednesday, December 2nd, 2015. 

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Only Memory

BY TAMIM AL-KADASI
@ VOL 4 ON AUG 30, 2014

Tamim Al-Kadasi speaks about his experiance with memory loss and how he has adapted to the challenges of losing 3 years of his life's experiences.

"Presentation of the Day" on October 9, 2014.

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Creating a Memory

BY MAT DUNK
@ VOL 4 ON APR 22, 2015

Mat Dunk uses his eye for compostion and commitment to his art to capture the natural beauty of the Great lakes area of New South Wales in Australia.

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Fragile Memory

BY KIMBERLEY WADE
@ VOL 21 ON MAY 19, 2015

Presented by Kimberley Wade

A look at how you memory can play tricks on you, even under gun fire!

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The Language of Memory

BY MICHAEL HAYES
@ VOL 7 ON APR 22, 2015

Michael Hayes, explores the language of memory and suburbia.

Michael Hayes, editor of 2ha – a printed magazine, that looks to suburbia and architecture to fill its pages. The ninth issue has recently been published and is based on the theme of how our leisure activities shape our suburban landspace.

In each issue four essays are published. The essays are written by architects, academics and artists and are based on various themes. Past issues have covered the relationship between suburbia and photography, cinema, history, typology, language, modernism and public space.

Michael is an architect living and practising in Dublin who is seemingly obsessed with publications. As well as editing 2ha, he is an editorial board member of Architecture Ireland and Publications Officer for the Architectural Association of Ireland.

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Connecting Clicks

BY JULIA KEIL
@ VOL 26 ON DEC 01, 2015

Julia Keil talks about the personal nature of photography, and the process of letting go. Her work explores memory, beauty and the transforming state of culture and identity in today's globalized society on both an internal and external level.

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A Wall and A Column: 2 Projects

BY ANG LI
@ VOL 16 ON APR 14, 2016

"A wall and a column...what they have in common is an interest in looking at the cultural agency of traditional building materials and their ability to speak."

In A Wall and A Column: 2 Projects from PechaKucha Buffalo Vol. 16, architect and University at Buffalo Peter Reyner Banham Fellow and Visiting Assistant Professor Ang Li presents a pair of site specific installations that explore the cultural agency of vernacular building materials. Horror Vacui is an installation in Lisbon, Portugal that examines the ability of building facades to “speak” through the medium of the Portuguese “azulejo” - hand-painted ceramic tiles often depicting scenes from historic or civic events. The piece explores the narrative potential of bricks and mortar within contemporary image sharing and crowdsourcing platforms. No Frills is an installation in Buffalo, New York that stems out of an interest in the industrialized production of terracotta in the 19th century as a new kind of ornamental language. In a semi-abandoned Chevrolet Factory by the architect Albert Kahn, a 13-foot column interrupts the existing grid of the assembly floor,  acting as a bridge between the vast scale of obsolete industry and the human scale of the architectural ornament.

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A Brief Memoir of Architectural Space

BY JOANNA GILLESPIE
@ VOL 17 ON SEP 15, 2016

"This is my 6-minute memoir. A mediation on impermanence."

In A Brief Memoir of Architecural Space from PechaKucha Buffalo vol. 17, independent arts consultant and co-organizer of PechaKucha Buffalo, Joanna Gillespie, delivers a meditation on twenty of the fifty places she has lived since birth. From Victorian-era structures in Buffalo, NY and San Francisco, CA, to the wilds of the 1970's California coast, to modern and efficient rural Japan, to a Postmodern art utopia in Maine, and beyond, Gillespie recounts a particular memory from each space. Through all of the temporal landscapes we find ourselves in, Gillespie concludes, "We forge on, either clumsily or assuredly. We keep on keeping on." Even if we move fifty times.

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Collage City

BY JEAN-MICHEL REED
@ VOL 17 ON SEP 15, 2016

"An architect, it seems, has to be an optimist and idealist. That by building we're somehow making the world a better place. But before you need buildings, you need people."

In Collage City from PechaKucha Buffalo Vol. 17, artist, designer, realtor and retired paramedic, Jean-Michel Reed, shares stories and perceptions of Buffalo, New York as an intimate outsider. Reed moved to Buffalo in 1992, working first as a paramedic, and later transitioning to both a designer and a realtor as the city attempted an about face. Cites are made first of people, and then within those individual people, of experiences. It is this combination of convergent and divergent experiences that construct the sociological makeup of place and city, which, in turn manufactures the physical landscape. 

This was "PechaKucha of the Day" on Wednesday, December 14th, 2016.

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Beyond Camelot: The Mythic Memory of the Sixties

BY CRAIG WERNER
@ VOL 21 ON FEB 16, 2017

From JFK's Camelot to Martin Luther King's, "I Have a Dream" speech to protestors spitting on Vietnam veterans, the cultural memory of the Sixties rests firmly on a foundation of politically-motivated myth. In this presentation, Craig Werner juxtaposes familiar and surprising images of the decade to reveal some of the complications behind the myths.