
















A Letter to the Future: In Good We Trust
February 3, 2009We find ourselves between things. In transition. We find ourselves asking questions new questions - questions of purpose. Propelled by these questions we seek new possibilities for change. In this way we are on the cusp of a new era. The 21st Century brings with it a sense of optimism for what is to come. I believe in this optimism and the sheer massive potential of this future. I have born witness to its roots over the past decade through a network of innovators, entrepreneurs, and creative thinkers. And, I witnessed its blossom to scale at an inspiring spectacle, in Denver, in August 2008.
Never before had I experienced such spirited engagement with this future as I did during the Democratic National Convention held in Denver. There was a sense that we were all in this together, actively participating in the optimism. My contribution at this historic moment was through a series of conversations about the future challenges of sustainability that we face as a nation and as a collective world. From this dialogue, so fresh in our memory and so recent as it has launched a new leader, we begin to move towards a new space of action. This is the place in which we begin to imagine a new kind of cultural and civic "Biennial" engagement, that is based on the most fundamental creative acts: Innovation, the act of introducing something new into the world and Entrepreneurship, the act of a building a significant undertaking.
Through our work on Massive Change we have documented and mapped the movement of change-makers broadening the discourse on the future of our collective world. These innovators and entrepreneurs have been leading and participating in a movement in production of new models of public good. This movement is action-based in form and demands active participation by many. It is bound and interconnected by an unspoken and invisible cloud of trust across boundaries of disciplines, institutions, and geographies. I imagine the title of this movement as, “In Good We Trust”.
We will 1) exhibit and articulate, 2) engage participants, 3) produce experiences, 4) build networks, and 5) launch new contributions to “In Good We Trust” in Denver in summer of 2010. This project, a new and radically ambitious cultural project, takes its cue from the energized civic life currently characterizing Denver and innovations currently underway across the Americas and globally. It will be organized through the principles of “proof and possibility”. We will present to the world the diverse creative practitioners that prove this movement is already active and we will catalyze the new possibilities they invite. It is my honor to serve as the first Creative Director of the Denver Biennial of the Americas and lead a vision of the program: In Good We Trust. Be Possibility,
Bruce Mau
Bruce Mau will be serving as creative director starting in 2010 and Denver will be the host city of the biennial every two years after.
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"...Granville Centre may have lost its Troop [family name] barn heritage landmark, but the 121-year-old octagonal building has found a new home.
Halifax architect Brian MacKay-Lyons bought the historic barn with its vertical faded red clapboard and cupola. Last month he had the barn dismantled, loaded on a truck, and taken to his farm in Kingsburg.
Catherine Pretty of MacKay-Lyons Sweetapple Architects writes that the Troop barn will get a new life as part of the Ghost Architectural Laboratory, an intensive two-week design program currently underway in Kingsburg. For background, go to www.mlsarchitects.ca and click on Ghost.
Ms. Pretty says the barn will become a community building on the campus. When it’s finished later this year, the new/old Troop barn will be christened with a Lennie Gallant performance.
The Troop barn was built by William B. Troop in 1888, and is one of two surviving octagonal barns in Nova Scotia. The other one is in Old Barns, just outside of Truro."
promotional art for dark night of the soul; imagery by david lynch
photo by iwan baan; friends of the high line
photo by librado romero, new york times
photos by micheal deleon at denver_modern's flickr site.






the next best parts are things you can see, and they are truly stunning: FSC certified cumaru [brazilian teak] rainscreen, energy star appliances, motorized skylights, high gloss black epoxy floors, pervious concrete driveway, stairs clad in lapped glass [got to be seen to be believed], 2-story living room, and loft style bedrooms upstairs.

"...choices are not made in isolation, but within the context of aesthetics, price, schedule and performance."part of their all-inclusive nature-- the firm not only does architecture and interior design, but furniture and product design as well.
the rural retreat is a 1350 sf residence located near hillsdale, ny next to the Massachusetts state line. the architects chose to use traditional American stick framing construction, with local finish materials for cladding.

flanking each side of the house are large patios to revel in the view of the surrounding woods, and provide as an extension to the interior space when all the doors are completely open.
while the structure's orientation to the sun was not ideal to achieve the best views, deciduous trees have been strategically placed of shading during the summer while allowing light to the site in the winter.
