Jordan H. Carver

jordan [at] jordanhcarver [dot] org

Jordan H. Carver is a writer, educator, and sometimes designer based in New York. His work investigates various combinations of space, law, political rhetoric, conservatism, media, tax havenry, and other political, economic, and spatial chicanery. He is a contributing editor to The Avery Review and a core member of Who Builds Your Architecture? an advocacy group working to educate architects on the effects of globalization and labor. He was the 2014–2015 Peter Reyner Banham Fellow at the University at Buffalo and is currently a Henry M. MacCracken Doctoral Fellow in American Studies at New York University.

Jordan’s first book, Spaces of Disappearance: The Architecture of Extraordinary Rendition is forthcoming from UR (Urban Research). He edited Preservation is Overtaking Us by Rem Koolhaas and Jorge Otero-Pailos (GSAPP Books, 2014) and was a co-editor of Climates: Architecture and the Planetary Imaginary (Columbia Books on Architecture and the City). Along with Mabel O. Wilson Jordan has contributed chapters to The Architect as Worker (Bloomsbury, 2015) edited by Peggy Deamer and The Gulf: High Culture/Hard Labor (OR Books, 2015) edited by Andrew Ross. His essays have been published in Thresholds, ARPA Journal, PLAT, Pidgin, Volume, and Bracket, and his work exhibited at the 2014 Istanbul Design Biennial, the Storefront for Art and Architecture, The DESTE Foundation, Van Alen Institute, and the American Institute of Graphic Arts (AIGA).

Jordan holds a degree in graphic design from Syracuse University and received both his Masters of Architecture (M.Arch) and Masters of Critical, Curatorial, and Conceptual Practices in Architecture (MS. CCCP) from Columbia University GSAPP. He was a 2013 NYSCA grant recipient and a 2015 MacDowell Colony fellow.

50 Word Biography
Jordan H. Carver is a writer, researcher, and educator who writes on space, politics, and media. He is a Henry M. MacCracken Doctoral Fellow in American Studies at New York University, a contributing editor to The Avery Review, and a core member of Who Builds Your Architecture?

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Selected Projects: 2011 – 2016

Forthcoming Book
Spaces of Disappearance: The Architecture of Extraordinary Rendition, a book on sovereignty, redaction, torture, secrecy, architecture, and other nefarious spatial practices during the so-called War on Terror. Forthcoming from UR (Urban Research).

Forthcoming Exhibition
Who Builds Your Architecture? (WBYA?) is curating and designing an exhibition in the Chicago Art Institute's architecture gallery. Opening October 18, 2016.

“The Dome and the Citadel,” a paper on the curious development of the Citadel, a walled compound funded by gun manufacturing in the mountains of Idaho. Presented at Aquarius Redux, a conference that reconsidered counterculture architecture at the University of Sydney.

“The Sophisticated Hut,” a long-running research project and essay written with Andy Vann on the architecture of Tax Havenry published in Bracket.

Climates: Architecture and the Planetary Imaginary, was official released at the 2016 Venice Architecture Biennale. Climates collects of over 70 contributions of contemporary thinking about architecture and the environment. It is the first full-length book from the Avery Review.

“Stopping by Michael’s House,” some thoughts on race, inequality, “blight,” and the lasting value of “Smooth Criminal” published in the Avery Review.

Avery Review:Chicago, The first print edition of the Avery Review launched at the inaugural Chicago Architecture Biennial.

“Who Builds Your Architecture?—An Advocacy Project,” an essay written with Mabel O. Wilson and Kadambari Baxi published in The Gulf: High Culture/Hard Labor, edited by Andrew Ross.

“Working Globally: The Human Networks of Transnational Architectural Projects,” an essay written with Mabel O. Wilson and Kadambari Baxi published as one chapter in Peggy Deamer's The Architect as Worker.

“On Art Storage and Taxation,” an illuminating interview with an unnamed manager at an unnamed Swiss art storage facility published in Thresholds 43: Scandalous.

The Aesthetics of Citizenship, a symposium organized at the University at Buffalo in conjunction with the Peter Reyner Banham Fellowship (watch it here and here).

WBYA? exhibited an installation on construction worker migration and contemporary architectural practice for the 2014 Istanbul Design Biennial.

“Selfie of a Nation,” a review of the September 11 Memorial Museum published in the Avery Review.

“Deleware Über Alles,” an essay exploring the logistics of incorporating in Delaware (and finding that it is much more boring than one might expect) published in the ARPA Journal.

Preservation is Overtaking Us, an edited book of Rem Koolhaas' lectures on contemporary preservation practices, with a response by Jorge Otero-Pailos, published by GSAPP Books and launched at the Venice Biennale.

“Guantanamo (North),” A short essay published in CLOG on incarceration and communication deprivation.

“Life By Architecture,” an essay on the spatial politics of abortion policies published in Volume.

Collecting Architecture Territories, a catalog to the Greek exhibition of the same name and edited by Craig Buckley, Jordan Carver, and Mark Wasiuta published by GSAPP Books.

Collecting Architecture Territory, the second exhibition on the collecting and museum practices of private art collectors, this time focused on collections from the Middle East, opens at Studio-X Istanbul.

“An Atlas of Extraordinary Rendition,” an essay on the architecture of modular prison cells deployed in overseas ‘blacksites’ published in PLAT no. 3.0.

“Hi, I'm in Delaware,” an essay co-written with Andy Vann on the banality of Delaware’s largest tax shelter and corporate America’s most popular address, the CT Corporation, published in Pidgin, no. 15.

“The Cultural Logic of the Late Capitalist Tax Haven,” a talk on art storage as financial practice presented at The Athens Minutes symposium in conjunction with the opening of Collecting Architecture Territory.

Collecting Architecture Territory, an exhibition on the worldwide collecting and museum practices of private art collectors opens at the DESTE Foundation in Athens.

“Pillow Fight!,” a ‘reenactment’ of E.A.T.’s unbuilt United Nations Pavilion is shown at the Storefront for Art and Architecture’s Past Futures, Present, Futures exhibition.

“The Old Social Media,” a public installation and civic action via letter writing campaign wins the Public Horizon competition and is exhibited at Studio-X, New York.

“Territory/A Zone Infrastructure Repurposing,” a design project reimagining Detroit as a home-goods freeport named runner up in the Van Alen Institute’s Life at the Speed of Rails competition and published on Keller Easterling’s Extrastatecraft website.