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Work in Progress (Spaces for Artists)
List Price:
$35.00
| Expected release date is Oct 1st 2026 |
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Product Details
Author:
Antonia Devine, Billie Tsien, Justin Beal, Nina Rappaport, Olly Hoy, Mariah Langlois, Abigail Chang
Format:
Paperback
Pages:
180
Publisher:
Actar D (October 1, 2026)
Imprint:
Yale School of Architecture
Release Date:
October 1, 2026
Language:
English
Audience:
General/trade
ISBN-13:
9781638402244
ISBN-10:
1638402248
Weight:
12oz
Dimensions:
5.3" x 9.25"
File:
CONSORTIUM-Consortium_Customer_Group_Metadata_20260512173303-20260512.xml
Folder:
CONSORTIUM
List Price:
$35.00
Country of Origin:
United States
Series:
Edward P. Bass Distinguished Visiting Architecture Fellowship
As low as:
$30.10
Publisher Identifier:
P-PER
Discount Code:
C
Pub Discount:
60
Overview
For the project Work in Progress, the Edward P. Bass Visiting Fellowship Studio at the Yale School of Architecture explored how architecture and development can work together in the service of a cultural institution. The participants focused on a fundamental question: How can design enhance the spatial and financial capabilities of a nonprofit arts organization while preserving its mission?
Collaborating with the Sculpture Center in Long Island City as the client and site, students developed proposals that tested the potential of adaptive reuse, air rights, housing, and public space to foster artistic production and public engagement. This is an unusual studio, because the client is an arts nonprofit rather than a property developer. The Sculpture Center owns a property with substantial air rights, and we asked students to explore how this asset could be used to advance the organization’s mission. This doesn’t necessarily mean maximizing profits. The core question was: What is the most effective and beneficial use of a nonprofit cultural institution? What does that mean in this specific context?
Collaborating with the Sculpture Center in Long Island City as the client and site, students developed proposals that tested the potential of adaptive reuse, air rights, housing, and public space to foster artistic production and public engagement. This is an unusual studio, because the client is an arts nonprofit rather than a property developer. The Sculpture Center owns a property with substantial air rights, and we asked students to explore how this asset could be used to advance the organization’s mission. This doesn’t necessarily mean maximizing profits. The core question was: What is the most effective and beneficial use of a nonprofit cultural institution? What does that mean in this specific context?









