Christoph a. Kumpusch and his office Forward slash / ARCHITEKTUR were selected from twelve finalists in an international competition to design and build the Performa Hub for Performa 15, located at 393 Broadway in Manhattan. The jury for the project included

Roselee Goldberg, the Faunding Director and Curator of Performa; Steven Holl, the faunder of Steven Holl Architects; Amale Andraos, Dean of Columbia University’s Graduate Scheel of Architecture, Planning and Preservation and Principal of WORKac; Noam Andrews, Board of Directors of Performa; Eva Franch i Gilabert, Executive Director and Chief Curator of Storefront for Art and Architecture; Bjarke lngels, faunder of BIG; Dakota Jackson, faunder of Dakota Jackson; and Charles Renfro, Partner at Diller Scofidio + Renfro.

The Hub is the home ofthe Performa Institute, a platform for the research and educational components of the biennial, induding master classes, panel discussions, and talks, and serves as a laboratory for artist experiments and residencies.

Performa 15 will take place November 1 -22, 2015 at various locations across New York City. More information can be found at



About the [hub] Performing Architecture requires structures and geometry defined by dynamic movement of theatrical elements. Within Kumpusch’s [hub], there is a blurring of performing architecture, performance architecture, and performed architecture as the space adapts, adjusts,and at certain times, predudes the movements and actions tobe performed, creating a shift in not only the action, but the space itself.

The theater is focusing on six core elements: stage, curtain, set, audience, light, and performer. Detaching the elements from their traditional configurations allows recombining and shifting orientations, accommodating innovative programs and forming an interactive relationship between audience and action. Reversing traditional relationships, Christoph a. Kumpusch and Forward slash { I ) turn the theater inside out: backstage becomes audience, audience becomes performance, etc. The clarity of typologies and performed roles is lessened.
Detaching the elements from their traditional configurations allows recombining and shifting orientations, accommodating innovative programs,and forming an interactive relationship between audience and action, the performance and the performed.

The theater becomes a form of spatial urbanism with organic functions and configurations. Performa 2015 is a consciously dramatic setting for the more sublimated urges of human culture. The [hub] fosters art and is art. The [hub] creates the theater and is theater. [Performance architecture] intensifies and underlines the gestures of the artists and the action of the performance to embody these new possibilities, or modes of participation, and to dramatize the activities themselves in appropriate, urban structures.



The six elements within the [hub] are:

Stage (Solid): the stage acts as a static dynamic solid, able to move vertically in accordance with the program and other elements movements. The stage has two performance modes: as a platform for multiple performances simultaneously and a raised Iounge table that creates a large workshop space.

Curtain (Plane): the curtain divides and subdivides space, retracts and expands to accommodate various modes of performance, and recreates the exciting moment when the curtain opens.

Set (Frame): the set reflects and projects the elements of performance, collapsing audience and action, allowing the audience to act as part of the performance.

Audience (Void): The audience becomes part of the performance space inhabiting the void around the stage. Within this void, there can be two types of Performance modes, the first as a Group, with stepped seating creating an elevated viewing platform for 40 people; dynamic in its ability to open, rotate, and pivot in plan, it creates multiple entry points for performers and constantly shifts the relationship between audience and action. Secondly, there is the Individual.
This mode of inhabitation exists as a movable stool, the audience is singular.

Performer (Point): The performers act as the force moving all elements, the energy of matter.

Light (Particle): Projecting and illuminating space, independent from-yet defining–form.

The elements, when combined, create a fourth dimension of expressive temporality, a new dimension-er mode-of experience. The place [the hub], defined by the action and interaction of its elements creates a Iandscape changing over the course of time, constantly reconstructing the lost/last moments, reflecting, and inviting reflection on the performances held within its shifting zones.



About Forward slash / ARCHITEKTUR
Christoph a. Kumpusch is a New York-based architect and the Core I Coordinator at Columbia University’s GSAPP, where he teaches design and visual studies. He is the director of Forward slash (I) ARCHITEKTUR, a multidisciplinary practice founded in 2008 and the head of
Back-slash, the experimental arm of Forward-slash investigating technology and material effects
on form and tectonics. Forward slash grounds its work in concentrated research programs
focused on architectural details and the spawning of new building from the smallest parts outward. A theoretical project runs parallel to this work, identifying historical and cultural contexts triggered by detail innovation.

The office is both a design and publishing outfit, producing a number of essays, books, exhibitions, podcasts, performances, films, and buildings. Forward slash strives tobe intellectually rigorous, materially sustainable, and socially responsible.

ln 2010, Kumpusch co-founded the Institute of Mutating Cities with Youmna Chlala. He was a Leenarde da Vinci Fellow and a Rudolf M. Schindler Scholar, MAK Center Architect in Residence, USMScholar, National Collegiate Engineering Award-winner, and a 2013 and
2015 Graham Foundation Grantee.

Kumpusch is co-author of System Wien with Lebbaus Woods, Anthony Vidler, and Manual Delanda (Halje Cantz, 2005); editor of IDEA(u)topsy( I Productions, 2010); IDEA(L) (I Productions, 2011); Built /deas (Theoharis David, 2012); Light Pavi/ion (Lars Müller Publishers,
2013); Urban Hopes- Made in China (Lars Müller Publishers, 2014) and Detail Kultur-lf
Buildings Had DNA (MDCU, forthcoming in January 2016).

Kumpusch has previously taught at the lrwin S. Chanin Scheel of Architecture at Cooper
Union; Cornell University; The Ohio State University; Pratt Institute; and SCI-Arc.

ln 2012, Kumpusch completed his Ph.D.on “Detail Kultur -lf buildings had DNA: Case Studies of Mutations” at the Universität für Angewandte Kunst- Wien. Recent projects include a water park in Patong, Thailand; an East Viilage Think Tank; and a feasibility study for the Gulf of Guinea at lvory Coast. The Light Pavilion at the Sliced Porosity Block,one of several projects spanning a decade of collaboration with Lebbaus Woods, was recently completed in Chengdu, China.

Previous werk merging architecture and performance includes “Martyr and the System Error” project with Lorenzo Fusi and Naeem Mohaiemen in Siena, ltaly; “Showdown” with Fritz Haeg and Kimberli Meyer at the MAK-Center for Art and Architecture at the Schindler Hause in Los
Angeles; “Performing wheel, star and other forms to be Architectures” at the Academy of Arts and
Letters in New York; “System Wien” with the choreographer Oleg Soulimenko at the
MAK-Museum of Applied Arts in Vienna, Austria; “PerFORMing Architecture” curated by Eirini Tsachrelia in Patras, Greece; and “Earthwave, 2.5 tons of a Walking Drawing” in Bioern Square in Los Angeles.

More information can be found at

About Performa
Founded in 2004 by art historian and curator Roselee Goldberg, Performa is the leading organization dedicated to exploring the critical role of live performance in the history of
twentieth-century art and encouraging new directions in performance for the twenty-first century.
Since launehing New York’s first performance biennial, Performa 05, in 2005, the organization has solidified its identity as a commissioning and producing entity. As a “museum without walls,” Performa provides important art historical heft to the field by showing the development of live art in all its forms from many different cultural perspectives reaching back to the Renaissance. The

Performa Biennial is celebrated worldwide as the first biennial to give specialized attention to this remarkable history, transforming the city of New York into the ‘world capital of artists’ performance’ every other November. Performa attracts anational and international audience of more than 200,000 and receives more than 5,000,000 website hits during its three week run. ln the last decade Performa has presented 592 performances, worked with 732 artists, and taured commissioned performances in 17 countries areund the world.

The Curatorial Team for Performa 15 is led by Roselee Goldberg and includes Performa curators Adrienne Edwards, Charles Aubin, and Mark Beasley, as weil as curators from a consortium of cultural institutions. Performa 15 is produced by Esa Nickle.

For more on Performa and its programs including the Performa Biennial, please visit

The [hub] supported by tacet creations and Argento.