The Banham Fellowship in the Department of Architecture is intended to support design work that situates architecture within the general field of socio-cultural and material critique.
The fellowship honors the legacy of Peter Reyner Banham, who taught at UB from 1976-80 and produced a foundational body of scholarship on material/visual culture as a reflection of contemporary social life. Banham spent his time in Buffalo engaged in a scholarly project on the imaginary of American industrial architecture at work in early modernism that took the form of historical research, hands-on engagement and seminar instruction, resulting in his landmark work, A Concrete Atlantis.
In celebration of Banham's legacy of experimental criticism, this fellowship supports the research and creative activity of emerging practitioners. Over the course of a year, fellows teach, deliver a public lecture and prepare an exhibition culminating from their research and creative work at the school.
Steven Chodoriwsky is an artist and designer. His practice employs a diverse range of media including installation, performance, photography, and text. Chodoriwsky previously taught architecture at Cornell University and Cal Poly Pomona, and has held research positions at Jan van Eyck Academie, Maastricht, and Center for Contemporary Art, Kitakyushu. He was educated at University of Waterloo, Canada, and at Tokyo Institute of Technology as a recipient of the multi-year Monbukagakusho Government of Japan scholarship.
Chodoriwsky has published work in Scapegoat, San Rocco, and Informal Market Worlds: Atlas, among others. He is book designer of “Costume en Face: A Primer of Darkness for Young Boys and Girls by Tatsumi Hijikata” (Ugly Duckling Presse). He has presented and performed work at international venues including, among others, the Museum of Contemporary Canadian Art, Toronto, de Appel Arts Centre, Amsterdam, and the Suzuki Company of Toga International Theatre Festival, Japan.
In his research as this year's Banham Fellow, Chodoriwsky will investigate the workings of the contemporary university campus as a collective social, aesthetic, and performative project. The University at Buffalo acts concurrently as host institute, object of study, and context for site-specific intervention. With its three distinct campus settings, the university is in the midst of a number of expansions and migrations, redefining the school’s identity locally and beyond. Through fieldwork, archival study, and collaborations with the campus community, the research examines the entanglements of the built environment with the lives, labors, and behaviors of its diverse population.