Eva Franch i Gilabert

100 Words for Water: A Projective Ecosocial Vocabulary delves into the urgent and intertwined relationship between water systems and human life amidst the escalating climate crisis. Drawing on the United Nations’ assertion that “the climate crisis is mainly a water crisis,” this thought- provoking book compiles over one hundred key terms defined by contemporary thinkers in science, philosophy, politics, activism and architecture. These terms – such as Water Rights, Hydrocatharsis, Decommodification of Water and Liquid Modernity – form a vital lexicon to guide transformative action and foster a more symbiotic relationship with water. Structured as a collaborative exploration, the book combines scientific insight, philosophical depth and architectural vision to redefine how we engage with water socially, politically and ecologically. Illustrated with cartographic case studies, the volume offers vivid and hopeful scenarios for reshaping human-water interdependence. Through its diverse contributors and a interdisciplinary approach, 100 Words for Water challenges readers to rethink water management and design as the foundation of a resilient, multispecies future. This book is an essential resource for architects, activists, policymakers and anyone passionate about ecosocial transformation and water equity in an era of unprecedented environmental change.

The Office US Manual is a guide to day-to-day architectural practice that documents and interrogates the protocols and procedures of architecture offices over the last hundred years. Thoroughly insightful, often humorous, and sometimes stupefying, the Manual combines historical material from large firms and small studios with contemporary reflections by more than 50 architects, artists, and writers concerned with the needs and desires of professional architecture practice today.

The OfficeUS Atlas collects the exhibition research in an archive of nearly 1000 architectural projects. Organized according to individual firm histories, the Atlas documents the development of U. S. architectural offices working abroad from 1914 to the present. Offices and their projects are illustrated by over 1200 photographs and architectural drawings. OfficeUS, the U. S. Pavilion for the 2014 International Architecture Exhibition - la Biennale di Venezia, reframes the history of U. S. architecture through the lens of export in two interrelated constructs: "The Office" and "The Repository." The Repository presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U. S. firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The Office engages these projects, revisiting their premises and conclusions over the course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U. S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.

The OfficeUS Agenda, the catalogue for the U. S. Pavilion, serves simultaneously as a guide and counterpoint to the exhibition. Organized into stories of expertise, exchange, and export, the Agenda frames the narratives that have projected the organizational structures and branded identity of U. S. architecture firms internationally from 1914-2014. The Agenda includes thirteen essays of original scholarship, including Barry Bergdoll, Beatriz Colomina, Jorge Otero-Pailos and Keller Easterling. OfficeUS, the U. S. Pavilion for the 2014 International Architecture Exhibition - la Biennale di Venezia, reframes the history of U. S. architecture through the lens of export in two interrelated constructs: "The Office" and "The Repository." The Repository presents 1000 projects designed by 200 US offices working abroad in a chronological archive of the last 100 years. Collectively these projects tell multiple, imbricated stories of U. S. firms, typologies, and technologies, as well as a broader narrative of modernization and its global reach. The Office engages these projects, revisiting their premises and conclusions over the course of the Biennale. It functions as a laboratory staffed by a diverse group of resident design partners collaborating with outpost offices and a rotating cast of visiting experts. Together, these two halves of OfficeUS create both an historical record of the U. S. contribution to global architectural thought, and a petri dish in which that record is submitted to contemporary agents of disruption and critique.