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  • VENICE, ITALY - 4 JUNE 2016: The full-scale plaster model of a gas hatch used in Auschwitz, is seen here in the Evidence Room exhibition at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0094.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors walk through the Evidence Room, between the "design workshop : sa" exhibit room (seen here) and Souto Moura Arquitectos exhibit room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0429.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors are here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0224.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0185.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of the plan of Crematorium 3 of Auschwitz, drawn by David Olère in 1945, is  seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0167.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale plaster model of a hemispherical grid protecting the peephole on the inside of a gastight door, found by soldiers of the Red Army in Auschwitz in 1945, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0085.jpg
  • VENICE, ITALY - 4 JUNE 2016: Full-scale plaster models of Zyklon pellets in a gas column used in Auschwitz are seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0072.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including the full-scale model of a gas hatch (center) used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0056.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including the full-scale model of a gas hatch (left) used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0048.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0039.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of a gas mask is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0221.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster casts of plans, memoirs, drawings and of a gas mask related to Auschwitz are seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0213.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of the section of Crematorium 3 of Auschwitz, drawn by David Olère in 1946, is  seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0203.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the palster model of a gastight doow in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0177.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gastight door and a gas hatch used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0175.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0172.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor is here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0168.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster cast of David Olère's drawing of the undressing room of Crematorium 3 of Auschwitz, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0163.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster cast of David Olère's visual testimony of the removal of corpses from the gas chamber, showing the gastight door with the metal protection over the peephole, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0149.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plater cast of Vrba amd Wetzler's plan of a crematorium is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0092.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of a Zyklon B can is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0063.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the palster model of a gastight doow in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0216.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor steps out of The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0143.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gastight door (front and back) and a gas column used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0139.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_015.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_026.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_025.jpg
  • 27 October, 2008. New York. The view of Bensonhurst, Brooklyn, from Faina Ryzhikova's apartment. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_024.jpg
  • 27 October, 2008. New York. A picture of Vladimir Ryzhikova, Faina Ryzhikova's deceased husband, hangs here in her apartment. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, lives in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_017.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_012.jpg
  • 27 October, 2008. New York. Family pictures Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, are here in her apartment in Bensonhurst, Brooklyn, NY. Pictures include Faina herself, and her grandchildren. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_011.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_010.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_009.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_008.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_007.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_005.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in front of the building where she lives, in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_002.jpg
  • 27 October, 2008. New York. Exterior of the building in Bensonhurst, Brooklyn, NY, where Faina El'man Ryzhikova lives. Faina El'man Ryzhikova, 82, is a Jewish holocaust survivor and guerilla fighter. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_001.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, looks at pictures of her deceased husband and his grave, in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_018.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_014.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_013.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_006.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, walks towards her apartment on the right, in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_004.jpg
  • 27 October, 2008. New York. The hands of Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, who is here in front of the building where she lives, in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_003.jpg
  • 27 October, 2008. New York. An American flag and a portrait of Rabbi Menachem Mendel Schneerson are here in Faina Ryzhikova's apartment. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, lives in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_020.jpg
  • 27 October, 2008. New York. Exterior of the building in Bensonhurst, Brooklyn, NY, where Faina El'man Ryzhikova lives. Faina El'man Ryzhikova, 82, is a Jewish holocaust survivor and guerilla fighter. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_027.jpg
  • 27 October, 2008. New York. Faina El'man Ryzhikova, 82, a Jewish holocaust survivor and guerilla fighter, is here in her apartment in Bensonhurst, Brooklyn, NY. After asking for help, the Edith and Carl Marks Jewish Community House of Bensonhurst assisted her by tapping The New York Times Needieset funds for utility expenses of $50/month for 6 months, the first grant starting on October 3, 2008.<br />
<br />
Faina Ryzhikova was born in 1926 in Radoshkovichi, a little village 22 miles northwest from Minsk, Belarus. Back in 1939, this territory belonged to Poland. When the Germans occupied Radoshkovichi, in 1941, they created a ghetto, where Faina and her family lived and worked. In order to escape a planned pogrom by the Germans in 1942, Faina escaped into the forest where she later met the partisans of the brigade “Narodnie Mstiteli” (Avengers of the people), which she joined.<br />
<br />
Faina's mother and sisters were killed while trying to escape. Her father survived and joined aina in 1943. Of the 2000 people that lived in the Radoshkovichi ghetto, only 18 survived. She married Vladimir Ryzhikov in 1954 and raised two sons. Faina's husband passed away in 1991, before the family came to the United States.<br />
<br />
<br />
©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Needy_021.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors watch the video of Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0383.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0344.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0335.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0329.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the writings and illustrations on the lightbox of the Case 1 study by Forensic Architecture on the 2012 US drone strike in Miranshah, Pakistan, presented here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0288.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster model of the city of Parma is here in Renato Rizzi's "Orphan Ground" exhition at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0252.jpg
  • ROME, ITALY - 24 January 2014: Rosetta Loy, 83, poses for a portrait in her hourse in Rome, Italy, on January 23rd 2014.
    CIPG_20140124_ELPAIS_RosettaLoy__M3_...jpg
  • ROME, ITALY - 24 January 2014: Rosetta Loy, 83, poses for a portrait in her hourse in Rome, Italy, on January 23rd 2014.
    CIPG_20140124_ELPAIS_RosettaLoy__M3_...jpg
  • ROME, ITALY - 24 January 2014: Rosetta Loy, 83, poses for a portrait in her hourse in Rome, Italy, on January 23rd 2014.
    CIPG_20140124_ELPAIS_RosettaLoy__M3_...jpg
  • ROME, ITALY - 24 January 2014: Rosetta Loy, 83, poses for a portrait in her hourse in Rome, Italy, on January 23rd 2014.
    CIPG_20140124_ELPAIS_RosettaLoy__M3_...jpg
  • VENICE, ITALY - 4 JUNE 2016:  The entrance to the central pavillon of the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
The theme of the Biennale titles "Reporting from the Front", selected by 2016 director Alejandro Aravena, is an investigation into the role of architects in the battle to improve the living conditions for people all over the world. The theme aims to focus on architecture which works within the constraints presented by a lack of resources, and those designs which subvert the status quo to produce architecture for the common good - no matter how small the success.
    CIPG_20160604_NYT-Evidence_M3_0453.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the lightbox on the Case 3 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0390.jpg
  • VENICE, ITALY - 4 JUNE 2016: An animation of the Case 3 study by Forensic Architecture on the "Left-to-die boat", the deadly drift of a migrants’ boat in the Central Mediterranean, is projected here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0389.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0370.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors look at the lightbox on the Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0352.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors look at the lightbox on the Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations. study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they ge
    CIPG_20160604_NYT-Evidence_M3_0350.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0346.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0343.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0315.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
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In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0309.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the writings and illustrations on the lightbox of the Case 3 study by Forensic Architecture on the "Left-to-die boat", the deadly drift of a migrants’ boat in the Central Mediterranean, presented here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0307.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0301.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster casts hang on a wall in Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0276.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0272.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0248.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0241.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0239.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0233.jpg
  • ROME, ITALY - 24 January 2014: Rosetta Loy, 83, poses for a portrait in her hourse in Rome, Italy, on January 23rd 2014.
    CIPG_20140124_ELPAIS_RosettaLoy__M3_...jpg
  • ROME, ITALY - 24 January 2014: Rosetta Loy, 83, poses for a portrait in her hourse in Rome, Italy, on January 23rd 2014.
    CIPG_20140124_ELPAIS_RosettaLoy__M3_...jpg