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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: 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: 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
  • 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: 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: 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: 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: 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: 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: 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: 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
  • 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: 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 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 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
  • 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 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: 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 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: 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 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_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 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: 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: 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: 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: 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 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: 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: 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 />
<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_0309.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: 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 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: 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
  • POMPEII, ITALY - 4 APRIL 2013: A plaster body cast is here together with other archeological evidences in a deposit by the forum in Pompeii, Italy, on April 4th, 2013. During the eruption of Mount Vesuviusin 79 AD, the ash lithified before the corpses decayed so that a good mold of the deceased remained. Early in the excavation it was discovered that filling these molds with plaster produced remarkable casts of the victims of the eruption. <br />
<br />
In recent years, a series of collapses at the site have alarmed conservationists, who warn that the ancient Roman city is dangerously exposed to the elements ? and poorly served by the red tape, lack of strategic planning and limited personnel of the site's historically troubled management. <br />
<br />
Pompeii, along with Herculaneum, was buried under 4 to 6 meters (13 to 20 ft) of ash and pumice in the eruption of Mount Vesuvius in 79 AD. After its initial discovery in 1599, Pompeii was rediscovered as the result of intentional excavations in 1748 by the Spanish military engineer Rocque Joaquin de Alcubierre.<br />
<br />
Pompeii is an UNESCO World Heritage Site and one of the most popular tourist attractions of Italy, with approximately 2.5 million visitors every year.<br />
<br />
Gianni Cipriano for The New York Times
    CIPG_20130404_NYT_Pompei__MG_4774.jpg
  • POMPEII, ITALY - 4 APRIL 2013: A plaster body cast is shown in the Stabian Baths, in Pompeii, Italy, on April 4th, 2013. During the eruption of Mount Vesuviusin 79 AD, the ash lithified before the corpses decayed so that a good mold of the deceased remained. Early in the excavation it was discovered that filling these molds with plaster produced remarkable casts of the victims of the eruption. ..In recent years, a series of collapses at the site have alarmed conservationists, who warn that the ancient Roman city is dangerously exposed to the elements ? and poorly served by the red tape, lack of strategic planning and limited personnel of the site's historically troubled management. ..Pompeii, along with Herculaneum, was buried under 4 to 6 meters (13 to 20 ft) of ash and pumice in the eruption of Mount Vesuvius in 79 AD. After its initial discovery in 1599, Pompeii was rediscovered as the result of intentional excavations in 1748 by the Spanish military engineer Rocque Joaquin de Alcubierre...Pompeii is an UNESCO World Heritage Site and one of the most popular tourist attractions of Italy, with approximately 2.5 million visitors every year...Gianni Cipriano for The New York Times
    CIPG_20130404_NYT_Pompei__MG_4289.jpg
  • POMPEII, ITALY - 4 APRIL 2013: Tourists observe a plaster body cast shown in the Stabian Baths, in Pompeii, Italy, on April 4th, 2013. During the eruption of Mount Vesuviusin 79 AD, the ash lithified before the corpses decayed so that a good mold of the deceased remained. Early in the excavation it was discovered that filling these molds with plaster produced remarkable casts of the victims of the eruption. ..In recent years, a series of collapses at the site have alarmed conservationists, who warn that the ancient Roman city is dangerously exposed to the elements ? and poorly served by the red tape, lack of strategic planning and limited personnel of the site's historically troubled management. ..Pompeii, along with Herculaneum, was buried under 4 to 6 meters (13 to 20 ft) of ash and pumice in the eruption of Mount Vesuvius in 79 AD. After its initial discovery in 1599, Pompeii was rediscovered as the result of intentional excavations in 1748 by the Spanish military engineer Rocque Joaquin de Alcubierre...Pompeii is an UNESCO World Heritage Site and one of the most popular tourist attractions of Italy, with approximately 2.5 million visitors every year...Gianni Cipriano for The New York Times
    CIPG_20130404_NYT_Pompei__MG_4282.jpg
  • POMPEII, ITALY - 4 APRIL 2013: A tourist observes a plaster body cast shown in the Stabian Baths, in Pompeii, Italy, on April 4th, 2013. During the eruption of Mount Vesuviusin 79 AD, the ash lithified before the corpses decayed so that a good mold of the deceased remained. Early in the excavation it was discovered that filling these molds with plaster produced remarkable casts of the victims of the eruption. ..In recent years, a series of collapses at the site have alarmed conservationists, who warn that the ancient Roman city is dangerously exposed to the elements ? and poorly served by the red tape, lack of strategic planning and limited personnel of the site's historically troubled management. ..Pompeii, along with Herculaneum, was buried under 4 to 6 meters (13 to 20 ft) of ash and pumice in the eruption of Mount Vesuvius in 79 AD. After its initial discovery in 1599, Pompeii was rediscovered as the result of intentional excavations in 1748 by the Spanish military engineer Rocque Joaquin de Alcubierre...Pompeii is an UNESCO World Heritage Site and one of the most popular tourist attractions of Italy, with approximately 2.5 million visitors every year...Gianni Cipriano for The New York Times
    CIPG_20130404_NYT_Pompei__MG_4270.jpg
  • LECCE, ITALY - 15 DECEMBER 2021: at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-085...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (R-L) Chef Floriano Pellegrino (31) and head chef Isabella Poti (26) pose for a portrait here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-107...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino (31) is seen here in front of covers and promotional deals here at the office at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-099...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Covers and promotional deals are seen here framed on the wall of the office at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-098...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino (31) crosses a mat reading “Welcome to Brosland,” here at the entrance of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-090...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: "Oyster, Black Truffle", one of the 13 courses of the tasting menu, is ready to be served at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-090...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A chef prepares pasta with garlic, rancid oil and hot chili peppers here in the kitchen of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-073...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A waiter aligns chairs in the dining room before the first customers walk in at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-047...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Floriano Pellegrino (31), chef and founder of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, gives a pat on the back to each team member of his restaurant, as they walk towards the restaurant for the beginning of their shift, in Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-044...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: The team at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, gathers in the research kitchen in front of the chef and founder Floriano Pellegrino before the beginning of their shift in Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-033...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (L-R) Chef Floriano Pellegrino (31) and head chef Isabella Poti (26) are seen here by Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-021...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Floriano Pellegrino (31), chef and founder of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, shows photos of dishes under conceptual watchwords in his research kitchen in Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-015...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Floriano Pellegrino (31), chef and founder of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, is seen here by a board with photos under conceptual watchwords in his research kitchen in Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-013...jpg
  • TORRE DEL GRECO, ITALY - 13 JULY 2016: Plaster casts and carving tools used for cameo carving are seen here in the laboratory of the "Francesco Degni" Artistic High School, founded in 1878 and historically known as the "Scuola del Corallo" (Coral School), in Torre del Greco, Italy, on July 13th 2016. Since 2009, the Artistic High School hosts the Museo del Corallo (Coral Museum).<br />
<br />
Amedeo Scognamiglio learned the art of carving of cameos at the age of 16 years old in his father’s company (M+M Scognamiglio), continuing an artistic manufacturing tradition of a six generations family of coral and cameo manufacturers dating back to the early 1800s in Torre del Greco, a town at the foot of Mount Vesuvius, Italy. Amedeo’s design philosophy aims at a contemporary approach to the ancient art of cameo making, through alternative materials, unexpected ideas and smile-triggering designs. In 2001, Amedeo Scognamiglio partnered with his long-time childhood friend Roberto Faraone Mennella to create a fine jewelry line called Faraone Mennella by R.F.M.A.S. Group.The designer duo created a line that brings together the quality and craftsmanship of fine Italian jewelry to the world of fashion accessories. In 2006, the opening of AMEDEO, a Boutique on the chic Upper East Side in NYC, dedicated to the Designer’s vision of Cameos, and followed shortly after by another opening in Capri, Italy.
    CIPG_20160713_INYT-Camei_5M3_7605.jpg
  • Rosarno, Italy - 31 August, 2012: A truck selling religious and pagan plaster statues is here on the main street of Rosano, Italy, a mafia stronghold on August 31, 2012. <br />
<br />
Rosarno is an agricultural area best known for the violent race riots that erupted here in January 2010. and for being a hotbed of the 'Ndrangheta, a Mafia-type criminal organisation based in Calabria. The local 'Ndrangheta dominates the fruit and vegetable businesses in the area, according to Francesco Forgione, a former head of Italy's parliamentary Antimafia Commission. In December 2008, the entire town council was dissolved on orders from the central government and replaced by a prefectoral commissioner because it had been infiltrated by 'Ndrangheta members and their known associates.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120831_NYT_Calabria__MG_9034.jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino (31) poses for a portrait here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-115...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino (31) poses for a portrait here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-113...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Head chef Isabella Poti (26) poses for a portrait here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-111...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Head chef Isabella Poti (26) poses for a portrait here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-110...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (R-L) Chef Floriano Pellegrino (31) and head chef Isabella Poti (26) pose for a portrait here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-105...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Waiters serve the last dish of a 13 courses tasting menu here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-105...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino (31, center) is seen here with his marketing team in the offices of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-095...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (L-R) Head chef Isabella Poti (26) and chef Floriano Pellegrino (31) prepare a cuttlefish with picked artichokes, here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-083...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (L-R) Head chef Isabella Poti (26) and chef Floriano Pellegrino (31) prepare a cuttlefish with picked artichokes, here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-081...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A "Limoniamo" (Let's make out), a citrus palate cleanser  in which diners lick orange foam out of a ceramic mold of the chef’s open mouth, is ready to be served here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-060...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Head chef Isabella Poti (26) slices a clover gelato that will be served as one of the 13 courses of the tasting menu, here in the kitchen at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-059...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Head chef Isabella Poti (26) slices a clover gelato that will be served as one of the 13 courses of the tasting menu, here in the kitchen at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-057...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A waiter checks the progress on the 13 courses menu for two tables, here in the kitchen at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-055...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (R-L) Chef Floriano Pellegrino (31) and head chef Isabella Poti (26) are seen here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-053...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino (31) is seen here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-049...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A waiter prepares sets a table before the first customers walk in at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-048...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A waiter prepares the service as he waits the first customers to walk in at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-047...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Chef Floriano Pellegrino demanded a perfect service as his team huddled and put in their hands shouting “1,2,3. Be Bros”, here at Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-044...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: (R-L) Chef Floriano Pellegrino (31) and head chef Isabella Poti (26) are seen here by Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-027...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Photos of dishes under conceptual watchwords are seen here in the research kitchen of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-010...jpg
  • Herculaneum, Italy - 2 August, 2012:  Marco Biglietto, 37, collaborator restorer of the Herculaneum Conservatoin Project, injects mortar for the preservation of the plaster in the House of Argus in the archeological site of Herculaneum, Italy, on 2 August, 2012. <br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_24.jpg
  • VENICE, ITALY - 31 MAY 2013: A visitor looks at Marco Tirelli's "Senza Titolo" (2013) - mixed media on paper, bronze, wood, plaster, mirror, glass, plasticine, clay, brass and burnt wood -  at the Italian Pavillon, at the Arsenale of the Biennale in Venice, Italy, on May 31st 2013. <br />
<br />
The Italian Pavilion presents vice versa, an ideal journey through Italian art of today,<br />
an itinerary that tells of identities, history and landscapes - real and imaginary - exploring the complexity and layers that characterize the country's artistic vicissitudes. The Italian Pavillon is curated by Bartolomeo Pietromarchi,<br />
who describes the exhibition as, ?A portrait of recent art, read as an atlas of themes and attitudes in dialogue with the historical legacy and current affairs, with both a local and international dimension. A cross-dialogue of correspondences, derivations and differences between acclaimed maestros and artists of later generations". The exhibition is divided into seven spaces - six rooms and a garden - that each house<br />
the work of two artists,<br />
who are brought together on the basis of the affinity of their<br />
respective poetics and common interests in themes, ideas and practices.<br />
<br />
The 55th International Art Exhibition of the Venice Biennale takes place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale as well as in various venues the city. <br />
<br />
Gianni Cipriano for The New York TImes
    CIPG_20130531_NYT_VeniceBiennale__MG...jpg
  • VENICE, ITALY - 31 MAY 2013: Marco Tirelli's "Senza Titolo" (2013) - mixed media on paper, bronze, wood, plaster, mirror, glass, plasticine, clay, brass and burnt wood -  at the Italian Pavillon, at the Arsenale of the Biennale in Venice, Italy, on May 31st 2013. <br />
<br />
The Italian Pavilion presents vice versa, an ideal journey through Italian art of today,<br />
an itinerary that tells of identities, history and landscapes - real and imaginary - exploring the complexity and layers that characterize the country's artistic vicissitudes. The Italian Pavillon is curated by Bartolomeo Pietromarchi,<br />
who describes the exhibition as, ?A portrait of recent art, read as an atlas of themes and attitudes in dialogue with the historical legacy and current affairs, with both a local and international dimension. A cross-dialogue of correspondences, derivations and differences between acclaimed maestros and artists of later generations". The exhibition is divided into seven spaces - six rooms and a garden - that each house<br />
the work of two artists,<br />
who are brought together on the basis of the affinity of their<br />
respective poetics and common interests in themes, ideas and practices.<br />
<br />
The 55th International Art Exhibition of the Venice Biennale takes place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale as well as in various venues the city. <br />
<br />
Gianni Cipriano for The New York TImes
    CIPG_20130531_NYT_VeniceBiennale__MG...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: A chef prepares an "Oyster, Black Truffle", one of the 13 courses of the tasting menu, here in the kitchen of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-089...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Floriano Pellegrino (31), chef and founder of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, is seen here in his company's office in Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-031...jpg
  • VENICE, ITALY - 29 MAY 2013: A detail of "The Cave Painter" (2013) . plaster, wood, foam, synthetic hair, sculpting epoxy, metal, paint, glitter, glass, three overhead projectors on custom-sculpted plinth, photo-collage projection acetates, timer sequencer - is here projected at the Pavillon of Canada, Giardini of the Biennale,  in Venice, Italy, on May 29th 20113. <br />
<br />
With "Music for Silence" the Toronto-based artist Shary Boyle explores ideas of silence, isolation and solutude. "Music for Silence" is a totale re-imagining of Canada's national space, merging imagination and folklore with humanistic, feminist and social concerns. "Music for Silence" showcases the exceptional level of hand-made craft signature to Boyle's practice, in which she works in a range of media including sculpture, drawing, painting and performance. She states: "In conceiving this installation, I thought a lot about the emotional entitlement we afford ourselves when we are moved by a song. I considered experiencing art as on would music; with trust in perception and intelligence of feeling. Each object is a note; building an arc and repeating; suggesting cycles and rythms.<br />
<br />
The 55th International Art Exhibition of the Venice Biennale takes place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale as well as in various venues the city. <br />
<br />
Gianni Cipriano for The New York TImes
    CIPG_20130529_NYT_VeniceBiennale__MG...jpg
  • VENICE, ITALY - 29 MAY 2013: "The Cave Painter" (2013) . plaster, wood, foam, synthetic hair, sculpting epoxy, metal, paint, glitter, glass, three overhead projectors on custom-sculpted plinth, photo-collage projection acetates, timer sequencer - is here projected at the Pavillon of Canada, Giardini of the Biennale,  in Venice, Italy, on May 29th 20113. <br />
<br />
With "Music for Silence" the Toronto-based artist Shary Boyle explores ideas of silence, isolation and solutude. "Music for Silence" is a totale re-imagining of Canada's national space, merging imagination and folklore with humanistic, feminist and social concerns. "Music for Silence" showcases the exceptional level of hand-made craft signature to Boyle's practice, in which she works in a range of media including sculpture, drawing, painting and performance. She states: "In conceiving this installation, I thought a lot about the emotional entitlement we afford ourselves when we are moved by a song. I considered experiencing art as on would music; with trust in perception and intelligence of feeling. Each object is a note; building an arc and repeating; suggesting cycles and rythms.<br />
<br />
The 55th International Art Exhibition of the Venice Biennale takes place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale as well as in various venues the city. <br />
<br />
Gianni Cipriano for The New York TImes
    CIPG_20130529_NYT_VeniceBiennale__MG...jpg
  • VENICE, ITALY - 29 MAY 2013: "The Cave Painter" (2013) . plaster, wood, foam, synthetic hair, sculpting epoxy, metal, paint, glitter, glass, three overhead projectors on custom-sculpted plinth, photo-collage projection acetates, timer sequencer - is here projected at the Pavillon of Canada, Giardini of the Biennale,  in Venice, Italy, on May 29th 20113. <br />
<br />
With "Music for Silence" the Toronto-based artist Shary Boyle explores ideas of silence, isolation and solutude. "Music for Silence" is a totale re-imagining of Canada's national space, merging imagination and folklore with humanistic, feminist and social concerns. "Music for Silence" showcases the exceptional level of hand-made craft signature to Boyle's practice, in which she works in a range of media including sculpture, drawing, painting and performance. She states: "In conceiving this installation, I thought a lot about the emotional entitlement we afford ourselves when we are moved by a song. I considered experiencing art as on would music; with trust in perception and intelligence of feeling. Each object is a note; building an arc and repeating; suggesting cycles and rythms.<br />
<br />
The 55th International Art Exhibition of the Venice Biennale takes place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale as well as in various venues the city. <br />
<br />
Gianni Cipriano for The New York TImes
    CIPG_20130529_NYT_VeniceBiennale__MG...jpg
  • LECCE, ITALY - 15 DECEMBER 2021: Images of head chef Isabella Poti (26, top and bottom) and of chef Floriano Pellegrino (31, center), posing for brands and magazines, are seen here in the office of Bros, the only Michelin-starred restaurant in the southern Italy city of Lecce, Italy, on December 15th 2021.<br />
<br />
Floriano Pellegrino became the most ridiculed chef in the world when a travel blogger’s epically bad review of his restaurant Bros, and its chef’s kiss of a mouth mold, went viral. “There was nothing even close to an actual meal served,” wrote Geraldine DeRuiter on her blog, the Everywherist, in which she reviewed and the derided the only Michelin-starred restaurant in the southern Italy city of Lecce.<br />
<br />
Floriano Pellegrino, the chef at Bros', responded by calling the food "art" in a three-page statement published in full by TODAY food. At the end of the response Pellegrino addressed "Limoniamo", the plaster mold mentioned by DeRuiter in her review:<br />
<br />
“We thank Mrs. XXX — I don’t remember her name — for making us get to where we had not yet arrived. We are out of stock of ‘Limoniamo’, thank you very much.”
    CIPG_20211215_NYT-Bros-Lecce_A73-001...jpg
  • VENICE, ITALY - 29 MAY 2013: "The Cave Painter" (2013) . plaster, wood, foam, synthetic hair, sculpting epoxy, metal, paint, glitter, glass, three overhead projectors on custom-sculpted plinth, photo-collage projection acetates, timer sequencer - is here projected at the Pavillon of Canada, Giardini of the Biennale,  in Venice, Italy, on May 29th 20113. <br />
<br />
With "Music for Silence" the Toronto-based artist Shary Boyle explores ideas of silence, isolation and solutude. "Music for Silence" is a totale re-imagining of Canada's national space, merging imagination and folklore with humanistic, feminist and social concerns. "Music for Silence" showcases the exceptional level of hand-made craft signature to Boyle's practice, in which she works in a range of media including sculpture, drawing, painting and performance. She states: "In conceiving this installation, I thought a lot about the emotional entitlement we afford ourselves when we are moved by a song. I considered experiencing art as on would music; with trust in perception and intelligence of feeling. Each object is a note; building an arc and repeating; suggesting cycles and rythms.<br />
<br />
The 55th International Art Exhibition of the Venice Biennale takes place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale as well as in various venues the city. <br />
<br />
Gianni Cipriano for The New York TImes
    CIPG_20130529_NYT_VeniceBiennale__MG...jpg
  • SUTERA, ITALY - 8 JANUARY 2018: Asylum seekers attend afternoon Italian classes for adults in the elementary school of Sutera, Italy, on January 8th 2018.<br />
<br />
Sutera is an ancient town plastered onto the side of an enormous monolithic rock, topped with a convent, in the middle of the western half of Sicily, about 90 minutes by car south of the Sicilian capital Palermo<br />
Its population fell from 5,000 in 1970 to 1,500 today. In the past 3 years its population has surged  after the local mayor agreed to take in some of the thousands of migrants that have made the dangerous journey from Africa to the Sicily.<br />
<br />
“Sutera was disappearing,” says mayor Giuseppe Grizzanti. “Italians, bound for Germany or England, packed up and left their homes empty. The deaths of inhabitants greatly outnumbered births. Now, thanks to the refugees, we have a chance to revive the city.”<br />
 Through an Italian state-funded project called SPRAR (Protection System for Refugees and Asylum Seekers), which in turn is co-funded by the European Union's Fund for the Integration of non-EU Immigrants, Sutera was given financial and resettlement assistance that was co-ordinated by a local non-profit organization called Girasoli (Sunflowers). Girasoli organizes everything from housing and medical care to Italian lessons and psychological counselling for the new settlers.<br />
The school appears to have been the biggest beneficiary of the refugees’ arrival, which was kept open thanks to the migrants.<br />
Nunzio Vittarello, the coordinator of the E.U. project working for the NGO “I Girasoli" says that there are 50 families in Sutera at the moment.
    CIPG_20180108_LIBERATION-Sutera__M3_...jpg
  • SUTERA, ITALY - 8 JANUARY 2018: in Sutera, Italy, on January 8th 2018.<br />
<br />
Sutera is an ancient town plastered onto the side of an enormous monolithic rock, topped with a convent, in the middle of the western half of Sicily, about 90 minutes by car south of the Sicilian capital Palermo<br />
Its population fell from 5,000 in 1970 to 1,500 today. In the past 3 years its population has surged  after the local mayor agreed to take in some of the thousands of migrants that have made the dangerous journey from Africa to the Sicily.<br />
<br />
“Sutera was disappearing,” says mayor Giuseppe Grizzanti. “Italians, bound for Germany or England, packed up and left their homes empty. The deaths of inhabitants greatly outnumbered births. Now, thanks to the refugees, we have a chance to revive the city.”<br />
 Through an Italian state-funded project called SPRAR (Protection System for Refugees and Asylum Seekers), which in turn is co-funded by the European Union's Fund for the Integration of non-EU Immigrants, Sutera was given financial and resettlement assistance that was co-ordinated by a local non-profit organization called Girasoli (Sunflowers). Girasoli organizes everything from housing and medical care to Italian lessons and psychological counselling for the new settlers.<br />
The school appears to have been the biggest beneficiary of the refugees’ arrival, which was kept open thanks to the migrants.<br />
Nunzio Vittarello, the coordinator of the E.U. project working for the NGO “I Girasoli" says that there are 50 families in Sutera at the moment.
    CIPG_20180108_LIBERATION-Sutera__M3_...jpg
  • SUTERA, ITALY - 8 JANUARY 2018: Images of an illustrated Italian alphabet are seen here in a room of a private home used to teach Italian to adult asylum seekers in Sutera, Italy, on January 8th 2018.<br />
<br />
Sutera is an ancient town plastered onto the side of an enormous monolithic rock, topped with a convent, in the middle of the western half of Sicily, about 90 minutes by car south of the Sicilian capital Palermo<br />
Its population fell from 5,000 in 1970 to 1,500 today. In the past 3 years its population has surged  after the local mayor agreed to take in some of the thousands of migrants that have made the dangerous journey from Africa to the Sicily.<br />
<br />
“Sutera was disappearing,” says mayor Giuseppe Grizzanti. “Italians, bound for Germany or England, packed up and left their homes empty. The deaths of inhabitants greatly outnumbered births. Now, thanks to the refugees, we have a chance to revive the city.”<br />
 Through an Italian state-funded project called SPRAR (Protection System for Refugees and Asylum Seekers), which in turn is co-funded by the European Union's Fund for the Integration of non-EU Immigrants, Sutera was given financial and resettlement assistance that was co-ordinated by a local non-profit organization called Girasoli (Sunflowers). Girasoli organizes everything from housing and medical care to Italian lessons and psychological counselling for the new settlers.<br />
The school appears to have been the biggest beneficiary of the refugees’ arrival, which was kept open thanks to the migrants.<br />
Nunzio Vittarello, the coordinator of the E.U. project working for the NGO “I Girasoli" says that there are 50 families in Sutera at the moment.
    CIPG_20180108_LIBERATION-Sutera__M3_...jpg
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