Traveling Exhibition Design for "Jean-Michel Basquiat King Pleasure ©" Role: Abraham Murrell as Project Lead for Adjaye Associates Client: The Estate of Jean-Michel Basquiat Completed, 2022 For the experiential exhibition, Jean-Michel Basquiat: King Pleasure ©, Adjaye Associates developed a new sustainable methodology for modular construction of temporary, traveling architecture. When approached by the family of Jean-Michel Basquiat, to retell the story of Jean-Michel and rethink methods of exhibition design in a “non-white-wall” exhibition, our first instinct was to do so in a contemporary and sustainable manner. Envisioned as a new paradigm for modular architecture, Adjaye Associates created an entirely wood wall gallery that sequesters carbon, requires less energy usage, and reduces environmental impact (when compared to a baseline white-wall gallery). Adjaye Associates in partnership with Digifabshop and Pentagram developed a wood nail laminated timber panel construction technique for the gallery walls and immersive environments. The exhibition walls comprise of two-foot wide solid wood panels with wooden panel-to-panel splines. Each panel is held together with resin-impregnated beechwood nails, rather than adhesives. The entire 16,000 sf exhibition is comprised of over 52,000 sustainably forested 2x4s of kiln-dried spruce-pine-fir lumber and over 200,000 resin-impregnated Beachwood nails. All stains are waterborne, low in VOC content, and UL Greenguard gold certified. At two feet wide and twelve feet tall, each panel is approximately 150 lbs, and therefore easily lifted by two construction workers, and set within a recycled steel track system. The galleries are lit with LED lighting, which consumes less power than standard incandescent lights and provides a better color rendering index for art. All lighting and AV equipment will travel to future venues with the exhibition architecture. Graphic panels and art labels are made from recycled content (FSC and Greenguard certified) and are manufactured with eco-bind resins, in energy recapturing facilities that produce low volatile organic compounds. The panels are printed using the latest UV technology printers that cure inks with LED lamps rather than energy-intensive UV lamps, requiring ten times less energy. All graphic inks are aqueous or use eco solvents that also produce low VOCs. The circular design of King Pleasure investigates the full lifecycle of building materials and their Impact over an assumed eight exhibitions. After just one exhibition, JMB: KP has a material impact carbon footprint of 35 tonnes of CO2, compared to the 56 tonnes of CO2 of a baseline scenario. While using less embodied carbon, and adhesives in con- construction, sustainably forested timber also sequesters 95 tonnes CO2. In either case, 92-94% of the environmental impact (in kg CO2) is generated in the manufacturing of the exhibition. As the exhibition moves, the circular design only needs to be deconstructed, transported, and reconstructed, while the baseline case requires new manufacturing as well as waste disposal. While the circular design does have a carbon footprint for the transportation of wall panels, the total carbon footprint is roughly one-quarter that of the baseline after just eight lifecycles. This proportion would continue to reduce as the exhibition continues on. While the baseline design produces 454 tonnes of CO2 in eight life cycles, JMB: KP produces just 128 tonnes. This is a reduction of carbon emissions equivalent to the annual CO2 of 48 us households. Over eight exhibitions due to the circular design of King Pleasure, the exhibition reduces embodied carbon by 70% (this assumes reuse for eight lifecycles, but increases with additional lifecycles) when compared to the baseline design and increases biogenic carbon sequestration by 60,000 kg CO2. In short, as long as the exhibition stays in use, it sequesters 2.5 times as much carbon as was emitted During its initial fabrication.