Jorge Otero-Pailos
| Jorge Otero-Pailos | |
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Otero-Pailos speaking at Columbia University, 2015
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| Born | 27 October 1971 Madrid, Spain |
| Nationality | Spanish |
| Alma mater | Cornell University (B. Arch, 1994, M. AUD 1995) |
| Occupation | Architect |
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Jorge Otero-Pailos (born 27 October 1971) is an architect, artist, preservationist, theorist and educator, commonly associated with experimental preservation and the journal Future Anterior. He is best known for his “The Ethics of Dust” ongoing series of artworks derived from the cleaning of monuments, which was exhibited at the 53rd Venice Biennale. He is Associate Professor of Historic Preservation at Columbia University Graduate School of Architecture, Planning and Preservation (Columbia GSAPP).
Jorge Otero-Pailos was born in Madrid, the only son of Justo Otero, a landscape painter and forestry engineer, and María Jesús Pailos, a computer scientist. His early childhood was marked by international travel to historic sites, facilitated by his mother’s employment by Iberia Airlines, and Spain’s transition from dictatorship to democracy, which made it easier for Spaniards to go abroad. He attended the Lycée Français de Madrid, an international secular school in a country where Catholic education was the norm. His father taught him painting. In 1985, Otero-Pailos traveled to the United States through a study abroad program, and was a foreign exchange student at Barrington High School, a suburb of Chicago, Illinois, where his art teacher introduced him to Frank Lloyd Wright, and encouraged him to study architecture.
Otero-Pailos received a Bachelors of Architecture (1994) and a Masters of Urban Design (1995) from Cornell University College of Architecture, Art, and Planning, where he was awarded the Richmond Harold Shreve Award for best graduate thesis. He studied design with the Texas Rangers (architects) Colin Rowe, John Shaw, and Lee Hodgden, and studied theory with art historian Hal Foster, who introduced him to psychoanalytic theory, and became a pupil of philosopher Susan Buck-Morss, who trained him in Critical Theory. In 1991, he founded the student journal Submission, to advance theoretical discourse within the school. Together with fellow students Alfonso D’Onofrio and Jess Mullen-Carey, he conceived and directed the public television series V.E.T.V. (Visual Evangelist Tele Vision), which explored the relationship between architecture, broadcasting and digital media. V.E.T.V. featured surrealist scenes acted by fellow students and narrated by Otero-Pailos, spliced between interviews with Mark Jarzombek, Rem Koolhaas, Mark Wigley, Susan Buck-Morss, and others.
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