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Playa Ball

The ORB, Bjarke Ingels's floating silver sphere, rises at Burning Man
Fans of large metallic spheres rejoice: The ORB rises. Despite not meeting their crowdfunding goal, Bjarke Ingels and Jakob Lange of Bjarke Ingels Group have successfully created their installation at this year's Burning Man festival in Black Rock City, Nevada. The pair launched an Indiegogo campaign earlier this summer with a goal of raising $50,000 for the project. At the time of writing this article, the pair had raised $34,251 pledged from 127 backers.

#Burningman artists impress. #burningman2018

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AN spotted the ball in Burning Man's official Youtube live stream of the event. The stream peers around the site of the event, known as the Playa to festival-goers, who are also known as Burners. Jakob Lange posted a construction image of The ORB last week to his Instagram account, but neither architect has released official imagery of the project. Burning Man is a temporary event in the Nevada desert where thousands of participants camp, build temporary structures, and engage in various activities of a psychedelic nature. In recent years Burning Man has become synonymous with Silicon Valley and the way in which counter-cultural experiences can be commodified as expensive entertainment. Basic tickets to the week-long festival cost upwards of $300. According to the architects, The ORB will be "a new planet to sci-fi fans, a wayfinder for travelers or just a huge disco ball to those who love a good party!" Although it appears to float above the ground, the 83-foot sphere is held up by a 105-foot steel mast. Renderings and prototype studies showed a mirrored metallic surface to the object, although in the live stream it appears to be either duller or covered in desert dust. The structure will be up during the festival this week, when it will be presumably be dismantled or destroyed along with the rest of the festival's structures.
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Also See The Wojnarowicz Show

Latinx artists explore modern architecture and indigenous space at the Whitney
The Whitney Museum exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art displays seven Latinx artists’ responses to the built environment through construction, land, and space. Curator Marcela Guerrero has brought together 80 recent works and site-specific installations by William Cordova, Livia Corona Benjamín, Jorge González, Guadalupe Maravilla, Claudia Peña Salinas, Ronny Quevedo, and Clarissa Tossin. The works display a wide range of references, from adaptations of pre-Columbian temples to migration routes. The title iincludes three words in Quechua, the most common indigenous language spoken today in the Americas. Each has multiple meanings: Pacha is the universe, time, space, nature, world; llaqta, place, country, community, town; and wasichay, to build or construct a house. Clarissa Tossin’s video, Ch’u Mayaa (Maya Blue) (2017), was shot at Frank Lloyd Wright’s Hollyhock House in Los Angeles. Tossin moves figures around the temple-like forms to a soundtrack of body sounds and pre-Columbian flutes while demonstrating the performative, ceremonial nature of Mayan (and Mayan revival) architecture. Tossin’s sculptures that surround the video are inspired by reliefs at the nearby Mayan Theater by Mexican artist Francisco Cornejo that referenced both Central America and Hollywood film productions. Ronny Quevedo’s father was a professional soccer player in Ecuador, and his Orders of Magnitude (desde Qoricancha) (2018), Errant Globe (2015), and Ulama, Ule, Olé (2012) use sports themes (here, ulama, a ball game) with imagery of a gym floor, ball courts, and constellations arranged in “maps.” Gold leaf refers to Spanish colonial invaders and is used to render migratory patterns visible, including his own; Quevedo’s family relocated from Ecuador to New York. In her photogram series, Infinite Rewrite (2018), Livia Corona Benjamín features Mexican grain silos or graneros del pueblo (silos for the people) built during the Compañía Nacional de Subsistencias Populares initiative from 1965-1999. A prototype design by architect Pedro Ramirez Vázquez could be built by farmers with local materials. However, the 4,000 silos that were built were abandoned, and the project ended in failure. These photos, made with multiple exposures that fracture the image almost like mosaics, show how the structures have since been adapted for other purposes: schools, churches, motels. In the gallery, the installation uses 12-foot-tall walls and a floor plan that echoes both the silos’ conical shapes and cruciform plazas. Ayacabo Guarocoel (2018) by Jorge Gonzalez combined Modernism and Puerto Rican Taino (indigenous Caribbean) vernacular in this site-specific installation of a full-height windowed gallery looking eastward. The accordion roof is the mid-century element while the walls are enea (cattail) and dried clay, used in bohíos (huts) and in furniture. He has also made benches specifically for the exhibition. Another site-specific installation sits on the outdoor fifth-floor terrace called huaca (sacred geometries) (2018), by William Cordova, and uses wood with a stainless-steel gate. It references Huaca Huantille, a temple from the Ichma culture (1100–1400 AD) in Peru that predates the Inca. Before it became an official heritage site in 2001, the temple was claimed by squatters who improvised shelters out of scaffolding (the artist grew up nearby). Seen from the balconies above, you can see why Cordova calls it a “non-monument.” Claudia Peña Salinas’s installation—composed of Cueyatl (2017), Tlaloc MNA (2018), Chalchiuhtlicue MNA (2018) and more—refers to and reinterprets archeological objects at the National Anthropology Museum in Mexico City. The layout is based on the mythical Aztec paradise of Tlacocan. Together, these artworks form provocative insights and interpretations of the architectural landscape and cultural heritage across Mesoamerica and offer tantalizing insights into the contemporary power of indigenous work. Pacha, Llaqta, Washichay: Indigenous Space, Modern Architecture, New Art will run at the Whitney through September 30, 2018.
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Data, Algorithms, and Robots

Zaha Hadid Architects exhibit presents promise and peril of parametric design
  To the late Zaha Hadid, “math was like sketching.” Since her death, this attitude to architecture and design has been continued by her firm, ZHA, chiefly through ZHCODE, a computation and design research offshoot set up in 2007, the work of which is currently on display at The Building Centre in London. Borrowing theorist Mario Carpo’s terminology, the exhibition at The Building Centre is titled Digital Turn and showcases ZHCODE’s methods and ideas while exploring how digital tools have changed our ways of making and thinking. This is the second of two in a series of exhibitions. Earlier in the year, Digital Turn had showcased the academic work of The Bartlett’s Design Computation LabDigital Turn is divided into two parts: tectonism and semiotics. The former looks at the structure and geometry of digital fabrication, while the latter examines the physical results of this and its relationship to various contexts. This setup essentially translates into parametric design versus algorithm and data-driven urbanism. Visitors to the gallery are welcomed by full-scale white EPS foam offcuts, called "foam grottos." The undulating formwork, made from robotic hot wire cutting, is indicative of ZHA’s sinuous style and serves as a threshold to the exhibition space while being a cue for what is to come. "ZHCODE have been a perfect fit for the show; they are a research team within a professional practice so the narrative worked well, offering a mix of live projects and theoretical ideas," a spokesperson for The Building Center told The Architect's Newspaper. "Inspiring exhibits such as Thallus and the Mathematics Gallery at the Science Museum initially caught our attention, and in conversation with ZHCODE we realized we could display a range of ideas not yet exhibited." Part of the exhibition is dedicated to the recently completed Winton Gallery at London’s Science Museum. Building on the work of Frei Otto, ZHA’s studies into the “minimal surfaces” of 3-D objects informed the design, with a triangle-based pyramid being “reduced” (read: imploded) to a curvaceous hanging module which served as a circulation device, as shown in image at the top of the page. Wile nonetheless interesting and insightful, some physical design aspects of Digital Turn feel as if they belong in the past, in a similar vein to the most recent ZHA projects which still feel like a vision of the future from the 1990s. Robotic hot wire cutting has been around for more than two decades and though it has advanced, it’s hardly a groundbreaking fabrication method. One wonders if the visionary British-Iraqi architect were still alive, how the studio would have moved on. In response to this, The Building Center said that "parametricism isn’t the focus of the show…We also wanted to understand what was next from the practice that coined this term." Showcasing the Winton Gallery, however, also reveals how parametric design does more than just produce fancy curves. It also serves as an organizational tool. The aforementioned floating module was used in tandem with a circulation strategy derived from the airflow around a biplane. Naturally, this airflow diagram produced countless curves, but it also allowed ZHCODE to produce massing studies for objects in the gallery that align with it. This kind of design process has also been scaled by ZHA in urban studies that derive from an algorithmic input. In one example, a computer program located potential infill sites in London, identifying “end of block” plots of land, or sites that can be found at the edges of tower blocks. As a result, it proposed that housing be built on these underutilized areas. Another notable example is an exploration into modular housing. By using a uniform lattice structure, residents can customize their dual-aspect unit’s facades, adding balconies or changing the window type in the process. It’s basically Alejandro Aravena’s half houses scheme but for the wealthy. And it’s that latter notion which, when coupled with derisory remarks from the current head of ZHA, Patrik Schumacher, on social housing and desire to privatize cities, leaves a bitter taste in the mouth. Furthermore, the often overtly abstract nature of parametric architecture, an architecture reserved for museums, corporate headquarters, luxury hotels, and extravagant condominiums, doesn't counter this sense of elitism either. A welcome palate cleanser can be found in another exhibition at The Building Center from Royal College graduate Hannah Rozenberg, who won this year's Student Prize for Innovation. Her book, Building Without Bias: An Architectural Language for the Post-Binary illustrates how artificial intelligence isn’t always right and is even sometimes racist, as demonstrated by Microsoft’s "Tay" bot which ended up making racist, misogynistic, and genocidal remarks on Twitter. If a Twitter bot can do that, who’s to say an urban planning bot wouldn’t start redlining?  Does Digital Turn subsequently highlight that, while parametric design may be an incredibly useful design tool for both making and thinking, its urbanistic potential is something to be wary of?  The Building Center responded to this. "ZHCODE’s algorithmic design work on display in Digital Turn showcases the most advanced algorithmic design taking place today," it said. "For example, the computational study series exploring housing liveability measures shows how advanced algorithmic methods of design generate a formal outcome that guarantees multiple desired conditions are synthesized in a single solution to a particular site. The digital design method therefore provides the designer/architect with sophisticated options to site-specific problems.

"Still far from an autonomous design bot, relinquished of the architect's control, the project showcases the potential of algorithmic design. Hannah’s work recognizes the importance of these methods, but highlights that we are at a juncture where we need a robust analytical response to ensure we design and build our future for everyone."

Digital Turn  On view through September 14 The Built Environment Trust's RCA Student Prize for Innovation On view through August 29 The Building Centre Store Street London, U.K.
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Skyline Timeline

History of the New York City skyline comes alive in new exhibit
A new exhibit at The Skyscraper Museum in New York City traces the evolution of the city's skyline from the 19th century to the present day and into plans for the future. With a mix of archival photography, interactive graphics, models, and drawings, the exhibit breaks down the skyline's history into distinct eras and traces the various influences that have shaped the city. In the exhibit, the history of the city's buildings becomes a lens through which to view the history of the city, and even the country, as a whole. Technological innovations like the elevator and electric lighting are given form as buildings become radically taller and bigger, visible indications of radical changes in the way city dwellers lived. Other forces, like the rise of building setback codes and the later creation of privately-owned public spaces (POPS), are illustrated with detailed models and explanations of figures like Hugh Ferris and others who have permanently changed skyscraper design in New York and around the world. Highlights of the show include extremely detailed photos from the early 20th century and panoramas that track the skyline's evolution over more than a century. The exhibit shows how New York City, with a vertical cityscape unlike almost any other in the world, actually reflects global trends and innovations as much as it charts its own course. Photographs in the show bring to life the city's past as a mid-rise port for steamships and schooners in stunning detail. It's almost possible to count the bricks on some 1876 views. The show follows the city into the glass-and-steel postwar period and charts the rise of new supertalls in midtown. Current and future projects are put into context by comparing them to the designs and technology of their predecessors. Without explicitly praising or criticizing any developments, the show presents change simply as an inevitable part of the life of the city. SKYLINE Open through January 2019 The Skyscraper Museum 39 Battery Place New York, New York, 10280
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Thinly Veiled

Thinness pavilion stretches concrete to its limits
Syracuse-based APTUM Architecture has designed and fabricated Thinness, an ultra-light concrete pavilion in collaboration with international concrete manufacturer Cemex Global R&D. Concrete is one of the most ubiquitous construction materials in the world. Its advantages are many: it's easy to produce, is remarkably strong, and can take on a variety of forms. It does, however, have one rather weighty constraint: it's heavy. Thinness is an experiment in using contemporary and historical casting methods to create novel forms that stretch concrete to its thinnest and lightest proportions while maintaining structural integrity. The installation uses its shape and a proprietary concrete mix that includes glass beads for aggregate and steel fibers to create a freestanding structure with walls that are only three-quarters-of-an-inch thick. The perforated pavilion, a collection of 12 exterior columns arranged around four central light wells, was designed to be modular and scalable. The columns taper at the base and expand as they rise, vaulting to form a ring of arches. Although the installation is ten feet tall and ten feet long on each side, each column weighs only 200 pounds. Architects Julie Larsen, Assoc. AIA, and Roger Hubeli, founding partners of APTUM and professors at Syracuse University, sought to explore “thinness” and the role of volume in architecture. In collaboration with the research and development department at Cemex, based near Monterrey, Mexico, the team was able to develop a fiber-reinforced concrete mixture that would evenly distribute around the form’s sharp corners without clumping and weakening the structure. Grasshopper was used to map the stress across each column, and the perforations were made smaller or eliminated in the most heavily stressed areas to help distribute the load more evenly. The team ran through different pattern iterations looking for the correct balance between load-bearing ability, aesthetics, and amount of void before settling on the final grid. The columns were cast using the lost-wax technique. First, a silicon mold was cut using a water jet, and then braced in a steel enclosure to protect against bowing as the concrete cured. Wax was then poured into the mold to form a freestanding column; the silicon formwork was then removed, and concrete was poured over the wax. Once the concrete was fully cured, the wax was melted and the process was repeated for the remaining components. Thinness is just the first step in what Aptum sees as a collaborative, interdisciplinary future between academia and concrete manufacturers. In the future, APTUM wants to scale up the technology behind Thinness to encompass structural elements and has released a rendering of a speculative skyscraper made from the same components. Thinness was recognized with a citation in the AIA’s 12th Annual R+D Awards this year. The project was also on display at the Designing Material Innovation exhibition presented by the California College of the Arts earlier this year. Design Firm: Aptum Architecture, Syracuse, N.Y., Roger Hubeli, Julie Larsen, Assoc. AIA (project team) Industry Partner: Cemex Global R&D, Davide Zampini, Alexandre Guerini, Jeremy Esser, Matthew Meyers (project team) Fabricator: Cemex Global R&D Structural Engineer: Sinéad Mac Namar Research Assistants: Sean Morgan, Ethan Schafer
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Top Models

London gallery show explores the role of models in design
Prototypes and Experiments, the latest exhibition in a series of shows in its tenth year at the Aram Gallery of London, showcases physical models by internationally-renowned names like Mary Duggan Architects and Adjaye Associates, alongside emerging practices like HASA Architects and vPPR Architects. The show will display models of a range of types, from finely detailed presentation pieces to study models and abstracted constructions that evoke the feeling of a space. The exhibition looks critically into the model’s role in the creative process. The gallery asked each exhibitor to present the design process of one particular project and write a commentary explaining the intentions of each exercise and its relation to the final product. London-based design and architecture studio PUP is one of the exhibitors, displaying models from their H-VAC project, which won the inaugural Antepavilion competition in 2017. H-VAC features a snaking linear form that serves as both rooftop ducting and air handling plant. On view at Prototypes and Experiments is a stick model that explores the structure of the sculptural form, as well as a facade study model that illustrates the reversible Tetra-Pak shingles clad on the exterior. Interdisciplinary practice HASA Architects will also participate with their Lone Lane project, which is what they're calling a "contemporary replacement building” for a demolished warehouse. The attention to brickwork is shown in the facade model on view. In a massing model the brickwork is abstracted but the openings and apertures are well detailed. In a stair model the cast stairs are painted in gold to highlight the circulation. The Aram Gallery is an independent gallery directed by Zeev Aram focused on contemporary design. The exhibition is curated by Riya Patel. Architecture Prototypes & Experiments 2 August - 1 September 2018 The Aram Gallery 110 Drury Lane, Covent Garden, London, WC2B 5SG +44 (0207 557 7526)
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Made Manifesta

Review: Manifesta 12 is the real deal
Manifesta 12’s The Planetary Garden. Cultivating Coexistence, which opened on June 16 in Palermo, Sicily, is a sprawling and at times fragmented series of venues and events. But unlike other art and architecture biennials whose main purpose is to deliver trends, Manifesta 12 is the real thing. This is an exhibition that’s been hardwired into the city’s fabric, and while undeniably the city of Palermo completely upstages the Manifesta exhibition, this must have been the prime intention of the curatorial team from the start. Manifesta 12 is Palermo, and therefore the exhibition is a diagram to explore the city and to discover some of the most fascinating and haunting architectural spaces anywhere in the European-Mediterranean region. It is precisely this urban-based formula that the Dutch-based Manifesta “franchise” is best known for, and therefore the impressive success of this exhibition has much to do with the way the curators have been able to weave their fertile themes into the city’s fabric. There is art, there is architecture, and there is the city. Given how much there would be to cover in a review of this size, I will try to present some of the biennial’s bolder highlights. Much of the credit for Manifesta’s achievements is thanks to OMA’s partner Ippolito Pestellini Laparelli who led the curatorial team. Laparelli succeeds in cracking Palermo’s urban code, precisely because he trains his lens on Palermo’s convoluted urban fabric, its magnificent cardo and decumanus, the overgrown gardens, the abandoned urban masterplans, and melancholic housing estates. As Laparelli notes in the opening introduction to OMA’s Palermo Atlas, “the Biennial’s thematic and geographic organization are intertwined, triggering a journey through the city like a section through anatomy; from the abandoned and derelict heritage of the old town to the failed utopia of the outskirts; from the glorious history of its Gardens to its neglected and toxic coast.” This is especially true of the city and its dramatic relationship to its old town, one of the largest historic city centers in Europe. And yet this impressive segment of the city lies in some kind of lethargic black hole when compared with the adjacent districts of Palermo that grew in the thirties and then expanded exponentially in the sixties. The one constant is the draw of the periphery, which serves as the cash cow for the city’s black economy while the old town lies in neglect and disrepair—a condition the city continued to submit to well into the nineties. In order to better comprehend where Palermo was headed, Manifesta enlisted politicians, local associations, patrons of the arts, and institutions to suggest ways to engage the city, to establish new routes of access, and to generate new kinds of cultural experiences. By and large, it’s a project that has pervaded into different levels of society, and it’s not uncommon on the streets to hear locals discuss Manifesta’s merits or problems. And there are viable results: Massimo Valsecchi and his wife Francesca have made it their mission to restore the magnificent Palazzo Butera in the heart of the city. Valsecchi, whom I spoke with during Manifesta’s opening, saw the renovation of Palazzo Butera as a stopgap measure, a way to decisively reengage the city’s historic axis by reasserting the building’s role as both palatial seawall and monumental gateway to the ancient city. For what turns out to be the price of a single Gerhard Richter painting, the purchase of Palazzo Butera by these important Lombard contemporary art collectors could impact the city’s future. But for now, the palace’s impressive interior renovation, in preserved ruin style, frames Manifesta’s verdant exhibition Garden of Flows. Not far from Palazzo Butera one can enter the historic Botanical Gardens, another destination in the procession of Garden of Flows, to become entangled in the rhizomatic plant cultivations. Much of the same could be said about another architectural monument, Palazzo Forcella de Seta, an old bastion with a casino built above it from the 17th century. It’s aligned perpendicularly with the seafront and is just as mesmerizing a stage for this exhibition. This Moorish-influenced venue is one of the spaces around the city that are assembled together and are “Out of Control,” along with the Palazzo Ajutamicristo where we are confronted with projects investigating different conditions on immigration, data, and identity. There are projects by Forensic Architecture’s offshoot, Forensic Oceanography, where they investigate the militarized control of the Mediterranean, and Tania Bruguera’s look at the Mobile User Objective System, known as MUOS, the cordoned off American base in southeastern Sicily directing remote drone warfare. But it’s the urban conundrum that remains most compelling, and beyond the layers of 16th, 17th, and 18th century buildings, streetscapes, and gardens. There is also a ponderous stratum of Fascist-era buildings, many in near states of abandon, but all intriguing for what they once represented in the time of Fascistization when Sicily’s mafia was subjugated and Mussolini’s regime added its symbolic stamp to the island. One building in particular, the Casa del Mutilato, stands out for its unfinished beauty and troublesome iconography. Designed by the architect Giuseppe Spatrisano in 1939, the modern rationalist style building remains surprisingly intact with most of its original statues, icons, murals, furniture, and memorabilia. Inside its main interior hall is Cristina Lucas’s Unending Lightning, a mapping of the long and fatal history of aerial bombing. There’s also an intervention by Alessandro Petti’s "De-colonizing Architecture” developed by the students attending the Royal Institute of Art in Stockholm. Their workshop and symposium, “The Afterlife of Colonial-Fascist Architecture,” featured a scissor lift that extended up into the open dome of the central courtyard, inserted there to disrupt the building’s regimented spatial order. When I asked Petti about their intentions, he responded by saying: "With the re-emergence of today’s fascist ideologies in Europe–and the arrival of populations from north and east Africa–we have had to ask ourselves: how do the material traces of the Italian empire today acquire different meanings in the context of migration from the ex-colonies?” This point is especially onerous because not much inside this building has changed since its opening, and the building still features the original Fascist era maps of Eritrea, Ethiopia, and Somalia. Petti went on to note: “We have had to ask who has the right to reuse this fascist colonial building? Shouldn’t people arriving today from these countries that suffered fascist colonial occupation have the right to re-inhabit these kind of buildings?” But it doesn’t end here. Post-war Palermo continues to be fraught with good architectural intentions gone sour. Nothing encapsulates this urban dilemma more than ZEN (Zona Espansione Nord), a public housing expanse from the late sixties designed by Vittorio Gregotti with a team that included Franco Purini. Like many of these largescale mass housing projects built from this era, ZEN’s reputation belies its origins. According to an interview with Purini from 1998, the strength of this project was in its desire to replicate regional territorial characteristics, specifically the fenced citrus groves found all around the area. Purini, who would go on to develop the master plan for earthquake-devastated Nuovo Gibellina, recalled Gregotti’s close relationship with the Sicilian publisher Sellerio, who sought to ground Gregotti in the island’s local building culture, which resulted in the project’s unusual compactness. Evidently, the project stripped of its amenities was doomed to failure. But here is where Gilles Clément, author of The Third Landscape and guru behind Manifesta’s Planetary Garden concept, is making a significant comeback, precisely in these original disaffected groves. To get the perfect overview of Palermo, one can make his or her way up to the top of the peak Pizzo Sella, where the group Rotor has transformed one of the many unfinished and illegal private homes, basically a concrete frame into a spectacular viewing platform. Manifesta 12 is worth the time and the space. Some might worry it prefigures a wave of gentrification that will certainly kill all that is so enchanting about this city: the entropic streets and gardens, the ruined palaces, the many multi-cultural public spaces, polyvalent cuisines, and the sublime beauty of the city. But I don’t think so, or not just yet given the unusual political direction the city is taking under its current mayor. Leoluca Orlando, a veteran of previous campaigns against the Mafia, sees a bright future for the city in welcoming new immigrants. Palermo should not be considered a European peripheral city, but rather the center of the greater Mediterranean region: Sicily is at the crossroads of Africa, the Middle East, and the Ionian islands with a centuries-old history of multi-ethnicism and multi-culturalism. I see Palermo as an alternative model for living, outside the tired economies and nationalistic concerns of an older Europe. It will be interesting to see if Manifesta 13 will keep this kind of critical edge when it lands in Marseille in 2020. Manifesta 12’s The Planetary Garden. Cultivating Coexistence is curated by Ippolito Pestellini Laparelli, Mirjam Varadinis, Andrés Jaque, Bregtje van der Haak and is on view through November 4.
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Down Where It's Wetter

Artist Mel Chin addresses climate change with virtual reality underwater world in Times Square
This summer, visitors to Times Square can take in an underwater virtual reality experience, courtesy of the North Carolina-based conceptual artist Mel Chin and technology giant Microsoft. The site-specific mixed-reality public art installation titled Unmoored will come to life from July 11 through September 5. Chin tackles the topic of climate change, imagining a future where melting ice caps cause the city to go underwater. As visitors look through VR goggles, they can see a 'nautical traffic jam' of 3-D modeled ships, each with their own unique identification number and name. Ships move slowly in the city, bumping into each other and buildings, creating waves rendered by realistic animation and sound effects. Visitors can also view Wake, another public artwork by Chin, which “evokes the hull of a shipwreck crossed with the skeletal remains of marine mammals,” beside a sculpture of the 19th century opera singer Jenny Lind. Chin chose New York City as the site for the word because it represents the center of trade, entertainment, and capitalism for the country. Its history is loaded with topics that resonate today, like guns and slavery. The USS Nightingale, which was historically involved with the shipping of slaves, is digitally recreated in the Unmoored experience. The installations are part of an exhibition titled Mel Chin: All Over the Place, presented with the Queens Museum of Art and NYC-based, nonprofit arts organization No Longer Empty in various sites around New York. Times Square visitors can view the show through mobile devices via Unmoored’s mobile app, which is now available for download and use. Check this link for more details.
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The Rest Is Still Unwritten

Bookshelves for unwritten books on display at the Storefront for Art and Architecture
The Vito Acconci- and Steven Holl-designed rotating facade panels of the Storefront for Art and Architecture have been retrofitted with bookshelves filled with unwritten books for a new exhibition titled Architecture Books / Yet to Be Written, now on view through August 25. The installation is designed by New York-based practice Abruzzo Bodziak Architects (ABA) and is part of the New York Architecture Book Fair, a new initiative from the Storefront. The shelves are made of painted MDF, and will hold book covers and titles of books “that we should have written, but that we never did, and books yet to be written, that we still should,” according to a statement from the Storefront. The initiative named Yet to be Written was launched to start discussions about the opportunities missed by architects and architectural theorists. The exhibition starts with mostly empty shelves. The shelves gradually fill up as "non-profit organizations, students, independent publishers, creative collectives and gallery visitors” nominate books to the Storefront. Check out this link for more details.
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Steeling the Show

Virginia Overton’s site-specific work at Socrates Sculpture Park rethinks raw construction materials
Sculptor Virginia Overton often transforms chunky construction materials into dynamic pieces of art. In her latest show, Built, she uses steel and wood to explore issues of labor, economics, and the land in contemporary society. Now on view at Socrates Sculpture Park in Long Island City, Queens, the exhibition punctuates the waterfront site with large-scale artworks that evoke the industrial past and creative potential of the site. The show’s curator, Socrates’s Director of Exhibitions Jess Wilcox, said Overton’s display not only unveils the artist’s ability to rethink and iterate ordinary objects, it showcases her pragmatic and collaborative relationship to the setting in which she works. “She was interested in working in metal and engaging with the history of metalworking here in the park,” said Wilcox. “She’s site-responsive rather than site-specific in her work because she’s willing to have her ideas evolve when pieces and materials move in an organic way.” As the first female artist to exhibit a solo collection at Socrates, the Williamsburg-based sculptor spent several months riding the ferry to Astoria to study the park and see how visitors interacted with the objects scattered throughout. For her own exhibition, which opened in May, Overton created each piece on site and situated them strategically in the green space to reveal unique perspectives of the Queens waterfront and the Manhattan skyline. Many of the sculptures contain circular forms that act as unexpected viewfinders and feature nature-inspired elements that contrast with the overall industrial aesthetic. Overton took a silver-sprayed Dodge Ram and placed an elegant aquatic feature and fountain in its elongated truck bed. She also suspended an unfinished wooden beam from steel trusses and turned it into an old-fashioned swing set. An upright rectangular structure outlined in steel displays the shapes and colors of various brass, aluminum, and copper steel pipes.  The largest piece on site, a 40-by-18-foot, crystal-shaped sculpture, took the longest to configure and was built from architectural truss systems and angle irons. Dubbed 'The Gem', its seemingly heavy form cantilevers over the ground at an effortless slant, giving viewers framed views of the park through its faceted core. Pieces like this offer a new role to the support structures that often go unseen within a building’s construction. According to Wilcox, Overton’s site-responsive sculptures most importantly tie into the greater role Socrates Sculpture Park plays in New York as a former industrial site-turned-recreational space. They speak to the park as part of two larger ecosystems—its function as the physical land adjacent to the East River Estuary and its social component as an alternative arts institution in Queens. The Nashville-native’s work often conveys undertones of her rural upbringing, which easily translates to places like this that have undergone significant evolution since the industrial era. With Built, Overton not only nods to the evolution of these geographic locations, but also the way in which her iterated objects can evolve and be redefined with time. “I think architects will notice more than other viewers how she takes the basic elements of building blocks of construction and reorients them to create something totally new,” said Wilcox. “Seeing the world through Virginia’s eyes is like having your eyes being reoriented towards the world.” Built is on view through September 3 at Socrates Sculpture Park at 32-01 Vernon Boulevard, Long Island City, Queens. Admission is free and open to the public.  
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World of Whimsy

Postmodernism comes back to life in vivid color at the Soane Museum in London
A new exhibition devoted to postmodern British architecture is designed to spark a revival of interest in the movement. The exhibition titled The Return of the Past: Postmodernism in British Architecture is now showing at Sir John Soane’s Museum in London through August 26. The exhibition will display a selection of important works by some of the country’s most prominent architects such as Terry Farrell, CZWG, Sir Jeremy and Fenella Dixon, John Outram, and James Stirling. Their works emerged as part of the postmodern movement, which was a reaction against the confining modernist style used in designing many British towns and cities at the time. Postmodernist architecture generally emphasized the reconnection of architecture to the past through “ornament, materials, form or typology,” according to a statement from the Soane Museum. The SIS building designed by Terry Farrell houses the headquarters of Britain’s foreign intelligence agency Secret Intelligence Service MI6. Located on the bank of the River Thames in central London, the cascading building looks like a fortress, finished with a cream-colored facade and green-tinted windows. Another highlight is a project for 200 Queen Victoria Street for Rosehaugh-Stanhope Developers by John Outram. Although unbuilt, its signature image, featuring oversized Greco-Roman columns, chinoiserie posts, mosaic patterns, turbine flourishes, and fantastical additions make it a shining example of the movement's style. CZWG’s work is also celebrated in the exhibition. Cascades is a twenty-story apartment building located on the Isle of Dogs in London. Its design offered an alternative appearance to the high rise typology. According to CWZG, the “Pharaonic references” signify the high-reaching ambition of the construction, making it a postmodernist centerpiece. China Wharf is also a significant piece by the same firm. The building combines functionalism and aesthetics. The scalloped wall “is used to twist windows, both towards the rising sun and away from the neighbors directly across the courtyard,” according to the designers. As part of a regeneration scheme for the London Docklands, the building includes a pastiche of stylistic references such as naval and pagoda motifs. “Postmodern architecture in Britain is frequently written-off as an expression of 1980s Thatcherism and still little understood. We conceived this exhibition to set the record straight and reveal this period as one of such amazing creativity and innovation that can hold its own with any moment in British architecture history,” said Owen Hopkins, Senior Curator at Soane. “Full of color, ingenuity, and exuberance, the exhibition will also show the serious intellectual basis that underlay a movement whose legacy still shapes how we create and understand architecture today.” The organizers of the exhibition hope to renew attention to postmodern buildings in the U.K. Later this year, Historic England, the public body that looks after England’s historic environment, will launch a project to assess postmodern buildings for listing.
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Cut and Paste

The visionary paper cities of artist Bodys Isek Kingelez come to life at the MoMA
Upon arriving at the Congolese artist Bodys Isek Kingelez’s City Dreams retrospective at the Museum of Modern Art (MoMA)—the first full retrospective for him or any other African artist at the museum—there is a feeling of ascension. Having climbed many floors to get here, one reaches a room where humans hover over the cities and look down, not up, into the buildings, windows and boulevards. The viewers look like gods around a creation, but Kingelez’s work decidedly belongs in the kingdom of this earth. His “extreme maquettes,” as he referred to the ornate buildings and cities he constructed, are all units of a larger project that demonstrates the desire for a harmonious future among all peoples; beauty and grace as a reflection of this harmony; and a rejection of the violence commonplace in the immediate post-colonial era, a legacy of the country’s rule under the brutal Kingdom of Belgium. “I’m dreaming cities of peace,” he explained. “I’d like to help the earth above all.” In his Project Pour le Kinshasa du Troisième Millénaire, a re-envisioning of Kinshasa, “police and prisons do not exist.” It was, in essence, the cosmopolitan post-independence vision of the era. Kingelez’s, however, extended beyond dreams of self-rule, asserting a seat at the table for the African imagination of what was possible in the new, truly free world. Bodys Isek Kingelez was born Jean Baptiste on August 27, 1948 in the town of Kimbembele Ihunga in what was then the Belgian Congo. At the age of 22, after receiving his high school diploma, he left for Kinshasa, the capital city. There, he studied economics and an assortment of other subjects like industrial design at the University of Lovanium (now Kinshasa). “I came from a traditional village where everyday I used to watch the men making masks or working at the forge,” Kingelez explained of the mysterious origins of his craftsmanship. “There was no need to learn, then, what I used to see all the time.” Remarkably, he didn't travel outside Zaire (now the Democratic Republic of Congo) until 1989, and so had never interacted up close with architectural design in other countries. Undoubtedly, however, the colonial Belgian Art Deco buildings that lined the streets of Kinshasa and the eccentric palaces (including a pagoda) constructed around the country by ruler Mobutu Sese Seko indubitably seeped into his sense of aesthetics. His first maquette, he recalls, came to him in a dream one night. Feeling “compelled” by the revelation, he made the work under its direction. Throughout his life, his process was similar. First the title came to him. Then the vision to make it, which “gives me all I need, even the shape and colors.” On one such instance, in 1978, he showed the result of his work, Musee National, made from simple tools like paper, glue, scissors, and razors, to the Institut des Musées Nationaux du Zaire. The museum staffers doubted Kingelez could build a work of such sophistication and challenged him to make another work on site, leading to his Commissariat Atomique. The impressed museum hired him to become a “technicien restaurateur” of historical artifacts. The experience of working with invaluable abstract art traditional sculptures left a mark on Kingelez, who confessed “the ruined statues led me to the pinnacle of my skills” Like these African masks of old, the maquettes aim not to depict reality but act as a record of a time and the ideas and the imagination that marked that time. In Kinshasa, Kingelez absorbed elements of the national movement for African authenticity. It is under the aegis of this movement that we see Leopoldville become Kinshasa, the Congo river and the nation, Zaire. As a former Commissioner of National Orientation put it, it was a movement based on reaching into the past to find traditional elements “which adapt themselves well to modern life, those which encourage progress, and those which create a way of life and thought which are essentially ours.” A self-described “favored poet of his traditional sources,” one can imagine very clearly the figure of Kingelez hidden away in his studio in Kinshasa, hovering over a project with tweezers in hand, moving the hitherto possible around and making way for the impossible. But, like his previous work in the museums on African masks of old, Kingelez’s project was a restorative one. Having himself traveled from the village to the city and later the metropole, his work rejected hierarchies and the geographic isolation of the human experience. Instead, it collapsed the time between an African past and a future where no societies were more advanced than others. His 1994 work Kimbembele Ihunga, a reimagining of his home village, represented a “concrete imaginative leap” and “a real bridge between world civilizations of the past, present and future.” Filled with skyscrapers and tree-lined streets, the boulevards provide “pleasant, easy access to all parts of the town.” A stadium named after himself, “Stade Kingelez,” sits in one corner of the town, and in front of the town center stands a monument of a man holding a book who “simply represents the intellectual heritage of common sense and good manners which belongs to multicultural people.” “People flock here,” he said, “because the wind blows in off the sea and the mountains, refreshing its complex beauty in which all the heightened colors join forces consistently to create an environment where everyone can feel at home.” The town and dream of it was not one he would ever live in, but one which lived in him. Multiculturalism is paramount in Kingelez’s work, and we see it not only in the foreign design present in some of his Congolese maquettes, but also in the maquettes dedicated to places, like the outstanding purple and yellow Mongolique Sovietique (1989), in Palais d’Hirochima (1991) whose tiered, raised buildings are inspired by a real imperial palace with paper lanterns suspended between buildings, and Céntrale Palestinienne (1993). His New Manhattan, built a year after the attack on the World Trade Center, is a take on the Manhattan skyline with a third tower filled with water whose “cooling effect will prevent any bombs from exploding.” In insisting on a world crafted for peace, Kingelez, who died three years ago, challenged our imagination to consider what this would require. His work, he insisted, was as much a “gauntlet thrown down to professional artists” as a prodding of our “ability to create a new world.” With salvaged materials like colored paper, scissors, and glue, the self-anointed “prophet of African art” constructed dream cities and a universe of peace, equality, and equity for all. Surely today, with better instruments, we can reflect on his vision and fulfill it down here on earth. Bodys Isek Kingelez: City Dreams The Museum of Modern Art (MoMA) On view through January 1, 2019