Search results for "neri oxman"
Highlights from ACADIA's 36th conference at MIT
Disciplines & Disruption
A preview of ACADIA 2017, where disciplinary boundaries are blurred
Disciplines & Disruption
Thomas Heatherwick wins the ACADIA Design Excellence Award for 2017
Reactions to a Complex World
Experience fear and love in London's new Design Museum, courtesy Sam Jacob Studio
When the new Design Museum in Kensington Gardens, London opened to the public on the November 24th, many aesthetically astute Brits flocked to the new "palace of culture." There they found the post-war (landmarked) relic, originally designed for the Commonwealth Institute by Robert Matthew Johnson-Marshall & Partners and opened by Queen Elizabeth II in 1962, reincarnated and open once again. However, despite director of the museum Deyan Sudjic recruiting the likes of John Pawson and OMA for the renovation, the reaction to the $104 million museum has been mixed. The exhibitions inside, though, have enjoyed a much warmer reception. The inaugural exhibit, Fear And Love: Reactions to a Complex World features exhibition design by Sam Jacob Studio and eleven diverse installations from the likes of Andrés Jaque, Neri Oxman, and OMA/AMO.
“To design the first show at the new Design Museum was both an honor and a challenge—a way to mark a new era in London’s design culture," said Jacob. "The subject of Fear and Love was always more of a mood than a statement. Our design attempts to embody this ambivalence in a way that adds mystery and imagination.”
The London-based designer has employed a 623-foot-long pleated felt curtain that articulates the installation spaces and acts as a fluid circulatory device as it meanders through the rectangular exhibition area. With breaks interspersed throughout the curtain trail, views across and into each of the installations are created, opening up what would be tight corners to form a coherent space.
While this material carries warmth with it on its journey through Fear And Love, the use of gray translucent PVC bares the opposite (and perhaps even hints at love in another sense). Working with graphic designers OK-RM, signage within Fear And Love displays information on a series of freestanding, bent steel frames of which have been given a protective, passivated finish, giving a modern and iridescent look. This aesthetic is furthered through a neon two-way mirror totem that displays the words "FEAR" and "LOVE" to those passing by the exhibition inside the museum.
Justin McGuirk, curator of Fear And Love and chief curator at the Design Museum, said: “Sam Jacob Studio’s exhibition design was central to setting the mood of Fear and Love: it creates a dream-like space that, in the most elegant way, heightens the sense of uncertainty that the exhibition explores.”Meanwhile, Chloë Leen, who spearheaded the project for Sam Jacob Studio commented: “It has been a great privilege to work with 11 designers at the forefront of shaping contemporary practice. Our design creates a unifying experience, choreographing these varied complex ideas and installations, while the spaces and moods of the exhibition design give each a distinct quality. This duality was at the heart of the de-sign challenge that the museum’s curatorial position presented.” Fear and Love runs through April 23, 2017.
Our AIA Convention 2016 reader
- Denise Scott Brown on the unknown history of architecture and planning at the University of Pennsylvania
- The challenge of preserving architectural heritage in Philadephia
- (Re)Working Architecture (May 20) at the AIA Convention 2016
- A new future for Old City: Vision2026 puts Philadelphians, not tourists, first
- Vanna Venturi House to be preserved by new buyer
- The National Park Service releases guide to the cultural landscapes of Philadelphia
- SHoP and West 8 reveal plans for Philadelphia “Innovation Neighbrhood” at Drexel University
- Does Snøhetta’s design for a new library at Temple University spell the end of books?
- Neri Oxman, the Architecture League of New York Emerging Voices Winner
- The American Institute of Architects has chosen ten firms for the 2016 Housing Awards -
- Here’s how Morris Adjmi’s ghostly aluminum carbon copy of a warehouse in Tribeca is shaping up -
- How landscape architects Nelson Byrd Woltz are building a “soil sandwich” to keep plants from cooking at Hudson Yards’ rail-yard-topping Public Square -
- SILO AR+D, the Architecture League of New York Emerging Voices Winner
The Architecture League of New York has picked the winners of its annual Emerging Voices Awards. Each the year the League chooses eight practitioners from the United States, Canada, and Mexico through an invited, juried portfolio competition. This year's winners include three firms from Mexico. The rest are based on the East Coast of the U.S. The winners will be giving lectures about their work in New York City throughout the month of March.
Today, there are many ways to become a professional architect, from interning in large practices, to starting your own boutique office, or teaching design in a university or institute. The Israeli, British, and MIT–educated Neri Oxman has chosen this last path as a way into the profession, one she hopes will eventually allow her the opportunity to build. Perhaps the major attraction of the university route (in addition to a regular paycheck) is the chance to focus intently on theoretical and practical design issues and to work collaboratively with students on refining ideas about architecture. Oxman is currently Sony Corporation Career Development Professor and Associate Professor of Media Arts and Sciences at MIT, where she directs a studio engaged in what she calls Material Ecology. It focuses on “computation, fabrication, and matter as inseparable and harmonized dimensions of design.” When the studio started it focused on models taken from nature for their form generation, which allowed them to think of issues like sustainability as integral to design, not as external processes. A tree, Oxman claims, “doesn’t distinguish between its branching patterns, how much water transpires through its leaves and the amount of carbon dioxide it exchanges with the atmosphere.” Taking this as a model for fabrication gives the studio the conceptual framework to unify computation, digital fabrication, and the material itself as inseparable and harmonized dimensions.
The Material Ecology studio is concerned not just with craft and computation, but also with esthetics. “The moment we generate a choice between beauty and utility is the moment we compromise our calling as designers,” said Oxman. This belief in technology is common in the history of MIT. In the past, the issue of combining design with material was achieved through craft and labor. Digital fabrication allows, in Oxman’s words, the “automation of large-scale geometrically complex and materially sophisticated processes.” As an example of this, she pointed to CNC weaving of carbon-fiber structures or 6-axes variable density concrete printing, which, she said, “combine the ability to tailor material properties inherent in craft with the power of programming and automation in architectural scales.”
All great inventions and great works of art involve a unique way of seeing, perceiving, and expressing the world around us. Oxman’s commitment to digital fabrication is at the heart of “a new age where technique and expression unite.” She happily confirmed that “it is very calm inside the eye of the storm; there is stillness inside a revolution. You can’t afford to miss it even if this means you’re going to have to wait a while before you can build a skyscraper.” Fortunately, the digital images of Oxman’s projects are a joy to behold, so we do not have to wait for her to build with bricks and mortar.