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Expo-presentation

Who's missing from this AIA Conference promo video? (Hint: It's not men)
Usually I speed past ads on social media as quickly as possible without breaking my infinite scroll, but when I saw the video ad for the AIA Conference on Architecture 2018 pop up, I was curious to see what the all-knowing algorithms had deemed worthy of my consumption. I expected a standard promotional video highlighting familiar New York City landmarks mixed in with information about conference dates, parties, keynotes–all that good stuff. Something to get me excited about what the AIA describes as the “architecture and design event of the year!” The video is only one minute long. It’s a lighthearted, fast-paced overview of exciting things to come. But it is also a visual, visceral reminder of the status quo of architecture in the United States. Here’s the video. For those of you who cannot view it, a summary of key scenes will follow, with a general description of those present in these scenes. I’ve assumed the genders of the people in the video. At 11 seconds: shot of the Expo floor, approximately 14 cisgender men. Cisgender (or simply "cis") denotes a person whose gender identity corresponds with their birth sex. At 12 seconds: shot of the Expo floor, 1 cis man. At 14 seconds: shots of a panel consisting of 3 cis men and 1 cis woman. The woman’s gender expression, which refers to her appearance in this case, is masculine. At 21 seconds: scene of 5 cis women exercising in a park. At 45 seconds: 2 cis women sitting in front of the Whitney Museum. Did you catch it? A total of at least 18 cis men are shown attending the Conference, while only one cis woman makes a fleeting appearance on a panel (where she is outnumbered by three cis men). No women are shown on the Expo floor otherwise. When cis women do show up, there are only 7 of them, and they are represented as mere consumers of architectural designs by cis men. They’re leisurely exercising at Four Freedoms Park on Roosevelt Island, designed by Louis Kahn, and enjoying the view out in front of the Whitney Museum designed by Renzo Piano. The numbers are telling: roughly 70 percent of people in the ad are cis men, while only 30 percent are cis women. 100 percent of the cis men are depicted as architects. 0 percent of the cis women are. Let’s face it: this advertisement mirrors architecture’s long-running and notorious gender diversity problem. According to Equity by Design, the organization formerly known as The Missing 32%, in the United States, cis women represent less than 50 percent of students graduating from accredited architecture programs, and the number of cis women who are AIA members, licensed architects, and senior leadership fluctuates between 15 to 18 percent of the total. The data gathered from their surveys in 2014 and 2016 confirm what we already know about the architecture profession: women and non-binary people (those who do not identify as male or female) are pushed out of the profession at certain points in their careers, and decision-making power is still largely in the hands of cis men.   What does a one-minute video have to do with it? The AIA is aware of its gender diversity problem and, to the Institute’s credit, has been hammering away at it for several years. In 2011, the AIA Diversity Council was formed to confront issues such as the shortage of minority representation in leadership roles, unconscious bias, and sexual discrimination. In 2014, architectural organizations conducted an industry-wide study, Diversity in the Profession of Architecture, which highlighted the gross disparities in the field and the urgent need for a profession that more accurately reflects the demographics of our nation. The results led the AIA to issue a call to action by ratifying Resolution 15:1,“Equity in Architecture,” at the 2015 AIA National Convention. The resolution established the Equity in Architecture Commission. In 2017, the Commission released a report with five “keystone” areas of focus: leadership development; firm and workplace studio culture; excellence in architecture; education and career development; and, last but certainly not least, marketing, branding, public awareness, and outreach. This video, then, is part of the fifth “keystone” area of focus identified by the Equity in Architecture Commission. But the AIA seems to have lost its focus on working toward equity in this arena. Given all of the time, energy, and institutional power that has been invested in increasing gender equity in architecture, this ad betrays the AIA’s appalling lack of intention and commitment to doing the necessary work that the Equity in Architecture Commission recommends. This is disappointing for an organization that has extensive data on its own gender diversity problem and is keenly aware of its own representation to the public. The way architects are portrayed reveals a disturbing image of how the profession views itself. I understand that representation in an AIA Conference ad is not likely to affect gender diversity in architecture. Change doesn’t happen overnight, much less through algorithmically-placed adverts. But this ad does have a real effect on how women and non-binary people (like me!) feel about our inclusion within the architectural profession. Watching the video made me feel invisible, as though I’m not a real architect and I’m not invited to the conference. Barely seeing any women in represented in the ad was a shocking, surreal experience. During my second viewing, I was acutely aware of the implicit message: even if I do attend the conference, people like me don’t visit the Expo floor. I recalled attending the 2016 AIA Convention in Philadelphia and feeling wildly out of place. I could feel my hope for a better, more inclusive experience at A’18 drain away as the messaging sank in. The AIA, despite all of its efforts and good intentions, should do better. As a historically (and currently) cis male-dominated profession, the structure for supporting architects who are not cis men is severely lacking. Women and non-binary people face professional and academic settings that are hostile towards their career advancements. We receive messages in so many ways that we should not be architects. Just last year, a group of more than 50 architectural professionals wrote a letter to the Architect’s Newspaper imploring the AIA to reevaluate their keynote speakers (6 out of 7 were cis men; one was a cis woman and not an architect). We need a cultural change in architecture that also goes beyond representation.The architects who are honored by the AIA and other organizations merely reinforce dominant, patriarchal power structures. When will the five keystones for equity in architecture become a serious priority? When will architectural education become accessible enough to reflect the gender and racial diversity of the country? When will women and non-binary people finally feel represented and welcome at all stages of their architectural careers? I’m tired of having the same diversity and inclusion conversations. We have announced ourselves and have been speaking out. The future of the architectural profession lies in how well it welcomes the next generation. The next generation is here, but we don’t see ourselves reflected and seen. We need you to do better. See you on the Expo floor. A.L. Hu is an architectural designer, organizer, and activist living in New York City.
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Pirelli Believe It

Breuer's Pirelli Tire Building will be reborn as a hotel
One of Marcel Breuer's two New Haven, Connecticut buildings will be preserved and converted into a hotel. When it was finished in 1969, researchers and administrators at Armstrong Rubber worked out of the company's Pirelli Tire Building, a Brutalist structure whose office tower core is bisected by beguiling angled windows. The building—vacant since the 1990s—is now owned by IKEA and sits aside a store parking lot. IKEA is in talks with a developer to convert the I-95-adjacent concrete building into a hotel, the New Haven Independent reported. AN IKEA spokesperson told the paper that the company hasn't gone public with its plans for the structure yet. The conversion scheme were revealed at a meeting of the city's development commission. Breuer's work is enjoying a strong revival, thanks in part to renewed popular interest in Brutalism. In Atlanta, city officials are looking to revamp the Breuer-designed main library, while back in 2016, the Metropolitan Museum of Art restored the Whitney's former home and re-christened it the Met Breuer. (H/T NHVmod and Docomomo US)
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Manitoga Party

Russel Wright's renovated Manitoga shines with hand-crafted details
In 1942, the industrial designer Russel Wright and his wife, Mary Small Einstein, purchased a 75-acre abandoned stone quarry in Garrison, New York, on the eastern side of the Hudson River. The wooded site has a spectacular view down to the river, and Wright lived on the property until his death in 1976. He chose a dramatic spot above and adjacent to the deep stone quarry to build a home he called Dragon Rock, and spent the rest of his life refining and redesigning the terrain. For example, he redirected a stream to fill the quarry with water, creating an idyllic swimming pond.     The house itself, designed by the architect David L. Leavitt, is a straightforward midcentury-modern glass-and-wood-frame structure tucked into the steep stone hillside with an early green roof, but it is in its details, surfaces, and wall treatments that one can sense Wright’s creative genius as a designer. He found iron tools and large stones in the quarry and used them as door handles. The house has a distinctive Japanese sensibility in its handcrafted details and choice of materials. We examine nine of Wright’s handmade details in order to better understand the famous designer. The house, now called Manitoga, The Russel Wright Design Center, is open for public tours May 18 to November 12. Check visitmanitoga.org for details.
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Subterranean Homesick Alien

Gordon Matta-Clark’s legacy comes home to roost in the Bronx
Disclaimer: AN is the media partner for Gordon Matta-Clark: Anarchitect The Bronx Museum of the ArtsGordon Matta-Clark: Anarchitect is sprawling, playfully curated, free to enter, and well suited for display in the borough that inspired so much of the artist’s work. Showcasing over one hundred of Matta-Clark’s pieces, the exhibition features films, prints, sculptures, and a series of interactive dialogues. Matta-Clark’s art, centered on a ravaged New York City in the 1970s, gains power when viewed in the proper historical context. As abandoned properties were torn down across the Bronx and crime rates soared, residents felt disempowered; Jonathan Mahler famously wrote that the city was in the middle of "fiscal and spiritual crisis." Trained as an architect, Matta-Clark lashed out at gentrification, economic stratification, and the physical divisions caused by capitalism in the ways that he knew best. A founding member of Anarchitecture, a group that criticized the excesses of architecture, Matta-Clark’s work frequently critiqued the historical destruction caused by modernist architecture as an outgrowth of capitalism. The show’s organizers are no strangers to the material. Antonio Sergio Bessa, writer, poet, curator, and the Bronx Museum’s director of curatorial and educational programs, partnered with Jessamyn Fiore, the co-director of the Estate of Gordon Matta-Clark and frequent exhibitor of his work, for Anarchitect. Anarchitect may be a linear show, but that only enhances the experience. Each room progressively builds upon the last, and the importance of Matta-Clark’s reverence for cuts, holes, and site-specific installations and his focus on exposing the hidden reveals itself over time. Following a gradual introduction to the artist’s fascination with negative space, spontaneity, and the emergence of chaos from ordered systems, the show’s layout pushes viewers along an entwined timeline of Matta-Clark’s work and the evolution of his political views. Perhaps the best primer on Matta-Clark’s worldview is the film that visitors must pass through before reaching the main gallery. Substrait, a 1976 consolidation of shorter works, follows the artist and collaborators as they spelunk below the Croton Aqueduct, Grand Central Terminal, the Cathedral of St. John the Divine, and other New York landmarks. Despite the crushing darkness and massive, alien scale of the infrastructure surrounding them, the film emphasizes the essential nature of these spaces. New York, so frequently thought of as a “vertical” city, relies on the horizontal voids below; one guest describes them as the hot arteries of the city, delivering life. Without the foundations, steam systems, and tunnels that deliver clean water, upward expansion would be impossible, much in the same way that the rich rely on the working class “beneath” them. Inside the main gallery space, Bronx Floors sees Matta-Clark’s usage of geometric holes cut in the floors or walls of condemned Bronx buildings to examine the building from angles unintended by their designers. In altering the “ideal” form of the building, Matta-Clark attempted to show Bronx residents that they could reclaim some form of control over the built environment, even as the city was indifferently tearing it down around them. The contrast of horizontal and vertical is repeated here, as holes intersect with “established” doorways and windows, giving viewers the impression of seeing from a mystical, impossible viewpoint. Wrapping the edges of the exhibit are rarely seen black-and-white prints of the artist’s graffiti photography, many of which he colored by hand after developing. The placement is a neat trick, and creates an interior-exterior contrast that enhances the message; the graffiti, like the voids they surround, were used to reclaim slivers of a city that seemed actively hostile to its poorest residents. The most monumental of Matta-Clark’s work is saved for last, as the final room contains photos, diagrams and large-scale projections of both Conical Intersect and Day’s End, presented back to back with emphasis on the connection between both projects. Conical Intersect, one of Matta-Clark’s most famous works, saw Anarchitecture carving a conical hole through a pair of abandoned 17th-century buildings in Paris, with the rising Centre Georges Pompidou as a backdrop. Through stitched-together panoramic photos, viewers are able to understand both the massive scale of the carvings, as well as the specifically constructed views they afforded. This protest against historical destruction in light of France’s drive for “urban renewal” drew obvious parallels with development in New York. Realized the same year as Conical Intersect (and part of the reason Matta-Clark fled to France in the first place) and placed next to it, Day’s End saw the artist cutting massive holes in an abandoned warehouse on the Hudson pier. Envisioned as a “sun-and-water temple,” Matta-Clark’s attempt at reclaiming an unused plot of land as a public park was adaptive reuse before the term went mainstream, guerrilla urbanism done literally under threat of arrest, meant to expose the hypocrisy of keeping the waterfront inaccessible to the public. Now, over 40 years later, the Whitney Museum is resurrecting an ethereal version of the project to float over the Hudson River. At the end of Anarchitect, one faces a troubling truth. Although the Bronx’s fortunes have improved since the 1970s, artists and politicians are still debating how to address the same issues of inequality and urban policy failures that Matta-Clark sought to highlight. As New York enacts urban renewal programs in an effort to curb an affordable housing crisis, and homelessness rises to historic levels, Anarchitect’s look back at the city’s troubled past is startlingly relevant. Gordon Matta-Clark: Anarchitect The Bronx Museum of the Arts 1040 Grand Concourse Through April 8, 2018
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Seeing and Believing

Leandro Erlich's uncanny work now on view at Tokyo's Mori Art Museum
It is a wise old adage that the better the architecture, the harder it is to photograph. The same could be said of installation art: the spatial, immersive, physical experience of the building or environment is impossible to capture in imagery, one has to be there with one’s own body, and all one’s senses, to feel its real resonance. This is particularly true of the art of Leandro Erlich, the Argentinian master of metaphysical trompe l’oeil whose work is among the most photographed, but yet it cannot be fully enjoyed, or even just understood, by images alone. Erlich is already a superstar in Japan, so it makes complete sense that his first major retrospective, the most complete exhibition of his oeuvre, should take place at the Mori Art Museum, Tokyo’s most prestigious contemporary art center. The show, Leandro Erlich: Seeing and Believing, is already a jam-packed mega-hit, with a projected total of 400,000 visitors by the time it closes, appropriately, on April Fool’s Day 2018. Most visitors take photographs, yet even as the circulation of images on social media reflects the success of contemporary exhibitions today, it is difficult to genuinely experience Erlich’s works through Instagram (or through reading a review like this one). For example, the last and most dramatic work of the show, Building, appears entirely dependent upon photography. First created in 2004, the work depicts a classic Parisian apartment block laid out on the floor, and visitors are encouraged to strike poses and disport themselves on the facades while a giant angled overhead mirror reflects them in defiance of all gravity. At the beginning of the show, the Mori Museum provided special photographers to take pictures for visitors on the work, as obviously they could not otherwise capture themselves in action. These images serve as the successful culmination to the show, proof of participation and obligatory digital souvenir. As the title of the exhibition makes clear, however, you really have to see Building yourself, and enjoy the actual physical interaction for it to mean anything, to transcend Photoshop trickery and move beyond the flat photographic plane. The Mori is an appropriate venue for Erlich because all his work is predicated around ‘architecture’ in the widest sense, the profession practiced by both his father and brother, which he himself extends into ambiguous, ambitious zones of the ‘reflective’ and uncanny, somewhere between Piranesi, Dan Graham, and M.C. Escher. The Mori was created by a great lover of architecture, indeed the very next exhibition at his museum is Japan in Architecture. This was the eponymous Minoru Mori who, as one of Tokyo’s most successful builder-developers, also created the most important private collection of works by his hero Le Corbusier, some of whose paintings are on display at his Ark Hills Club. For his Tower, famous for the best observation deck over the entire city, Mori chose retail architect Jon Jerde, (who collector Steve Wynn called "the Bernini of our time"), a designer whose practice could be profitably compared to that of Leandro Erlich. Indeed Jerde, who spoke about himself as a place-maker or a creator of experiences rather than a builder of buildings, could almost be describing Erlich’s work when he stated that his own work "[put] people in a popular and collective environment in which they can be most truly and happily alive." For people are indeed clearly happy, vocally alive, as they move through Erich’s lavish exhibition, enjoying one surprise after the other, a quite literal buzz of disbelief and delight at each mind-boggling encounter. Here no expense has been spared, with each work built just for this show and each given sufficient room to breathe, properly separated from the next. There is also a new work specifically made for this occasion, The Classroom, where thanks to a sheet of ultra-reflective glass, visitors find themselves, or their ghostly echo, sitting in the middle of a typical Japanese school from their youth. Another highlight in a show which is nothing but highlights, is Changing Rooms which are exactly that, an extensive labyrinth of boutique cells, some of whose mirrors turn out to be empty doorways through which one can climb, others of which are actual mirrors, producing the most baffling and exhilarating of journeys as one apparently clambers through oneself. Every architecture student, or indeed amused elder practitioner, should have the chance to experience Erlich’s work, which is the most literal and resonant demonstration of the transformative psychological possibilities of built space. Although he starred in the Whitney Biennial back in 2000, a proper American exhibition is long overdue, ideally with an essay by Anthony Vidler, that fellow wizard of the uncanny. Leandro Erlich: Seeing and Believing, is on view at the Mori Art Museum through April 1. For more information, visit mori.art.museum/en
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Out of the Box

David Zwirner taps Renzo Piano to design new $50 million Chelsea gallery
Art dealer David Zwirner has announced plans for a new, five-story, $50 million gallery to be designed by Renzo Piano. The gallery will rise on a corner lot at 540 West 21st Street that is currently under demolition. The developer is Casco Development, and the gallery will be linked to a 20-story residential tower but stand as a separate structure. The gallery building will be constructed close to Zwirner's current galleries in Chelsea, which includes one on West 19th Street and one on West 20th Street. Zwirner also owns a gallery on the Upper East Side, and is set to expand in Asia, with a gallery opening in Hong Kong on January 25th. Including the West 21st Street gallery, this would bring the total number of his galleries to seven worldwide. Zwirner indicated that after the opening of his new gallery, he would probably close the gallery space on 19th Street, which he rents. As Zwirner told The New York Times, Piano is "one of my great heroes." Zwirner, who previously worked with Annabel Selldorf on his current galleries, also said that Piano was the developer's choice. While Piano is well known for his museum projects, this will be the architect's first commercial gallery. Zwirner is one of the art world's most successful dealers. This five-story building, with three floors dedicated to gallery space, would serve as a kind of calling card and headquarters for his art empire. While the design process is in the early stages, Piano told the Times that his design would emphasize “a visual psychological connection between the building and the street,” as in his design at the Whitney Museum of Art. The news comes as Zwirner prepares for a 25-year anniversary exhibition, opening this weekend on January 13th. The new gallery is scheduled to open in the fall of 2020, with groundbreaking expected sometime this spring.
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City Construct

DPMT7 design collective explores entropy at Cincinnati's Aronoff Center
Work by DPMT7, a Cincinnati-based architecture/design collective, is now on show at The Alice F. and Harris K. Weston Art Gallery in downtown Cincinnati. DPMT7: Un Teatro Del Nuovo fills the gallery with a scaffolding structure and examines the “role of Architecture (“A” for emphasis) in a world of entropy.” The unprogrammed web of frames and lines divides the two-story gallery into smaller intimate spaces. On the lower level, construction scaffolding, safety nets, and other rough materials define the space. “The simplicity of the line moves through the city,” reads the gallery statement, “reinforcing the degradation of the existing without masking it.” The upper level is filled with models of multiple scales, including a set of large columns built from numerous raw construction materials. These elements are augmented by large scale drawings and collages. DPMT7 is a collective based at the University of Cincinnati’s College of Design, Architecture, Art and Planning. Led by Vincent Sansalone, the team also includes Ryan Ball, Kory Beighle, Sean Cottengim, Nicholas Germann, Whitney Hamaker, and Joseph Kinzelman. DPMT7: Un Teatro Del Nuovo Alice F. and Harris K. Weston Art Gallery Aronoff Center for the Arts 650 Walnut Street Cincinnati, Ohio Through August 27th
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LADG

Inside the diverse practice of the Los Angeles Design Group

The offices of the Los Angeles Design Group (LADG) are located on a sleepy street in Venice, California, that even on cloudy days looks a bit sun-bleached. There, a few blocks from the ocean in a diminutive storefront open to the street, one can find Claus Benjamin Freyinger, Andrew Holder, and their small team of designers charting a unique trajectory in what one might call “disciplinary architecture.”

“[Things like] structure are always subordinate to the [disciplinary] agenda we are trying to pursue,” Freyinger said, describing a vibrant grid of project views organized neatly along the main studio wall. He continued, “We are trying to work against the understanding of a building as a collection of integrated systems, one piled on top of the other.” Which is not to say that the firm does not consider structure or systems, but rather that it focuses instead on subverting the all-too-easy tendency those components have of making themselves apparent in the final work. Instead, LADG explodes the building process horizontally and explores each component—drawing, model, and detail—individually, in pursuit of “what happens when each idea develops independently of hierarchy,” as Holder put it.

After 13 years, the firm has produced a compellingly diverse collection of work ranging from installations to interiors to complete structures, swapping disciplinary and professional focus with each project.

The Kid Cambridge, Massachusetts

The Kid Gets out of the Picture, installed at Loeb Library at the Harvard Graduate School of Design in 2016, was developed in concert with architects First Office, Hirsuta, and Laurel Broughton / Andrew Kovacs for Materials & Applications. The contemporary interpretation of an English picturesque garden is based on priest and artist William Gilpin’s travel sketches, which LADG mined for symbolic and literal inspiration in its attempts to explore “topics left unfinished by the picturesque.” With the installation, the designers explored “clumps,” the collections of heterogeneous objects and plants used by picturesque designers to organize their compositions. Here, the designers arrange a collection of plaster-coated, plywood-rib-framed drapery atop wooden-beam and stacked-block bases.

Surefoot Santa Monica  Santa Monica, CA

The interiors for Surefoot Santa Monica are a creative solution for an abstract programmatic challenge: Create a storefront for a shop with no inventory. The ski-boot store acts as a fitting room mostly, where patrons pick out and get sized up for new custom-made ski boots produced off-site. The firm toyed with the formal complexities of lofted and faceted finishes for the project, creating a collection of object-like surfaces that act independently of one another. Gable-shaped plywood display walls—punctuated by boxed-out display cases—hold forth under a billowing plaster tent.

Oyster Gourmet Los Angeles

The Oyster Gourmet is a mechanical kiosk designed to house a champagne and oyster bar in L.A’s Grand Central Market. The structure’s operable walls fold up and down via hand crank, creating an awning for the bar below when fully extended. The structure is made out of plywood ribs, canvas cloth, and steel supports. But the built form of the mollusk-shaped eatery is but one manifestation of the kinetic kiosk—the pink-hued worm's eye axonometric and gray-scale floorplan drawings are also of merit.

Armstrong Avenue Residence Los Angeles

The Armstrong Avenue Residence is a 1,894-square-foot renovation of an existing split-level house in Los Angeles. The charred cedar-clad “upside down house” is organized with a top-floor living room located above an unceremonial set of bedroom, study, and garage spaces. The setup ensures the living areas have the best view of a nearby reservoir, which can also be seen from a cyclopean bedroom window that has been torqued to be in line with the water feature. The inset bay window is mimicked along the back of the house via Marcel Breuer–inspired massing, creating a house that steps out in parallel with the scrubby hillside behind.

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Happy July 4!

America's biggest and best upcoming sports stadiums
There’s nothing more American than sports, so just in time for America's birthday, here’s a look at some of the biggest stadium projects in the works—from the world's most expensive stadium to a celebrity-backed soccer field. Ford Field (Detroit Lions) The Lions’ Ford Field Stadium will be undergoing a $44 million renovation of its interiors in a project led by Detroit-based Rossetti. “Our goal has been to bring the fan experience up to standards and beyond while customizing the design for Detroit,” said Jim Renne, sports principal at Rossetti and lead designer of the original stadium. Banc of California Stadium (Los Angeles Football Club) The 22,000-seat and $250 million stadium for the LAFC is now under construction. Designed by Gensler in a "European-style" arrangement with steeply-raked and sweeping seating areas, the open-air stadium is meant to bring viewers in a closer relationship to the field and players. Oakland Raiders stadium The Oakland Raider's have purchased a 62-acre-site in Las Vegas for their new stadium, which will be designed by Kansas City, Missouri–based Manica Architecture. The stadium, which is expected to cost $77.5 million, will seat up to 65,000 people. The NFL team's move to the new stadium follows two years of drama and they plan to move in 2020, just in time for the start of the season. Quicken Loans Arena (Cleveland Cavaliers) As one of the oldest National Basketball Association (NBA) stadiums in use, the Quicken Loans Arena will get a $140 million refurbishment from SHoP Architects and Rossetti. The new design will see a new glazed facade which stretches the stadium’s footprint closer to the street edge, as well as an increase in space at the entrance and exit gangway areas. “The $140 million transformation, half of which the Cavalier’s will be paying, ensures that this public facility will remain competitive in the future,” Cleveland Mayor Frank Jackson said in a press release. David Beckham's Major League Soccer stadium Soccer star David Beckham is making moves with a Populous-designed, 25-000 seat stadium. What's catching attention, however, is not the celebrity attachment: it's that there won't be parking. Instead, fans are expected to use Metromover, Metrorail, water taxis, ridesharing, and plain-old walking to get to the stadium. LA Rams stadium Once completed in 2019, this stadium will be the world's most expensive, clocking in at a whopping $2.66 billion. Dallas-based HKS designed the new LA Rams stadium with more than 36,000 aluminum panels, which will have 20 million perforations punched into them. The perforations in the metal skin respond to the variable Southern California climate without the need for an HVAC system. This creates an effect of being outside, according to HKS. RFK Stadium In a $500 million vision to revamp the sites around the RFK Memorial Stadium after it's demolished in 2019, Events D.C., the city’s semi-independent convention and sports authority, unveiled plans to build it up with three multi-purpose athletic fields, a 47,000-square-foot food market hall, and a 350,000-square-foot indoor sports complex. “The RFK Stadium Armory-Campus—currently under-utilized—is poised to be transformed into a vibrant place that connects D.C. to the Anacostia River,” OMA partner Jason Long told the Washington Business Journal. Villanova University basketball stadium The university's basketball fans will have a new stadium to cheer on the Wildcats for the 2018-2019 season (in time for March Madness) when the renovation designed by Philadelphia-based EwingCole is completed. There will be a new lobby, concourse, and hall of fame greeting visitors. “It was important to Villanova that we celebrate the uniqueness of The Pavilion while creating an unmatched Division I basketball experience for the players and the fans,” said Bill McCullough, principal of EwingCole’s sports practice, in a prepared statement. The Texas Rangers' new Arlington, Texas ballpark Dallas-based architecture firm HKS has been chosen to design a new ballpark for the Texas Rangers baseball team. The stadium will be constructed as a public-private partnership between the team and the City of Arlington: It will serve as the Rangers’ home field and as a multipurpose arena for high school, college, and international sports. The Portland Timbers' stadium expansion Allied Works Architecture (AWA) has unveiled designs for a $50 million expansion to the 91-year-old soccer stadium in Portland, Oregon’s Providence Park, home to the Portland Timbers and Portland Thorns soccer teams. The stadium expansion, according to information on the AWA website, is conceptually inspired by William Shakespeare’s Globe Theatre in London and will aim to add roughly 4,000 seats to the existing stadium complex.
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Hot Art in Cold Springs

New contemporary Italian art museum opens in Hudson River Valley
Magazzino, a postwar and contemporary Italian art museum, opens June 28, joining the ranks of MASS MoCA, Storm King Art Center, and Dia:Beacon in the Hudson River Valley. The museum will house works collected by Giorgio Spanu and Nancy Olnick, who own one of the largest collections of postwar and contemporary Italian art in the U.S. and have been collecting these works since the 1990s. Featured artists include Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio. The museum itself was 10 years in the making and will feature over 400 artworks from the Olnick Spanu Collection and 5,000 books on Italian art. Magazzino, which means “warehouse” in Italian, is comprised of an old farmers’ warehouse (later turned into a dairy distribution center and then a computer factory) and a new building by Spanish architect Miguel Quismondo. “We said, the new space had one protagonist: The art. [The building] had to be a container that could explain its content,” Spanu said. This is Quismondo’s first major completed project; he worked under Alberto Campo Baeza on Spanu and Olnick’s home in Garrison, New York. He became involved with Magazzino in 2014, but completed construction (doubling as the general contractor) in 20 months, a process that he described as “very intense” but “a labor of love.” The architect mirrored the existing L-shape configuration to create a rectangle with a courtyard in the center, allowing copious light to infiltrate the 20,000-square-foot structure. “The container had to be as discrete and humble and mute as possible, but I still played with the dialogue between the existing 1964 structure and the new 2017 structure. The light works in different ways throughout,” Quismondo explained. Open glass hallways connecting the buildings as well as varied ceiling heights offer visitors moments of compression and expansion. The older works, an homage to Italian curator, collector, and gallery owner Margherita Stein in the inaugural exhibition Margherita Stein: Rebel With a Cause are displayed within the smaller of the two buildings, with lower ceilings and an open layout. The newer works, from the late ‘80s onward, are presented in a much larger room with a central axis running through it. Translucent fiberglass ceiling tiles offer diffused, equal lighting that is akin to the now-famous illumination at the Whitney. Magazzino (2700 Route 9, Cold Spring, NY, 10516) is free to the public by appointment.
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CALDER-ON

Rendering LOL: How architects are absurdly using Calder sculptures
Why do so many architects use Alexander Calder sculptures in their renderings, even when the works have nothing to do with the institution or project depicted? The Calder Foundation has been tracking this phenomenon, and the results are featured in the slideshow above.  A new exhibition at the Whitney Museum in New York explores mobiles—kinetic sculptures in which carefully balanced components reveal their own unique systems of movement—created by American sculptor Alexander Calder from 1930 until 1968, eight years before his death. Running through October 23, the exhibition features almost 40 sculptures, including three that served as models for possible architectural commissions. In addition, Alexander S. C. Rower, who is the sculptor’s grandson and head of the Calder Foundation, will bring one of three motorized maquettes Calder created as proposals for the 1939 New York World’s Fair to the Whitney later this summer for a temporary viewing and activation.
Other Calder works on display that were designed for architectural projects include Octopus and The Helices, both made in 1944 as part of a series of bronze works Calder envisioned as 40-foot monuments and created for an International Style architectural project proposed by Wallace K. Harrison. Interestingly, more recently, many well-established architects have used Calder’s works to illustrate renderings of their own designs, often without the Calder Foundation’s permission. OMA in particular apparently finds Calder’s sculptures perfect for its projects: It used his 1973 Crinkly with a Red Disc, actually in the collection of the Kunstmuseum Stuttgart, in Germany, in its rendering of the Garage Center for Contemporary Culture in Moscow. The rendering for the firm’s Park Grove condos in Miami pilfered Calder’s 1973 Flamingo, which actually sits in Federal Plaza in Chicago, while the rendering for 11th Street Bridge Park in Washington, D.C., by OMA and OLIN, features the same sculpture. Other architectural firms that favor Calder’s works in their renderings include Ateliers Jean Nouvel, whose 53 W. 53rd Street project in Manhattan features Calder’s 1961 Sumac, actually in a private collection. Shigeru Ban Architects used Calder’s 1971 The Eagle, now at the Seattle Art Museum, and his 1972 Trepied rouge et noir in renderings for, respectively, the Tainan Museum of Fine Arts in Taiwan and Mt. Fuji Shizuoka Airport in Japan. Renzo Piano Building Workshop (which designed The Whitney’s current home in Manhattan’s meatpacking district), Diller Scofidio + Renfro, SOM, and Studio Libeskind also find the display of Calder’s works an attractive way to promote their concepts. Calder’s works reside today in some major venues: In addition to the sculptures in Federal Plaza in Chicago and at the Seattle Art Museum, the home of his Five Swords is Storm King Art Center in New Windsor, N.Y. Asked about contemporary architects’ practice of borrowing—to put it politely—images of Calder’s works to illustrate their designs, Rower said that during the artist’s lifetime, Calder was friendly with Mies van der Rohe, Josep Lluís Sert, Le Corbusier, Marcel Breuer and Wallace K. Harrison, and “frenemies” with Frank Lloyd Wright. As the first artist commissioned to make a public sculpture by the General Services Administration, he said Calder was “the obvious go-to for architects designing new buildings or plazas. Given this history, it comes as no surprise to me that, even today, he is the most prolific artist depicted in architectural renderings. His iconic vocabulary is instantly recognizable; thus, contemporary architects use his imagery to suggest the superior qualities of their projects.” “The genius of Calder’s work,” Rower added, “is that it transforms space—and our experience of it—in real time. While his great invention, the mobile, does this in an overt way—performing in front of us and literally embodying movement—Calder’s stabiles (stationary sculptures) imply movement and affect how we encounter surrounding plazas, facades or even natural landscapes. Architects intuitively understand that effect, and are excited by the prospect of how a Calder sculpture can deepen the experience of whatever space they are designing.” “As long as it’s done in a respectful way,” Rower admitted that rendering actual Calder works that have not been manipulated “is gratifying. I’m interested in Calder’s works in architectural mock-ups—allowing me to imagine his sculptures in many different settings and contexts. And it’s rewarding that Calder remains a favorite amongst architects.”
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Well-Balanced

Extensive Alexander Calder exhibition now on display at the Whitney Museum
An extensive exhibition featuring works by Alexander Calder, who renowned for the use of kinetic movement in sculpture, is now on display at New York’s Whitney Museum of American Art. The exhibition, Calder: Hypermobility, offers visitors a rare opportunity to experience the artist’s works as they were meant to be—in motion. Previously, the dynamic pieces of art were thought to be difficult to show in museums and were often left static. The moving pieces of artworks are motorized and wind-propelled, creating a choreography of rotations and unpredictable movements. Some of Calder’s earliest works are on display, including his early motor-driven abstractions and wall panels with suspended active elements, as well as other major examples from his later years. While people could actually touch Calder’s works themselves during his lifetime, the sculptures at this exhibition can only be set in motion by ‘activators,’ people who are trained to handle the delicate pieces. There’s an intrinsic relationship between the art and the city that only a location at the Whitney can offer. The exhibition space on the eighth floor of the Whitney Museum, where the works are on display, opens up to the city and creates a connection between the city and the gallery space. “This is a show that can only happen in New York,” Jay Sanders, curator of performance at the Whitney, said at the press preview, adding that the exhibition exaggerates the inter-relation between the urban bustle and the artist’s works. “Calder’s works is a wonderful hinge between these realities.” In addition to the gallery display, there will also be a series of performances, concerts, screenings, and episodic, one-time demonstrations led by the Calder Foundation. These contemporary artists will work in dialogue with Calder’s works. Calder: Hypermobility is on view from June 9 to October 23, 2017, at the Whitney Museum of American Art.