Search results for "whitney"

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Taking Buildings Down: Storefront provokes ideas on the built environment in new competition
Perhaps following up on its Halloween Party this year that explored the theme "DEMO," as in DEMO-lition among other words sharing the root, the Storefront for Art & Architecture has launched a competition called "Taking Buildings Down," where “removal is all that is allowed.” The competition takes what is usually considered to be a violent act and calls upon “anyone interested in articulating visions for the future of our built environment” to submit proposals for “the production of voids; the demolition of buildings, structures, and infrastructures; or the subtraction of objects and/or matter as a creative act.” The intent of the “competition of the competition of competitions” is to elicit ideas about demolition, to provoke criticism, and to speculate. Judges include Jeff Byles, author of Rubble: Unearthing the History of Demolition; architect and professor at Yale University, Keller Easterling; associate professor and associate dean at the New School’s School of Media Studies and adjunct curator of new media arts at the Whitney Museum of American Art, Christiane Paul; and principal of  Selldorf Architects, Annabelle Selldorf. Monetary prizes will be awarded to first, second, and third place winners; winning entries and “any additional entries deemed to be worthy of publication” will be published by Storefront for Art & Architecture. Entries are due on January 20th. More information, including specific eligibility and criteria, can be found here.
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Mathews Nielsen
Courtesy Mathews Nielsen, Heatherwick Studio

The history of landscape architecture in America goes back to the writings and activism of Andrew Jackson Downing and, of course, Frederick Law Olmsted. While there has always been a segment of the profession that focuses on estate gardening and horticulture, there are other firms who have a more socially engaged and expansive view of the profession. One thinks, for example, of Thomas Church, Dan Kiley, Lawrence Halprin, and Garret Eckbo, who all brought new ways of thinking and transforming the built landscape but primarily focused on the public nature of their practice and commissions.

Perhaps the most famous of these figures was Ian McHarg, a Scotsman who founded the Department of Landscape Architecture at the University of Pennsylvania, but who more importantly brought a renewed emphasis on urban planning and what he called “natural systems” (with his 1969 book Design with Nature) into the profession. Today, landscape architecture combines McHarg-influenced environmental awareness, city planning, storm water management, and aesthetic concerns of the in-between spaces we inhabit in the city. This public nature of the profession is the focus of many firms today—no more than at the New York office of Mathews Nielsen Landscape Architects, who work almost exclusively on public, state, and institutional projects. More than nearly any other firm, they have transformed the postindustrial landscape of New York. It is very important, Signe Nielsen said, “that our work is publicly accessible and as a result we don’t generally do private residential projects or we don’t do green field sites, i.e. commissions to transform farmland into housing or forests to shopping centers.” Improving the life of everyone in the city is important, and if there is a social justice component, then all the better.

The 30-member firm (approximately 60 percent are licensed landscape architects) believes that “designers are public intellectuals” and as such they teach, are engaged in professional societies, and lecture around the country on their profession—one that Kim Mathews writes, “embodies hope and requires a longer, larger vision.”

Signe Nielsen has also served as president of the New York Public Design Commission for four years and claims that “we don’t just work in challenged neighborhoods, but our work has to be publicly accessible and leave the city better than before we were engaged.”


Food Center Drive
South Bronx, NY

This transformation of Food Center Drive takes one of the least pedestrian-friendly and polluted boulevards in the South Bronx and makes it a public amenity. This mile-long route serves as an entry into the city’s Food Distribution Center for its 16,000 employees and those who live around the center. The design evolved out of Mathews Nielsen’s earlier South Bronx Greenway Master Plan and creates a shared pedestrian vehicle path by reconfiguring the traffic pattern to a one-way loop, thereby reducing the road from six to five lanes. But even more it incorporates innovative storm-water capture and biofiltration strategies to contribute a significant new biomass. Within the median and new greenway buffer, there are over 700 trees in addition to understory grasses and shrubs. The project is scheduled for completion in October.


Industry City Courtyard
Brooklyn, NY

The redesign of Brooklyn’s long-derelict Industry City courtyard is a model of how to take an impressive, but slightly oppressive interior open area and make it desirable. The space divides two 600-foot-long buildings (and a shorter third side connecting structure) with 33,000-square-feet of courtyard space open toward Gowanus Bay, the sunset, and a glimpse of the Statue of Liberty. To complement the large mass and immensity of the overall space, they used a plant palette of ferns and various monotone greens laid out in large directional swaths. Further, the form of the columnar maple trees plays off of the repetition of the building columns as well as the industrial smoke stacks and ventilation pipe remnants. Trees were chosen for the beautiful red fall color that will inevitably complement the weathering steel forms in the courtyard. The schedule of the project from concept to construction was condensed into just ten months.


Pier 55
New York City

In 1993, the firm began designing what would become the most complete (and badly maintained) contemporary park and infrastructure in Manhattan—Hudson River Park. Now, they have been chosen to add to the park with the creation of a new freestanding Pier 55 that sits off the shoreline just north of the new Whitney Museum. The Pier, which they are designing with the English Heatherwick Studio, is meant to be a 2.4-acre public park and performance space on the Hudson River. The form is conceived as a “leaf floating in the water,” and contains “an unexpected topography” of four lifted corners, each manifesting a landscape typology derived from their solar aspect, slope, and relationship to paths and performance venues. A variety of paths and stairs create circuits throughout the pier to maximize engagement and convenience for event-goers. The project is largely funded through a private donation of the Diller–von Furstenberg Foundation and is scheduled to begin construction in May 2016.


Randall’s Island Connector
South Bronx, NY

Mathews Nielsen seems to be single-handedly transforming the South Bronx into a borough of green boulevards, parks, and pathways. Taking off from their South Bronx Greenway Master Plan, they have created a brilliant connecter from the area to the recreational facilities on Randall’s Island. It not only creates access to badly needed recreational facilities, but also increases the area’s green infrastructure by treating all storm water on site and using native, drought-tolerant plants to avoid irrigation.

The quarter-mile connector runs from 132nd Street in the Bronx, underneath the Hell Gate Bridge viaduct piers, through a historic railway facility still in use, and over the Bronx Kill waterway to Randall’s Island. It includes a sustainable landscape, an at-grade rail crossing, pedestrian-bicycle improvements, and a pedestrian-bicycle bridge. Pedestrians and cyclists have a powerful landscape experience as they pass through the massive Hell Gate Bridge viaduct piers. The project will be open to the public fall 2015.

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Aarhus Bling: James Turrell working with Schmidt Hammer Lassen to design ARoS Art Museum Expansion
While the world has been discussing how much Drake’s “Hotline Bling” music video borrowed from James Turrell’s installations (Hint: a lot*), ARoS Aarhus Art Museum in Denmark announced that the artist is collaborating with Danish architecture firm Schmidt Hammer Lassen on the museum’s new expansion. “The Next Level” expansion project will contain a 12,900-square-foot subterranean gallery and two semi-subterranean art installations, The Sphere and The Dome. Intended to “bring the museum into the elite world of modern art museums,” the extension will cost an estimated $32 million. Schmidt Hammer Lassen originally designed the space in the early 2003 and is working with the museum and the artist to retain the building’s original integrity so the expansion will feel seamless and natural. The firm also worked with Olafur Eliasson on Your Rainbow Panorama, which opened last year. “The Next Level project will develop the museum horizontally in contrast to the existing vertical movement and it is exciting to work with the great lines spanning from the river to the square of the Aarhus Music Hall. Our studio is not just designing a new room for a new artwork, we are co-creating the space and the installation simultaneously with James Turrell,” Morten Schmidt, founding partner at Schmidt Hammer Lassen said in a press release. It seems that Turrell is having quite the week. In addition to the AroS expansion, it was also reported that Yvette Lee of the Guggenheim and Whitney Museum will be the new director of the Roden Crater in Arizona (The crater’s completion date has still not been released.) Responding to Drake's video set*, Turrell had a few select words. "While I am truly flattered to learn that Drake f*cks with me," wrote Turrell in a statement from his lawyer via Vice, "I nevertheless wish to make clear that neither I nor any of my woes was involved in any way in the making of the ‘Hotline Bling' video." If you want to decide for yourself, we recommend watching the music video below and then glancing at a few installations. (If you want to go further down the bizarre rabbit hole, AN has also previously reported rumors from CityLab that “Hotline Bling” is about poor city planning.)
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God Is In The Details
John Baer

Shrouded in scaffolding for three years, St. Patrick's Cathedral’s renovation is nearly complete. Initiated in 2006, renovations stalled due to the 2007 economic recession, but began again in earnest in 2012.

Why now? The Archdiocese of New York was concerned about stone falling off the aging structure. They commissioned New York’s Murphy Burnham & Buttrick (MBB) to spearhead the renovation with a mandate to repair, stabilize, and preserve.

Built in 1879, the original structure was designed by James Renwick Jr., one of 19th century America's preeminent architects. MBB’s Jeffery Murphy, the renovation's lead architect, stresses that the St. Patrick's Cathedral project is "conservation, not restoration. "While restoration brings a building back to a specific style or time, conservation incorporates features from multiple time periods to display a full history of the space. There are features of the building that are now integral to its appearance but were not part of Renwick’s original design. In the 1940s, for example, archways made of Georgia marble were added to the Fifth Avenue entrances, lending a different character to the building’s exterior.

Whitney Cox / Esto; Courtesy Murphy Burnham & Buttrick

St. Patrick’s Cathedral is beloved locally and protected nationally: The cathedral, as well as the rectory, Lady Chapel, and Cardinal’s residence on the same block, are National Historic Landmarks, a designation reserved for iconic structures with national historical significance. Uncovering Renwick’s original style with only fragmentary visual evidence of the original structure was the project’s overarching challenge.

Commenting on the renovations, Monsignor Robert Ritchie referenced Cardinal Dolan's opinion that "the conservation of St. Patrick's Cathedral is about spiritual renewal." During renovations, the church continued to welcome tourists and worshippers.  Priests held the usual seven masses per day, calibrating their voices over the construction noise. The project is also a financial commitment for the Archdiocese, which estimates that interior and exterior renovations have cost $177 million so far.

Over nine years, approximately 140 designers and consultants, along with a team of 20 engineers, oversaw more than 30,000 interior and exterior repairs and modifications to the structure. Sustainability plays a major, and visible, role in the conservation process. The Archdiocese has invested in green energy, with ten geothermal wells planned for the site. The wells extend 2,200 feet underground, and will provide a 30 percent reduction in energy.

Whitney Cox / Esto

Raymond Pepi, founder and president of New York’s Building Conservation Associates (BCA), led the forensic analysis of the site. The team took an archival, rather than a decorative, approach to the conservation, matching current conditions as closely as possible to their historic origins. The team conducted materials analysis on hundreds of paint samples, scrutinizing each under a microscope to reveal the original color. Once determined, historic paint colors were calibrated again to be seen accurately under (much brighter) modern-day lighting. That level of analysis was applied to every piece of woodwork, plaster, stone, and glass. So far, around 150 masons, painters, carpenters, and other builders have labored on the project.

At times, there were over 100 people working at once on the cathedral. To coordinate the activity, MBB partner Mary Burnham said the team used Autodesk’s BIM 360 Field, an app that enables each team member to identify problems, flag repairs, suggest conservation methods, and allows the design team to follow up on the work as it was completed.

Whitney Cox / Esto

Transparency, inside and out, is a salient feature of new design elements. Monsignor Ritchie is emphatic that the Cathedral keep its doors open to all. New programmatic elements include sliding glass doors at the main entrance on Fifth Avenue so that, even in winter, the 9,000-pound double bronze doors flanking the entrance may remain open without letting in the cold.
Pollution, particularly candle soot, turned the ceiling and parts of the walls army green (low smoke candles are the norm going forward).

Pepi pointed out some of the quirks of the structure that the renovations highlight. St. Patrick’s, unlike textbook Gothic cathedrals, lacks flying buttresses. Renwick intended to create the ceiling in stone, but, when construction resumed post Civil War, stone was too expensive. The ceiling was done in plaster, instead. Lighter than stone, the concrete ceiling no longer required structural support from the flying buttresses. The renovations reveal the original tri-colored ceiling that Renwick cleverly designed to look like stone.

The interiors were curated to increase the space's comfort and reduce visual clutter. Signs and statuary were repositioned to harmonize with the space. Preservationists restored the glass and glazing on 3,200–3,300 stained glass panels in situ. MBB vented the bottom of the windows to improve air circulation, and maintain a more even temperature around the delicate glass. While most of the glass would have been severely damaged by removal, approximately five to six percent of panels in need of intensive repair were removed and shipped to master glass restorer Ettore Christopher Botti of Botti Studios (Chicago).

The exterior received the same level of scrutiny and care. The renovation team scrubbed the facade with Rotec, a gentle (25 PSI) spray of glass and water, to reveal any damage to the building. The original structure, said Murphy, was supposed to look as if it was "poured into a mold and deposited on the sidewalk." Uneven aging of the stone and grout caused the exterior to appear more variegated than intended. The current, cleaned facade recaptures the 1879 look of the building.

BCA catalogued each repair and is in the process of preparing a maintenance manual so that today’s conservation will last well into tomorrow. As Pepi noted, “the day after you’ve finished the building, it starts to deteriorate immediately.”

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Archtober Building of the Day 20> Renzo Piano's Whitney Museum of American Art
Whitney Museum of American Art 99 Gansevoort Street, Manhattan Renzo Piano Building Workshop in collaboration with Cooper Robertson When the Whitney Museum made the move from its iconic Breuer Building to a new location in Manhattan's Meatpacking District, the institution was “returning to our downtown roots,” Larissa Gentile, New Building Project Director for the Whitney, told today’s Archtober Building of the Day Tour attendees. The museum’s shiny new steel-clad, Renzo Piano–designed building, which opened in May, is situated between two linear parks running through Manhattan. Piano conceived of the building as a link between the High Line, just east of the museum, and Hudson River Park, just west. Visitors to the Whitney never feel far from either of these green spaces—on each of the eight floors of the museum, strategically located windows frame scenes of the Hudson River and out onto the city skyline. The interplay between interior and exterior is a defining element of the new Whitney. Gentile described the institution and the architect’s intentions for the building to engage in a dialogue with its urban context. The building has eastward-facing terraces on each level of the museum, connected by an outdoor staircase. These “outdoor galleries” not only give museum-goers iconic views of stretching across Manhattan, but also allows those strolling down the High Line, or driving down the West Side Highway, an opportunity to see some of the museum’s impressive collection. The exterior staircase allows visitors to move between gallery floors outside, so as to alleviate some internal circulation issues that might arise given the museum’s record-breaking number of visitors. On the ground level, the museum lobby is a porous and open glass space, meant to feel like an extension of the pedestrian streetscape. Passersby glimpse what is going on in the museum—indeed, today, although the museum was closed to the public, people walking by were privy to the installation process of the new Frank Stella exhibition underway. “Exposing the machine of building, and revealing the institution as an entire organism, was an exciting opportunity for the museum,” Gentile told us. Throughout the building, staff offices, research spaces, conservation labs, and educational facilities, that, in the old building, were either non-existent or tucked away, are now revealed to museum-goers. The new Whitney has greatly increased gallery space. Each gallery was designed to be column-free and highly flexible, so as to allow curators and artists to reimagine the space with every show. The gallery size and ceiling height varies from floor to floor, giving the museum a distinctly different feel as you travel throughout it. The top floor gallery is bathed in natural light from a skylight above. Some galleries are much more intimate, displaying smaller paintings and works on paper, while more spacious areas of the museum house impressive sculptures and installations. In addition to adding more gallery space for the museum to display its 22,000-object permanent collection and creating new educational and conservation facilities, the new, soon-to-be certified LEED Gold museum building also houses a flexible theater space with multiple projection options, and retractable seating, allowing the museum to host lectures, performances, and installations. As Gentile told our tour, “No space here has one function.” The highly mutable building provides the opportunity for the institution and visitors alike to engage intimately with both the cultural and urban milieus this city has to offer. Alex Tell is the Committee's Coordinator for the AIANY | Center for Architecture.
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Roadside Renzo
Kum & Go HQ gets the Renzo Piano treatment.
Courtesy Renzo Piano Building Workshop

The Menil Collection. Parco della Musica Auditorium. The new Whitney Museum. The Art Institute of Chicago. And, now, Kum & Go Headquarters.

Renzo Piano’s latest client is the family-owned, Des Moines, Iowa-based convenience store chain Kum & Go. His contribution to Des Moines will further move one of the region’s most prominent businesses from a suburban campus choked by cars and cul-de-sacs into a redeveloping district featuring a public library by David Chipperfield and a sculpture park by New York-based architects Mario Gandelsonas and Diana Agrest.

Piano’s design packages all the features that an ever-widening base of clients come to him for. Its strong, terraced horizontal lines hint at the indigenous Prairie Style, lightened with span after span of floor-to-ceiling glass. The five-story building (complete with rooftop garden) is suspended over a glass-walled entrance pavilion via a series of thin steel columns, offering Piano’s best chance in this project for his hallmark structural poetry.

Boasting expansive Prairie Style terraces and a wealth of glass, Piano’s building is expected to open in 2018.

Project manager Danielle Hermann of OPN Architects (the local architects of record) says the plan is intended to have the “building floating over the landscape.” The approximately $100 million project will begin construction late this fall, and is expected to be complete by 2018.

“Lightness, simplicity, and openness are the main concepts expressed in the design,” said Piano in a press release. “The four vast planes flying over the site will emphasize the lightness and the transparency of the building, and will dialogue with the sculpture park nearby.”


A third of the four-acre site will be taken up by Piano’s building, leaving ample room for a landscaped, privately-owned public park space that will serve as an extension to Gandelsonas and Agrest’s Pappajohn Sculpture Park across the street. Piano’s plan is designed to defer to the sculpture garden, while offering cool, shady outdoor space that complement the topography next door.

The Kum & Go building “should serve as a community connector and really fit well in the site—to serve as a natural, artful extension of the Pappajohn Sculpture Park,” said Kum & Go CEO Kyle Krause.


The neighborhood, called Gateway West, is a master-planned area of redevelopment, and a building by a Pritzker Prize–winning architect could be its crown jewel. Beyond Kum & Go and the sculpture park, it hosts the Chipperfield library, several other corporate headquarters, and a raft of new restaurants, several of which have been installed into adaptively reused buildings. Previously an undefined edge-zone abutting the corporate, modernist highrises of downtown, “It’s creating a new place in the city of Des Moines,” said Erin Olson-Douglas, an architect with the city who works on economic development and urban planning.

Krause’s family will own the building, with Kum & Go (who operate 100 LEED-certified gas stations) as a tenant. Krause proffered the vision for moving the company into the city center from the suburban campus they were rapidly outgrowing. Inspired by Zappos CEO Tony Hsieh (who moved his company from the suburban fringe of Las Vegas to its downtown), Krause wanted to harness the same urban energy that comes through chance encounters in active, vibrant places, according to the company’s senior vice president of store development Nikki DePhillips.

The attention Piano has focused on the city is reason to be proud, said Olson-Douglas, but it is also an opportunity to exorcise some fly-over-country anxiety. When Piano was selected, Olson-Douglas wondered, “Are we really good enough for that?” But, with an art museum by Eliel Saarinen, IM Pei, and Richard Meier, and Drake University’s Eliel and Eero Saarinen master plan, “There’s always been a culture of high architecture,” she said. “The decision the Krauses made ups that ante, and reinforces that history.”

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Pictorial> Conservation work at New York City's St. Patrick's Cathedral is finally (almost) complete
Shrouded in scaffolding for three years, renovations on St. Patrick's Cathedral are nearly complete. Initiated in 2006, renovations stalled due to the 2007 economic recession, but began again in earnest in 2012. Pope Francis' upcoming New York visit advanced the project timeline. The Archdiocese of New York commissioned Murphy Burnham & Buttrick to spearhead the renovation. Built in 1879, the original structure was designed by James Renwick, Jr., one of 19th century America's preeminent architects. Jeffery Murphy, the renovation's lead architect, stresses that St. Patrick's Cathedral is "conservation, not restoration." While restoration brings a building back to a specific time, conservation incorporates features from multiple time periods to display a full history of the space. Commenting on the renovations, Monsignor Robert Ritchie referenced Cardinal Dolan's opinion that "the conservation of St. Patrick's Cathedral is about spiritual renewal." During renovations, the church welcomed visitors and held its usual seven masses per day. The project is also a financial commitment: the Archdiocese estimates that interior and exterior renovations have cost $175 million so far. Over nine years, approximately 140 designers and consultants, along with a team of 20 engineers, oversaw more than 30,000 interior and exterior repairs and modifications. Raymond Pepi, founder and president of Building Conservation Associates, led the forensic analysis of the Cathedral. That analysis enabled the design team to make restoration and conservation decisions on the basis of the strength and integrity of the building's woodwork, plaster, stone, and glass. So far, around 150 masons, painters, carpenters, and other builders have labored on the project. At times, there were over 100 people working at once on the Cathedral. To coordinate the activity, architect Mary Burnham says the team used BIM 360 Field, an app that allows each team member to identify problems, flag repairs, suggest conservation methods, and allow the design team to follow up on the work as it's completed. Transparency is a salient feature of the new design. New programmatic elements include sliding glass doors at the main entrance on Fifth Avenue so that, even in cold weather, the 9,000 pound bronze doors to the cathedral are always open. The team blasted the facade with a mixture of glass and water to reveal any damage to the building. The original building, says Murphy, was supposed to look as if it was "poured into a mold and deposited on the sidewalk." Uneven aging of the stone and grout caused the exterior to appear more variegated than intended. The current, cleaned facade recaptures the 1879 look of the building. The interiors were curated to increase the space's comfort and reduce visual clutter. The design team worked with the clergy to eliminate plastic signage and statuary placed haphazardly in the interior. Signs and statuary were repositioned to harmonize with the space. Preservationists restored the glass and glazing on 3,200–3,300 stained glass panels in situ. Approximately 5 to 6 percent of panels were removed and restored by Ettore Christopher Botti of Botti Studios. Significantly, the Archdiocese of New York has invested in green energy, with ten geothermal wells planned for the site. The wells extend 2,200 feet underground and will provide 30 percent of energy for cathedral.    
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Remember the Battery Park City wheatfield? Conceptual artist is back with a horticultural pyramid in Queens
  [Editor's Note: Socrates Sculpture Park on the Queens waterfront installed The Living Pyramid, a public sculpture by Agnes Denes in May, when this article was originally published. They have just announced that they will extend the life of the sculpture through the end of October. The work is Denes’ first since her iconic Wheatfield – A Confrontation in 1982, sited on a waterfront landfill in what is now Battery Park City in Lower Manhattan. Do not miss this chance to see this important artwork before it comes down next month.] Monuments of pre-civilization feats in construction and engineering, pyramids are the latest muse of conceptual artist Agnes Denes who, in 1982, transformed what is now Battery Park City into a two-acre wheatfield. Titled Wheatfield - A Confrontation and featuring the backdrop of a construction site and jostling Manhattan skyscrapers, it’s not difficult to surmise Denes’ intentions. Likewise, her latest project, Living Pyramid resonates with a rebellious call to the wild. Made from soil and thousands of seeds, the pyramid will be erected in late April at the Socrates Sculpture Park in Long Island City, Queens. On May 17, the public is invited to plant the seeds, which, by early June, will have bloomed into wildflowers and leafy plants. Living Pyramid itself will remain on view until August 30, when cooler weather begins to encroach once again. The sculptural exhibition is Denes’ first major exhibition in the city since Wheatfield, although her work has been displayed at New York City’s prime museums including MoMA, the Metropolitan Museum of Art, and the Whitney Museum. “What [pyramids] all convey is the human drama, our hopes and dreams against great odds,” Denes said in a press release. “Transformed into blossoms, the pyramid renews itself as evolution does to our species.” Long a fixture in Denes’ work, pyramids are also central to her exhibition In the Realm of Pyramids: The Visual Philosophy of Agnes Denes on view at the Leslie Tonkonow Artworks + Projects from March 14–May 9.
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Beyer Blinder Belle restoring Marcel Breuer's Whitney building for 2016 reopening under the Metropolitan Museum
The Met Breuer will throw open its doors in March 2016 for the first season of contemporary art programming under the banner of the Metropolitan Museum of Art. Breuer's iconic building, formerly the Whitney Museum of American Art, is currently being "invigorated by renovations that will support a fluid, integrated experience of art and architecture," as the Met's press release proudly declares. The renovation seeks to integrate art throughout the entire museum. Immediately upon entering, visitors will be greeted by artist-in-residence Vijay Iyer, who will be conducting a performance installation. It's a short elevator ride up to four additional floors of "contemporary art in dialogue with historic works" in the Met's collection. “The Met is proud to become the steward of this iconic building and to preserve Marcel Breuer’s bold vision,” said Thomas P. Campbell, director and CEO of the Met, said in a statement. “Our approach to inhabiting and interpreting the building honors Breuer’s intent for the space, highlighting its unique character as an environment for the presentation of modern and contemporary art. The wonderfully scaled galleries and interior spaces of The Met Breuer provide a range of opportunities to present our modern and contemporary program, in addition to our galleries in the Fifth Avenue building.” Beyer Blinder Belle is spearheading the restoration efforts, including touching up Breuer's distinct concrete walls, stone floors, bronze fixtures, and lighting. The architects are working hard to preserve the building's weathered patina rather than scrubbing and polishing its history away. A streamlined entry sequence, new restaurant, sunken garden, and "book bar" retail shop are also planned. "What should a museum look like, a museum in Manhattan?" Breuer asked in 1963 upon receiving the commission to design the new Whitney. "It is easier to say first what it should not look like. It should not look like a business or office building, nor should it look like a place of light entertainment. Its form and its material should have identity and weight in the neighborhood of 50-story skyscrapers, of mile-long bridges, in the midst of the dynamic jungle of our colorful city. It should be an independent and self-relying unit, exposed to history, and at the same time it should transform the vitality of the street into the sincerity and profundity of art." The inaugural showing includes free entry to the lobby and lower-level galleries. According to the Met:
The inaugural season of The Met Breuer features a major cross-departmental curatorial initiative to present a historic examination of unfinished works of art; the largest exhibition to date dedicated to Indian modernist Nasreen Mohamedi; and a month-long performance installation, by Artist in Residence Vijay Iyer. Upcoming exhibitions include a presentation of Diane Arbus’s rarely seen early photographic works (July 11– November 27, 2016), and the first museum retrospective dedicated to Kerry James Marshall (October 25, 2016 – January 22, 2017).
The building has been vacant since the Whitney decamped for its new Renzo Piano–designed Meatpacking outpost perches astride the High Line. Meanwhile Uptown, Richard Morris Hunt's grand Beaux Arts beauty is in the midst of a conceptual plan by David Chipperfield Architects that will eventually guide the redesign of the complex's Southwest Wing.
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Israeli fashion student Danit Peleg creates the world's first 3D-printed ready-to-wear collection
Genius starts small: The world’s first 3D-printed fashion collection was created in the bedroom of a soon-to-be college grad. Starting with a less than rudimentary grasp of 3D printing, Israeli fashion student Danit Peleg rendered an entire ready-to-wear collection, initially feeding polyactic acid plastics (PLA) into a desktop 3D printer. However, the material proved brittle and inflexible, and for the next nine months Peleg cast around for an alternative. She then discovered FilaFlex, a strong and flexible plastic, with which she printed her first piece: a triangular-latticed red jacket called ‘Liberté,’ (the word is woven into the design) which was inspired by the painting ‘Liberty Leading the People’ by Eugène Delacroix. “I modified [the painting] so it would look like a 3D picture. I was inspired to work with the many triangles present in the painting’s composition,” Peleg wrote on her website. For this piece, she used 3D rendering software called Blender. Subsequently, Peleg began to experiment with an array of materials and printers, happening upon Andreas Bastian’s Mesostructured Cellular Materials, a synclastic material with snowflake-like patterning. She then enlisted the help of 3D printing experts TechFactoryPlus and XLN to acquire different printers and go all nine yards on her vision, which she would present for her graduate collection required to obtain her fashion degree from Shenkar College of Engineering and Design in Israel. It took 2,000 hours to print the collection using her Witbox FDM desktop 3D printer and flexible FilaFlex filaments. “I wanted to create a ready-to-wear collection printed entirely at home using printers that anyone can get,” said Peleg. Each A4-sized textile sheet took at least 20 hours to print, and each dress an average of 4,000 hours. The lace-like geometric detailing of each dress is strikingly three-dimensional, so that the dresses “have a topography and aren’t just flat textiles.” Peleg wanted her models to walk the runway in head-to-toe 3D prints, so she printed fire engine-red high-heeled shoes inspired by designer Michele Badia. Although ecstatic about the design potential she has unearthed, Peleg concedes that 3D-printed fashion is still conceptual. “I don’t think that people mostly would like to wear rubber for daily life,” she told the Times of Israel. “But I’m sure these structures will look much nicer if we can do it from cotton. In a few years, the material that we can put into the machines will be polyester maybe, and then it will feel better.”
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Optimism Finds a Home
John Dooley

Crestwood Hills: The Chronicle of a Modern Utopia
By Cory Buckner
Angel City Press, $35

A long time ago, in the wake of World War II, Los Angeles appeared as a welcoming paradise for returning veterans and footloose others in search of new beginnings.

Jobs beckoned and commuting by car or transit was manageable. There was not yet heavy traffic or smog; there was only sunny days and the promise of suburbia—the good life.

The only thing missing was affordable housing. People slept in makeshift Quonset huts and tents in city parks, while lines to purchase new makeshift houses formed over night and snaked for blocks. Then, as now, city government expressed concern and did little.

Crestwood Hills: The Chronicle of a Modern Utopia by Cory Buckner tells the story of an optimistic approach to housing from the period, when four returning veterans who bonded as studio musicians decided to build a cluster of neighboring homes for themselves, sharing some common play space and a swimming pool.  Other musicians became interested, and the group, christened as the Mutual Housing Association (MHA), grew to 25, then 100, and after some publicity, to 500. People eagerly signed up, and by the end of 1946, with some bickering and conservative diatribes, Los Angeles had its first large-scale cooperative housing development.

Courtesy Angel City Press; John Dooley

As author—and not incidentally architect—Buckner astutely writes, the goal of the MHA was not to build tacky houses, but rather “innovative structures that could be erected simply and cheaply and that reflected the politically progressive visions of the founding members.”  A design team consisting of Whitney R. Smith, A. Quincy Jones, and Edgardo Contini was selected, and plans grew to include—in addition to the community swimming pool—tennis courts, nursery schools, and a cooperative market. In time, other architects became involved, retained by individual cooperative members with designated sites.

The living room of the Hamma House in Brentwood, a model of modern design guidelines.
Courtesy Crestwood Hills Archive

A hilly, raw 1,800-acre tract above then-rural Brentwood was purchased, and 350 lots were bulldozed. Construction began by 1950, despite a recalcitrant Federal Housing Administration (FHA) and its insistence on discriminatory race restrictions—supposedly meant to protect their investment, but eventually ruled unconstitutional by the Supreme Court. Several members resigned from the MHA over this issue, which also undermined several similar efforts at the time in northern California.

The FHA also initially opposed the cooperative’s modernist design guidelines, which were based in part on LA’s famed Case Study Houses. Only a delegation of architects and others lobbying in Washington D.C. reversed that restriction, and today, despite the ravages of fires and insensitive owners, 47 remaining designs distinguish Crestwood Hills as a designated Los Angeles Historic-Cultural Monument.

Buckner, who with her late architect husband Nick Roberts restored three of the landmark homes, details the community’s architecture, aided by a wealth of photos and illustrations. The total is a rich history of a unique community that distinguishes Southern California’s oft-overlooked social and architectural heritage.

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Here's what happens when Zaha Hadid and Pharrell get together to design sneakers
From the strange bedfellows files: Musician Pharrell Williams has enlisted Zaha Hadid as a partner to rejuvenate a rather staid athletic shoe. The rubber toecap of Adidas' Superstar design has been remodeled by Hadid. The white version of the shoe features a fan-like 3D motif, while a raised pattern of dots and dashes decorates the black kicks. While AN doesn't pretend to dictate high fashion, we can definitely see pairing up Zaha's sneakers with Renzo Piano's Whitney handbag for an au courant look. The shoes are slated to be in stores August 7. Hadid and other notable architects are no strangers to the world of footwear design. Take a look at our past of architect-designed shoes here.