The Nature Lab at RISD is pleased to announce Biodesign: From Inspiration to Integration, an exhibition curated in collaboration with William Myers that marks the culmination of Nature Lab's 80th anniversary celebrations. The exhibition runs from Aug 25—Sept 27 and showcases recent examples of design and art that inform our complex relationship with nature and help us decipher how it may evolve in the future. Major themes of the exhibition will be collaboration and co-creativity, presenting the best practices for working with living materials and with experts across fields. It will aim to inspire, surprise and inform the public, especially in light of the urgent need to make design less destructive to our shared environment. The exhibition of approximately 20 projects will be accompanied by programming including: workshops on building with mushrooms; biotextiles; microscopic silkworm poetry as well as lectures on biodesign, coral reef restoration, the future of food, and more. To launch the exhibition Nature Lab will be hosting a half-day symposium that brings together international artists, designers, scientists and educators for talks, discussions and presentations on topics such as valuing non-human forms of life as collaborators, artistic and scientific modes of inquiry, and ethical considerations in bioart and biodesign practices. The opening of the exhibition also marks the release of the 2018 edition of Biodesign: Nature + Science + Creativity (MoMA). Half-Day Symposium + Opening Reception August 24 Woods-Gerry Gallery Rhode Island School of Design The exhibition features the following works Hy-Fi and Bio-processing Software—David Benjamin / The Living Mycelium architecture, made in collaboration with Ecovative and 3M. Zoa—Natalia Krasnodebska / Modern Meadow Leather grown using yeasts that secrete collagen, and grown completely without animal derivatives. The Built Environment Microbiome, Jessica Green / BioBE Center The BioBE conducts research into the built environment microbiome, mapping the indoor microbiome, with an eye towards pro-biotic architecture. Zea Mays / Cultivar Series—Uli Westphal Newly commissioned corn study, this project highlights maize’s evolution through interaction with humans. Harvest / Interwoven—Diana Scherer Artist coaxes root systems plant root systems into patterns. Fifty Sisters & Morphogenesis—Jon McCormack Artist algorithmically generates images that mimic evolutionary growth, but tweaks them to include aesthetics of the logos of global petroleum producing corporations. Organ on a Chip—Wyss Institute Wyss Institute creates microchips that recapitulate the functions of living human organs, offering a potential alternative to animal testing. AgroDerivatives: Permutations on Generative Citizenship—Mae-Ling Lokko This project proposes labor, production criteria and circulation of capital within agrowaste/bioadhesive upcycling ecosystems. New Experiments in Mycelium—Ecovative Ecovative makes prototypes of mycelium items such as insulation, soundproofing tiles, surfboards, lampshades. Bistro in Vitro—Next Nature Network Performance with speculative future foods samples. The installation will include video screens and a cookbook on a table display. Raw Earth Construction—Miguel Ferreira Mendes This project highlights an ancient technique that uses soil, focusing on how soil is living. Burial Globes: Rat Models—Kathy High This project presents glass globes that hold the ashes of the five HLA-B27 transgenic rats, each one named and remembered: Echo, Flowers, Tara, Matilda, Star. To Flavour Our Tears—Center for Genomic Gastronomy Set up as an experimental restaurant, this project places humans back into the foodchain — investigating the human body as a food source for other species. Blood Related—Basse Stittgen A series of compressed blood objects—inspired by Hemacite objects made from blood/sawdust compressed in a process invented in the late 19th century—highlights bloodwaste in the slaughterhouse industry. Silk Poems—Jen Bervin A poem made from a six-character chain represents the DNA structure of silk, it refers to the silkworm's con-structure of a cocoon, and addresses the ability of silk to be used as a bio sensor, implanted under people's skin. Zoe: A Living Sea Sculpture—Colleen Flanigan Zoe is an underwater structure, part of coral restoration research, that regenerates corals in areas highly impacted by hurricanes, human activity and pollution. Aquatic Life Forms—Mikhail Mansion Computationally animated lifeform works change and evolve based on live data from environments they represent. Algae Powered Digital Clock—Fabienne Felder By turning electrons produced during photosynthesis and bacterial digestion into electricity, algae will be used to power a small digital clock. A Place for Plastics—Megan Valanidas This designer presents a new process of making bioplastics that are bio-based, biodegradable AND compostable Data Veins & Flesh Voxels—Ani Liu This project explores how technology influences our notion of being human from different points of view, with a focus on exploring the relationship between our bodies as matter and as data. Pink Chicken Project—Studio (Non)human (Non)sense/ Leo Fidjeland & Linnea Våglund By changing the color of chickens to pink, this project rejects the current violence inflicted upon the non-human world and poses questions of the impact and power of synthetic biology. Click here to visit RISD Nature Lab. About Rhode Island School of Design Known as the leading college of art and design in the US, Rhode Island School of Design (RISD) is ranked #1 in Business Insider’s survey of The World’s 25 Best Design Schools. Approximately 2,450 students from around the world are enrolled in full-time bachelor’s or master’s degree programs in a choice of 19 majors. Students value RISD’s accomplished faculty of artists and designers, the breadth of its specialized facilities and its hands-on approach to studio-based learning. Required courses in the liberal arts enrich the studio experience, equipping graduates to make meaningful contributions to their communities. Through their creative thinking and problem solving in a broad range of fields, RISD’s 26,000 alumni exemplify the vital role artists and designers play in fueling global innovation. Founded in 1877, RISD (pronounced “RIZ-dee”) and the RISD Museum help make Providence, RI among the most culturally active and creative cities in the region. For more information, visit risd.edu and our.risd.
About Nature Lab
Founded in 1937 by RISD graduate and long-time faculty member Edna Lawrence, the Nature Labprovides students and faculty with an engaging space for exploring the forms, patterns and processes in nature as well as an understanding of our place within the living world. The Lab is a forum, sustained by resources and expertise that inspires countless art and design projects throughout RISD. With more than 80,000 preserved natural science specimens, microscopy and micro-imaging systems unparalleled in an art and design school, as well as aquatic systems and lab equipment for maintaining and studying a variety of living and non-living specimens, the Nature Lab is a unique environment for investigating the myriad connections between art, design and science.
Posts tagged with "The Museum of Modern Art MoMA":
The Museum of Modern Art (MoMA) in New York City is hosting an extraordinary exhibition surveying late modern architecture from a country that no longer exists: Yugoslavia. Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 is on view now through January 13, 2019. Approximately six hundred items are on display in salon style across MoMA’s galleries including original drawings, newly crafted scale models, and a series of commissioned photographs by a Swiss photographer Valentin Jeck. The material is not presented chronologically but rather arranged spatially as a series of sequential topics ranging from Global Networks to Everyday Life and Identities, each branching into sub-topics. Distinct rooms are reserved for individual architects that the curators have highlighted as key thinkers in the spatialization of the Yugoslav socialist identity, including Bogdan Bogdanović, Juraj Neidhardt, Vjenceslav Richter, and Edvard Ravnikar. An entire gallery is devoted to the brutalist reconstruction of Skopje featuring the work of Kenzo Tange with Janko Konstantinov, a graduate of Yale. While female architects like Milica Šterić, Melanija Marušić, and Svetlana Kana Radević did not get a separate booth, they were largely present in galleries and through an essay on gender in Yugoslav architecture published in the exhibition catalog, written by curatorial assistant Anna Kats and Theodossis Issaias. The show's curators, MoMA’s Martino Stierli and guest curator Vladimir Kulić, begin the show by asserting that this exhibition is a survey of architecture that has been all but absent from modern history. They also make clear that Yugoslavia was expelled from the Soviet bloc in 1948, removing it from Stalin’s grip on spatial esthetics. The country had a need to search for its collective identity elsewhere. As Vladimir Kulić states, the architecture from Yugoslav socialism is an adaptation rather than copy, giving the work a quality of enhanced interpretation. The work exhibited draws a range of inspiration from U.S. postwar corporate architecture, brutalism on the global stage, most notably from Paul Rudolph and Kenzo Tange, Scandinavia’s organic volumetrics, Alvar Aalto’s sensibility towards nature, and playful forms in concrete relating to Oscar Niemeyer’s Brazilian freeing of form to allow expression of permeability and elegance. MoMA’s exhibit suggests that socialist architecture in Yugoslavia was a success of its own time. Its unique adaptation of late modernism was complementary with other grand narratives of modern architecture worldwide. To someone like me who lived in the architecture of Yugoslavia on display at MoMA, the success of the exhibit is two-fold. First, thanks to daring curatorial decisions to organize the material in topics rather than chronologically or as a fixed narrative, the exhibit avoids the nostalgia that surrounds avant-garde Soviet architecture. And second, these Yugoslav examples are cast as success stories from the recent socialist past, with a post-avant-garde afterlife increasingly relevant to contemporary times. As Stierli points out, a majority of the architecture presented in the exhibition is still in use today. Included in the exhibit are two outstanding works, namely the excerpts from Mila Turajlić’s video arrangement Living Space/Loving Space (2018), and Jasmina Čibić’s mesmerizing video entitled Nada: Act 1 (2016), which turned Richter’s model for the Yugoslav Pavilion at Expo 1958 in Brussels into a string musical instrument. At the entrance to the galleries, visitors will find a legendary pan-Yugoslav kiosk K67 by Saša Mächtig of Slovenia doing precisely what the kiosk was meant for: providing information. Barry Bergdoll noted in a follow-up event at the AIA Center for Architecture that this exhibition celebrates an architecture that came out of a now superseded political system, and the show suggests that Yugoslavia's socialism was perhaps not that nefarious after all. Toward a Concrete Utopia is an extraordinary exhibition that is opening doors for research on the subject. Expanding scholarship was reportedly an ambition of Stierli from the beginning of planning for the exhibit. This widening will help bring to view Yugoslav architecture beyond MoMA’s selection. According to the warm reception, architecture from socialist Yugoslavia is on its way to being secured in the legacy of global modernism. Including a single shelf with topical books published thus far would have helped augment the high quality of the exhibition. Such an insertion would have also offset possible critiques of a neo-colonial approach, seemingly the only possible approach while addressing the highly diverse modern design heritage of today’s balkanized countries as a single Yugoslavia, under the roof of the Museum of Modern Art in New York. Hidden no more. Srdjan Jovanovic Weiss, PhD grew up in socialist Yugoslavia and is now a research architect based in New York. He is the author of Socialist Architecture: The Vanishing Act (JRP Ringier, Zuerich) and Socialist Architecture: The Reappearing Act. He is currently faculty at CUNY’s CCNY Spitzer School of Architecture and founder of NAO.NYC.
This summer, New York City is launching a new program to explore the city and save money. If you are a Brooklyn, New York, or Queens Public Library Cardholder aged 13 or older, you can reserve a Culture Pass to gain free access to more than 30 cultural institutions, including “museums, historical societies, heritage centers, public gardens and more.” Reservations should be made ahead of time, and a limited number of passes are available on each date. Here is a list of participating organizations: Brooklyn: Brooklyn Botanic Garden, Brooklyn Children’s Museum, Brooklyn Historical Society, Brooklyn Museum, New York Transit Museum Manhattan: Children’s Museum of the Arts, Children’s Museum of Manhattan, Cooper Hewitt, Smithsonian Design Museum, The Drawing Center, The Frick Collection, Historic Richmond Town, International Center of Photography, Intrepid Sea, Air & Space Museum, The Jewish Museum, The Metropolitan Museum of Art, The Morgan Library & Museum, Museum of the City of New York, Museum of Chinese in America, Museum of Jewish Heritage—A Living Memorial to the Holocaust, Museum of Modern Art, Rubin Museum of Art, Smithsonian National Museum of the American Indian, Society of Illustrators, Solomon R. Guggenheim Museum, Sugar Hill Children’s Museum of Art and Storytelling, Whitney Museum of American Art Bronx: Wave Hill Queens: Louis Armstrong House, Noguchi Museum, Queens Historical Society, Queens Museum, SculptureCenter Staten Island: Historic Richmond Town, Jacques Marchais Museum of Tibetan Art Check out this link for more details.
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
From now until September 3, the MoMA will be exhibiting Dream The Combine’s winning scheme for this year’s Young Architects Program (YAP), as well as the other four finalists’ work. Hide & Seek opens to the public at MoMA PS1 on June 28, but until then, the MoMA exhibition provides a sneak peek that should tide over visitors. Hide & Seek Design: Jennifer Newsom and Tom Carruthers of Dream The Combine in collaboration with Clayton Binkley of ARUP Structural Engineering: Clayton Binkley and Kristen Strobel, ARUP Project Team: Max Ouellette-Howitz, Nero He, Tom Vogel, Emmy Tong, and Erik Grinde, with support from UMN School of Architecture Dream The Combine is the 19th YAP winner. The firm's scheme will create a series of dynamic pavilions across PS1’s courtyard and up the steps to the museum. Nine overlapping black steel catwalks will stretch across the open area, including inaccessible platforms hovering overhead. Three of the paths will hold giant, moveable mirrors that can “turn an individual into a crowd” or unify separate elements of the installation. Fabric sails will be floated overhead at certain points and fitted with misters to create an ethereal and spacey feeling at night. Hide & Seek is, according to Jennifer Newsom, an attempt to create an ever-changing experience in PS1’s courtyard by building new visual connections throughout the space and beyond. Shelf Life Design: LECAVALIER R+D, Jesse LeCavalier Project team: Ayesha Ghosh, Jesse McCormick, Zachary White Structural engineering support: LED - Laufs Engineering Design, New York City & Berlin What exactly is “logistics”? How can we better connect and explore the invisible machinery that drives modern global commerce? For Shelf Life, LECAVALIER R+D re-appropriates the stacking and racking machinery usually found in factories and turns it into an immersive exhibition structure. In their proposal, furniture is built straight into the massive frame, and the entire pavilion would be disassembled and integrated back into the global logistics stream at the end of summer. Out of the Picture Project Team: FreelandBuck, Alex Kim, Taka Tachibe, Belinda Lee, Braden Young, Adin Rimland, Michael Raymundo, Adrian Lanetti, Evan Preuss, Jose Avila Structural Engineering by Matthew Melnyk of Nous Engineering Out of the Picture sought, much like Hide and Seek, to “bring the outside in” to PS1’s courtyard. Enormous fabric banners are stretched across the central plaza and decorated with distorted images of the surrounding buildings. The result is a reinterpretation of the neighborhood from a new perspective, transformed but still readable. Loud Lines Design: BairBalliet Structural Consultants: Walter P Moore, Kais Al-Rawi, Quinton Champer Project Team: Chaoqun Chen, Jose Garcia, Andrew Lang, Spencer McNeil, Ruta Misiunas Lines and vectors are often abstract concepts on a screen in architecture, but BairBalliet sought to translate the often-striking lines in diagrams into tangible structures. During the day, Loud Lines is solid black and imposing, but at night, the structure pulses with neon light from within. The rods emit a cooling mist to further blur the lines between the real and the immaterial. The Beastie Design: OFICINAA: Silvia Benedito and Alexander Häusler. Cambridge, MA, and Ingolstadt, Germany The Beastie proposed a technologically forward-thinking assemblage in PS1’s courtyard; an interactive structure that would have turned solar energy into ice. Inside the multi-walled chambers of The Beastie, visitors would explore a range of different temperatures, ranging from pleasant to freezing. More than a cool-down station, The Beastie was intended to raise awareness of climate change by exposing guests to “climatic confusion”. All of the YAP finalists were required to design an outdoor shelter that included shade, water, and seating. After the proposals are finished showing at the MoMA, the installation will travel to MAXXI (Museo nazionale delle arti del XXI secolo) in Rome, and CONSTRUCTO in Santiago.
Toward a Concrete Utopia: Architecture in Yugoslavia, 1948-1980 is the first major exhibition in the United States to display the compelling portfolio of architecture from the former Yugoslavia. The exhibition will be on view at the Museum of Modern Art (MoMA) from July 15, 2018–January 13, 2019, and will include more than 400 visual documents from Yugoslavia’s prominent architects during the 45 years of the country’s existence. The architecture ranges from both soaring International Style skyscrapers and Brutalist structures of concrete geometric forms, representing the postwar style Yugoslavia’s architects developed in response to conflicting influences from both “the capitalist East and the socialist West,” according to a statement from the MoMA. Yugoslavia avoided the Cold War, instead became a leading figure in the Non-Aligned Movement in 1961. At the same time, the government built extensively in the hopes of modernizing and stimulating the economy to improve the lives of their citizens. The state also expanded its political influence in other Non-Aligned countries in Africa and the Middle East by building in and urbanizing those countries. Many memorials and monuments can be seen in the exhibition, showcasing Yugoslavia’s socialist ambition. Important architects such as Bogdan Bogdanović, Juraj Neidhardt, Svetlana Kana Radević, Edvard Ravnikar, Vjenceslav Richter, and Milica Šterić are featured in the exhibition. Check out this link for further details.
For architecture enthusiasts with an artistic streak, there are a number of art exhibitions inspired by architecture and design on view across the U.S. Of course, there is Bodys Isek Kingelez: City Dreams at MoMA, already announced in AN, along with gallery shows in New York and Los Angeles worthy of a visit, featuring drawing, sculpture, installation, animation, and more. Serban Ionescu: A Crowded Room and Serban Ionescu and Anjuli Rathod Artist Serban Ionescu, who previously studied architecture, presents an immersive installation of drawings, sculptures, and animations in A Crowded Room at New York’s Larrie. The title and work in part references his experience as an immigrant and his father’s 2006 deportation, while still creating a narrow space touched with color and levity. The animations were made in collaboration with Narek Gevorgian. Ionescu’s work is also part of a two-person exhibition at Safe Gallery in East Williamsburg along with paintings by Anjuli Rathod. Serban Ionescu: A Crowded Room Larrie 27 Orchard Street, New York, NY Through June 17 Serban Ionescu and Anjuli Rathod Safe Gallery 1004 Metropolitan Ave, Brooklyn, NY Through July 15 Vernacular Environments, Part 2 Vernacular Environments, Part 2 is the second iteration of the now annual group show at Edward Cella Art and Architecture that explores the diverse ways artists figure and engage with the environment and built world. Featured artists include Shusaku Arakawa, R. Buckminster Fuller, Rema Ghuloum, Hans Hollein, Jill Magid, Alison O’Daniel, Aili Schmeltz, Paolo Soleri, and Lebbeus Woods, working across a wide array of media. Ruth Pastine has created “Color Zones” to engage with both the architecture figured in the artwork, as well as the architecture of the space itself. Vernacular Environments, Part 2 Edward Cella Art and Architecture 2754 S. La Cienega Blvd, Los Angeles, CA Through July 14th Escher: The Exhibition and Experience Taking up a large swath of Industry City in Sunset Park is a retrospective of the eminent Dutch artist M.C. Escher, whose vertiginous drawings are rich with architectural references. Not relegated merely to lithographs, drawings, or other two-dimensional forms, the exhibition, presented by Italian organization Arthemisia,also features installations that place you in the midst of the artist’s illusionary drawings and disorienting spaces. Escher: The Exhibition and Experience Industry City 34 34th Street, Building 6, Brooklyn, NY Through February 3, 2019
On May 26, MoMA is opening Bodys Isek Kingelez: City Dreams, the first retrospective of the late Congolese sculptor and artist’s three-decade career. Born in 1948 in what was then the Belgian Congo, Kingelez was known for creating what he termed “extreme maquettes.” The exhibition will feature over 30 of these maquettes, built of colorfully detailed everyday objects, ranging in size from individual buildings to miniaturized utopian cityscapes, some measuring over 70 square feet. Kingelez’s work is described as attuned to world events, versed in contemporaneous architectural trends, and knowledgeable of foreign vernacular forms. For example Kinasha la Belle (1991) incorporates a distinctively Dutch gabled house wedged into a pastel-coloured circular residential complex, sporting cardboard pendants and a markered frieze. Towards the end of his career, Kingelez’s work grew more adventurous in terms of scale and material composition. MoMA points to Nippon Tower (2005) as a particularly idiosyncratic architectural model by the artist, built of “a plastic Smint box, packaging from a milk carton, BIC razor blades, light bulb boxes, and a playfully shaped spoon.” The cityscapes created by Kingelez are diverse in their architectural forms and scales. Crafted of plastic, paper, and paperboard, Ville de Sete 3009 (2009) is a futuristic city populated by shard-like, sheer, and terraced skyscrapers, which are connected by an illuminated network of Haussmannian boulevards. Ville Fantome (1996), Kingelez’s largest cityscape on display, will also feature a virtual reality component developed by Third Pillar. Through VR, visitors will be able to traverse through the utopian city which Kingelez described as “a city that breathes nothing but joy” and “a peaceful city where everyone is free.” City Dreams is curated by MoMA’s Sarah Suzuki and Hilary Reder, and closes on January 1, 2019.
The rumor mill is buzzing around the purportedly budding relationship between Boston-based architect and artist Neri Oxman and actor Brad Pitt. According to Page Six, Oxman met Pitt when he was referred to her for guidance on an architectural project. Since then, the two have developed what the publication called a "professional friendship." Celebrity gossip mag US Weekly took it a step further, claiming the two have been secretly rendezvousing for months, with Brad even tagging along on Oxman’s professional trips across the globe. The Israeli-American Oxman, a professor at MIT and founder of design group Mediated Matter, is known for her forward-thinking approach to architecture and design that fuses natural, biological forms with the growing capabilities of digital fabrication. Oxman has produced acclaimed pieces such as “The Silk Pavilion,” a CNC-fabricated scaffold coiled with silk thread produced by 6,500 silkworms, and “Gemeni” a solid wood chaise crafted to resemble a cocoon, adorned with cells of varying colors and rigidity. Her ventures into 3-D printed wearables also include a design for Björk's Vulnicura tour, a movable mask that mimicked the musician's own bone and tissue based on scans. Oxman’s work is exhibited widely, including at MoMa, San Francisco's Museum of Modern Art, and the Centre Pompidou. This is not Pitt’s first flirtation with the world of architecture. The Hollywood star met and befriended Frank Gehry in 2001, leading to an internship focused on computer-aided design at the international architect’s Los Angeles office. Since then, Pitt has gone on to found Make it Right, a non-profit focused on delivering environmentally-friendly housing to post-Katrina Louisiana. During this venture, Gehry designed a duplex in New Orleans’ Lower Ninth Ward, his only residential project in the state of Louisiana. While Pitt has dabbled in architecture and design, he has nothing on Oxman’s impressive record of academic and design accolades, including the 2016 MIT Collier Medal, the Textiles Spaces 2015 Award, and the 2014 Vilcek Prize. Whatever the truth about their relationship is, Oxman is probably too good for Pitt.
Amsterdam-based firm MX3D has completed the full span of its 3-D-printed stainless steel bridge, designed by Joris Laarman Lab, a multidisciplinary team located in the Netherlands. The bridge will cross one of the city’s oldest canals, the Oudezijds Achterburgwal, and is approximately forty feet in length and over twenty feet wide. Often using digital fabrication and 3D printing, the Joris Laarman Lab has over seventy projects featured in thirty-seven museums across ten countries including MoMa and the Centre Pompidou. Utilizing software specifically designed by MX3D, the bridge was constructed by four multi-axis industrial robots. In total, it took six months for the robots to print the nearly five-ton 3-D printed bridge. While the construction process did require human input, the overall project tested the feasibility of robots printing bridges without human intervention and ultimately validated such an approach for future projects. In a collaboration with The Alan Turing Institute, the long-term management of the bridge will rely on the use of a smart sensor network that is capable of testing structural measurements, such as vibration, strain and displacement, along with air quality and temperature. Through data collection, engineers will create a ‘digital twin’ of the new bridge, a constantly adapting computer model that reflects the structures altering state. This model allows for the effective repair of the bridge and provides insights and guidance for future construction. The bridge will be subject to further structural testing as well as decking and coating. The expected installation date is October 2019.
Minneapolis, Minnesota—based Jennifer Newsom and Tom Carruthers of Dream the Combine have won the 19th annual Young Architects Program (YAP), sponsored by The Museum of Modern Art (MoMA) and MoMA PS1, with their project entitled Hide & Seek. The responsive and kinetic installation is developed in collaboration with Clayton Binkley of ARUP and will be on view in the MoMA courtyard starting in June 2018. Hide & Seek promises to bring several dynamic, performance-based pavilions to PS1’s courtyard spaces in order to create a “multiplicity of viewpoints where everyone’s experience is valid,” Newsom explained over telephone. The installation is made up of nine discrete compositional elements that run throughout the courtyards, including three platform areas containing opposing, movable mirrored walls. These mirrored spaces will attempt to unify the adjoining courtyard areas while integrating a performance stage, a concessions stand, and a cool-down spot into the installation. A small ancillary courtyard will contain an oversized catamaran fabric hammock. Portions of the remaining installation will be shaded by overhead fabric sails outfitted with misters calibrated to give the space an ethereal atmosphere after dark. Each of the three main steel-framed structures will contain two inward-facing, gimbaled mirrors that can be manipulated by party goers to reflect each weekend’s unique “catharsis of movement,” according to Newsom. The infinitely-reflective mirrors create an “illusion of space [that] expands beyond the physical boundaries [of PS1] and bends into new forms, creating visual connections within the courtyard and onto the streets outside,” a press release states. Regarding the proposal for Hide & Seek, Sean Anderson, associate curator in MoMA’s Department of Architecture and Design, said, “Conceived as a temporary site of exchange, the proposal activates the MoMA PS1 courtyard as a speculative frontier to be magnified, transgressed, and re-occupied.” For the proposal, the designers were inspired partially by the dramatic change in use seen within the courtyard between the raucous weekend parties and more reserved weekday uses of the space. In reference to the opposing nature of the courtyard’s activities throughout the week, Carruthers said, “We are trying to create an installation that’s not just an object, but that is able to be responsive at different times of use.” Dream the Combine beat out LeCavalier R+D, FreelandBuck, OFICINAA, and BairBalliet for the YAP commission. An exhibition highlighting the five finalists' proposed projects will be on view at MoMA over the summer.
The new year has kicked off with the news of the Metropolitan Museum of Art changing its admission policy. Instead of a voluntary contribution, any adult without a New York State proof of residence will have to pay the full price of $25, with few exceptions. I used to work at the Met as an exhibition designer. Well aware of the financial troubles of the institution, I participated in brainstorming sessions among the departments to think of ways to generate revenue from visitors without adding a non-negotiable admission fee. I was working at the Met when it rebranded itself under the tagline of being "open" and trying to be more accessible "for everyone." The museum spent millions of dollars on a new identity and logo geared towards appealing to a broader public and getting rid of its elitist image. In this vein, the question of admission is not merely a financial one–it is a design and visitor experience problem. Ironically, the decision to charge selective admission fees will affect exactly the people the museum is trying to reach through expensive outreach and education programs. From a design standpoint, the visitor journey into the museum is now a divided one, with financial and psychological barriers to entry for those who are least likely to come. By drawing a line based on people’s ability to afford rent within the five boroughs, the Met is revealing its own contradictory nature. It wants to be exclusive and sophisticated, while still "for everyone." Even for locals who would technically be able to enter, the policy presents a deterring tactic. New Yorkers who lack proper documentation, including those without legal status, are affected, as are commuters who work in the city every day but live in a nearby state. It also excludes family and friends who visit their New York-based relatives on a budget and might not be able to afford what the Met leadership considers a "fair" price. This is not the only instance of the paradoxical spending priorities at the Met. The Met Gala swallows millions while the exhibitions department can’t afford necessary equipment. The cafeteria increased rates on subprime food the same year nobody got a raise. The museum was planning a $600-million-dollar expansion while not updating the completely antiquated signage in the Great Hall. Seen this way, the new ticketing policy is just the tip of the iceberg of irrational financial decisions. From a financial standpoint, the new admissions policy also entails a number of hidden costs. It makes the ticketing and admission process more expensive because of the added time needed for ID-checking and negotiating. New signage and way-finding needs to be designed and installed to explain the new policy to visitors. The Great Hall needs to be re-organized with new stanchioning to address the two-tier system. While tickets are one way of generating revenue, there are other ways to raise money from visitors while keeping admissions fees voluntary. They are all connected to a perceived value of the visit for one-off visitors and to a sense of identification for returning ones. This is where design can play a critical role in helping people understand that their contribution is actually valuable to the museum. The visitor journey starts with the online presence of the Met, and continues as people enter the museum and wait in line for their ticket. There are currently six ticketing booths at the Met, with long lines in front of the coat check and the sprawling retail store tucked in the corner. Because of confusing signage, people return to the Great Hall multiple times per visit to re-orient themselves, adding to the crowded feeling. A reorganization of the Great Hall is long overdue and could drive revenue with more effective ticket processing times combined with nudges towards retail and hospitality opportunities. Clear messaging and signage, open retail displays and optimized ticketing are all ways to make the visitor experience better and drive revenue at the same time. While the Met has discussed and tried to implement some of these ideas in the past years, the measures cannot be implemented simultaneously, so it is hard to measure their collective impact. Secondly, the internal priorities of different stakeholders make it hard to proceed in a unified and consistent direction. Perhaps the Met could start seeing the phased rollout as an advantage, where each measure can be fine-tuned and evaluated before final implementation. One hidden motivation behind the policy may have been to actually decrease the number of total visitors to address overcrowding. The argument goes that more people will end up coming who truly appreciate the Met, as the visit is something of value since it has a price tag. However, looking at the Museum of Modern Art (MoMA), which charges a mandatory admission fee of $25, the new policy is not likely to change the number of visitors significantly, just the make-up of the crowd. For that reason, the Met needs to evaluate beyond just numbers, and understand how the changed policy affects who can visit and who is kept out. While argued as a economic necessity, the Met’s decision to abolish free entrance for everyone but those with the right identification is designed to exclude society's weakest. It is not a coincidence that the measure was put in place in absence of a director. One can only hope that the new director will recognize the opportunity to roll back this exclusionary policy. At a time when the political climate is hostile to the values forwarded by museums and cultural public institutions, it is vital that the Met's mission of openness and access is actually put into practice.