Posts tagged with "The Shed":
Agnes Denes’s watershed retrospective at The Shed, the sliding art hall at New York’s Hudson Yards, Absolutes and Intermediates (open through March 22), feels at times audaciously oracular. With its global environmental themes, conceptual graphs of the totality of human knowledge, and exaggerated post-human scale drawings, the exhibition speaks to a millenarianism powerfully present today among anyone paying attention. Yet, much of it she conceived a half-century ago. At times, it makes Buckminster Fuller’s Dymaxion domes and the previous heroic gestures of land art look like frivolous child’s play. “I asked her once how she knew in the early ’60s what we know now about this place, where in the early ’60s you didn’t have phrases like climate change,” said curator Emma Enderby, who organized the show. “She just said that it was there. Scientists were talking about it. You just had to have your ears open and your tentacles out. You had to be reading the texts and reading between the lines.” Before joining The Shed as a curator, Enderby worked at Public Art Fund, where she became familiar with Denes through her landmark Wheatfield—A Confrontation (1982), which the organization sponsored. Back in 1982, Denes planted two acres on landfill dug up from the World Trade Center while the site sat empty waiting to be developed into Battery Park City, arguably her most famous work. Enderby suggested a retrospective, along with the idea of commissioning unrealized pieces, in line with The Shed’s mission to support original cross-disciplinary work. The work is well organized and emphasized thanks to the work of the New York-based New Affiliates, who designed the exhibition. Photographs of Wheatfield staged by a TIME Magazine photographer show Denes standing Moses-like with a staff in the field of golden wheat, the gray towers of Wall Street on the horizon, contrasting the subduing, objectified, and commodification of the built environment with an image of resurgent nature. The figure of a woman projected as a life-giving force alongside one of the earliest human technologies, agriculture, hinted at a possible regeneration of incessant urban verticality and sprawl. “It was insane. It was impossible,” Denes wrote. “But it would draw people’s attention to having to rethink their priorities and realize that unless human values were reassessed, the quality of life, even life itself, was in danger.” The exhibition sprawls through two floors of The Shed’s double-height galleries, taking its title from a radically-scaled parametric chart Denes plotted on a sheet of AT&T Bell Labs graph paper in 1970. Absolutes and Intermediates visualizes nothing less than the history and future of the universe, from its formation to its disappearance into nothing, sweeping through the emergence of human life, the development of abstract reasoning, the creation of superintelligent machines and artificial life forms, and the evolution of a future species of homo sapiens. Expansive, minutely detailed drawings of Denes’s grand alternative systems and condensations of knowledge are displayed in long vitrines—some of them longer than 20 feet—beside study models and video interviews that show Denes as much a thinker as a visual artist. Another uncanny early piece from 1970, Matrix of Knowledge, predicts information overload in ways that are halfway too optimistic, halfway right on the mark. Charted using dialectic triangulation, in which Denes represents interconnected fields of knowledge as intersections of that construct larger geometric structures, she wrote that the sum of accumulated information doubles every ten years, more than the mind can handle. In the future systems will have to be set up to preselect and reduce incoming data, leading to loss of freedom. “Mass media is already making choices for us,” she wrote at the time, “a[nd] specialization is also leading in that direction by trapping valuable data within each specialty where it remains undigested, hindering accurate deductions and combination as the flow of communication is blocked.” A maximalist ecological intervention conceived in 1982, Tree Mountain-A Living Time Capsule—11,000 Trees, 11,000 People, 400 Years is breathtaking in its ambition and gets a dedicated display room at The Shed. Commissioned on the occasion of the 1992 Earth Summit in Rio de Janeiro and realized by 1996, 11,000 trees were planted in a gravel pit in Ylöjärvi, Finland, that was being reclaimed from environmental destruction. Each tree was assigned a dedicated custodian, along with a certificate naming its owner. Planted in a swirling pyramidal pattern, Tree Mountain would take on its full meaning over the course of centuries, Denes wrote, changing from a shrine to a decadent era to a monument of a great civilization to benefit future generations. The entire second floor is devoted to a large number of Denes’s conceptual pyramidal drawings, along with three special commissions created for the show. The pyramids are largely thought experiments expressed as drawings on a crazy scale, such as her iteration of Pascal’s Triangle, no. 3 (1974), which extends halfway across the gargantuan Shed gallery, displayed in a glass case, all drawn by hand in painstaking detail. Others use dots, thin lines, and stick figures to sketch out eccentric forms—probability, a flying fish, silk, reflection, a flexible space station—creating pyramids in which slight individual variations result in reverberating distortions in the whole. The gallery commissioned a version of the probability pyramid, Model for Probability Pyramid—Study for Crystal Pyramid (2019) and built it from nearly 6,000 3D-printed corn-based bricks, taking advantage of the venue’s unusual ceiling height and technical capacity. Illuminated from the inside, the crystalline structure stretches to 30-feet-by-22.5-feet at its base and reaches 17 feet in height. As originally conceived, the pyramid would be constructed of 100,000 glass blocks, rivaling the ancient pyramids and carrying mathematical information into the future. Another special commission was a translucent, teardrop-shaped object, also lit from inside, and hovering mid-air. A custom electromagnetic circuit in the base and a magnet within the sculpture suspends the teardrop as if by magic. It’s a model for a monumental architectural structure, a floating city conceived in 1984 as a part of a series of organic forms. The structures reference back to 4000 B.C Egyptian pyramids and were created for a future in which their inhabitants live in space or self-contained floating environments. They’re intended as mandalas that define benevolent destinies: The structures “break loose from the tyranny of being built,” Denes wrote, becoming “flexible to take on dynamic forms of their own choosing. At this point they decide to fend for themselves and create their own destiny.” The other special project, Model for a Forest for New York (2014— ), is a much more recent one: A plan to plant 100,000 trees in a form that looks like a flower from the sky on a 120-acre landfill in Edgemere, Queens, with support from the Rockaway Waterfront Alliance. The forest’s conception is also more straightforwardly contemporary, appealing to public health concerns, as it would address asthma problems in the adjacent neighborhood, remove carbon dioxide from the air, and help clean the groundwater. That makes the project somewhat more prosaic, and in a way disappointing—in the same manner as a waterfront berm with a park on top, which suggests the greater truth of her aesthetic project. Well-known ecological artists like Peter Fend have complained for ages that artists are not taken seriously when proposing environmental interventions because they are not trained engineers, and the resultant projects are often wildly out of scale and untested. But with the world as we now know it is coming to an end, be it the current political order or via the climate crisis, Denes’s visionary planetary-scale retorts have a fitting rejoinder: Absolutes and Intermediates suggests the potential of aesthetic imagination—not just quantitative trading and tech engineers—to regenerate it anew.
After a controversy over his fundraising for Donald Trump, Stephen M. Ross, the real estate billionaire of Hudson Yards infamy, has stepped down from The Shed’s board of directors. Hyperallergic reported last week that The Shed, a contemporary arts center which opened this past April in Hudson Yards, confirmed Ross's departure “to focus on his other philanthropic activities.” The development mogul, whose organization, The Related Companies, is associated with the luxury fitness brands SoulCycle and Equinox as well as the Momofuku and Bluestone Lane franchises, has been at the center of protests after it was unveiled in August that he was planning to host a fundraiser for Donald Trump’s reelection campaign. Ross, a longtime Republican donor, defended his track record as “an outspoken champion of racial equality, inclusion, diversity, public education, and environmental sustainability.” As previously reported, in addition to facing boycott threats, several high-profile designers backed out of shows to be hosted at The Shed amid the controversy and artists staged on-site protests of Ross's history as a donor. The Shed itself has also faced its fair share criticism. It recently announced its 2020 line-up featuring a diverse group of voices such as Claudia Rankine and British playwright Arinzé Kene. In the wake of Ross's departure, a spokesperson for the art space told Hyperallergic they were “grateful for his service and his important role in helping found The Shed.”
On June 21, a couple of months after the opening of the Diller Scofidio + Renfro and Rockwell Group-designed Shed, the anonymous group behind the_shed_is_a_shack Instagram account began trolling the billionaire-real-estate-developer-funded arts center. Its organizers, who include an artist and an executive director of an arts institution, followed their friends' Instagram accounts to attract followers and began lampooning the Shed. They published a photo of a cracked electrical outlet cover and an electrical box with wires sticking out, poked fun at design and programming decisions, and savaged the financing behind the project. Increasingly they focused on its embodiment of extreme economic stratification, poor labor practices, and the "artwashing" of real estate the project embodies. We asked The Shack—as they call themselves—about the account, their trolling of the Shed and Hudson Yards, and their view of what should have happened there instead. They responded with a remarkably cogent argument for an alternative decision-making process for development on public property. AN: Can you tell us about your backgrounds or professional affiliations? Are you connected to any activist groups or have you been in the past? the_shed_is_a_shack: We are arts professionals with many years of experience with cultural institutions and in different aspects of the art world. The Shack includes an executive-level arts leader and an artist who is also active in a number of other social justice/advocacy issues. We are also people who care about our communities, our fellow citizens, and the importance of civic engagement.
Are you creating some of the memes or are you mostly sharing other things you see? We create all of the content ourselves, except in a very few select cases where we have reposted and clearly credited the original poster. Our audience also sometimes sends ideas or news articles to us, and occasionally that’s a prompt for us to create a particular meme or post around that idea.View this post on Instagram
How do you see this action: As advocacy or activism, or are you mostly just having fun trolling the developers? The account is light-hearted about a dark-hearted thing, and so we’re poking fun while also highlighting some very serious issues. There are a lot of problems with how money and power are distributed and abused in the art world, and also in the world at large, and what has happened (and is happening) at Hudson Yards and with the Shed is representative of some of the most egregious examples. There’s also such a huge gap between how Hudson Yards and the Shed were sold and marketed to the public, and what they have actually become. So much marketing hype was built into the selling of it, and so it feels right that the response should be similarly structured in terms of tone, as memes, faux ads, and hype-speak. Also, we’re in the art world, so we like our visuals. There’s a long history of art world projects that critique the structure and internal systems that underpin cultural institutions. We’d like to see that critique contribute to change, so there’s an advocacy element to our trolling.View this post on Instagram
Is it connected to a particular set of positions? No matter how much we might have a laugh at some of the more outrageous details of Hudson Yards and the Shed, the development is actually a slap in the face to the people of New York and thus in need of more serious examination. A select group of wealthy individuals and corporations are benefitting from Hudson Yards, along with government officials who actively championed and pushed through the development to advance their own political or business interests (including Bloomberg, De Blasio, Dan Doctoroff, and others). But what did everyone else get? Our tax dollars went to build a private luxury neighborhood billed as “Little Dubai,” while many New Yorkers don’t have access to affordable housing, reliable subway lines, or adequate healthcare. The developers tried to cut out unions and limit worker safety standards, and people lost wages and got hurt. And with the Shed, our tax dollars helped pay for a building and organization that is not serving the cultural community or the public as promised, and instead has created a tax-deductible structure and plaything for the developer and his pals to utilize and benefit from. So, our position is about advocating for the public interest and for the cultural community.View this post on Instagram
What motivated you in particular to start it, and is Instagram an effective tool so far to forward a message? The account started really just as a cathartic response and half-joke. We visited The Shed soon after it opened and were stunned by the experience. The building itself was in disarray. Hardware was falling off the walls or not properly installed, there were cracks in the glass and electrical socket plates, puddles of leaking lubricant from the escalator, peeling and chipped paint on multiple walls, exit signs with wires sticking out, obvious building code violations, and more.View this post on Instagram
For a brand-new, wildly expensive building supported by taxpayer money and on city-owned land—and touted by the developers and the city as representing the future of cultural institutions and civic public-private engagement—it was a massive failure. So many cultural institutions around the city are struggling to pay the bills, and money got poured into this development. It’s unconscionable that it turned out this way and that there has not yet been a reckoning for abusing the public trust. So what started as a joke among friends expanded as we realized how serious and ongoing the problems there were. Instagram is the art world’s preferred social media for the most part, at least for the moment, and so it seemed like a natural choice.View this post on Instagram
What would be an ideal outcome? The desired outcome is to expand the conversation around the Shed and Hudson Yards. It’s also important to us to emphasize how the final shape of the development is not an accident; it’s what happens when a development that is privately owned and controlled does not include the appropriate level of input, regulation, and safeguarding by community groups and the public. The Shed is an extension of that core problem, with a board controlled by the developers and their buddies, and even the building itself is literally infected by and physically trapped inside the development Alien-style (The Shed ended up being constructed with much of its operational guts shared with and located inside of the skyscraper next door). So now we have a major NYC neighborhood and cultural institution that is being controlled by a small group of private investors, continuing to benefit from tax incentives and public money, in order to advance personal interests that are largely counter to the public’s.View this post on Instagram
Although Hudson Yards is mostly owned by private developers, the Shed sits on public land owned by the city and is a nonprofit entity that is required to benefit the public good. So we—the public—need to hold the Shed accountable and see that necessary changes are made to the way it operates. There are many different options that might be proposed as an alternative; for example, a consortium of existing cultural institutions and community organizations could come together to re-envision how the space should operate and who should run it. The building could serve as an outpost/off-site programming space for other arts and culture organizations on a rotating basis, among other possibilities. It could also be converted into free or subsidized office/studio space for cultural nonprofits, artists, and community organizations that can’t afford rent because of developments like Hudson Yards, or for events like pop-up free healthcare clinics or other services for those in need. Further, there should be a public conversation to include government officials that rethinks how the next phase of Hudson Yards is allowed to proceed, with an eye toward much more community oversight, regulation, and built-in systems for clawing back public money/tax incentives if and when promises aren’t kept.View this post on Instagram
What should Hudson Yards have been? Hudson Yards should have been a true public-private partnership, which means careful input, oversight, and regulation by the community at every stage and ongoing for the life of the development. That’s a hard and challenging process, but it’s necessary and fair if developers want to get decades of tax incentives, city- and state-paid infrastructure, and other public money. Hudson Yards could have and should have been an actual mixed-use community, with truly integrated housing for low-income, middle, and yes even some luxury, as well as a range of nonprofit, business, and retail spaces that genuinely serve the neighborhood needs more broadly. It should have true public space (not privately owned space that the developer controls on whim) and cultural venues that more fully reflect the needs and interests of the community. Cultural and creative programming and public artwork should be informed by and ultimately decided by those with expertise in the field alongside community members, not by one rich guy who wants a big Heatherwick bauble because he thinks it’s what other rich guys like. If he wants a Heatherwick (or anything else), he’s welcome to buy it and build it—but not with the support and help of public money and infrastructure.View this post on Instagram
Because the developers of Hudson Yards are claiming private control of the entire space (even though this isn’t actually correct, with the Shed on city-owned land and the Hudson Yards subway part of the MTA), they are asserting that visitors don’t have the same rights they would normally have in a public space. That’s deeply problematic on many levels (impacting everything from the right to protest, to who gets to sit on benches or be otherwise harassed under what conditions, as well as in their use of facial recognition technology in the kiosks and other surveillance measures by the developers). So there should be requirements that dictate how any development that benefits from public support can control that space.View this post on Instagram
Also if you have anything to add about the processes by which public property is developed . . . Similar to what we noted should have happened with Hudson Yards, the process for [the] development of public space and property (and public-private developments) needs to be more carefully safeguarded and regulated, and there needs to be oversight by independent community experts and individuals who are not in any way affiliated with the developers. And this oversight should continue for the lifetime of the property and with teeth to match (heavy fines and claw-backs for developers who renege on promises, for example). We all know how arduous these kinds of processes can be, but it’s necessary if we want to ensure projects truly benefit the public. That doesn’t mean there needs to be total consensus on every aspect of a project (which is impossible to obtain in any case and often leads to art-horse-by-committee outcomes), but it means the decision-making needs to be led by a sense of true commitment to the public good and strict, proactive measures to ensure there are not conflicts of interest. There also needs to be a more nuanced understanding and recognition of how we assign expertise and decision-making power within this oversight and community process; for example, there’s a tendency to assume “expert” in the arts only applies to a well-known museum president, a wealthy collector, or a big name artist, when in fact it should include arts workers and others who have active, on-the-job experience within cultural organizations, or an avid arts goer who is not financially able to be a donor/collector but loves art with the same zeal as an Aggie [Agnes] Gund, among other examples. There are many of these people throughout the city, and their voices should be given a place. Not just because it’s the right thing to do, but because our public spaces will be made better by their input.View this post on Instagram
With summer finally falling behind us, the fall exhibition circuit is just heating up. Here, we’ve rounded up the season’s must-see art and architecture exhibitions from coast to coast. Agnes Denes: Absolutes and Intermediates The Shed 545 W. 30th Street, New York, NY October 9, 2019 - January 19, 2020 The second and fourth floors Hudson Yards' The Shed will display 150 of the Hungarian artist's seminal works confronting truths about society, our environment, and introspection. Working since the 1960s, Denes's 50-year career is explored and presented in a hopeful way as the echoes of the Climate March recede and Climate Week NYC begins. The two floors dedicated to Denes address two separate arcs present in her oeuvre: her exploration of technology in relation to control over her artistic process is espoused on the second floor, with displays of her two series, Philosophical Drawings and Map Projections, while the fourth floor is completely dedicated to her meditation on the pyramid, simply titled Pyramid Series. By utilizing the intersection of the environment around her and technology available, Denes envisions a future plan for our society that hit home during the beginning of the ecological movement in the ’60s, and rings even truer today. THROUGH POSITIVE EYES The Fowler 308 Charles E. Young Drive North, Los Angeles, CA September 15, 2019 - February 16, 2020 The Fowler Museum at UCLA is bringing together the stories, photography, and performances of more than 130 people living with HIV/AIDS in the upcoming exhibition Through Positive Eyes. Artist and activists from 10 cities around the globe have come together to exhibit original photos and video of these individuals, bringing unique stories to life as well as revealing a more collective, global-scaled narrative of this epidemic. There will also be a sculpture installation by L.A.-based multimedia artist Alison Saar. The title is taken from the Los Angeles-based Through Positive Eyes Collective, a group of seven HIV-positive residents who will be performing twice a week throughout the exhibition. Yet while there are so many voices, and so much artistic production going into this single exhibition, it has all been envisioned and curated around one core belief: that challenging stigma against people living with HIV/AIDS is the most effective method for combating the epidemic. WITH EACH INCENTIVE: POSTCOMMODITY The Art Institute of Chicago 159 E. Monroe Street, Chicago, IL July 25, 2019 - April 26, 2020 The indigenous collective Postcommodity, currently comprised of artists Cristóbal Martinez and Kade L. Twist, have "completed" their purposefully incomplete With Each Incentive at the Bluhm Family Pavilion at the Art Institute of Chicago. Free and open to the public, the pavilion splashes a colloquial building form of the Global South—vertical concrete blocks columns topped out with exposed rebar—against the skyline of downtown Chicago. By placing these built forms in a place where they are seen as foreign, the Postcommodity duo comments on the ongoing phenomenon of migration of Central and South Americans to the midwestern city. The installation is also accompanied by a custom made codex that brings in images of relevant people, places, art, and graphics that the artists believe join in this site-specific theme, as well as Postcommodity’s perennial stance towards issues of borders, indigeneity, and the pan-American experience. The Los Angeles Schools The A+D Museum 900 E. 4th Street, Los Angeles, CA September 21, 2019 - November 24, 2019 The Architecture and Design Museum in L.A. is putting on an exhibition of student work from the leading architecture and design schools in the city, from SCI-Arc to Cal Poly LA Metro. The show is curated to express the methods and thinking propagated at these institutions, working to position L.A. even more prominently as “a center for architectural production, investigation, and research charged with producing tomorrow’s leaders in the world of architecture and design,” according to a press release. In addition to the curated show, the museum is also hosting a number of events and lectures that are all open to the public throughout the exhibition’s run. Individual school voices and narratives will be highlighted in what is a showcase of talent-to-come from some of the world’s leading academic institutions shaping the next generation of the profession. Tigerman Rides Again Volume Gallery 1709 W Chicago Ave, Chicago, IL September 15, 2019 - November 2, 2019 This Chicago gallery chose to honor the final works of architect Stanley Tigerman in this exhibition of his black and white, undulating geometries. In the final months of his life, the 88-year-old architect resumed his life-long practice of daily drawings that had briefly been put on hiatus, and produced what harkened back to some of his boldest paintings and drawings of the late ’50s and early ’60s. The mind of the man behind a large portion of Chicago’s postmodernist architectural aesthetic, his commitment to and passion for architecture history, Mies van der Rohe, and his favorite contemporary artists, are all evident in this showcase of final works. The exhibition shows how Tigerman was able to bring in diverse influences from all over the art world and synthesize them into clear, poignant visions both on the street and on the page. Fringe Cities: Legacies of Renewal in the Small American City The Center for Architecture 536 LaGuardia Place, New York, NY October 2, 2019 - January 18, 2020 Designed and curated by MASS Design Group, this exhibition explores the specifics of the "fringe city;" a smaller city on the outskirts of a larger metropolis. These cities were hit disproportionately hard by the effects of United States government investment in urban planning schemes centered around demolition, superblocks and slum clearance in the years between 1949 and 1974, collectively known as Urban Renewal. From traffic congestion to increased neighborhood segregation, the effects of this era of urban planning are still being felt today in cities all over the country. But this exhibition takes a deep dive into MASS’s exploration of the fringe city condition, and understand the challenges faced by residents and local organizations in order to find new solutions towards human-scaled change.
Nearly six months after the opening of Hudson Yards, and five after the opening of the Shed (now The Bloomberg Building), it has come to our attention that there has been a snafu at the Shed, the “new Fun Palace” designed by DS+R and Rockwell Group for New York's Hudson Yards. Heralded as a flexible platform for performance and arts of all kinds, the movable elements such as the translucent ETFE sheath and interior walls are what give life to the $485 million complex. However, recent reports indicate that there were some hurried details in the large gallery space, and the temporary partitions do not work. The floor grid does not align with the ceiling grid, making it impossible to install the partitions as originally designed. As such, the gallery currently can’t be subdivided. Whoops! Shoddy construction? Budget cuts? Blame the architects? UPDATE: In a statement, Diller Scofidio + Renfro told AN, "The Shed utilizes anchors in the floor to cantilever freestanding partitions, which allows for a thinner dimension than most fixed museum walls that are typically braced from the ceiling. The same system was used successfully for The Broad museum's gallery floors. In a few limited instances, construction deviations left the anchors slightly off center. The wall system has easily adapted to these conditions and continues to serve the Shed well. For example, Level 2 was partitioned to separate the two different performances (choral and orchestral) of Reich Richter Pärt." In other Shed news, on the heels of a $250,000-a-plate fundraiser for President Trump’s reelection held by CEO and chairman of The Related Companies Stephen Ross, calls to boycott The Shed have been growing. According to Hyperallergic, artists Zackary Drucker and A.L. Steiner withdrew their contribution to the Shed’s Open Call show, Rag & Bone dropped out of the Fashion Week show that would be held in the Shed, and artist Thanushka Yakupitiyage staged a “Decolonize This Place” performance on Sunday, August 25, in protest. Yakupitiyage, through a combination of remixed music, dance, and audio clips put on MigrantScape as part of Open Call and spoke out against the government’s treatments of migrants—as well as Ross’s complicity. The piece was put on on top of the concrete plaza in front of the building, which, when the ETFE envelope is rolled forward, forms the 17,000-square-foot McCourt space, the venue’s main performing area. In more positive news, The Shed was named to TIME Magazine’s second annual list of the World’s 100 Greatest Places today, placing it in high accolades among other exemplary recent projects, such as Snøhetta’s underwater restaurant and a suite of refined museums.
TIME Magazine’s second annual list of the World’s 100 Greatest Places is here and several major, recently-opened cultural marvels secured top spots—two of which were just completed by Norweigan-firm Snøhetta. Put together by the editors and correspondents at TIME, as well as a handful of industry experts, the following parks, hotels, restaurant, and museums were voted highest because they exhibited four key factors: quality, originality, sustainability, innovation, and influence. It’s interesting to note that only two principals of big-name firms that designed the projects below have made the TIME 100: The Most Influential People list in recent years: Liz Diller (2018) and David Adjaye (2017). The only architect to make the list this year, Jeanne Gang, didn’t have a new piece of architecture up for consideration among the World’s Greatest Places 2019. Not a single Bjarke Ingels Group project made the cut either. Though it’s not clear why they weren’t chosen, it is possible to guestimate which soon-to-be-finished works across the globe might catch an editor’s eye in 2020 based on this year's finalists. See the TIME’s full list here and AN’s shorter, what-you-must-know version below to learn more: The Shed New York City By Diller Scofidio + Renfro and Rockwell Group New York’s newest 200,000-square-foot art center only opened in April but it’s been one of the most talked-about building in Hudson Yards. Situated on West 30th Street and surrounded by new glass towers, the kinetic structure features a 120-foot-tall retractable outer shell covered in ETFE panels. It boasts eight different levels for rehearsals, large-scale exhibitions, and events, as well as live music, dance, and theater performances. According to DS+R, The Shed embodies the architecture of infrastructure. All Square Minneapolis, Minnesota By Architecture Office Austin-based firm Architecture Office created a stand-out space in Minneapolis for the nonprofit/restaurant All Square. Unveiled in September 2018, the 900-square-foot, neon-lit eatery provides the formerly incarcerated with a place of employment and continuing education. The civil rights social enterprise was started by lawyer Emily Turner and has bragging rights to the best craft grilled cheese sandwiches in town. The Gathering Place Tulsa, Oklahoma By Michael Van Valkenburg Associates Imagined by billionaire philanthropist George B. Kaiser, The Gathering Place is a 66.5-acre riverside park situated two miles from downtown Tulsa. It opened to the public last September and has since welcomed over 2 million people. New York-based landscape architect Michael Van Valkenburgh and his team transformed a slate of land next to the Arkansas River into a veritable green theme park of activities for adults and children. It’s the largest public “gift park” in U.S. history; 80 philanthropic donors funded the construction of the park and created an endowment to secure its future. Ruby City San Antonio, Texas By David Adjaye Associates Officially set to open this October, the 14,000-square-foot Ruby City holds the 800-piece art collection of the late Linda Pace, artist, philanthropist, and heiress to the Pace Foods salsa fortune. Constructed with a sparkling, rose-tinted concrete exterior made in Mexico, the museum complex includes a series of open galleries with sculptural skylights that bring the sun into the interior spaces. The project was created in collaboration with local firm Alamo Architects. TWA Hotel Queens, New York By Lubrano Ciavarra Architects Flanking the backside of Eero Saarinen’s historic midcentury modern TWA Flight Center, the new TWA Hotel is a glass-clad, dual-structure composed of 512 sound-proof rooms, a rooftop infinity pool, and a 10,000-square-foot observation deck that looks out over incoming international flights. Guests started arriving at the Jet-Blue adjacent site in May to enjoy the recently-renovated terminal, completed by Beyer Blinder Belle, and its newly-opened dining options. The ultra-energy-efficient hotel also houses 50,000 square feet of underground events space. Central Library Calgary, Canada By Snøhetta and DIALOG Snøhetta’s Central Library takes up 240,000 square feet of space in downtown Calgary and stands six stories tall. One of the many design elements that make the public building so attractive is its gleaming facade made of white aluminum and fritted glass, as well as the way it straddles an active rail line. On the inside, a massive oculus and sinuous wooden stair system give the 85-foot-tall atrium a light and airy, yet dramatic feel. The public project opened last November. The National Museum of Qatar Doha, Qatar By Ateliers Jean Nouvel Qatar’s highly-anticipated National Museum came online in March and is part of a recent construction boom in the country as it prepares for the 2022 World Cup. Designed to mimic Qatar’s desert rose sand formations, the 430,000-square-foot institution stretches in a series of interlocking discs across a portside site in downtown Doha. The galleries inside tell both the story of the desert's natural history as well as the country’s evolution, cultural heritage, and future. Xiqu Centre Hong Kong, China By Revery Architecture Hong Kong’s new opera house is covered in 13,000 curved aluminum fins arranged in a wave-like fashion—a design move inspired by the delicacy of theater curtains. Though the architecture itself is shaped like a box, the cladding gives it a texturized appearance that’s almost psychedelic to see up close. The cultural space, which opened in April, includes a 1,073-seat theater that floats above an interior plaza used for exhibitions and performances. V&A Dundee Dundee, Scotland By Kengo Kuma As the second outpost of London’s Victoria and Albert Design Museum, the staggered, concrete facade of the V&A Dundee is a stark contrast to its historic sister site and makes it stand out amongst the industrial waterfront near downtown Dundee. Kengo Kuma inverted two pyramids for the outline of the structure, some of which juts out into the River Tay, to both evoke Scotland’s craggy, cliff-edged coastline and the shape of a ship on the sea. It opened its doors last September with a set of permanent exhibitions on Scottish design. Statue of Unity Gujarat, India By Michael Graves Architecture & Design and sculptor Ram V. Sutar Standing 597 feet tall on an island in the Narmada River, this bronze statue is a larger-than-life replica of India’s first deputy prime minister Sardar Vallabhbhai Patel. It was completed last November and since then, visitors have flocked to the western India state to climb the statue for unparalleled views of the nearby mountain range. Soon, its base is slated to become a resort. Under Lindesnes, Norway By Snøhetta Finished in March, Under doubles as a partially-underwater marine biology research station and an ultra-exclusive restaurant. Snøhetta’s sunken “periscope” design dives 16 feet below the North Sea and features a 36-foot-long, 11-foot-tall window wall in the dining room. The exterior is clad in concrete, but the interior boasts other materials such as oak and terrazzo.
The Shed at Hudson Yards, the new inflatable arts venue on the western edge of Manhattan, has assembled a varied group of visual art exhibitions that are all on view through August 25. Open Call: Group 2 in the Level 2 Gallery and Collision/Coalition in the Level 4 Gallery all boast new artworks centered on the built world. Julia’s Weist’s Study for Fiction Plane makes its world debut in the Open Call show. Weist has aggregated a collection of eight photographers’ work depicting fabricated, simulated spaces or “sets” by artists ranging from Larry Sultan, Sarah Pickering, Corrine Botz, and the artist herself. Fake hospital rooms where actors affect symptoms for medical students, ersatz domestic spaces set afire for burn pattern analysis, a mock city constructed by the FBI, and a Mars simulator are some of the sites. Weist is now collaborating with Hollywood artists to place these photos in the background of upcoming TV shows to add another layer of artificiality. Another hall of mirrors, this time more literal, is in Hedges, 2019 by Hugh Hayden, where a shingled house with dormers is covered with large sprouting branches like the twigs of a bird’s nest is set inside three mirrored walls to reflect an infinite row. Gabriela Corretjer-Contreras’s Llévatelo To’ No Me Deje Na, 2019 takes us inside her alter-ego Nena’s bedroom from Puerto Rico where we can try on her clothes and examine her personal environment, with mementos of the colonial experience. Modern Management Methods, 2019, tackles the United Nations headquarters renovation in Manhattan. Caitlin Blanchfield and Farzin Lotfi-Jam used UN archives and X-rays to focus on the campus renewal that followed 9/11, and they take on such issues as security, nationalism, environment, accessibility, as well as the bureaucratic framework of this multi-billion-dollar capital project. The duo describes their artwork as a building section cut that simultaneously reveals “global managerialism.” Analisa Teachworth’s The Tribute Pallet, 2019, invites viewers into a shack-like scaffolded structure with a multimedia installation and a table with glass jars holding candy to be eaten by visitors. Similar to Kara Walker’s monumental Domino Sugar installation in 2014, the slave trade is called out in the harvesting and processing of sugar. Similarly, Kiyan Williams’s Meditation on the Making of America, 2019, uses soil as its main material for a “portrait” of America that violently extracted and exploited black bodies and the land. And The Forever Museum Archive: The untitled/A Template for Portable Monuments by Onyedika Chuke, 2019, is a structure adorned with snakeheads and symbols of divinity, protection, and descent. A bonus is New York’s Poetry Slot Machine, 2019 by Saint Abdullah and Daniel Cupic, which is based on a relic from WWI placed on the streets by the Mayor’s Office of Cultural Affairs. They featured the poetry of the Persian poet Hafiz, which was used by Iranians for guidance when facing critical decisions. Surplus slot machines from empty casinos were installed around the city in 1917 and raised $2 million during WWI, $4 million during the depression and $6 million during WWII. At the Shed, you pull the lever and get a poem by the 14th-century poet instead. On another floor is the exhibition Collision/Coalition featuring work by Oscar Murillo. His canvases, dummies, and video depict a walk from Hudson Yards, where the Shed is located, to Rockefeller Center with the dummies pushed in wheelchairs. His central conceit is that the newly opened Hudson Yards is the inheritor to Rockefeller Center, a take very similar to that of The Related Companies chairman Stephen Ross.
Brought to you with support fromOpened in April 2019, Diller Scofidio + Renfro’s (DS+R) and Rockwell Group's The Shed is an eight-level, 200,000-square-foot art center located on the southern, 30th Street flank of Hudson Yards. The project has received acclaim for its operable features, notably its gliding ETFE-clad shell and multi-ton doors.
the McCourt, to effectively function as an open-air pavilion. The structural steel for the doors was fabricated with predrilled mounting for the glass facade and was assembled on site with kinetic components that facilitate proper guidance and alignment. Coordinating with kinetics contractors and fabricators proved a challenging aspect of the project. “Typically, kinetics contractors are quite independent of other construction elements,” said Charles Berman, associate principal of DS+R. “We had the opportunity to work with these trades in early engagement, design-build processes which ultimately led to the best path to success.” Along the north elevation, the door measures 25 feet wide and 32 feet tall, while along the east it is 33 feet wide and 32 feet tall. Each door weighs approximately 30 tons and is lifted by a pair of electric drum winches that pull braided stainless steel wired cables through a series of roller bearings. The system is also integrated with brakes and lockout assemblies to allow for variegated opening heights. In total, raising the doors to their maximum height of 32 feet takes nearly two and a half minutes. The Shed adjoins DS+R and the Rockwell Groups adjacent 15 Hudson Yards along a seam of polished steelwork. Many of the mechanical components of the performance space are embedded within the podium of the tower, ventilated by parametrically designed glass-and-louver modules.The large operable doors, dubbed “guillotine doors,” are located on the north and east elevations of the structure. When lifted, they allow the central performance space, or
After 11 years and two mayoral administrations, The Shed (now just the name of the administering arts center, with the physical structure housing the organization having been renamed The Bloomberg Building) is nearly ready to open. On April 5, this Friday, the public will finally get to venture inside Manhattan’s newest, and largest, cultural institution. As Hudson Yards welcomes the Diller Scofidio + Renfro and Rockwell Group–designed multidisciplinary arts center, much has been written about the building’s central, inescapable feature. The 120-foot-tall outer shell, clad in ethylene tetrafluoroethylene (ETFE) “pillows,” can extend out from the base building when needed for larger performances, covering the public plaza and creating the 17,000-square-foot, climate-controlled McCourt space. When the shell is rolled back, the 20,000-square-foot outdoor plaza can be used for open-air performances. Art is even part of the very ground below, as artist Lawrence Weiner has embedded IN FRONT OF ITSELF in 12-foot-high letters using colored pavers throughout the plaza. As Elizabeth Diller and David Rockwell have repeatedly described, The Shed was conceived with maximum flexibility in mind. The comparisons and claims of inspiration from Cedric Price’s unrealized, constantly changing 1964 Fun Palace have been overt, whether rightly or wrongly. Either way, there’s no contesting that the space represents a blank space for artists to call their own. “I see the building as an ‘architecture of infrastructure,’ all muscle, no fat,” said Diller, “and responsive to the ever-changing needs of artists into a future we cannot predict. Success for me would mean that the building would stand up to challenges presented by artists, while challenging them back in a fruitful dialogue.” Four stories of programming live inside the eight-level base building. Floors two and four hold a combined 25,000 square feet of gallery spaces without columns and with 19-foot-tall ceilings. From April 6 through June 2, the second level gallery will display Reich Richter Pärt, a combination of choir songs from composer Steve Reich set against tapestries and wallpaper, some of them room-spanning, from artist Gerhard Richter. Swinging glass doors on the eastern walls of each gallery can open them up to the McCourt, allowing the venue to add additional seating when necessary. The sixth floor holds the Kenneth C. Griffin Theater, an 11,700-square-foot black box space with a 500-seat capacity. The theater can also be split in two to host smaller shows. On the top floor are the Lizzie and Jonathan Tisch Skylights, a wide, multipurpose section that affords one of the few views towards the rest of Hudson Yards, including a prominent view of Vessel. The open area features 9,500-square-feet of flexible event space, the 1,700-square-foot Tisch Lab for local artists, and a 3,300-square-foot rehearsal space. The two namesake skylights provide the entire floor with plenty of natural light, making up for the difference in ceiling heights found throughout the rest of the building—the eighth floor’s ceiling is noticeably lower. Hints of the building’s superstructure and its transforming shell are ever-present. The Bloomberg Building’s central set of scissoring escalators run parallel with the glass curtain wall and affords ample views of the shell, and the bent seam where the shell meets the adjoining tower. Inside the McCourt, the steel diagrid underpinning the ETFE facade reveals itself, creating a vastly different experience than viewing the building from outside. The High Line runs level with the windows on the second floor, reinforcing the connection to the park, strangely minimizing the feeling that the building is part of Hudson Yards proper. The Shed opens on April 5 with Soundtrack of America, a five-night concert series conceived and directed by Steve McQueen that celebrates the worldwide impact of African American music. The full lineup is available on The Shed’s website, here.
Brought to you with support fromDiller Scofidio + Renfro (DS+R) and Rockwell Group's first skyscraper, 15 Hudson Yards, is now complete after four years of construction. The 88-story residential tower fuses the largest cold-warped glass curtain wall in North America with a louver and limestone base. The tower is located on the southwestern flank of Hudson Yards's first phase located on 28 acres between 30th and 34th Streets, and 10th and 11th Avenues. One of the sites many towers, 15 Hudson Yards alone will enclose a whopping 980,000 square feet. The 914-foot-tall project rises from a CNC-fabricated limestone base sourced from Carrara, Italy. According to the design team, parametric guidelines and 3-D modeling facilitated a seamless design-to-fabrication process for both the approximately 1800 stone panels and their steel support systems produced in Queens and New Jersey. The rear of each panel is studded with metal angles fastened to a network of bent plates attached to the steel support system.
The Shed, also designed by DS+R and Rockwell Group, adjoins the smooth limestone surface of 15 Hudson Yards along a diagonal seam defined by polished and formed steelwork by CIG Architecture. Incorporating the dynamic performance arts space into the base of the tower presented a number of mechanical and structural challenges for the design team. The 48.7-inch-wide modules all have both a glass and ventilation louver component. The designers varied the ratio of the two pieces parametrically to best ventilate interior mechanical equipment, with the widths of the louvers ranging from 4 to 31 inches. Beginning at the 20th story, the tower dramatically curves using a cold-warped unitized glass curtain wall system. The individual glazing units, produced by German manufacturer Interpane, were cold-warped on site. To warp the glass components, the panels were held in trapezoidal frames with silicone seal joints that anticipated the final form of the panels once they were bent into place. While early renderings of the project depicted 15 Hudson Yards with anatomical undulations, cost constraints and manufacturer warranties straightened the design into its current form. “We worked very closely with curtain wall fabricators from concept through execution, and the tower’s form is a product of this close collaboration,” said facade consultant Neil Thelen. “Using a collaborative parametric approach, we were able to iterate and analyze the impact of the tower’s curved forms on critical parameters such as IGU cold-warping, aluminum extrusion die option, unique part and assembly reduction, gasket engagement, and window operation.” Above the amenity spaces located roughly halfway up the tower—which are clad with glass mega panels—the facade's curvature increases dramatically, effectively breaking into four turrets. The glass panels deflect up to 8 inches at the skyscraper's summit. Although the dimensions and material of the facade differ throughout the tower, the cladding all attaches to the structural frame with a similar technique. “There are embedded plates in the slab edges to which faceplates are bolted with adjustable screws to align bearing points for each wall unit. Each curtain wall unit has a pair of load bearing hooks at the top where the dead load is transferred to the building structure from the hooks,” said DS+R project director John Newman. “It hangs from there and interlocks with a large, gasketted tongue-and-groove extrusion at the top of the unit below.” In response to river-borne gusts, the facade is designed to withstand 100-year wind loads with a system of structural silicone profiles, mullions, and steel reinforcements for spans greater than twelve feet. Additionally, testing conducted by an independent lab determined the placement of supplemental-load bearing aluminum extrusions.
For over three years, New York City has anticipated the debut of Hudson Yard’s enigmatic “Shed”: the eight-level, 200,000-square-foot art center with a massive, telescoping outer shell. On April 5, the new center will finally open its doors, hosting a variety of exhibitions, lectures, and events related to the performing arts, visual arts, and pop culture. The innovative building was designed by Diller Scofidio + Renfro, lead architect, and Rockwell Group, collaborating architect. Its sleek, flexible, and mobile layout was inspired by the industrial past of the High Line and West Side Rail Yard, and the building’s form is intended to physically transform depending on artists’ visions. Its blueprint includes two levels of gallery space, a multipurpose theater, a rehearsal space, a creative lab, and a 9,500-square-foot sky-lit space for large-scale events. Reminiscent of a train car, the building’s semi-transparent outer shell can glide along rails onto a neighboring plaza to nearly double the building’s footprint for grandiose concerts and performances. The massive light, sound, and temperature-controlled hall can be used as a blank slate to support artists' and performers’ most creative and ambitious ideas. “We have built a home where established and emerging artists working in all disciplines can create new work in ways that we cannot even imagine,” said The Shed’s Artistic Director and CEO, Alex Poots. The venue will host an assortment of events ranging from comedy shows to concerts. The first year of programming will include lectures by filmmaker Boots Riley, a Björk concert directed by John Tiffany, and a Kung Fu musical featuring songs by Sia. The building will be named to “The Bloomberg Building” after a generous, $75 million donation from Michael Bloomberg, the former mayor who oversaw the dramatic gentrification of Manhattan’s Westside and Hudson Yards. With only three months until its launch, The Shed will go through the final phases of construction, which includes the installation of metal cladding and other architectural finishes. Correction: A previous version of this article said that The Shed's name will change, but only the building the institution is housed in will be known at The Bloomberg Building.
Icelandic pop pioneer Björk will be world premiering a new concert at The Shed, the cultural institution set to open in Manhattan's Hudson Yards in 2019. Titled Cornucopia, the show will see Björk performing with a seven-piece female Icelandic flute ensemble and other supporting musicians in The McCourt, the forthcoming venue's largest space. "this winter i will prepare my most elaborate stage concert yet, where the acoustic and digital will shake hands, encouraged by a bespoke team of collaborators,” said the singer in a statement. Björk will work with Tony-winning director John Tiffany who will direct the show, Dutch fashion designer Iris Van Herpen on costumes, and Chloe Lamford on set design, along with media artist Tobias Gremmler and frequent Björk collaborator James Merry. Specific dates have not yet been announced for Cornucopia, and tickets are not yet available. There is no word as to whether the show will include new music, or will feature tracks from her extensive back catalog. Björk's most recent album, Utopia, was released in 2017 and imagined an emotional paradise in the wake of her breakup of her longtime partner the artist Matthew Barney. Björk has not yet toured with that album in the U.S. Utopia also used a backing flute ensemble, suggesting that the new concert will work with that material. The Shed is a massive new space designed by DS+R and Rockwell Group that features a retractable ETFE-paneled facade mounted on massive wheels. It is one of the centerpieces of the Hudson Yards development built over train yards overlooking the Hudson River. Alex Poots was hired as the founding artistic director and CEO of the new artspace after stints at the Park Avenue Armory and the Manchester International Festival. The Shed is scheduled to open in the spring of 2019, with the Björk show presumably being one of the inaugural performances.