Posts tagged with "UCLA":
Hippie Modernism: The Struggle for Utopia, which celebrates the design objects and artworks created during the 1960s radical counterculture era, is making a West Coast appearance at the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) this semester.
The multimedia-rich exhibition arrives in the Bay Area after a short stint at the Cranbrook Art Museum in Ann Arbor, Michigan, and an inaugural showing at the Walker Art Center in Minneapolis. BAMPFA, recently relocated and expanded in bombastic fashion by New York City architects Diller Scofidio + Renfro, is a fitting location for the out-there works on display, which for this showing will include more than 70 Bay Area–specific artifacts highlighting the confluence of high modernism and counterculture modes during that time. The exhibition, whose Berkeley run is curated by Lawrence Rinder, the director of BAMPFA, and Greg Castillo, associate professor of architecture at UC Berkeley, will run in parallel to Hippie Modernism: Cinema and Counterculture, 1964–1974, a four-month-long film series organized by Kate MacKay, associate film curator.
Hippie Modernism: The Struggle for Utopia University of California, Berkeley Art Museum and Pacific Film Archive 2155 Center Street, Berkeley, California Through May 21, 2017
Brett Steele, Architectural Association director, named new dean of UCLA School of Arts and Architecture
- Frances Anderson, KCRW (DnA, Design and Architecture)
- Wil Carson, 64North, UCLA
- Peggy Deamer, Yale University and The Architecture Lobby
- Jia Gu, Materials & Applications, The Architecture Lobby
- Tia Koonse, UCLA Labor Center
- Elizabeth Timme, LA-Más
- Mimi Zeiger, critic and curator, Art Center College of Design, The Architecture Lobby
- Peter Zellner, ZELLNERandCompany, USC, Free School of Architecture
“We don’t need walls anymore. We need living, breathing systems that provide so much more to the urban realm than keeping in conditioned air and keeping out noise and pollutants.” - Will Wright, AIA|LALos Angeles’ 2016 Facades+ Conference, presented by The Architect’s Newspaper, is the 18th event in an ongoing series of conferences and forums that have unfolded in cities across the nation, including New York City, Miami, San Francisco, Dallas, Houston, Seattle, D.C., and Chicago. Held at the L.A. Hotel Downtown, the conference incorporated architects, engineers, fabricators, and innovative material manufacturers into a multidisciplinary two-day event covering the state of building envelope design thinking today. The daylong symposium kicked off with spirited remarks by Will Wright, Director of Government & Public Affairs at AIA L.A., where he set forth a plea for stronger emphasis on localism and craftsmanship. Co-chaired by Kevin Kavanagh and Alex Korter of CO Architects, the event included AIA LA, four local architecture schools – UCLA, USC, Woodbury, and Cal Poly Pomona – and a robust collection of Los Angeles-based architecture firms. Four panel discussions throughout the day covered the influence of building envelopes on business, education, structural design, and data analysis. The conversations engaged audience participation through an interactive, web-based tool called Sli.do. In a morning panel discussion titled “Money Well Spent? An Owner’s Perspective on the Value of Facades,” moderator Kevin Kavanagh spoke with representatives from Kaiser Permanente, Kitchell, and The Ratkovich Company on finding the right balance between aesthetics, energy performance, fiscal responsibility, and efficient project scheduling. During breaks, conference attendees attended a “Methods+Materials” gallery that highlighted innovative building envelope materials such as electrochromic glass, metal mesh fabric with integrated media display, and ultra-compact surfacing products. The symposium was highlighted by keynote addresses from Enrique Norten and Eric Owen Moss. Norten’s opening keynote set forth an argument for a socially responsible architecture integrated into the city via infrastructural, landscape, and public space projects. He cited works of his firm, TEN Arquitectos, which incorporate topographical manipulations of the landscape to establish social spaces of public engagement. His work intentionally camouflages the building envelope into a contextual landscape—be it an adjacent park or cityscape—to dissolve the separation between public and private. Eric Owen Moss spoke in the afternoon, questioning at what point the conceptual content of a project becomes lost amidst constructional realities. Through recent work of his firm, Eric Owen Moss Architects, he focused on building envelope details that strayed from original design intent, transforming in concept and tectonics as engineers, fabricators, and contractors participated in the process. In a panel discussion titled “Bytes, Dollars, EUI: Data Streams and Envelopes,” Moderator William Menking, Founder and Editor-in-Chief of The Architect’s Newspaper, spoke with Atelier 10, Gehry Technologies, and CPG regarding tools and processes facilitating facade analysis and optimization. Sameer Kashyap (Gehry Technologies) shared perhaps the most bewildering stat of the day—that GT was able to script processes which allowed two people to produce over 1200 shop drawings per day for 33 weeks in the coordination of a highly complex facade system. Paul Zajfen of CO Architects rounded out the day with a presentation titled “Facades: A Manifestation of Client, Culture, Climate,” where he argued for contextually specific design producing a facade that “would not be possible at any other time—and in no other place.” The symposium was followed on day two with a series of “dialog” and “lab” workshops covering net-zero facade systems, digital fabrication processes, curtain wall design, and advanced facade analysis. A full roster of organizers and sponsors can be found on the conference website. The Los Angeles event was the first in 2016 of a seven-city lineup, and will be followed by a Facades+AM morning forum in Washington, D.C., on March 10th. The next two-day conference will take place in New York City April 21st and 22nd.
Mildred Friedman, the longtime design curator of Minneapolis' Walker Art Center and a prolific architectural author, died Wednesday at her home in New York City. She was 85. Friedman, whose friends called her “Mickey,” ran the Walker for 21 years with her husband, Martin, who was its director. Together they made it “America's leading design museum,” according to a tribute from Architectural Record on the occasion of the couple's “retirement” in 1990.
As the museum's design curator, Ms. Friedman also edited its publication, Design Quarterly, which she managed deftly, according to Andrew Blauvelt, the Walker’s senior curator of design, research, and publishing. "With its singular focus, generous reproductions, and smart design, it was decidedly not one of those dry and often poorly designed, peer-reviewed, academic journals,” wrote Blauvelt in a remembrance. “Although it’s been more than 20 years since DQ ceased publication, the void that it left has never been filled.”
Much of her work curating and editing Design Quarterly would spin off into publications. Friedman wrote or co-wrote dozens of books, including Graphic Design in America: A Visual Language History, the first large-scale museum survey of the field.
Since 1990, she and her husband had lived in New York City, where Ms. Friedman continued writing and curating at institutions including the Guggenheim Museum, the Canadian Centre for Architecture, and the Brooklyn Museum.
Under Friedman, shows at the Walker were not just shows but immersive experiences.
“In Mickey’s hands, a design show was never simply about a subject, but drew upon the principles and power of design itself to create a compelling experience,” wrote Blauvelt. “ This particular strategy of restaging, wherein visitors can not only look at works of art on view but also experience them directly and even viscerally, certainly drew upon Mickey’s skills and experience in interior design but also signaled a powerful new curatorial technique.”
Mickey was instrumental in defining the architectural landscape of the Twin Cities by connecting patrons to architects … She was the design maven of the Twin Cities for many years and she had a huge impact— huge.
Friedman's legacy is inextricably linked to those of many 20th century architects. Her 1986 exhibition of Frank Gehry's work bolstered the architect's career—a feat she replicated by championing the likes of Elizabeth Diller, Ricardo Scofidio, Tod Williams, Billie Tsien and César Pelli, whom she also helped win commissions in the region by suggesting them for local landmark projects.
Born Mildred Shenberg in 1929, Ms. Friedman grew up in California. She met Martin Friedman at UCLA, where her future husband was teaching drawing as a graduate student in art history and painting. They married in 1949.
In 1980 she started the Mildred S. Friedman Design Fellowship, a program to give recent design graduates experience in her design studio at the Walker Art Center.
Her survivors include her husband, three daughters, and six grandchildren.