For her first project within the SCI-Arc Gallery, Anna Neimark has produced a space that blurs the lines between exhibition and installation. Upon entering Rude forms among us, visitors may first be struck by the latter appropriation of the space as they encounter a dark, hulking structure occupying the majority of the gallery’s floor space. Before it was built at a full-scale within these walls, the installation was a proposal for an accessory dwelling unit (ADU) Neimark designed as co-founder and principal of Los Angeles-based architecture firm First Office. “Without too many explanations,” the gallery text reads, “we happen upon a rude form that brings us to a time that is at some remove from our own. Its resolution is low, not high. Its joints are butted, not mitered. Its gaps are shimmed, not sculpted. It alludes to the architecture of forgotten narratives, eroded tectonics, and muddled grammar.” While this is indeed the “rude form” the title warns us about prior to entry, we are quick to learn that, above all, the structure is forthright—both in its construction and interior circulation. The deliberately slapdash method of assembly, in other words, exposes its inner workings to align it with other buildings of expressive tectonics with little to hide. Yet the object is especially forthright in its design origins, thanks to the imagery and text along the gallery walls—the exhibition half of the space. Neimark collaborated with Frédérique Gaillard, head of the photo library at the Natural History Museum in Toulouse, France, to curate and transport photographs of the Dolmen de Vaour, a megalithic tomb made of upright stone, that were taken by 19th-century naturalist and explorer Eugène Trutat. Like other ancient stone structures, the Dolmen de Vaour has stood the test of time despite its peculiar configuration, and the faithful documentation provided by Trutat over 140 years ago appears to revel in the tomb’s inherent awkwardness. Even the ADU’s interior, devoid of the domestic functions originally planned for it, is treated as a gallery space of its own. One area contains two “portrait” photographs of the Dolmen de Vaour on a pedestal, and another places a miniature model of the ADU itself below a faraway spotlight that elevates its clumsy composition to holy heights. Altogether, Rude forms among us advocates and builds on the legacy of timelessness that is not of symmetrical structures and illusions of precision, but rather that of imperfection and the apparent honesty that it can project. Rude forms among us was created in partnership with the Muséum d’histoire naturelle de Toulouse, The Graham Foundation for Advanced Studies in the Fine Arts, and the Alliance Française de Los Angeles, and will be on display until March 15.
Posts tagged with "Anna Neimark":
Forget El Niño, this SoCal winter presents a deluge of architectural representation. Three weeks with three openings bring drawings, models, mock-ups, and experimental visualizations to Los Angeles. Things kick off on January 16 with the exhibition Errors, Estrangement, Messes and Fictions, featuring the work of two collaborative pairs: Laurel Broughton/Andrew Kovacs and Anna Neimark/Andrew Atwood of First Office (AN's 2015 Best Young Architects winner). Installed at the Space@All Gallery in the Bradbury Building and curated by architect Hadrian Predock, director of undergraduate programs at the USC School of Architecture the exhibition is supported by USC, where Broughton is a faculty member. Models from the four emerging architects will fill the show, which Predock describes as an “early career retrospective,” an apt description of a quartet who is just as comfortable cribbing from the past as toying with our pop present. A week later is the opening on January 22of Drawings Lie: Recent Works by Bryan Cantley at Christopher W. Mount Gallery in the Pacific Design Center. Cantley is an architect and a master illustrator, and his experimental, almost sci-fi drawings fall in line with the visionary work of Superstudio, Lebbeus Woods, and Neil Denari. “[These projects] attempt to question the role of representation in architecture, the potential of the non-building as a form of critical discourse in the profession,” said Cantley. The month closes out with Building Portraits, featuring the work of architect Elena Manferdini. The show opens on January 30 at Industry Gallery in Downtown L.A. The exhibition continues the investigations Manferdini began for the Art Institute Chicago last year—a series of elevation studies and models that riffed on Mies’ Lakeshore Drive Apartments. For this exhibition she’s created a new set of abstract, chromatic drawings and a metal mock up.
MoMA has announced five finalists for the 2016 Young Architects Program. The winner will design and build an installation in MoMA PS1's courtyard during the summer Warm Up performance series. The honor is considered one of the most prestigious platforms for emerging architects in the United States and internationally. Notably, there are no New York architects on the lists this year. This is the program's seventeenth year. To choose the finalists, editors of architecture publications and deans of architecture schools nominate around twenty established architects working in a new style or with new methods, current students, and recent architecture school graduates. Practitioners and curators from the art and architecture worlds winnow the field down to five finalists. First Office / Andrew Atwood and Anna Neimark, Los Angeles ESCOBEDO + SOLIS / Lazbent Pavel Escobedo Amaral and Andres Soliz Paz, Mexico City ULTRAMODERNE / Yasmin Vobis and Aaron Forrest, Providence, Rhode Island COBALT OFFICE / Andrew Colopy and Robert Booth, Houston, Texas Frida Escobedo / Mexico City Last year, Madrid- and New York–based Andres Jacque Architects/Office for Political Innovation won the competition with COSMO, a living machine that makes the water filtration process visible. The whimsical installation commented on sustainability as well as architecture as the product of global networks. COSMO was sourced from generic parts in Spain, shipped to New York, and assembled onsite.