Brought to you with support fromWith an imposing set of towers rising from a tabula rasa-like setting, one could at first mistake Bernard Tschumi Architects (BTA)'s Tianjin Binhai Exploratorium as a contemporary take on medieval fortifications. Designed between 2013 and 2014, and completed in the fall of 2019, the museum houses artifacts from Tianjin's heavy industrial past and displays of large-scale contemporary technology. The formidable complex is clad in thousands of perforated copper-colored aluminum panels studded with oculi for interior lighting. The 355,200-square-foot museum is located on the former site of a sprawling industrial park; the towers of the design are intended by the firm to evoke the smokestacks that formerly blanketed that landscape, with the copper-like panels standing in for rusted pipes and machinery.
Posts tagged with "Bernard Tschumi":
On View> The Cooper Union presents “Drawing Ambience: Alvin Boyarsky & the Architectural Association”
Drawing Ambience: Alvin Boyarsky & the Architectural Association Cooper Union 30 Cooper Square, New York Through November 25, 2015 Boasting a remarkable array of artwork from both past and contemporary architectural figures such as John Hejduk, Michael Webb, Daniel Libeskind, Frank Gehry, Zaha Hadid, Rem Koolhaas, and Bernard Tschumi, Drawing Ambience reflects and encourages the late Alvin Boyarsky’s assimilation of architectural drawings. During his tenure at the Architectural Association in London, Boyarsky developed a profound appreciation of these drawings. Known as a man with a keen eye for talent, Boyarsky fostered many young architects who would later dominate the field. He urged his students to investigate contemporary issues and use the evolving global culture as a vehicle to develop their own architectural agendas. These agendas manifested in the students’ visual work that Boyarsky regarded as equally important to the physical structures they depicted, viewing them as pieces of architecture in their own right. Visitors can expect to see works ranging from Hadid’s chaotic and crisp visualizations of her un-built projects to Koolhaas’ playful, almost Gameboy-esque The Pleasure of Architecture. The exhibition is currently on view at the Cooper Union in the Arthur A. Houghton Jr. Gallery and closes on November 25.
A weekend at the 2015 Monterey Design Conference (MDC) held at Asilomar leads to a wealth and variety of insights about architecture and design. Including a lesson in "uglyful," says Guy Horton. I learned some new things at the 2015 Monterey Design Festival. Wait. I meant to write “conference.” Monterey Design Conference. That was a true slip. Everybody knows it’s the Monterey Design Conference. Sorry. But to me it was more like a design festival. And is it just me or did MDC seem edgy and on edge this time around? It seemed to pull the 800+ crowd—the conference sold out for the first time in its history—along for a wild ride. This was in no small measure due to the natural and off-the-cuff tone set by Reed Kroloff, who emceed the whole affair. It was, to mention just a few of the many highlights, a whirlwind of poetry, Jimi Hendrix, hot rods, and light by self-styled “stray dog” Rand Elliott. It was video of Liz Taylor applying makeup, Apocalypse Now, Jimi Hendrix again, and the sublime and sometimes frightening world of the “uglyful” by Atlanta dame Merrill Elam. With her, we all went down the rabbit hole. Feel free to dig deeper into this. Later, back on solid ground, came the precision of Bernard Tschumi’s words and drawings, pulled from the codex of his experience; the urgent, sometimes funny, and always intricate art of Pae White; and Junya Ishigami’s disappearing architecture, which took the wind out of anything that tries too hard or uses too much building material. The “emerging talent” definitely emerged. Doris Kim Sung, principal of DOSU Studio Architecture, pretty much mapped out how she owns the territory of thermobiometals and it will be everybody else’s job to catch up. Using his 15 minutes to the max, Alvin Huang, principal of Synthesis Design + Architecture, posed a series of questions as design propositions that will keep him, and others working in the digital realm, busy for at least the next 15 years. The whole thing was like a carnival, with bonfires and architects in black drinking the local Syrah on Monterey's powdery white sand. I know for a fact that at least one architect went surfing every morning. There was a nice left just off the Asilomar grounds. On the beach I bumped into Takashi Yanai and Patricia Rhee (both in black) from Ehrlich Architects. The entire firm was at MDC to be honored as the 2015 AIA Firm Award winner. “It really makes you think differently,” said Rhee when asked what the conference means to her. “It’s definitely out there,” said Yanai. “It’s like being in school again.” “What was most significant to me was hearing a range of mature, truly individual voices ringing out with specificity and confidence. The individual voice in architecture is something that takes years and years and decades to establish, and for many it never solidifies, never gels,” says MDC conference chair Alice Kimm of John Friedman Alice Kimm Architects. The voices were indeed individual and, like Elam’s “uglyful,” had the power to take us outside ourselves, even if only for a weekend. And it worked. It’s all a little hard to pin down in 500 words. Just look at the relentless, blow-by-blow @mdc_conf Twitter feed and you’ll get the idea. “I recommend that everyone experience MDC at least once,” said Kimm. “It has a weird but magical combination of gravitas, levity, and inspiration that stays with you for a long time.”
On View> Drawings by Hadid, Tschumi, Gehry, Libeskind, and Koolhaas are being exhibited right now in St. Louis
Drawing Ambience: Alvin Boyarsky and the Architectural Association Mildred Lane Kemper Art Museum Washington University in St. Louis 1 Brookings Dr, St Louis, MO Through January 4th The Mildred Lane Kemper Art Museum in St. Louis is currently exhibiting early drawings from some of the world’s leading architects including Zaha Hadid, Bernard Tschumi, Frank Gehry, Daniel Libeskind, and Rem Koolhaas. The works come from the private collection of the late Alvin Boyarsky who chaired the Architectural Association School of Architecture (AA) in London from 1971 to 1990. The collection includes about 40 prints and drawings from the architects, and nine limited-edition folios published by the AA. Those folios include works from Peter Cook, Coop Himmelblau, and Peter Eisenman. “Drawing Ambience offers a rare glimpse into a pivotal moment in architectural history and the imaginative spirit of drawing that was and continues to be instrumental to the development of the field,” said the Kemper Museum in a statement. The exhibit was co-organized with the Museum of Art Rhode Island School of Design and will travel to Providence in April. This is the first public museum exhibition of Boyarsky’s collection.
Everything Loose Will Land Graham Foundation 4 West Burton Place, Chicago Through July 26 Everything Loose Will Land explores the intersection of art and architecture in Los Angeles during the 1970s. The show’s title refers to a Frank Lloyd Wright quote that if you “tip the world over on its side and everything loose will land in Los Angeles.” This freeness alludes to the fact that this dislodging did not lead to chaos but rather a multidisciplinary artistic community that redefined LA. The exhibition features one hundred and twenty drawings, photographs, media works, sculptures, prototypes, models, and ephemera. The presentations function as a kind of archive of architectural ideas that connect a variety of disciplines. Projects by Carl Andre, Ed Moses, Peter Alexander, Michael Asher, James Turrell, Maria Nordman, Robert Irwin, Frank Gehry, Richard Serra, Coy Howard, Craig Ellwood, Peter Pearce, Morphosis, Bruce Nauman, Craig Hodgetts, Jeff Raskin, Ed Ruscha, Noah Purifoy, Paolo Soleri, Ray Kappe, Denise Scott Brown, Archigram, L.A. Fine Arts Squad, Bernard Tschumi, Eleanor Antin, Peter Kamnitzer, Cesar Pelli, Andrew Holmes, Elizabeth Orr, and others are explored. Curated by Sylvia Lavin, Director of Critical Studies in the Department of Architecture and Urban Design at UCLA, the show began its journey at the MAK Center for Architecture and then traveled to the Yale School of Architecture before arriving at the Graham Foundation.
Bernard Tschumi’s first project in Italy appears to be on hold—if it is not dead altogether. The regional Superintendence for Architecture and Landscape Heritage has blocked plans for the architect's cultural center, called “ANIMA”, which was scheduled to open in Grottammare in 2017. The announcement about the plan’s fate was made the same day a retrospective on Tschumi’s work opened at the Pompidou Center in Paris—a retrospective that includes ANIMA, which stands for arts, nature, music, action. Tschumi’s perfectly square structure is encased in a white concrete facade that has varied, recessed openings to filter in light and serve as entrances. According to the firm, the exterior has a presence that is both simple and striking. Inside the roughly 100,000-square-foot space there are four interior courtyards, which accommodate various cultural programming as hinted by the structure's name. “All the different functional spaces will orbit around a central very large core: the heart of the structure, which will consist of a single ambience able to accommodate 1,500 seats that can be divided and used as a flexible and adaptable space,” explained Tschumi Architects in a statement. For now, however, the building’s future remains uncertain.
Decon Artists: Wigley, Tschumi, Eisenman Reflect on MoMA’s Landmark “Deconstructivist Architecture” Exhibit
On January 22, Mark Wigley, Bernard Tschumi, and Peter Eisenman took the stage in MoMA’s theater to reflect upon Deconstructivist Architecture, the landmark 1988 exhibit curated by Wigley and Philip Johnson. The press release at the time described the featured architects—including Coop Himmelblau, Frank Gehry, Zaha Hadid, Rem Koolhaas, and Daniel Libeskind, along with Tschumi and Eisenman—as “obsessed with diagonals, arcs, and warped plans.” In a where-are-they-now moment, Wigley said, “It occurred to me that only Daniel Libeskind thought the show was about the future, and he still seems to be designing for the show, and that seems to be not a good idea.” And the sniping didn’t stop there. Eisenman, despite refusing to hold the microphone to his mouth, could be overheard saying what kind of exhibit he would—or rather, wouldn’t—do, if given the chance: “Well, it wouldn’t be like the biennale of last fall, which was sort of a discount supermarket of everything that was going.” “Including you,” zinged Wigley.
The Woolworth Building just a few short blocks from Zuccotti Park—the spiritual home of the Ocuppy movement—was itself bathed in radical red last night to celebrate the iconic "red" work of Barbara Krueger and Bernard Tschumi. The two celebrated figures were being honored by the Storefront for Art and Architecture at their annual Spring fundraiser. The yearly event always brings out a fun mix of young and distinguished professionals who come to support the Storefront and drink with friends and collegues. For the event last night everyone was asked to wear something red, and many did including Rick Scofidio who had one long red sock rolled over his pants leg, Archigramer Mike Webb carried around a red tequila laced drink, and Bernard Tschumi wore his iconic red scarf. Storefront board president Charles Renfro (with sorta red glasses) and Beatrice Colomina introduced Tschumi and Kruger at the top of the building's grand marble staircase, but the echo in the room made it impossible to hear a single word of their introductions. Never mind everyone on the staircase looked so fashionable, especially the resplendent Storefront Director Eva Franch. Ms. Franch, who makes all of her own clothes, wore a brilliant red, loopy draped dress that could only come out of the inspired mind of a Catalan like Ms. Franch. View more photos of the event at Storefront's Facebook page.
The 2011 World Architecture Festival was in town beating the drum for their international competition at the Van Alen Institute last night. Paul Finch, the festival's program director, was joined by AN Editor-in-Chief William Menking and Van Alen Chair Abbey Hamlin in hosting the star-studded event. The frigid weather did not deter a distinguished crowd—white maned Richard Meier, red scarved Bernard Tschumi, man of the hour Thomas Leeser, Parks Commish Adrian Benepe—from celebrating what promises to be a hot ticket this November in Barcelona. With his English lilt Finch thanked the crowd for coming and promised his remarks would steer clear of Ricky Gervais territory. He briefly outlined some of the goals for this year's program, which included a bigger tent to incorporate interior architecture as well. While no hat was passed, Finch did say that the organization would be happy to take donations in any denomination. Jan Berman of MechoShade promptly offered to make a donation in lira.
Update (4/21/10): Three more firms have been confirmed: Snohetta, Rafael Viñoly, and L.A.'s Frederick Fisher. This is shaping up to be a pretty diverse crew. The SF Chronicle reports that the Berkeley Art Museum/Pacific Film Archive has sent out letters to ten architecture firms, asking them to submit qualifications to design their new home. Adding to the three that have already been sussed out (Bernard Tschumi, Tod Williams Billie Tsien, and Will Bruder), we have confirmed a fourth: Ann Beha, whose Currier Museum of Art in New Hampshire has been well-received. If that partial list is any indication, the museum is looking at a more diverse group than SFMOMA is considering for its addition, though (as in SFMOMA's case) no local names have surfaced yet. It is going to be an interesting adaptive reuse project: the old printing plant on the site will be renovated, and a 50,000 square-foot addition incorporated into the whole.
Just when we thought the season of giving was behind us, Bernard Tschumi has brought out one last gift for MoMA. The architect announced yesterday that he would donate 43 of his father’s architectural drawings to the museum, making it the only non-European institution with a collection of Jean Tschumi originals. According to the NYT, the donated pieces range from drawings done during the Swiss-born architect's time as a student in 1920s Paris to those of his work on the Nestlé headquarters in Vevey, Switzerland, the project that would be his last, and many would say his best, work. Most of Jean Tschumi's drawings are housed in the Archives of Modern Construction at Lausanne Polytechnique, which he helped found, and in the Basel headquarters of pharmaceutical company Novartis, for which he designed several buildings in Switzerland and France. MoMA's collection already contains pieces by Tschumi the younger that include The Manhattan Transcripts Project and his winning entry for the Parc de la Villette competition. Last year's publication of Jacques Gubler's Jean Tschumi: Architecture at Full Scale went a long way toward highlighting the architect's career as part of the Deconstructivist movement, albeit one that was cut short with his untimely death in 1962 at the age of 57. Though ultimately he followed in his father's footsteps, Bernard Tschumi has said he had little interest in architecture while his father was alive and regrets never discussing the subject with him—a comment that underscores the challenge of understanding the man whose name we recognize largely because of his son's work. In a review of Gubler's book for AN (#18, 11.04.2009), critic Thomas de Monchaux wrote, "One of the detective mysteries of the book is what might have been." Now the mystery promises to deepen as, like the projects discussed in the monograph, MoMA's new acquisition grants insight into the elder Tschumi's world, and into what can be learned from it today.