In a small Indiana town, a rich architectural legacy is celebrated with an annual exploration of architecture, art, design, and community. In its second exhibition run (it’s first in 2017) Exhibit Columbus features 18 site-responsive installations that use Columbus, Indiana’s heritage as inspiration and context while highlighting the role that community plays in growing a vibrant city. This year’s exhibition explores “good design” and “community,” a reference to the 1986 exhibition Good Design and the Community: Columbus, Indiana at the National Building Museum in Washington, D.C. The early exhibit championed town business leader and philanthropist J. Irwin Miller’s hometown pride by emphasizing the community’s process and involvement in building renowned architecture. As his community-based, activist approach resurges to mold this year’s theme, Exhibit Columbus becomes an architectural showcase aimed at doing good for the people. Bryony Roberts Studio’s Soft Civic is a complimentary showstopper to arguably the most civic site of the exhibition, Columbus’ City Hall, designed by Edward Charles Bassett of SOM (1981). The two cantilevered steel beams masked in brick veneer, generous lawn, and lengthy walkway toward a broad staircase frames the collection of colorful woven and steel structures. The installation articulates the many different vantage points afforded in civic life—play, performance, or protest; on the lawn, the steps, or at the front door. The solid brick planar facade that meets a clear glazed half-circle atrium fundamentally shapes the installation. These elements reveal layers of circles that slice (at an angle) and frame (vertically or horizontally) a new reading of the municipal building. The installation will offer programming opportunities for the community, including but not limited to a democracy day and youth summit with musical performances. An interview with Bryony Roberts in collaboration with Brooklyn-based textile workshop Powerhouse Arts describes the laborious process of weaving the large structures. (Courtesy Spirit of Space) Understorey, a project by Hans Tursak (MIT School of Architecture + Planning) and Viola Ago (the Ohio State University Knowlton School of Architecture), is an open-air vivarium, a place of life, built from a combination of off-the-shelf agricultural products and custom, digitally fabricated structural elements. Understorey is an ecological education center (like many of this year’s installations) that highlights a cross-section of southern Indiana’s geological specimens taken from quarries, forests, and urban sites. The pavilion is an architectural expression devoid of aesthetic neglect commonly seen in environmentally conscious design. Corn is no surprise in Indiana. The leading crop covers one-quarter of the state and is traditionally processed as animal feed and ethanol. Though Boston and Kigali, Rwanda-based MASS Design Group surprised Hoosiers with an already familiar scene in Corn / Meal. What. From the street view, the installation looks like a standard, well-maintained miniature cornfield. Upon entry, maze-like corridors made of corn lead to a tangled serpentine picnic table within a dedicated open clearing. When read as an absurdist, formalist sculpture referencing local tropes such as corn and the always-communal picnic table, it’s actually one of the more successful installations. An interview with Caitlin Taylor, MASS Design Group’s Design Director, as she describes the depth of research for Corn / Meal and the need for education around food production. (Courtesy Spirit of Space) PienZa Sostenible, led by architect Carlos Zedillo Velasco and his brother Rodrigo Zedillo Velasco, present Las Abejas, a series of homes for bees. The project brings internationally-recognized Mexican architects, like Tatiana Bilbao Estudio and Rozana Montiel Arquitectos, to share their countries’ expertise as regional leaders of apiculture products worldwide. Located in a humble Dan Kiley landscape in front of Eero Saarinen’s Irwin Conference Center (1954) visitors are encouraged to consider the importance of bees everywhere in order to sustain our food and environment. Two remaining installations from the inaugural exhibition aren’t leftovers but more so savor-the-flavor of a less-didactic exhibition concerning architecture. Oyler Wu Collaborative’s all-white, tectonic pavilion, The Exchange, still notably stands in the plaza of the Irwin Conference Center, just moments away from PienZa Sostenible's bee homes. Nestled in a more intimate setting outside the William O. Hogue House, Formafantasma’s Window to Columbus originally pledged to display stories of materials that were used to define Washington Street and Columbus. Though, for the Good Design and the Community opening weekend, the significant structure displayed this year’s marketing material. It reminds us that Exhibit Columbus’s impact goes beyond any one installation as the program leaves a lasting impact on the downtown, and more importantly, how people live and play downtown.
Posts tagged with "Bryony Roberts":
Exhibit Columbus has announced the winners of the 2018-2019 J. Irwin and Xenia S. Miller Prize competition. The five winning firms will be featured in the Docomomo US and Exhibit Columbus 2018 National Symposium, titled Design, Community, and Progressive Preservation, taking place September 26 through 29. Firms will then return on January 19 to present their design concepts to the community. Each firm is tasked with constructing site-responsive installations that interact with Columbus’s midcentury modern heritage, with the final works opening to the public on August 24, 2019. This is the second year that the Miller Prize has been awarded. Here are the five winning firms: Agency Landscape + Planning With work that ranges from the Chicago Riverwalk to a two-year examination of the post-Hurricane Sandy landscape, Cambridge-based Agency has a deep commitment to ecological and social mindfulness. Agency is currently leading the White River Vision Plan, a year-long strategic plan for redeveloping 58 miles of southern Indiana river. Bryony Roberts Studio New York-based Bryony Roberts Studio uses design to bring intangible heritage and social histories to contemporary audiences, often through distinctive collaborations. As a participant in the 2015 Chicago Architecture Biennial, Bryony Roberts brought the South Shore Drill Team to Ludwig Mies van der Rohe’s Federal Center for an electrifying performance that used careful choreography to mirror the lines of the iconic modernist plaza. Frida Escobedo Studio Fresh off her commission to design the 2018 Serpentine Pavilion in London’s Kensington Gardens, Mexico City-based Frida Escobedo creates sophisticated structural forms using vernacular materials and methods, including concrete block, brise-soleil, and post and beam. MASS Design Group Based in Boston, and Kigali, Rwanda, non-profit MASS Design Group believes that architecture is never neutral, and that it has the power to heal. The firm’s work includes both research and design. This spring MASS Design Group unveiled the National Memorial for Peace and Justice in Montgomery, Alabama. SO-IL With work that creates “structures that establish new cultures, institutions, and relationships,” New York-based SO-IL created L'air pour l'air for the second Chicago Architecture Biennial in 2017, a project that brought the firm to the Garfield Park Conservatory, where they encased an ensemble of wind instrument players in air-filtering mesh enclosures, designed to clean the air through breathing.
"How might we determine the facts and values that motivate the production of architecture in a post-truth era?" That was the question that entrants were asked to respond to for this year's Prize for Young Architects + Designers from The Architectural League of New York. The winners presented an array of proposals across a variety of media that obliquely took on the theme. The 2018 competition, titled Objective, was won by Anya Sirota of Akoaki, Bryony Roberts of Bryony Roberts Studio, Gabriel Cuéllar and Athar Mufreh of Cadaster, Coryn Kempster of Julia Jamrozik and Coryn Kempster, Alison Von Glinow and Lap Chi Kwong of Kwong Von Glinow, and Dan Spiegel of SAW // Spiegel Aihara Workshop. The Prize is an annual award established in 1981 to celebrate young, successful practices from across the United States, and the exhibition of winners is now on view at the Sheila C. Johnson Design Center at the Parsons School of Design, running through August 4. Visitors to the Design Center are first confronted by Lap Chi Kwong and Alison Von Glinow’s plywood model titled Table Top Apartments. It runs the length of the storefront and consists of circular, square, and rectangular geometries stacked on top of one another via thin columns. The Chicago-based architecture practice was founded one year ago and is already reaching great heights; they recently won first prize in the New York Housing Challenge 2017 and the Hong Kong Pixel Home Challenge. Their installation is a study model of their New York housing proposal, which makes use of modules “based on the form of stacking table tops to generate towers with setbacks and cascading balconies.” Visitors to the exhibition are immediately drawn to the graphic vinyl pattern that runs down the west wall of the gallery onto the floor. Geometric cutouts of marble and stone textures are collaged together by Bryony Roberts. Her exploration with patterns is said to be inspired by her experience as a Rome Prize Fellow, her previous works at The American Academy in Rome, and an exhibition at the Storefront for Art and Architecture in collaboration with Mabel O. Wilson. Roberts toggles between practice and teaching as a professor at Columbia University’s Graduate School of Architecture, Planning and Preservation and an architect who combines architecture and performance. Anya Sirota's installation cuts an eye-catching figure in the middle of the show. The unconventional models are composed of silhouettes of architectural objects overlaid on wilderness backdrops. Sirota, founded by Akoaki with Jean Louis Farges, frequently designs temporary art installations that respond to public programs, including a geometric artwork in Detroit that sets the stage for an open-air opera. Next, to the models, a rack of colorful postcards exhibits the work of Julia Jamrozik and Coryn Kempster. Their work uses color in imaginative ways, with a neon-pink swing set named Full Circle originally installed in Buffalo, and the Sky House in Ontario, which features interiors painted in different shades of blue, complementing the green tones of the idyllic Stoney Lake scenery. Visitors are free to take postcards from the exhibition. Nine models of the same dimensions by Dan Spiegel are mounted on the wall. With inset lighting effects, the relief models lead the audience through tiny spaces. Spiegel’s firm, SAW // Spiegel Aihara Workshop, with Megumi Aihara have recently completed Try-On Truck, a mobile store that opens up with transformable wood and glass panels. Gabriel Cuéllar and Athar Mufreh’s four research studios titled the architecture of territories are “parcels, rights-of-way, watersheds, and urban ecologies.” Their firm Cadaster is concerned with the environment and landscape, with projects on the New York Canal System, Quebec urban planning, and the American Black Churches in the South. Their works are nuanced reflections on cities and territories.
Lectures Gabriel Cuéllar and Athar Mufreh Cadaster, Brooklyn Coryn Kempster Julia Jamrozik and Coryn Kempster, Buffalo Bryony Roberts Bryony Roberts Studio, New York Lectures begin at 7pm A reception with the opportunity to view the exhibition will follow each lecture. Free for League members; $10 for non-members Exhibition June 21- August 4,2018 Monday-Saturday, 12-6pm Late Thursdays until 8pm Closed July 4 Exhibition is free Venue Sheila C. Johnson Design Center Parsons School of Design/ The New School 66 Fifth Avenue, New York, NY Lectures will be held in the Anna-Maria and Stephen Kellen Auditorium. Exhibition is on view in the Arnold and Sheila Aronson Galleries. Online For additional information, editorial features, and reservations to lectures, visit archleague.org/LP18
The six winners of this year’s Architectural League prize will display installations in Objective at the Sheila C. Johnson Design Center at Parsons School of Design, opening June 21. As visitors approach the entrance of the gallery, they’ll be greeted by an installation stretched across the window by Kwong Von Glinow partners Lap Chi Kwong and Alison Von Glinow. The pair is reproducing a scale, plywood model of their Table Top Apartments, a conceptual project of four-story modular apartments designed to address housing in New York City. Along with a survey of past projects, Bryony Roberts of Bryony Roberts Studio will display a site-specific installation—a patterned wall vinyl that creeps from the wall onto the floor, continuing the work of her Marbles project which featured geometries inspired by the patterned stones of central Italy, such as medieval Cosmati floors. Dan Spiegel of SAW // Spiegel Aihara Workshop and Coryn Kempster of Julia Jamrozik and Coryn Kempster will each present new installations, while Anya Sirota of Akoaki and Cadaster partners Gabriel Cuéllar and Anthar Mufreh will present various models and studies from their respective projects. The Architectural League Prize has been recognizing young architects since 1981. This year, entrants were tasked with considering the contemporary state of objectivity in a post-truth world. Objective Sheila C. Johnson Design Center at Parsons School of Design 66 5th Ave, New York, NY 10011 Through August 4.
The Architectural League of New York has announced the winners of its 37th annual Architectural League Prize for Young Architects + Designers, meant to highlight and foster up-and-coming architectural and design talent. This year’s theme, Objective, asked entrants to examine the role of objectivity in today’s society when the notion is simultaneously elevated as well as undermined by technology, science, and politics. If we truly do live in a post-truth world, what does objectivity mean for architecture? The 2018 winners, decided through a portfolio competition, are as follows: Anya Sirota of Akoaki, Detroit Akoaki was cofounded by Sirota and Jean Louis Farges in 2008. The Detroit-based architecture and design studio explores reviving urban spaces in their home city through the use of eye-catching temporary installations that encourage public participation. Some of their more otherworldly designs include a frost generator and a trompe l’oeil “red carpet” in Los Angeles. Sirota is an assistant professor of architecture at the University of Michigan’s Taubman College of Architecture and Urban Planning. Bryony Roberts of Bryony Roberts Studio, New York Bryony Roberts is a New York-based research and design firm founded in 2011 that actively combines, art, architecture, and preservation. Bryony Roberts actively works to reinvigorate historical places with new life, and the firm has worked on everything from a series of marble tile studies to choreographing dancers in Rome. Roberts herself is an adjunct professor of architecture and preservation at Columbia University’s Graduate School of Architecture, Planning, and Preservation. Gabriel Cuéllar and Athar Mufreh of Cadaster, Brooklyn The Brooklyn-based Cadaster, founded in 2016 by Cuéllar and Mufreh, is an architecture studio whose work explores the cross-section between architecture and territory. Their most recent work includes the research project Subversive Real Estate: The Landholding Patterns of American Black Churches, and Upstate Ecologies: Regional Vision for the New York Canal System, the firm’s entry into the international planning competition for the future of New York State’s canal systems. Coryn Kempster of Julia Jamrozik and Coryn Kempster, Buffalo Julia Jamrozik and Coryn Kempster, cofounded by Kempster and Julia Jamrozik in 2014, focuses on the roles that experience and memory play in architecture. The Buffalo-based firm has built abstract play fields and super-efficient single family homes, but the same attention to detail and user interaction is found throughout their portfolio. Kempster is an adjunct assistant professor of architecture at the State University of New York at Buffalo. Alison Von Glinow and Lap Chi Kwong of Kwong Von Glinow, Chicago Kwong Von Glinow was founded in 2017 by Von Glinow and Kwong and operates out of Chicago. While still young, the architecture studio has already won plenty of recognition for its radical reinterpretation of forms, including its plans for a modular apartment tower in New York and community-centered apartment high-rises in Hong Kong. Kwong teaches as an adjunct professor of architecture at the Illinois Institute of Technology, and Von Glinow is a part-time professor of architecture at the School of the Art Institute of Chicago. Dan Spiegel of SAW // Spiegel Aihara Workshop, San Francisco SAW // Spiegel Aihara Workshop, co-founded in 2011 by Spiegel and Megumi Aihara, works at the intersection between architecture and urban design. Their portfolio spans everything from the front desk of the Casper office to a try-on truck for lingerie startup True & Co. SAW was also recently recognized with an AN 2017 Best of Design Awards for Young Architects. Spiegel currently teaches at the University of California, Berkeley, and California College of the Arts. The jury for this year’s prize was composed of 2018 Young Architects + Designers Committee, as well as Tatiana Bilbao, Jorge Otero-Pailos, Georgeen Theodore, and Claire Weisz. From June 21 through August 4, an exhibition featuring an installation from each of the winners will be installed at the Sheila C. Johnson Design Center at the Parsons School of Design / The New School, Arnold and Sheila Aronson Galleries, 66 Fifth Avenue. On June 21 at 7:00 PM, Gabriel Cuéllar and Athar Mufreh, Coryn Kempster, and Bryony Roberts will be giving lectures in the exhibition space. On June 22 at 7:00 PM, Alison Von Glinow and Lap Chi Kwong, Anya Sirota, and Dan Spiegel will be giving their lectures in the same location. The Architectural League has also announced the publication of Young Architects 18: (im)permanence, a collection of projects from the 2016 League Prize Winners.
Based in Los Angeles, designer Bryony Roberts' installation, Primo Piano, covers a distinctive stone floor at the American Academy in Rome with a colorful pattern of decals. The work builds upon the pre-existing two-tone square pattern on the hall's floor. Roberts caters her design adaptations to this context, offering, in her words, a "modest, neo-Renaissance pattern of travertine circles and diamonds inlaid into peperino stone." Surrounding stone motifs, laid around the floors perimeter compliment the the medieval Baroque Cosmatesque flooring that is enriched by the geometric flooring. A clever use of color and "curvilinear forms" helps give the impression of depth too. Roberts has overlaid varying circles and diamonds and squares (all in different and alternating colors) to break the monotony of the existing pattern. At first glance, from an angle, the resulting pattern appears random. This is amplified by the fact that Roberts stuck to a rigid color palette comprising black, pearl grey, and purple. When viewed from above, one can clearly see a sense of rhythm within the artwork. In plan view, this is much more obvious and an even more explicit symmetry can be found when removing certain colors/form overlays. "As the Cosmatesque floors were designed to guide church processions, so this project both responds to and disrupts patterns of movement in the space, producing impromptu choreography as people entering the academy step and dance around the shapes on the floor," Roberts said in a statement. The installation is currently on view at the 2016 Cinque Mostre Exhibition.
Performance has been the breakout surprise of the Chicago Architecture Biennial. While many of the works inside the Chicago Cultural Center grapple with issues of urbanism, politics, and the resonances of Modernism (especially Mies’ oversized presence in the city) in contemporary culture, the three performances included in the opening weekend program address and embody what is at stake. Views from Superpowers of Ten by Andrés Jaque and the Office for Political Innovation (@andres_jaque, Instagram) Superpowers of Ten by Madrid/New York-based architect Andrés Jaque and his Office for Political Innovation, developed for and first performed at the Lisbon Architecture Triennial 2013, uses pop, oversized props and black-clad performers to restage of the Eames’ icon Powers of Ten. The original film was filmed on the banks of Lake Michigan, not far from the Chicago Athletic Club where it was performed. Jaque’s reworking expands the Eames narrative to our contemporary condition. The exponential zooming out from Earth and then back into the heart of the atom now includes critical questions of space junk, nuclear fallout, immigration, race, queerness, and transgender identity. In a gallery the unorthodox mix of para-architectural issues might seem ponderous, but told through pantomime, they resonate visually and emotionally. We Know How to Order, conceived by Bryony Roberts, and choreographed by Asher Waldron of the South Shore Drill Team powerfully superimposes the movement of African American bodies in space on top of the charged site of Federal Center by Mies van der Rohe. The South Shore Drill Team, hailing from one of the poorest neighborhoods in Chicago, trains young people to master the precise choreography. On the plaza, while the performers mimicked the lines of Mies’ architecture, which underscoring the conditions of universal space into the public realm, they also brought joy and dynamism to the windswept public space. Even stalwarts of the architecture community were moved to tap their feet and wipe their eyes. https://vimeo.com/141231941 Performed in Mies' super spare Carr Chapel on the IIT campus, Theatre by Mexican artist Santiago Borja brought a different kind of otherness to the Miesian space of worship. The performance was set with two specially-designed petate rugs, woven in Mexico, that represent esoteric geometries developed in Europe at the start of the modern movement. Made out of palm leaves, one rug sits on the floor and the other hangs above, demarking what is not so much a stage as an abstract spiritual space for Ingrid Everwijn, the lead teacher of the Eurythmeum CH in Dornach Switzerland. Dressed in pink and yellow dress, Everwijn performed eurythmy movements—a kind of “spiritual gymnastics” developed by Rudolf Steiner and Marie Sivers in early 20th Century. The result was mystical, irrational, and energetic, as well as an immersive experience that undermined the rigors of Miesian abstraction.
Inverting Neutra Neutra VDL House 2700 Silverlake Boulevard Los Angeles Through September 7 Artist Bryony Roberts’ new project Inverting Neutra is the latest installation inside the landmark Neutra VDL house in Silver Lake. Roberts explores the landmark house’s many voids, filling them in with rows of blue cords hanging from aluminum frames; appearing to be a single system. And if you look carefully, the composition makes the house appear to respond to external conditions. The cords’ color gradients respond specifically to light conditions; and they also move in response to wind conditions, especially those on the roof. We recommend going on a windy day.