Posts tagged with "Columbia University":
Liam Young: New Romance is the first solo exhibition for the filmmaker, storyteller, futurist, and architect in the U.S., presented by the Arthur Ross Architecture Gallery at Columbia. Young’s work is an examination of fiction, technology, and the near future through cinema and visualization. The exhibit will feature three of Young’s short films: In the Robot Skies (2016), an exploration of love in the time of drone surveillance; Where the City Can’t See (2016), a look at subcultures in the near-future world of data shot entirely with laser scanning technology; and Young’s most recent film, Renderlands (2017), a look at the half-realities of rendered worlds built with the leftovers of digital rendering projects. Alongside the films will be several props Young created for the work and research he utilized for his fictitious cinematic universes, emphasizing his focus on existing technologies and networks and how he begins to project them into unknown futures.
Liam Young: New Romance The Ross Gallery in Buell Hall Columbia University 1172 Amsterdam Avenue, New York City Through May 13, 2017
This exhibition allows us to revisit a set of models that have long peppered the halls of our School.... They serve as an integral part of Professor Kenneth Frampton’s pedagogical project to teach both architecture and architectural history. While offering a critique of the ways in which architectural history is normally taught, the process of building models allows students to access knowledge about architecture through making it again.Stagecraft: Models and Photos will be on view from Feb. 9 to Mar. 10. A discussion and exhibition reception will take place 6pm on the 9th and feature Kenneth Frampton, James Ewing, Amale Andraos, and Irene Sunwoo.
It is easy to walk through the Roy and Diana Vagelos Education Center of Columbia University Medical Center by Diller Scofidio + Renfro (DS+R) and forget that one is on a campus. Where are the large lecture halls with auditorium seating? Is there really no cafeteria? Surely a medical and graduate education building requires dedicated spaces to accommodate the differences between orthopedics and cardiology? Although the building contains a dramatic auditorium with a spectacular view of the Hudson River, the Palisades, and the George Washington Bridge—not to mention a donated grand piano ready to be rolled in for concerts—it eschews traditional classrooms in favor of “active learning classrooms” with operable partitions.
Exterior terraces, stepped lounges, and the sky lounge on the top floor create a visually and kinesthetically beguiling feast of nooks and corners for conversation and the exchange of ideas. Although permeated by the most advanced media technology, which can disseminate the latest research or procedure to every screen in the school, its spirit is that of an ancient academy in which small groups of students and teachers collaborate, talk, listen, and learn. One can easily imagine distraught medical students finding comfort after their first anatomical dissections in one of the many study spaces or in the double-height student commons. In this building, the micro and the macro, the cell and the city, obtain a wondrous harmony.
That this 100,000-square-foot, 14-story tower is the tallest building yet realized by DS+R—and one of the rare medical school facilities designed as an integral vertical structure—inevitably raises the question of how successfully the architects have negotiated the jump to a larger scale and the challenge of building a Manhattan high-rise. Happily, nothing in the Vagelos Center, except perhaps the somewhat perfunctory lobby, misses a beat, from the circulation and separation of complex programs, to the small footplate that creates intimacy by eliminating long and alienating corridors, to the soundproofing that admits city sounds while maintaining a welcome quiet. The “study cascade” side of the tower evokes the “folded noodle” of the architects’ unrealized design for the Eyebeam, here subject to a rigorous logic that is likely to establish this building as the textbook example of a design strategy much discussed in the late 1990s and early 21st century but not often realized effectively.
One has come to expect unexpected design elements and technical solutions in a DS+R building. An anatomy classroom with glazed walls and views of the river, a load-bearing column through which one can walk, a landscaped garden space open to surrounding student residences, ceramic “frit” patterns on the north end of the building to filter and diffuse sunlight, and an exterior cladding panel system of glass-fiber-reinforced concrete do not disappoint in this regard. The architects, long known for their concern with the visual arts, performance, and media technology, designed the Mary and Michael Jaharis Simulation Center—about 18 percent of the building, where future physicians train with computerized whole-body mannequins and watch video footage—with a humility that reinforces the astonishment of watching medical robots perform open-heart surgery or deliver babies.
Nearly four decades since Elizabeth Diller and Ricardo Scofidio began the collaboration that today is DS+R, they have completed their most perfectly resolved building, an amalgam of their interests and the lessons learned from earlier projects, such as the Institute of Contemporary Art, Lincoln Center, and the Juilliard School. The flexibility of the Granoff Center arts building at Brown University, completed in 2011, is taken to an entirely new level.
Deftly balancing reality and simulation, dialogue and image, science and art, the Vagelos Center is joyous and life-affirming, qualities all too often absent today in architecture and medicine. During a summer with no apparent end to bad news, it is a signal event and a credible ground for optimism.