Heavenly Bodies: Fashion and the Catholic Imagination is an exhibition that shows the Catholic Church’s influence on fashion designers in imagery and symbolism, and the sumptuous garments and artifacts that inspired them. Exhibited at the Metropolitan Museum of Art’s Fifth Avenue flagship in the Mary and Michael Jaharis Galleries for Byzantine Art, medieval galleries and sculpture hall, and the Robert Lehman Wing, and at the Met Cloisters in Washington Heights, it puts fashion in the context of the museum’s holdings—paintings, tapestries, decorative arts and architecture—a signature strategy of curator Andrew Bolton, who employed this technique in China: Through the Looking Glass in the Chinese Galleries and Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century in the Wrightsman Galleries. By contrast, The Vatican collection of clothing and jewelry, on loan from the Papacy, is displayed in the Anna Wintour Costume Center in a self-contained display (one descending, one is greeted by a priest’s cassock designed by artist Henri Matisse which resemble his cutouts, that was part of his commission for the interiors of the Chapel du Rosaire in Vence, France). Music by Samuel Barber, Gabriel Fauré, George Frideric Handel, Ennio Morricone, Michael Nyman, and Franz Schubert serenades you through the galleries. Heavenly Bodies was designed by Diller Scofidio + Renfro, with partner Liz Diller taking the lead. The 150 fashion ensembles from the early 20th century to the present, by designers who were largely raised Catholic are either ornate, or by contrast, monastic, usually dramatic, and sometimes over the top; they are set off by DS+R’s refined, solid and decidedly neutral platforms, vitrines, and pedestals in steel, concrete, and acrylic. Diller says she was channeling Carlo Scarpa (1906—1978), the Italian architect who infused contemporary aesthetics into historic building renovations, often museums; Castelvecchio Museum in a 14th-century Verona fortress, Fondazione Querini Stampalia in a 16th-century palazzo, Museo Canova in Possagno, and Pallazo Abatellis in Palermo. Diller, too, has found spareness and balance in her interventions, capitalizing on this collision of contrasts. The elegant custom display units include scored concrete pedestals that support cruciform metal tubes capped by a plinth that carries mannequins; clear acrylic boxes on dark gray-scored flooring; long horizontal metal tubes to hang multiple vestments; and a large cantilevered platform emerging from both sides of a partition to hold papal robes flat. “Fashion and religion have long been intertwined, mutually inspiring and informing one another,” said Bolton. He cited the "parallels between a traditional fashion runway presentation and the liturgical processions of the Roman Catholic Church…theatrical spectacles that rely on the tropes of performance.” This dialogue is particularly strong at the Cloisters, where the physicality of the buildings heightens the interplay; the Cloisters is a pastiche of architectural elements from European monasteries, abbeys, and chapels that were dismantled stone-by-stone and reconstructed on a cliffside site overlooking the Hudson. One example is in the Gothic Chapel, which features pointed-arched stained glass windows and seven tombs with figurative sculpture effigies. John Galliano’s armored ensemble lies recumbent between two crypts, hovered over by Gareth Pugh’s black zippered outfits perched high on pedestals, while Olivier Theyskens’s red-headed figure in a black gown, fastened with hooks-and-eyes, stands below stained-glass windows in a row with female statues. In another instance, large, dramatic haloed lighting that spills onto darkened floors is featured both at the Cloisters on a Balenciaga-clad bride in the Romanesque Fuentidueña Apse, a semicircular apse with a single-aisle nave, and on Fifth Avenue in the Medieval Sculpture Hall spotlighting Dior-, Valentino-, and McQueen-dressed mannequins. The layout of these galleries mimics the longitudinal plan of a church, with a central nave and side aisles. The pairings of fashion with appropriate environments can be satisfying. The “monastic silhouettes and minimalist sensibilities…deceptively simple, pared-down” in monochromatic palettes of black, white, and brown by Geoffrey Beene, Madame Grès, Claire McCardell, and Rick Owens are very much at home in the Cloisters’ austere Cuixa Cloister and Pontaut Chapter House. In the Glass Gallery, overlooking the Cloisters’ Cuxa, Bonnefont, and Trie Gardens, rows of trees are interspersed with fashion by Dior, Valentino and Takahashi that were inspired by the paintings Adam and Eve (1526) by Lucas Cranach the Elder, Hieronymus Bosch’s The Garden of Earthly Delights (ca. 1490–1500), and Van Gogh’s Wheat Fields paintings. Similarly, the Unicorn Tapestry is paired with Thom Browne’s white puff of a wedding dress. Perhaps the most simpatico pairing is in the Nine Heroes Tapestries Room, where the fashion seems to directly mirror the Met’s art collection: Craig Green’s ensembles, which Women’s Wear Daily called “warrior monk,” closely resemble the French tapestries that depict King Arthur, Charlemagne, Julius Caesar, Alexander the Great, Hector, and Christian and Hebrew heroes in color, texture, and style. Amusingly, Philip Treacy’s hats “in their architectural magnificence” with winged cornettes (think The Flying Nun) and molded forms in a series called Madonna Rides Again were inspired by the Burg Weiler Altarpiece which hangs behind it. Bolton writes, “The influential theologian Hans Urs von Balthasar wrote his magnum opus based on the belief that we first perceive the mystery of God through beauty, not truth.” Here is beauty in abundance in a rich and reverent setting.
Posts tagged with "Diller Scofidio + Renfro":
The informal sexual use of spaces like bathrooms, parks, and parking lots, as well as their more explicit cousins like bathhouses and back rooms is celebrated at the Cruising Pavilion, presented at the 16th Venice Architecture Biennale. Riffing on the Biennale’s Freespace theme, the Cruising Pavilion “wishes to highlight the failure to consider Freespace as defined by this edition of the Venice Architecture Biennale, without questioning the hetero-normative production of space itself.” Curators Pierre-Alexandre Mateos, Rasmus Myrup, Octave Perrault and Charles Teyssou underscore how cruising exists both as architecture and against it. It’s an inherently spatial practice that uses—or perhaps more aptly—misuses space to create connections between people, primarily gay and bi men. Cruising, in turn, reformulates the purposes and meanings of the very space it happens in. In re-routing spatial logics through illicit interpersonal interaction, cruising is itself a practice part and parcel of the urban and architectural landscape. A form of para-architectural dissent, cruising mines desire from taboo bathroom moments and makes serene parks into sites of ecstatic pleasure, while rendering dungeons desirable and dark labyrinths secure. As the curators point out, considering real space in a post-Grindr age is even more critical, as sexuality, as well as its attendant concerns of gender, race, and class, plays out in the interstices between lived, material space and the space generated by and generative of the screen. Thus, interrogating non-normative spatial practices questions the project of architecture as such. The Cruising Pavilion radically embraces aberrant architectures and sexual spatialities by putting the hidden on display and inviting cruising into the Biennale. The Cruising Pavilion will feature contributions from artists and architects, including Alison Veit, Andreas Angelidakis, Andrés Jaque / Office for Political Innovation, Atelier Aziz Alqatami, Carlos Reyes, Diller Scofidio + Renfro, DYKE_ON, Etienne Descloux, Hannah Quinlan & Rosie Hastings, Henrik Olesen, Ian Wooldridge, Lili Reynaud Dewar, Monica Bonvicini, S H U Í (Jon Wang and Sean Roland), Studio Karhard, Studio Odile Decq, Özgür Kar, Pascal Cribier and Louis Benech, Pol Esteve and Marc Navarro, Prem Sahib, Tom Burr, and Trevor Yeung. It is produced in collaboration with Venetian non-profit Spazio Punch. Cruising Pavilion Spazio Punch, Giudecca 800/o, Venezia 30133, Italia May 25–July 1, 2018
The twisting, torquing towers of the Bjarke Ingels Group (BIG)-designed The Eleventh (The XI) have begun sprouting along the High Line, and developer HFZ Capital has released a new batch of renderings. Located between 10th and 11th Avenue and bounded by 17th and 18th Streets in Manhattan, The Eleventh takes up a full block directly south of the Frank Gehry-designed IAC building. As HFZ told the New York Times, the mixed-use project was designed less as a standalone complex and more as a “micro-neighborhood.” The sprawling development stretches underneath the High Line to the east, where James Corner Field Operations and Diller Scofidio + Renfro are designing a street-level extension of the park above. Moving west from the new park, the BIG-designed pavilions will rise under the High Line. The two travertine-clad towers will rise on the western half of the development next to the Hudson River. At the westernmost edge of the site will be the taller of the two towers, at 400 feet tall and 36 floors, with 149 condos units designed by New York’s Gabellini Sheppard. For the interiors, the team has chosen a lighter material palette that emphasizes natural materials, such as oak flooring and white quartzite countertops. The smaller tower to the east, connected at its base with its neighbor via a glass skybridge, will only be about 300 feet tall and 26 stories. Everything after floor 11 is slated for condos, while the lower floors will hold a Six Senses hotel; the Paris-based interiors firm Gilles & Boissier are designing the interiors for both the residential and hotel sections, and will reportedly use a similar palette and style for both. Both towers noticeably twist in opposite directions as they rise, and the turns are intended to preserve views for occupants inside both buildings. To further improve the views, the western tower will expand as it rises and the eastern tower will taper as it nears the top. To cap it off, both of the condo buildings share matching glass crowns. A shorter building is also planned for the site’s southwestern corner, with plans to turn it into an art space and Six Senses spa and club. Swiss landscape architect Enzo Enea will be designing a covered through-way for vehicles and a courtyard at the center between the two tower’s hemispheres. The amenities are consistent with the other luxury residential buildings going up along the High Line; future homeowners can expect access to a 75-foot-long pool, 4,000-square-foot fitness center, access to Six Senses, and a lounge and game room in the skybridge. Once completed at the end of 2019, the complex will be among the tallest in West Chelsea.
Time magazine has once again released its list of the 100 most influential people, and Elizabeth Diller, a founding partner at Diller Scofidio + Renfro (DSR), was the only architect who made the cut. This the second time Diller has been included, and originally made the list jointly in 2009 with her partner-slash-husband Ricardo Scofidio after the first phase of the High Line was completed. “Elizabeth Diller is a visionary,” wrote Eli Broad, an American entrepreneur and philanthropist. Broad had originally commissioned DSR to handle the Broad Museum in downtown Los Angeles, across from Frank Gehry’s iconic Walt Disney Concert Hall, after the studio won an invitation-only design completion. The resultant museum, upturned at the corners and draped with a dramatically perforated facade, houses Broad’s extensive personal collection of contemporary art and has won numerous awards. “She imagines things the rest of us have to see to believe. She can turn a metaphor into brick and mortar,” Broad continued. “For the Broad, Liz and the Diller Scofidio + Renfro team had a tricky assignment: build a museum that is iconic, but that doesn’t clash with Disney Hall across the street. They called their design “the veil and the vault.” The veil—a white, porous overlay—brings diffused light in to meet the art. And the vault, hovering within the building, its contents visible through plate-glass windows, shows visitors the great potential of our collection to keep offering more art and ideas. We thought this was a brilliant concept.” Maybe it’s because she’s a woman in a male-dominated field, or because she was originally a conceptual artist—along with her partner in art, architecture and life, Ric Scofidio—but whatever the reason, Liz sees opportunities where others see challenges. She can do the impossible.” Diller’s inclusion in this year’s list under the "titans" section puts her in the same club as Jeff Bezos, Oprah and Elon Musk. It elevates her to a select club of architects recognized by Time; Sir David Adjaye was the sole architect chosen last year, while Bjarke Ingels stood alone in 2016. Besides being honored for her work in architecture, Diller has been prolific throughout the entertainment world as well, producing an opera to debut on the High Line in 2019, and collaborating with director Spike Jonze on the 2014 film Her.
University College of Dublin (UCD) has just announced the finalists of its Future Campus – University College Dublin International Design Competition. Of the ninety-eight firms that submitted proposals, six have been chosen for the project’s shortlist: Diller Scofidio + Renfro (New York), John Ronan Architects (Chicago), O’Donnell + Toumey (Dublin), Steven Holl Architects (New York), Studio Libeskind (New York), and UN Studio (Amsterdam). The Future Campus Competition is for two connected projects on the university’s campus, a sixty-acre master plan and a new academic building. With over 30,000 students, University College of Dublin is Ireland’s largest university. Founded in 1854, the university migrated to its current 330-acre Belfield campus in 1963, which was designed by Polish architect Andrej Wejchert. Wejchert’s design is primarily composed of four- to five-story Brutalist structures within a landscaped setting. The campus is located on the edge of Dublin, just over two miles from the city center. UCD views the future master plan as a “highly-visible and welcoming entrance” establishing an “urban design vision that values high-quality placemaking, architecture, and public realm.” Within the master plan area, UCD envisions an approximately 90,000-square-foot academic lab dubbed The Centre for Creative Design. The estimated budget for the project is just under $60 million. Professor Andrew J. Deeks, President of University College Dublin, describes the competition process as a rare moment to build “a design that will become an icon for the University – representing our vision to create something extraordinary and brilliant.” All six firms will conduct a site visit at the campus by the end of the month, with a winner announced in August 2018.
More details were announced Monday about the upcoming U.S. Pavilion at the 2018 Venice Architecture Biennale. The exhibition will be titled Dimensions of Citizenship and curated by Niall Atkinson, associate professor of architectural history at the University of Chicago; Ann Lui, assistant professor at the School of the Art Institute of Chicago (SAIC); Mimi Zeiger, an independent critic, editor, curator, and educator; and associate curator Iker Gil, lecturer at SAIC. Dimensions of Citizenship will feature the work of seven architecture practices to “explore how citizenship may be defined, constructed, enacted, contested, or expressed in the built environment at seven different spatial scales. Expanding from the body and city to the network and the heavens, the seven installations raise questions about issues including belonging, sovereignty, and ecology,” according to the curatorial statement. The seven spatial scales are used as an organizing principle to examine the ways citizenship affects and is affected by the built environment. Each studio is assigned a scale as the prompt. Scale: Citizen / Amanda Williams + Andres L. Hernandez, in collaboration with Shani Crowe From the project description: “Dimensions of Citizenship begins at the scale of the citizen with the project Thrival Geographies (In My Mind I See a Line), which will consider how race shapes notions of identity, shelter, and public space in historically African-American communities. For their installation in the courtyard of the U.S. Pavilion, Williams (a recently named 2018 USA Ford Fellow) and Hernandez, who is an associate professor of art education at SAIC, will partner with Chicago-based artist Shani Crowe, whose intricate braided hair sculptures have been worn by celebrities such as Solange. While the specter of slavery and continued racial injustice will be at the core of the installation, the piece will ultimately strive for a possible architecture of freedom that might allow all citizens to thrive and participate in the democratic ideal. Scale: Civitas / Studio Gang From the project description: “Led by 2011 MacArthur Fellow Jeanne Gang, Studio Gang uses design as a medium to help strengthen communities. Stone Stories builds on the Studio’s ongoing work in Memphis, Tennessee, to investigate how redesigning cities’ public space can be an exercise of citizenship and empowerment. Inspired by Memphis’s recent removal of two Confederate statues, Stone Storiesoffers an inclusive urban vision for Cobblestone Landing, an overlooked yet historically important site along the Mississippi River. Hundreds of Memphis cobblestones will be shipped to Venice and used as a platform to share the stories of Memphians past and present, offering visitors a visceral and material interaction with a distant public space and the citizens who are actively building its shared urban future.” Scale: Region / SCAPE From the project description: “SCAPE, under the leadership of 2017 MacArthur Fellow Kate Orff, will demonstrate that landscape architecture can be a critical tool for re-envisioning the response of citizens to climate change. SCAPE’s project, Ecological Citizens, understands the region as an area defined by the shifting relationships of ecology, infrastructure, and climate. It takes the Venetian Lagoon as a globally significant case study of a tidal region under ecological threat. Partnering with Università di Bologna and the Italian Institute of Marine Sciences, SCAPE will present possible solutions or interventions to aid the environmentally sensitive La Certosa island in the lagoon. Scale: Nation / Estudio Teddy Cruz + Fonna Forman From the project description: “Estudio Teddy Cruz + Fonna Forman challenges the way we think about national boundaries. Their project, MEXUS: A Geography of Interdependence, reveals a transnational zone comprised of eight watershed systems shared by Mexico and the United States. MEXUS provokes us to rethink citizenship beyond the limits of the nation, mobilizing a more inclusive, interdependent idea based on co-existence, shared assets, and cooperative opportunities between divided communities. Cruz is the winner of the 2018 Vilcek Prize in Architecture, which is presented to immigrants who are champions of the arts and sciences. Scale: Globe / Diller Scofidio + Renfro, Laura Kurgan, Robert Gerard Pietrusko with Columbia Center for Spatial Research From the project description: “When we zoom out to the scale of the globe, the primacy of the individual, the city, and even the nation drops away and is replaced by data: electricity, trade routes, migratory shifts, and the flow of capital, goods, and people. In Plain Sight—a collaboration among Diller Scofidio + Renfro, Laura Kurgan, and Robert Gerard Pietrusko with Columbia Center for Spatial Research—uses data drawn from images created by the Soumi National Polar-orbiting Partnership satellite to visualize where people live on earth. Two contrasting NASA images of the Earth taken at 1:30 pm and 1:30 amshow us the gaps in the network: the places with many people and no lights, and those with bright lights and no people. This information maps out a political geography of belonging and exclusion. Scale: Network / Keller Easterling with MANY From the project description: “Keller Easterling’s writings and projects regularly investigate the emergent territory where the state meets the digital network. With MANY, an online platform designed to facilitate migration through an exchange of needs, Easterling and team propose that we use the network to rethink possibly outdated notions of citizenship. With a nod to the pervasive and familiar share economies that define online life, MANY envisions a global form of matchmaking between the sidelined talents of migrating populations and the multitude of opportunities around the world. Favoring cosmopolitan mobility over national identity, MANY looks to short-term visas as a tool to foster an exchange of needs. Scale: Cosmos / Design Earth From the project description: “The space above Earth, as a site of existing human occupation and potential belonging, has become a territory that both captures the imagination and serves as a theater for existing conflicts or conditions. In looking to the cosmos, Design Earth’s speculative designs suggest possible off-world architectural responses. Design Earth’s El Hadi Jazairy and Rania Ghosn (recipient of the 2017 Boghossian Foundation Prize) present three “geo-stories,” which speculate on the legal geography of citizenship when extended to “the province of all mankind.” Together the stories in Cosmorama—Mining the Sky, Planetary Ark, and Pacific Cemetery—ask how we should reckon with the epic and frontier narratives that have fueled space exploration, at a time when prospects of instability and extinction have become normal on Earth.
The sprint to finish the first phase of the Hudson Yards megaproject is on, as the Diller Scofidio + Renfro and Rockwell Group-designed 15 Hudson Yards (Ismael Leyva Architects is serving as the architect of record and handling the interiors) topped out today. The 917-foot-tall condo tower will be the first residential building to open in the new neighborhood, and if construction finishes at the end of 2018 as planned, then the first phase of the new neighborhood will be on track for its March 2019 opening. The 285-unit 15 Hudson Yards is one of the last pieces of the project’s first phase, including the recently completed, bronzed stepwell Vessel nearby, and represents a culmination of five years of work at the site. Although the tower features a glass curtain wall similar to the other buildings on the site, 15 Hudson Yards gradually splits and rounds as it rises, resembling a set of conjoined smokestacks emerging from a square base. The LEED Gold-certified tower will also recycle stormwater, and use capture runoff to support the cooling systems. Once completed, residents will have 40,000 square feet of amenity space, including a 75-foot-long swimming pool in a full “aquatics center,” a fitness club, golf lounge, wine storage and tasting room, and a co-working space for residents. The lucky buyers get to look down on The Shed, as 15 Hudson looms over the extendable cultural venue, also designed by Diller Scofidio + Renfro and Rockwell Group. As the first phase of the 28-acre, 18-million-foot mixed-use development winds to a close, speculation is heating up over who developers Related Companies and Oxford Properties Group will tap to design the largely residential second phase of Hudson Yards. As AN reported earlier this month, architects Santiago Calatrava and Frank Gehry are both in the running to design residential towers on the western half of the site. Hudson Yards will contain about 4,000 residential units once it’s fully complete in 2024. Check out a time-lapse video of 15 Hudson’s construction below.
While Diller Scofidio + Renfro and Rockwell Group's The Shed might not open until spring 2019, its creative team will be hosting nearly two weeks of free arts events this May to build anticipation for the ribbon-cutting. A Prelude to The Shed, held on a vacant lot at 10th Avenue and 30th Street in Manhattan, will feature live concerts, dance battles, art-focused political panels, and experimental classes that foreshadow offerings of the under-construction telescoping arts venue in Hudson Yards. From May 1 until May 13, visitors can experience Prelude in and around a reconfigured steel shed designed by architect Kunlé Adeyemi of NLÉ Works and artist Tino Sehgal. Prelude’s smaller shed will echo its larger counterpart by being fluid and transformable, with elements of the building able to move in response to the dancers within. “Using simple technologies, we made the structure so that it can be moved and transformed by people, enabling its participation in different formats of art, education, events, and public life,” said Adeyemi, in a press release. Each day of Prelude will bring a different program, though everything will be connected through Sehgal’s curation. Every morning, artist Asad Raza will lead experimental classes, based on his ongoing “Schema for a school” work, while panels on art’s role in social connectivity and the politics of ritualized gatherings will be hosted every other evening. Bolstering the series’ connection to The Shed, Prelude will host reproduced ephemera from architect Cedric Price’s Fun Palace, an unrealized moveable and multi-purpose venue that heavily influenced The Shed. Mobile exhibition carts stocked with artifacts from the Fun Palace will move around the temporary space to encourage public interaction. “Like The Fun Palace, Prelude is a hybridization of exhibition and performance, functionally structured to encourage open engagement with audiences and fresh, collaborative approaches from artists,” said Hans Ulrich Obrist, The Shed's artistic advisor. “It is emblematic of our own era in that it lends itself to the choreography of 21st-century time-based exhibitions.” A full schedule of Prelude’s programming can be found here, including a lineup for the concert series.
This is the first article in a three part series documenting the 2018 AIA Institute Honor Awards. This lists the winners of the architecture category, while additional segments contain the winners in the interior architecture and regional & urban design categories. The American Institute of Architects (AIA) has announced the 2018 winners of the AIA Institute Honor Awards. The list contains projects from all around the world, and of varying programs and uses, and honors firms both large and small. From a girls’ school in Afghanistan to a municipal salt shed, this year’s widely diverse group of winning projects will be recognized at the AIA Conference on Architecture 2018 in New York City, in late June. This year's eight member jury panel included:
- Lee Becker, FAIA (Chair), Hartman-Cox Architects
- Anne Marie Decker, FAIA, Duvall Decker Architects
- Susan Johnson, AIA, Strata; Anna Jones, Assoc. AIA, MOD Design
- Caitlin Kessler, AIAS Student Representative, University of Arizona
- Merilee Meacock, AIA, KSS Architects
- Robert Miller, FAIA, Bohlin Cywinski Jackson
- Sharon Prince, Grace Farms Foundation
- Rob Rogers, FAIA, Rogers Partners.
Diller Scofidio + Renfro have bested a shortlist that included Frank Gehry, Renzo Piano, Snøhetta and Foster + Partners, winning the commission to design the Centre For Music, the new home for the London Symphony Orchestra and the Guildhall School of Music and Drama. The Centre will be located near the Barbican complex in the City of London (where the Symphony currently performs), on a site now occupied by the Museum of London—which will move to a new home a half-mile west in West Smithfield. The Brutalist museum was designed in 1976 by Philip Powell and Hidalgo Moya, 1974 winners of the Royal Gold Medal For Architecture. DS+R's Centre is set to contain a concert hall with up to 2,000 seats, as well as classrooms and training spaces. Its cost, which reports estimate at between £200 and £250 million, is to be funded largely through private donations, although the City of London earlier this year chipped in £2.5 million for a business plan. Explaining their choice in a statement, the Centre's architect selection panel said they felt DS+R "most clearly met the vision and ambition of this project, utilising their experience of creating inspiring new spaces for culture to present a proposal that delivers a world-class concert hall in an outstanding new building, as part of the re-imagination of a key area of the City of London within Culture Mile.” Other members of the design team will include Buro Happold (civil and structural engineer and building services engineer), Nagata Acoustics (acoustician), Charcoalblue (theater consultant), and AECOM (cost consultant). According to DS+R, a concept design will be submitted to the City of London Corporation by December 2018. The building will not just be a permanent home for the London Symphony, but will also host performances from the Barbican's family of orchestras and ensembles and from touring orchestras and artists. It will be a vital piece of The City's "Culture Mile," a conglomeration of nearby arts facilities also including the Barbican, Milton Court Concert Hall, and more.
Seven design teams have been selected to represent the United States in the U.S. Pavilion at the 2018 Venice Architecture Biennale. The pavilion's curators, Niall Atkinson, from the University of Chicago; Ann Lui of the School of the Art Institute of Chicago, and Los Angeles–based critic and curator Mimi Zeiger, selected Dimensions of Citizenship as the theme of this year's exhibition, to engage architecture in the timely question of what it means to be a citizen. According to the curators, the selected teams represent a range of design practices, from the technical to the speculative, but "are united by researched-based methodologies and the drive to use that research to push boundaries—formal, disciplinary, and political.” Each team will examine a different dimension of design and citizenship. Their projects will be placed in dialogue with existing projects by architects and other practitioners, who will be announced later. The selected exhibitors are: Amanda Williams + Andres L. Hernandez (Chicago, IL) This duo brings an artistic and political bent to the Pavilion: both Williams and Hernandez have training in architecture and explore themes related to race, vacancy, and blight in urban landscapes. Williams is most widely known for her work Color(ed) Theory, shown in the 2015 Chicago Architecture Biennale; Hernandez is co-founder of the Revival Arts Collective as well as the founder and director of the Urban Vacancy Research Initiative. DESIGN EARTH (Cambridge, MA) Headed by MIT's Rania Ghosn and El Hadi Jazairy, this design research practice works on the geographies of technological systems from speculation into the problems posed by waste management to the fate of oil-rich landscapes. They're currently at work on an exhibition titled Geostories, a "manifesto [...] on the environmental imagination presented in architectural projects that engage the planetary scale with a commitment to the drawing as a medium." Diller Scofidio + Renfro (Cambridge, MA) This heavy-hitting firm will already be familiar to many. Best known for their work on the High Line in New York City, The Broad in Los Angeles, and the Institute of Contemporary Art in Chicago, DS+R brings a seasoned, interdisciplinary team to the task. Estudio Teddy Cruz + Fonna Forman (San Diego, CA) This research-based political and architectural practice is comprised of two professors from the University of California, San Diego (USCD): Teddy Cruz and Fonna Forman. Over the years, the two have examined issues of informal urbanization, civic infrastructure, and public culture, mostly focused on Latin American cities. They also co-head USCD's Cross-Border initiative, whose mission is "to promote interdisciplinary poverty research and practice in the San Diego-Tijuana border region." Keller Easterling (New Haven, CT) Easterling is a professor at Yale University's School of Architecture and a prolific author of eight books and countless articles. Her most recent publication through Verso, Extrastatecraft: The Power of Infrastructure Spaces, looks at global infrastructure with the angle that "emerging governmental and corporate forces [are] buried within the concrete and fiber-optics of our modern habitat." SCAPE (New York, NY) Founded and directed by Columbia GSAPP professor Kate Orff, SCAPE is a landscape architecture firm with an eye on large-scale ecological resilience. In its winning entry to the 2014 Rebuild by Design competition, Living Breakwaters, SCAPE employed multiple lines of storm surge defense including artificial reefs promoting biodiversity in New York City's heavily polluted harbor. Orff has also published an examination of the chemical corridor between New Orleans and Baton Rouge, Louisiana, in partnership with photographer Richard Misrach – Petrochemical America – and more recently, Toward an Urban Ecology. Studio Gang (Chicago, IL) Architect and MacArthur fellow Jeanne Gang is also well-known for her designs, from her undulating Aqua Tower to her Women's March-inspired exhibit Hive at the National Building Museum. Studio Gang's international work centers on a design principle of "actionable idealism" – the capacity for design to push public awareness of different issues (whether climate change, inequity, or urban decay) and encourage change – which will lend itself well to this year's theme.
• • •Additionally, Iker Gil – a professor at the School of the Art Institute of Chicago (SAIC), Director of MAS Studio, and founder of its design journal MAS Context – has been selected as associate curator of the exhibition to join the curatorial team of Atkinson, Lui and Zeiger.
Boston's BSA Space is exploring the evolution of inflatables at its newest exhibit, The New Inflatable Moment, on display through September. The exhibition was inspired by The Inflatable Moment: Pneumatics and Protest in ’68, a 1998 book and exhibition by Marc Dessauce and The Architectural League of New York, which explored the relationship between inflatable technology and utopia. “With this exhibition, we revisit the moment of the 1960s explored by Dessauce to suggest that utopian thought is re-emerging today in architecture and art as evidenced by projects involving inflatables,” said curators Mary Hale and Katazyrna Balug in the exhibit description. From the advent of the hot air balloon to the studies of inflatable houses on Mars, the evolution of inflatable structures will be displayed in an interactive timeline created by Boston-based design agency Certain Measures. The timeline provides context for the different projects on display, showing them adjacent to corresponding sociopolitical moments in history. A series of installations, photos, videos, and models will also populate the exhibit, depicting the ways inflatables have embodied the radical and experimental thinking of architects and artists throughout history. Work by the likes of Buckminster Fuller, Ant Farm, Diller Scofidio + Renfro, and many others, will explore the experimental designs of this bubble-like architecture as well as the advancements in technology that are pushing inflatables into the future, and into space. “The exhibition reveals some of the most visionary architectural minds working with new methods of display and communication,” said Laura Wernick, chair of the BSA Foundation, on the exhibit’s web page. “Its premiere at BSA space will empower designers to similarly think and work in new ways to create a better future and motivate the general public to believe in it.” An opening reception for the exhibit will be held on Wednesday, May 17 at 6 p.m. The exhibition is currently open and runs through September 3, 2017. For more information about the exhibit please visit the BSA Space website here.