The Natural History Museum of Los Angeles County (NHMLAC) announced yesterday that it would be reimagining its 12-acre campus in Hancock Park in Los Angeles, home to the iconic La Brea Tar Pits and George C. Page Museum. To that end, three firms will compete to lead a master planning team that will be responsible for renovating and future-proofing the campus. The NHMLAC first launched the search for a master planner in March of this year, and the three teams have been invited to create conceptual designs for review. The proposals will be unveiled in August of this year and the NHMLAC will take public feedback on each. After internal and public review, the winning team will be announced by the end of the year and will be responsible for leading the master plan team through the public review, planning, and construction phases of the renovation. The shortlisted teams are as follows: Dorte Mandrup is leading one team. While the Copenhagen-based firm's most recently publicized project may be a blockbuster tower in Denmark, the NHMLAC noted in a press release that the firm has worked on five UNESCO World Heritage Sites in the past, including several museums and libraries. The Dorte Mandrup team includes the London-based landscape architecture firm Martha Schwartz Partners, design firm Kontrapunkt, L.A.-based executive architects Gruen Associates, and Arup. The WEISS/MANFREDI team was singled out for its experience in designing large landscapes that invite public interaction, from Hunters Point South in Queens, to the Brooklyn Botanic Garden, to the Olympic Sculpture Park in Seattle. WEISS/MANFREDI’s collaborators are notably distinct in focus from the other teams: paleobotanist Dr. Carole Gee, graphic designer Michael Bierut, artist Mark Dion, and Karin Fong, renowned storytelling designer and cofounder of Imaginary Forces, were all tapped. Rounding out the three finalists is the team led by Diller Scofidio + Renfro (DS+R). DS+R is no stranger to realizing large park projects either, and its Broad Museum project previously won the firm critical accolades in L.A. The DS+R team consists of the California-based landscape studio Rana Creek, and landscape architect, urbanist, and Hood Design Studio founder Walter Hood. Whoever wins will have to balance the preservation of a unique paleontological resource with improving the flow and visitor capacity of the park campus. “La Brea Tar Pits and the Page Museum are the only facilities of their kind in the world,” said Dr. Lori Bettison-Varga, president and director of the NHMLAC, “an active, internationally renowned site of paleontological research in the heart of a great city, and a museum that both supports the scientists’ work and helps interpret it for more than 400,000 visitors a year. We are excited to seize this once-in-a-lifetime opportunity to not just renovate these facilities thoroughly but also to think deeply about how to make them function as well for neighbors and guests over the next 40 years as they have for the last 40—perhaps, even better.”
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After 11 years and two mayoral administrations, The Shed (now just the name of the administering arts center, with the physical structure housing the organization having been renamed The Bloomberg Building) is nearly ready to open. On April 5, this Friday, the public will finally get to venture inside Manhattan’s newest, and largest, cultural institution. As Hudson Yards welcomes the Diller Scofidio + Renfro and Rockwell Group–designed multidisciplinary arts center, much has been written about the building’s central, inescapable feature. The 120-foot-tall outer shell, clad in ethylene tetrafluoroethylene (ETFE) “pillows,” can extend out from the base building when needed for larger performances, covering the public plaza and creating the 17,000-square-foot, climate-controlled McCourt space. When the shell is rolled back, the 20,000-square-foot outdoor plaza can be used for open-air performances. Art is even part of the very ground below, as artist Lawrence Weiner has embedded IN FRONT OF ITSELF in 12-foot-high letters using colored pavers throughout the plaza. As Elizabeth Diller and David Rockwell have repeatedly described, The Shed was conceived with maximum flexibility in mind. The comparisons and claims of inspiration from Cedric Price’s unrealized, constantly changing 1964 Fun Palace have been overt, whether rightly or wrongly. Either way, there’s no contesting that the space represents a blank space for artists to call their own. “I see the building as an ‘architecture of infrastructure,’ all muscle, no fat,” said Diller, “and responsive to the ever-changing needs of artists into a future we cannot predict. Success for me would mean that the building would stand up to challenges presented by artists, while challenging them back in a fruitful dialogue.” Four stories of programming live inside the eight-level base building. Floors two and four hold a combined 25,000 square feet of gallery spaces without columns and with 19-foot-tall ceilings. From April 6 through June 2, the second level gallery will display Reich Richter Pärt, a combination of choir songs from composer Steve Reich set against tapestries and wallpaper, some of them room-spanning, from artist Gerhard Richter. Swinging glass doors on the eastern walls of each gallery can open them up to the McCourt, allowing the venue to add additional seating when necessary. The sixth floor holds the Kenneth C. Griffin Theater, an 11,700-square-foot black box space with a 500-seat capacity. The theater can also be split in two to host smaller shows. On the top floor are the Lizzie and Jonathan Tisch Skylights, a wide, multipurpose section that affords one of the few views towards the rest of Hudson Yards, including a prominent view of Vessel. The open area features 9,500-square-feet of flexible event space, the 1,700-square-foot Tisch Lab for local artists, and a 3,300-square-foot rehearsal space. The two namesake skylights provide the entire floor with plenty of natural light, making up for the difference in ceiling heights found throughout the rest of the building—the eighth floor’s ceiling is noticeably lower. Hints of the building’s superstructure and its transforming shell are ever-present. The Bloomberg Building’s central set of scissoring escalators run parallel with the glass curtain wall and affords ample views of the shell, and the bent seam where the shell meets the adjoining tower. Inside the McCourt, the steel diagrid underpinning the ETFE facade reveals itself, creating a vastly different experience than viewing the building from outside. The High Line runs level with the windows on the second floor, reinforcing the connection to the park, strangely minimizing the feeling that the building is part of Hudson Yards proper. The Shed opens on April 5 with Soundtrack of America, a five-night concert series conceived and directed by Steve McQueen that celebrates the worldwide impact of African American music. The full lineup is available on The Shed’s website, here.
The Hungarian Museum of Transport is on the move, and Diller Scofidio + Renfro (DS+R), alongside local architecture firm Tempannon, has been chosen to design its new home in Budapest. Appropriately enough, the museum will move to a 17-acre site in the Northern Maintenance Depot in Kőbánya, a heavily industrialized area surrounded by both active and historical transportation infrastructure. The museum, one of the oldest transportation collections in Europe, is known for its wide showcase of both scale and full-sized buses, trains, cars, and other vehicles. The current building in Városliget has been closed for two years in anticipation of the move to the new site. The winning DS+R scheme heavily involves the idea of “ground transportation” and carving into the ground plane to afford visitors views from underneath the collection. By carving, lifting, and cutting into the ground, as well as using ample amounts of glass, the new museum will let guests explore the vehicles from every angle while still preserving them. Outside, a “Forecourt” will knit together the existing buildings on the site with the bike and pedestrian paths and railways. An intermingling of paved and landscaped areas, a picnic area, outdoor galleries, a café, and spaces for the nearby Törekvés Cultural Center will allow museum guests to decompress before and after entering. Carriage cars and locomotives will also adorn the Forecourt through a series of “breakout vitrines.” The museum itself will project from the Diesel Hall, a mid-century modern industrial building with nine, 360-foot-long parallel naves. Half of the new Grand Hall will remain in the Diesel building to reinforce the structure, while the other half will lie in the forecourt and create a symbolic bridge between old and new. A “second ground” will sit above the Gallery Hall and house space for special exhibitions, a museum café, and educational spaces, while providing uninterrupted views of the surrounding landscape. The museum's international design competition kicked off in August of last year. According to a statement by DS+R, the firm was selected out of a slew of other well-known practices: 3H Architecture, Amanda Levete Architects Ltd., Atelier Brückner GmbH, Bjarke Ingels Group, Caruso St John Architects, CÉH Zrt. + Foster & Partners, David Chipperfield Architects, Építész Stúdió Kft., KÖZTI Zrt. and Lacaton & Vassal Architects. No estimated completion date for the project has been given yet. As the proposed site sits on a brownfield, environmental remediation will need to be finished before construction can begin.
Diller Scofidio + Renfro has unveiled the design for a 170,000-square-foot stacked building at the University of Toronto (U of T) to be known as 90 Queen’s Park. Set on the site of a former planetarium, the interdisciplinary structure will serve nine previously-dispersed departments at U of T, but will specifically house the university's newly-established School of Cities, a global hub for urban-focused research, education, and outreach. DS+R was awarded the project after winning a 2016 design competition in which the New York–based firm collaborated with two practices from Toronto, architectsAlliance and ERA Architects. The result of their efforts is a looming, boxy building that appears to shine with a coppery metallic finish. The most important part of the design, according to the architects, is the surrounding context. It’s bordered by Queen’s Park to the east, the Royal Ontario Museum to the north, the 1960s-era Edward Johnson Building to the west (home of U of T’s Faculty of Music), as well as Flavelle House to the south, a Victorian-style structure housing the Faculty of Law. DS+R’s intervention to the nearly-200-year-old university will be among its most stand-out modern structures when complete. With a rectangular design configured to fit like a puzzle piece around the adjacent Falconer Hall, the school’s original, 118-year-old law building, it's meant to seamlessly connect U of T’s arts, architecture, and legal institutions with one another. Stilted on one end, 90 Queen’s Park features nine distinct layers. Renderings show each level includes varying facades of ribbed glass with some floors set back and others slightly cantilevered for flare. A large, concaved window overwhelms several middle floors on the south facade of the structure and serves as the backdrop to a 200-seat music recital hall. The architects designed the performance space around the large opening to show off views of southern Toronto’s skyline. At the top of the building is a 400-seat event space featuring floor-to-ceiling windows that wrap the southern and eastern edges of the building, also providing sights of the city. DS+R describes this part of the exterior as eroding from the other sides of the building. To the right of Falconer Hall facing Queen’s Park, the structure boasts 10 strips of opaque glass that are cut off at different lengths. The transparent sections reveal interior corridors, public spaces, as well as the central atrium and spiraling stairs, while the more solid ends conceal classrooms and offices. Charles Renfro, cofounder and principal of DS+R, said in a statement that the building’s dynamic design is aimed to inspire collaborative discourse and public engagement. “This ‘campus within a campus’ is revealed in the building’s dual identity—a smooth cohesive block of faculty offices and workspaces gives way to a variegated expression of individual departments as the building is sculpted around Falconer Hall,” he said. In addition to housing the School of Cities, 90 Queen’s Park will include room for classes within the Faculty of Arts + Science, including history, Near and Middle Eastern civilizations, and the Institute of Islamic Studies, as well as the Anne Tanenbaum Centre of Jewish Studies. Some space will also be dedicated to the Faculty of Law, the Faculty of Music, while other gathering areas will be used by the adjacent Royal Ontario Museum. U of T’s School of Cities was created last year to combine the Faculty of Architecture, Landscape, and Design with community-based research initiatives dedicated to solving the world’s biggest urban issues. In a press release, Richard Sommer, dean of the department, noted that the building’s outward face is of particular importance. “The edges of the campus and its borders with the city are the places where you engage the community and the vibrancy of the city of Toronto,” he said. “When you have buildings that are at these edges, it’s particularly important that they have programming that produces a platform for public exchange.” Set to break ground in 2020, the project will also include a large entry plaza to the north that will feature a terraced landscape, as well as a cafe and restaurant.
Four blocks of Manhattan’s Far West Side were rezoned 14 years ago for New York's ambitious 2012 Olympic bid. After a failed attempt to secure the games, the parcel of land was awarded in 2008 to real estate giant Related Companies. Through a public-private partnership in which Related would oversee the design, construction, and long-term maintenance of the site, the group began creating what's now the largest private development in the history of the United States. Set atop a cluster of rail yards between 10th and 11th avenues, the first phase of the multibillion-dollar megaproject known as Hudson Yards is set to open on March 15, when a cohort of towers and parkland previously inaccessible to the public will be unveiled. Ahead of the much-anticipated launch date, here’s a brief look at what’s already opened and what’s coming online this spring. 10 Hudson Yards Designed by Kohn Pedersen Fox Associates (KPF), this 895-foot-tall office tower was the first structure completed on-site in May of 2016 and features 1.8 million square feet of commercial space. It boasts tenants such as Coach, L’Oréal, Sidewalk Labs, VaynerMedia, and Boston Consulting Group, among others. A Spanish food hall by José Andrés will also be located in the building. 15 Hudson Yards Rising 917 feet in the sky, this residential tower will offer 285 luxury apartments and 107 affordable rentals come March. The skinny skyscraper was designed by Diller Scofidio + Renfro (DS+R) as lead architect and Rockwell Group as lead interior architect. 30 Hudson Yards This commercial tower, also designed by KPF is the tallest in Hudson Yards, stretching 1,296 feet in the air, and is set to open in March. It features the city’s highest open-air observation deck, which will be open to the public in 2020. Major media groups such as HBO, CNN, Turner Broadcasting, Time Warner, and Wells Fargo Securities, are set to move in this March. 35 Hudson Yards Also opening this spring, this mixed-use supertall tower was designed by David Childs of Skidmore, Owings + Merrill. It will house 143 condominiums, as well an Equinox Club at the base of its 92 floors. A branded hotel by the luxury fitness company will also open inside the structure. 55 Hudson Yards KPF worked alongside Kevin Roche John Dinkeloo and Associates to design this boxy, 780-foot office structure. Completed last year, it's already opened to tenants, serving as the headquarters of several law firms and financial groups. Vessel/New York’s Staircase Heatherwick Studio’s monumental work, known now as New York’s Staircase or Vessel, was commissioned to become the development’s signature work of art. As the centerpiece of Hudson Yards’ five-acre public park, designed by Nelson Byrd Woltz Landscape Architects, the spiraling, copper-clad work stands 150 feet tall and weaves 2,500 steps throughout its structure. It will open to visitors starting in March. The Shops and Restaurants a.k.a. 20 Hudson Yards This seven-story structure, designed by Elkus Manfredi Architects, will contain 25 fast-casual dining options and restaurants helmed by famous chefs like Thomas Keller and David Chang. The one-million-square-foot building will also feature over 100 luxury shops and an immersive exhibition space by Snarkitecture called Snark Park. The Shed, a.k.a the Bloomberg Building This 200,000-square-foot structure features a retractable outer shell designed to open and enclose a year-round exhibition space and performing arts venue. Also designed by DS+R in collaboration with Rockwell Group, the structure sits at the base of 15 Hudson Yards and will serve as the city’s newest cultural center. The project will open on April 5.
The Diller Scofidio + Renfro (DS+R) and Gensler–led expansion of Manhattan’s Museum of Modern Art (MoMA) is inching closer to completion, and the institution today revealed a suite of new programming that will begin later this year. That is, when it reopens; the museum also announced that it will be shutting down from June 15 through October 21. With 40,000 square feet of new gallery space incoming, the MoMA is hoping to shed its staid institutional status and get back to its experimental roots. A new 53rd Street entrance is on the way, as are ground-floor galleries that will be open to the public, which the museum hopes will more fluidly connect the museum to the street. The westward expansion is building out through the site of the demolished American Folk Art Museum and into the base of the Jean Nouvel–designed condo tower at 53 West 53rd Street. With the expansion comes a reorganization of how MoMA will display its collection; the museum is moving towards a system of modular, rotating galleries with thematic, not material-based, exhibitions. Photography, painting, drawings, and other media will be shown alongside each other The second, fourth, and fifth-floor galleries will still be arranged chronologically but will expand the museum’s Eurocentric focus to include modernist works from all over the world. Beginning on the fifth floor, patrons will find an early history of modernism, followed by mid-twentieth century work on the fourth, and contemporary art on the second floor and beyond. The MoMA is aiming to rotate the gallery spaces on these floors every six-to-nine months. Choreography, performance art, film, and sound works won’t be left in the cold either. The new Marie-Josée and Henry Kravis Studio, a double-height performance space, will open up to both the fourth and fifth floors. Stuart Comer, chief curator of the Department of Media and Performance, has promised that both established and emerging artists will be able to present “collection-responsive programming” therein. On the second floor, the Paula and James Crown Platform will present an experimental place for visitors to collaborate and engage with artists, as well as each other. The museum will offer both in-house and partnered educational experiences daily. When MoMA reopens in October, all of the opening exhibitions will draw from the museum’s existing collection to showcase the diversity of its holdings. According to Glenn Lowry, director of MoMA, the expansion will allow the museum to grow from showing approximately 1,400 or 1,500 pieces at a time to around 2,400. To cope with the constantly changing programming, the museum has promised that it will keep its website up-to-date on what will be on display when and where. MoMA PS1 in Long Island City, Queens, and the Modern will remain open during the summer hiatus. How can the museum cope with four months of lost revenue? A $200 million gift from the estate of David Rockefeller was announced this morning. In recognition of the pledge, the museum’s Board of Trustees has voted to renamed MoMA’s directorship position the “David Rockefeller Director of the Museum of Modern Art.”
Brought to you with support fromDiller Scofidio + Renfro (DS+R) and Rockwell Group's first skyscraper, 15 Hudson Yards, is now complete after four years of construction. The 88-story residential tower fuses the largest cold-warped glass curtain wall in North America with a louver and limestone base. The tower is located on the southwestern flank of Hudson Yards's first phase located on 28 acres between 30th and 34th Streets, and 10th and 11th Avenues. One of the sites many towers, 15 Hudson Yards alone will enclose a whopping 980,000 square feet. The 914-foot-tall project rises from a CNC-fabricated limestone base sourced from Carrara, Italy. According to the design team, parametric guidelines and 3-D modeling facilitated a seamless design-to-fabrication process for both the approximately 1800 stone panels and their steel support systems produced in Queens and New Jersey. The rear of each panel is studded with metal angles fastened to a network of bent plates attached to the steel support system.
The Shed, also designed by DS+R and Rockwell Group, adjoins the smooth limestone surface of 15 Hudson Yards along a diagonal seam defined by polished and formed steelwork by CIG Architecture. Incorporating the dynamic performance arts space into the base of the tower presented a number of mechanical and structural challenges for the design team. The 48.7-inch-wide modules all have both a glass and ventilation louver component. The designers varied the ratio of the two pieces parametrically to best ventilate interior mechanical equipment, with the widths of the louvers ranging from 4 to 31 inches. Beginning at the 20th story, the tower dramatically curves using a cold-warped unitized glass curtain wall system. The individual glazing units, produced by German manufacturer Interpane, were cold-warped on site. To warp the glass components, the panels were held in trapezoidal frames with silicone seal joints that anticipated the final form of the panels once they were bent into place. While early renderings of the project depicted 15 Hudson Yards with anatomical undulations, cost constraints and manufacturer warranties straightened the design into its current form. “We worked very closely with curtain wall fabricators from concept through execution, and the tower’s form is a product of this close collaboration,” said facade consultant Neil Thelen. “Using a collaborative parametric approach, we were able to iterate and analyze the impact of the tower’s curved forms on critical parameters such as IGU cold-warping, aluminum extrusion die option, unique part and assembly reduction, gasket engagement, and window operation.” Above the amenity spaces located roughly halfway up the tower—which are clad with glass mega panels—the facade's curvature increases dramatically, effectively breaking into four turrets. The glass panels deflect up to 8 inches at the skyscraper's summit. Although the dimensions and material of the facade differ throughout the tower, the cladding all attaches to the structural frame with a similar technique. “There are embedded plates in the slab edges to which faceplates are bolted with adjustable screws to align bearing points for each wall unit. Each curtain wall unit has a pair of load bearing hooks at the top where the dead load is transferred to the building structure from the hooks,” said DS+R project director John Newman. “It hangs from there and interlocks with a large, gasketted tongue-and-groove extrusion at the top of the unit below.” In response to river-borne gusts, the facade is designed to withstand 100-year wind loads with a system of structural silicone profiles, mullions, and steel reinforcements for spans greater than twelve feet. Additionally, testing conducted by an independent lab determined the placement of supplemental-load bearing aluminum extrusions.
After winning a competition in 2017, Diller Scofidio + Renfro (DS+R) has released new renderings of its conceptual design for a London Centre for Music. The new building is backed by a group of local institutions, including the London Symphony Orchestra and the Barbican. The £288 million structure will rise like a twisted block on the site where the Museum of London now stands. The new building reinterprets the idea of a vertical campus that DS+R used in the Vagelos Education Center for Columbia University in New York City. Performance and rehearsal spaces are stacked with lobbies and other public areas mixed in between, and a staircase with seating will wrap around the building to tie it all together. Many spaces are swathed in uniform wood paneling, as in the firm's design for New York's Alice Tully Hall, and many rooms are oriented toward a window wall displaying a view over the city, similar to the computer space in Boston's ICA, also by the firm. The exterior finishes are abstracted in the renderings, giving the building a largely transparent appearance, but there are apparent hints at slatted wood siding and a twisted glass facade. Work on the new building can only begin after the Museum of London vacates the site in 2023, and construction is expected to take a further four years after that.
For over three years, New York City has anticipated the debut of Hudson Yard’s enigmatic “Shed”: the eight-level, 200,000-square-foot art center with a massive, telescoping outer shell. On April 5, the new center will finally open its doors, hosting a variety of exhibitions, lectures, and events related to the performing arts, visual arts, and pop culture. The innovative building was designed by Diller Scofidio + Renfro, lead architect, and Rockwell Group, collaborating architect. Its sleek, flexible, and mobile layout was inspired by the industrial past of the High Line and West Side Rail Yard, and the building’s form is intended to physically transform depending on artists’ visions. Its blueprint includes two levels of gallery space, a multipurpose theater, a rehearsal space, a creative lab, and a 9,500-square-foot sky-lit space for large-scale events. Reminiscent of a train car, the building’s semi-transparent outer shell can glide along rails onto a neighboring plaza to nearly double the building’s footprint for grandiose concerts and performances. The massive light, sound, and temperature-controlled hall can be used as a blank slate to support artists' and performers’ most creative and ambitious ideas. “We have built a home where established and emerging artists working in all disciplines can create new work in ways that we cannot even imagine,” said The Shed’s Artistic Director and CEO, Alex Poots. The venue will host an assortment of events ranging from comedy shows to concerts. The first year of programming will include lectures by filmmaker Boots Riley, a Björk concert directed by John Tiffany, and a Kung Fu musical featuring songs by Sia. The building will be named to “The Bloomberg Building” after a generous, $75 million donation from Michael Bloomberg, the former mayor who oversaw the dramatic gentrification of Manhattan’s Westside and Hudson Yards. With only three months until its launch, The Shed will go through the final phases of construction, which includes the installation of metal cladding and other architectural finishes. Correction: A previous version of this article said that The Shed's name will change, but only the building the institution is housed in will be known at The Bloomberg Building.
MIT’s School of Architecture and Planning (SA+P) is currently scattered all over the school’s Cambridge, Massachusetts, campus, but not for much longer. The university announced on December 14 that it had tapped New York’s Diller Scofidio + Renfro (DS+R) to convert the historic Metropolitan Storage Warehouse into a central design hub. The idea of renovating the Metropolitan Warehouse, which was added to the National Registry of Historic Places in 1986, has been kicking around since June of this year. At the time, SA+P dean Hashim Sarkis expressed the desire to consolidate the physical design and research components of the school into one location. The proposed changes would preserve the warehouse’s distinctive red brick facade (likely because of its historical significance). DS+R will be partnering with Boston’s Leers Weinzapfel Associates, no strangers to academic work, to bring 200,000 square feet of classrooms, galleries, workshops, studio spaces, and an auditorium to the former warehouse. A makerspace, accessible to the entire campus, will also be installed under the administration of Project Manus, a group responsible for integrating and updating such spaces at the school. The selection of DS+R began with a long list of potential architects that was put forth by MIT’s Office of Campus Planning (OCP). Representatives from every department of SA+P, Project Manus, and OCP then whittled the list down to four finalists. The remaining studios were invited to give private presentations in October, and feedback on each was taken from SA+P students and faculty, as well as representatives from the city. “A project of this scale and complexity,” said Sarkis, “which demands a design sensibility informed by both art and technology—along with a deep understanding of architecture education as well as the role of public space—is made for a firm like DS+R.” No estimated completion date for the project has been given yet, nor has a budget estimate, though MIT says that the school is in productive talks with alumni about fundraising to pay for it.
Ahead of its spring 2019 opening, The Shed has selected 52 emerging artists in New York City for its inaugural Open Call program. The cultural organization announced the news on Monday, unveiling the chosen individual artists and collectives and how their work will be integrated into Open Call. “We launched Open Call with the intent of creating a meaningful opportunity for emerging artists to make new work,” said Tamara McCaw, chief civic program officer at The Shed. “A fundamental part of our mission is to engage our local communities and support New York City’s diverse talent.” Each artist, either local to New York or showing work in the city, will be allocated a stipend between $7,000 and $15,000 based on the scope of their proposed projects. The commissioned work will be displayed throughout The Shed’s principal performance venues, designed by Diller Scofidio + Renfro and Rockwell Group, during the 2019 spring–winter season. Theater and dance performances will be held inside the building’s black-box theater, while art, sculpture, and other mediums will be situated within the 12,5000-square-foot, column-free Gallery 1. Larger-scale performances, also including theater and dance, as well as bigger art pieces will be shown in the 17,000-square-foot indoor-outdoor plaza. Over 900 applications were submitted for Open Call over a three-month period starting last March. A panel of nearly 30 New York–based designers, filmmakers, academics, artists, and performers came together to review the proposals, including The Shed’s main staff. All exhibitions and programs on view during its first year will be free and open to the public. You can learn more about the artists and their planned work here.
As the sun sets each night over Manhattan’s High Line, the sounds of 1,000 opera singers waft through the streets of Chelsea, at least until October 8. The Mile-Long Opera: a biography of 7 o’clock, a co-production between Pulitzer Prize-winning composer David Lang and Diller Scofidio + Renfro (DS+R), one part of the High Line's design team, sets human-scale stories against the elevated park’s environs. Poets Anne Carson and Claudia Rankine provided the text for each of the opera's 26 sections, which was distilled in part from interviews with New York City residents on what the twilight period means to them, and DS+R partner Elizabeth Diller directed the show’s staging. The opera, a 90-minute linear amble from the High Line's 14th Street entrance to its West 34th Street terminus, is in content, tone, and setting, about transition: the changing time of day, evolving domestic duties, and the shifting character of New York itself. Audience members are encouraged to walk slowly and weave their ways between the groups of singers, each belting out—or whispering, or chanting—their specific role on loop, unfolding the full experience for guests as they move forward. With each performer cloaked in white light from a luminescent hat, smartphone, backpack, or other piece of everyday wear, the experience can feel at times dreamlike. But the surrounding sounds of the city, walls of new development around the High Line, and Hudson Yards’ looming presence on 34th Street ground the performers in a material setting. Gentrification is not explicitly the Mile-Long Opera’s purview, but, as Diller recently relayed to the New York Times, the changes in the Meatpacking District (some caused by the High Line itself) are highlighted as wistful background threads. The mingling of old and new construction along the park with song lyrics about friends moving away, the L Train shutdown, and passing strangers on the street, are meant to make the audience consider change as a process and not simply get nostalgic for “the good old days.” DS+R and Diller’s involvement in the show’s staging (choreographer Lynsey Peisinger served as co-director) shines through, as both are intimately familiar with the challenges and opportunities of staging a show on the High Line. Marriage proposals waft up from beneath the elevated walkway and flyover, and for the spiraling spur at the park’s end, which butts up against the West Side Highway and an active heliport, performers are clad in reflective jumpsuits and have their voices amplified, one of the only times they compete with the noises of the city. This push and pull of the city, according to Diller in the playbill, makes New York both a backdrop and an antagonist as the audience travels the 30-block-long urban stage. Standby tickets to the Mile-Long Opera are free, but for those who can’t make it before the show closes, a 360-degree virtual reality version of the performance is being uploaded in parts online.