The first-ever “Hat Party on the High Line” event drew a rowdy crowd of art, culture, fashion, and architecture aficionados to the elevated park last night courtesy of the Friends of the High Line, with proceeds going to support the park’s continued operation and atmosphere of inclusivity. The night was sponsored by a huge host committee made up of some of architecture’s biggest names (including Diller Scofidio + Renfro, BIG, James Corner Field Operations, Zaha Hadid Architects, Rafael Viñoly Architects, and more) and hosted by Diane von Furstenberg. Perhaps the biggest draw was the 9:00 PM hat contest, where guests strutted their stuff on a runway in front of judges Alan Cumming, Aki Sasamoto, Florent Morellet, Charles Renfro, NYC Parks Commissioner Mitchell Silver, and Vi Vacious and Acid Betty from RuPaul's Drag Race. Partygoers rose to the challenge and presented their wildest hats, most of them inspired by the plant life and views of the High Line, to raucous applause. While BIG debuted a twisting-tower hat reminiscent of their High Line-topping XI, Zaha Hadid Architects 3D printed a swooping blue and white hat reminiscent of the curves found at 520 West 28th, and other studios including SOM and DS+R all competed to take home the crown. Ultimately the night was won by Vinayak Portonovo of Practice for Architecture and Urbanism (PAU), seen modeling the studio’s contribution; a glitzy take on PAU’s plan for the new Penn Station.
Posts tagged with "Diller Scofidio + Renfro":
Only three weeks after a star-studded shortlist of architects for the Adelaide Contemporary International Design Competition was revealed, arts organization Arts South Australia and competition organizers Malcolm Reading Consultants have chosen the Diller Scofidio + Renfro (DS+R) and Woods Bagot team. The winning plan for the new art gallery and accompanying sculpture park will create a new cultural anchor for the state of South Australia. In their winning scheme, DS+R and Australian firm Woods Bagot have envisioned a dramatically inclined art space for Adelaide’s North Terrace. The arts center will rise on the site of the former Royal Adelaide Hospital, and in the brief, teams were asked to design dynamic, but people-friendly, spaces. The team has designed what they call a “charismatic soft beacon” meant to reflect the sky during the day, and glow from the gallery spaces at night, creating an open and inviting atmosphere. The Adelaide Contemporary will include a sunken performance lab with multiple tiers, a “Super Lobby”, floating top-floor galleries, and a rooftop garden that will hang down into the upper levels’ gallery space. The entire building is a mixture of purpose-driven spaces with unique massings and heights, with programming inherently baked into each room’s layout, but its most unique feature is how most of the building will cantilever over the outdoor gallery spaces and public square. By virtue of the competition guidelines, all of the submitted proposals drew from vernacular Aboriginal art and culture, as well as the history and traditions of Adelaide. “The design foregrounds South Australia’s exceptional collections and capitalises on the momentum of the Art Gallery of South Australia’s recent successes in celebrating Aboriginal and Torres Strait Islander art and culture,” said Michael Lynch, chair of the jury and the Art Gallery of South Australia Board’s Special Advisor. “The jury was impressed by the winning team’s assured understanding of the future of art, performance and 21st-century programming, as well as its flair for placemaking.” DS+R and Woods Bagot beat out 107 teams from around the world (from over 500 individual firms), including proposals from studios like David Chipperfield, BIG, Adjaye Associates, and SO-IL. A full list of the received proposals, and views of their submissions, can be viewed here. The full biographies for all nine jury members can be viewed here. No cost estimate or completion date for the project has been released at the time of writing.
Sited in the former London Olympic park, Diller Scofidio + Renfro have won a competition to build a £25 million ($33.7 million) collection and research center for the Victoria and Albert Museum, part of a broader expansion of the museum into East London. The center will feature facilities for research and education and is to be built in the former Olympic Media Center, which is being redesigned and rebranded as Here East. The V&A’s new outpost is part of what is being called the Olympicopolis arts district, a burgeoning waterfront development at Queen Elizabeth Olympic Park. Apart from the V&A, as well as expected office and retail space, the Olympicopolis will be home to new expansions from Sadler’s Wells Theatre, the London College of Fashion, and the University College of London. The project is in part being led by the London Legacy Development Corporation, a city organization focused on adapting the structures from the 2012 London Olympics for continued use. The V&A was forced to create an additional space for their V&A East outpost after height restrictions required that the museum downsize its plans for their central building. The new locations will allow the V&A to display even more of their collection to the public and facilitate more research. The plan for the collection center came on the heels of the 2015 announcement by the government that they would sell the Blythe House, which currently serves as storage and archive for some of the V&A’s immense collection. DS+R, which won the competition ahead of four other shortlisted teams, will be working with British firm Austin-Smith:Lord and Studio Adrien Gardère to realize the center. In a press release, DS+R says that the space will be designed “from the inside out” and will be like an “immersive cabinet of curiosities.” No designs have yet been released to the public. In addition to the V&A collections center, DS+R also has a major concert hall, The London Center for Music, underway in London.
One thousand opera singers will grace Manhattan's High Line from October 3 through 7, staging a massive public performance for five consecutive nights. The Mile-Long Opera: a biography of 7 o’clock, produced by Diller Scofidio + Renfro (DS+R), the High Line, and production company The OFFICE performing arts + film, will present a thousand sung stories about what 7:00 PM means to New York residents. The Mile-Long Opera has a star-studded production team: The show is a joint venture between DS+R and Pulitzer Prize-winning composer David Lang, who will be setting the stories to music. Poets Anne Carson and Claudia Rankine will be writing the stories, based on interviews, about the liminal period between day and night. DS+R partner Elizabeth Diller will be staging the show, with the help of co-director Lynsey Peisinger, along the entire length of the High Line. Nonprofit cultural partners from each borough will be supplying the show’s singers, who will be directed by Donald Nally, and each partner will recruit volunteers, hold workshops, and throw cultural events in the lead-up to the October performance. Diller’s involvement has been known for some time now, and the idea supposedly took inspiration from the intersection and confrontation between public space and performance art. “After working on the design of the High Line for over a decade and witnessing the rapid transformation of the surrounding area, I thought a lot about the life cycle of the city—its decay and rebirth—full of opportunities and contradictions,” said Diller in a statement. “This vantage presented an opportunity for creative reflection about the speed of change of the contemporary city and the stories of its inhabitants. “The park will be a 30-block-long urban stage for an immersive performance in which the audience will be mobile, the performers will be distributed, and the city will be both protagonist and backdrop for a collective experience celebrating our diversity.” The Mile-Long Opera will be free, in keeping with the mission to open up opera to the public. Visitors can freely wander the length of the High Line while intermingling between the groups of singers, and each artist will belt out their own solo story. Guests can choose to linger and listen through to individual stories or explore as many experiences as they want. The High Line will close early to the general public on the nights of the show, and only those who have booked an advance reservation online (here) will be able to attend. With anticipation building for the 2019 opening of The Shed on the park’s northern end, it looks like DS+R will keep the cultural momentum going through the fall.
In the run-up to the opening of The Shed, Diller Scofidio + Renfro and the Rockwell Group’s new arts center in the Hudson Yards development, a 2-week program called A Prelude to The Shed, featuring free performances, talks and events, took place in a temporary structure designed by Kunlé Adeyemi of NLÉ Works. A Stroll Through the Fun Palace, British architect Cedric Price’s 1961 project, developed with theater director Joan Littlewood, was presented in dynamic form by architects wheeling models and items from the project archives at the Canadian Centre for Architecture on carts throughout the site, and interacting with curious visitors. A Stroll was originally presented at the 2014 Venice Architecture Biennale at the Swiss Pavilion, where it was curated by Hans Ulrich Obrist, who is also Senior Program Advisor at The Shed. On May 1, the evening panel discussion centered on Price’s Fun Palace and its impact on The Shed. Obrist and Prelude co-programmer Dorothea von Hantelmann set the stage by explaining why they included this work in the roster, and how its presentation explores the exhibition form itself. They correlated the Fun Palace’s interdisciplinary nature—opera, visual art, theater, dance—with Artistic Director Alex Poots’s background at the Manchester International Festival, the Park Avenue Armory and now The Shed. They were followed by Eleanor Bron, Cedric Price’s concubine (her preferred term for life partner), an actor best known for film roles in Help!, Alfie, Two for the Road, Bedazzled, and Women in Love, and Samantha Hardingham, interim director of the AA and author of Cedric Price Works, 1952–2003: A Forward-Minded Retrospective. They described the challenge for the self-described “anti-architect" to create a home for as many forms of fun in one spot as possible, and to open up science and culture to all. The Fun Palace, intended for the Olympics site in East London, was conceived as a permeable, moveable, gravity-defying open space without beginning or end, in contrast to the prevalent earthbound style of the times in Britain, Brutalism. It counted among is trustees Buckminster Fuller and violinist Yehudi Menuhin, and it nearly happened except for a drainage problem on the site. In another connection to The Shed, in 1999, Price submitted a proposal for Phyllis Lambert’s Hudson Yards competition, the current site of The Shed. Titled A Lung for Midtown Manhattan, Price was one of five finalists, who also included Ben van Berkel and Caroline Bos, Morphosis, Reiser + Umemoto, and winner Peter Eisenman. The jury consisted of Frank Gehry, Arata Isozaki, Philip Johnson, Rafael Moneo, Joseph Rose (City Planning Commissioner), and Elizabeth Diller. Notably, Diller voted for Price’s entry, which proposed leaving the space open with “wind-blinkers” to encourage breezes from the river to waft over Manhattan. Diller recounted the competition in the next panel, which also included David Rockwell and Kunlé Adeyemi. Diller and Rockwell discussed their approach to the design of The Shed: to be forever contemporary, flexible but not generic, scalable, indoor and outdoor, unbranded and entrepreneurial. They said their key architecture reference was the Fun Palace, which was an architecture of infrastructure. They also questioned why we need one more cultural institution, since New York City already boasts 12,000. Referring to the moveable portion of The Shed, Rockwell pointed out that many theaters are meant to be flexible (think Zankel Hall at Carnegie Hall), which are rarely utilized because it’s too difficult or expensive. For him, another lesson was from his TED Theater in Vancouver, an annual pop-up meant to be “live.” Here, the architecture does not dictate what happens inside. The evening was rounded out with Keller Easterling, an architect and Yale professor, who spoke on notions of theater in architectural spaces (in addition to being an architect, she has a background as a performance artist) and Caroline A. Jones, a professor at MIT Architecture, who found parallels in electronic technological modes of production in the art world. They commented that presenters on stage facing the audience was the antithesis of the future Shed.
On May 11, Arts South Australia’s design jury revealed the design proposals from the six shortlisted teams selected in the Adelaide Contemporary International Design Competition, a planned art gallery and sculpture park in Adelaide, Australia. The 160,000 square-foot Adelaide Contemporary will house a significant portion of the Art Gallery of South Australia’s 42,000 piece collection, which currently only has a fraction on display due to a lack of space. The museum will draw upon its substantial Aboriginal collection to create the Gallery of Time, which will combine indigenous pieces with European and Asian works. This shortlist's designs follow. Adjaye Associates & BVN’s design draws upon Aboriginal vernacular architecture through the use of a surrounding canopy, providing shade in one of the more arid corners of the country. With the canopy screening significant portions of the four elevations, the design will largely use skylights and balconies to filter natural light into the central atrium and stairwell. With a twisting, serpentine layout, Bjarke Ingels Group (BIG) & JPE’s proposal is inspired by Aboriginal sand painting, which often embeds abstract natural elements within a landscape. Through the use of rooftop landscaping, the team hopes to integrate their design with the adjacent Botanic Garden. David Chipperfield and SJB Architects’ is the only timber structure proposal. The principal elevations are composed of wooden screens, and the structure is topped by sloped roofs. In a statement, Diller Scofidio+Renfro & Woods Bagot describe their proposal as a “matrix of unique spaces unbound by disciplinary categories range in size, height, infrastructure, and light quality.” The bulk of exhibition space is located on the second story, which is cantilevered over an outdoor gallery and public square. Hassell & SO-IL incorporate a central plaza into their design proposal, which the team describes as an attempt to bring “nature, art, and people together.” The central plaza serves as a circulation node and public square connecting the gallery’s semi-independent spaces, which are further laced together by a draped, metal brise-soleil. Khai Liew, Ryue Nishizawa & Durbach Block Jaggers proposal consists of a sweeping, perforated canopy supported by a series of pilotis. Beneath the canopy, the site is split roughly evenly between park and curatorial space, the latter presenting sweeping views of the adjacent Botanic Garden. Arts South Australia’s design jury will meet again in May, with a winner expected to be announced in June.
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.
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.