A new exhibition at the Museum of Design Atlanta (MODA) will press people to consider the ways in which architecture can bring dignity to those who need it most. Design for Good: Architecture for Everyone will open September 23 and will showcase real-world stories about structures designed by firms that put people first. Based on the 2017 book Design for Good, the show will be curated by the author, John Cary, an architect, writer, and curator. Cary envisions a more diverse industry that’s dedicated to designing for the public good. His seminal book led him to speak at a TEDWomen conference last November where he highlighted the narratives of the architects and clients around the world who participated in the featured projects. Similar to his book and TED Talk, Cary’s MODA exhibition will focus on why everyone deserves good design no matter their economic status, race, or geographic location. He’ll display the work of firms like Studio Gang and MASS Design Group as well as the stories of the people whose lives have been affected by their buildings. Design for Good: Architecture for Everyone will run through January 12 with an opening reception on Saturday, September 22 at 5 p.m. Tickets are available here.
Posts tagged with "exhibition opening":
Starting this weekend, Jai & Jai Gallery in Los Angeles will be hosting a new exhibition showcasing the work of Oakland, California-based architecture firm, Endemic Architecture. The firm’s new exhibit, Mind Your Mannerisms, delves into the zany world of San Francisco architecture by examining that city’s ubiquitous corner turret morphology through drawings, scaled models, and photography. By embarking on a formal and existential exploration of quirk-heavy San Francisco Victoriana, Endemic Architecture Principal Clark Thenhaus and his team seek to analyze the turret and its multivalent tendencies. In their efforts, the design-researchers deftly use a mix of traditional architectural representation and contemporary digital manipulation to explore elaborations of the Victorian turret. The isolated corner turret is treated as representing the incongruities, complications, and controversies of Victorian era architecture. Endemic Architecture arrives at several provocations that embody what the firm calls “mannerisms,” what Thenhaus described to AN via telephone as “forms of articulation slightly strange but not so strange as the become unfamiliar.” These formal and stylistic incongruities, described as “architectural contradictions, exaggerations, and counter-intuitions” in exhibition text, are treated as bad habits, amplified, and made worse to prove a point. As the designers manipulate and exaggerate the turret’s salient qualities, fascia boards get extruded and swept across facades, rooflines pucker at their corners, newels turn parabolic, and shingle patterns shift, grow, and change in scale. Thenhaus, recent recipient of a 2015 Architectural League Prize for Young Architects and Designers, described the underlying thesis of the project one of working through a ubiquitous architectural feature of his newly adopted city, where turrets are part of the accepted vernacular, inscribed within the city’s zoning code, sometimes clashing with more prosaic urban issues like lack of affordable housing and a need for increased density. The exhibition goes on view August 13th at 6pm and runs through the summer.
Tonight, Gowanus by Design (GbD), a community-based urban advocacy group, will launch a new exhibition showing award winners and other selected entries of its Water Works Competition at The Old American Can Factory Gallery in Brooklyn. The opening reception for the exhibit will be held on May 22 from 6:30 to 9:00p.m. The intent of GbD's competition was to design a new community resource to replace the site of the old Douglas Degraw pool with a Combined Sewer Overflow retention facility. After considering over 250 entries submitted from more than 20 countries, the jury, in search of entries that successfully dealt with matters of architectural design, community programming, and urban ecology, determined that no particular entry entirely addressed the numerous and complex challenges presented by the competition brief. Therefore, the jurors announced three winners in three categories: Urban Ecology, Architectural Design, and Community Programming. With an increased likelihood that the Douglass and Degraw Street pool will be demolished to suitably remediate the heavily contaminated soil underneath, the group jumped at a chance to contemplate a new urban typology. The competition jury included Richard Plunz, David J. Lewis, Robert M. Rogers, Andrew Simons and Joel Towers. The competition emphasized community advancement within a toxic waterway context: “Can a new community center and remediation facility on a heavily contaminated State Superfund site be designed to strengthen the urban infrastructure and educate the community about environmental challenges facing the area?”
What: Tracey Emin’s Roman Standard Where: Petrosino Square (Spring and Lafayette Streets, NYC) When: May 10 to September 8, 2013 This summer, Nolita’s Petrosino Square in New York will feature Roman Standard, a thirteen-foot-tall pole with a solitary bronze bird perched at the top. From the ground, the towering sculpture by Tracey Emin, sponsored by Art Production Fund, White Cube, and Lehmann Maupin in collaboration with NYC Parks & Recreation, is so lifelike that onlookers may mistake it for a real bird. According to the artist, the figure is a sign of “hope, faith, and spirituality” that should serve as a source of reflection. The showcase will be on view from May 10 to September 8, 2013. Emin pulls inspiration from the militaristic representations of traditional Roman Standards and desires to demonstrate the power that an outwardly unimportant creature can personify through stature and space. In an attempt to design a public display full of magic and mystery instead of oppression and supremacy, the artist suggests that successful works of this variety can be inspiring without being monumental. Roman Standard is Emin’s first public art project and was commissioned by BBC in 2005 as a part of the art05 festival. Following a lucrative Times Square appearance in February, the Petrosino Square exhibit marks her second public project in the New York City. She is a renowned contemporary artist and is globally recognized for her brutally honest approach to art. In concurrence with Roman Standard, Lehmann Maupin will host the two-part installation, Tracey Emin: I Followed You To The Sun. Highlighting more than 100 original works, the exhibition will be on view through June 22, 2013 at both of its New York galleries. The show will expose Emin’s most personal tales.
This summer, the Whitney Museum of American Art will reinstall a work for the first time since its original conception in 1977. Robert Irwin (b. 1928) formed the large-scale Scrim veil-Black rectangle-Natural light, Whitney Museum of American Art, New York, especially for the Emily Fisher Landau Gallery almost four decades ago. The exhibition was central to Irwin’s career, as it determined the path for his ensuing practice, and will now be on display for the second time from June 27 to September 1, 2013. The work accentuates the Whitney’s renowned Breuer building and the natural light that reaches the interior from the single Madison Avenue window. Irwin’s installation involves a partially transparent white scrim weighted down by a black metal bar. The system is suspended from the ceiling and hangs five and a half feet above the floor, spanning 117 feet across the room. A thin black line mirrors the bar and borders the gallery walls. The elements accentuate the setting and sway visitors’ observations of the Museum’s fourth floor. In concurrence with the exhibition, the Whitney will digitize the 1977 exhibition catalogue and make it accessible online. It will contain images, plans, and information assembled by the 1977 exhibition’s curator, Richard Marshall. The updated report will include a new introduction by Whitney Chief Curator Donna De Salvo. Photographs and drawings associated with the display will be located in another fourth-floor gallery. Robert Irwin is a native of Long Beach, California and studied at the Otis Art Institute and the Chouinard Art Institute, where he trained in Abstract Expressionist painting. He was invited to join the Ferus Gallery in 1958, but soon after he began to create new minimalist works. As he fused his creative methods with his interests in science, philosophy, and religion, Irwin conceived that art must be conditional to its environment and must enhance viewers’ perceptions. He deserted the idea of the frame to create art in express response to certain settings. An artist at the forefront of the Light and Space movement, he continues to build site-specific works.
The stereotypes of New Yorkers are that they're rude, they only wear black, and they all have therapists. Sanitorium, the first installation of Guggenheim's new program, stillspotting nyc, explores the smorgasborg of therapies that help the city's neurotic residents keep their lives together. The installation is one of many that will take place over the next two years as a part of stillspotting nyc, which explores stillness and quiet in the hectic city. The program enlists architects, designers and composers to transform "still spots" into public tours, events and installations every three to five months. For the first installation, Artist Pedro Reyes transforms the storefront level of One MetroTech in downtown Brooklyn into a temporary clinic in early June. According to the Guggenheim:
In two-hour windows, Sanatorium visitors experience up to three sessions from over a dozen options through meetings with a series of “therapists.” Balancing reality and parody, Sanatorium draws from Gestalt psychology, theater warm-up exercises, Fluxus events, conflict resolution techniques, trust-building games, corporate coaching, psychodrama, and hypnosis.The sessions include Ex-Voto, in which visitors express thanks for a blessing, which an artist will then render into a small painting; Epitaphs, in which a therapist will facilitate the inscription of one’s tombstone; and Gong Pavilion, in which vibrations from nearby gongs are applied to acupuncture points. The venue, a 23-story skyscraper in Brooklyn and former home to Bear Stearns and Keyspan Energy, may strike some as an odd choice for the Guggenheim, but the program is part of a trend to move the museum's Architecture and Urban Studies programming into the city, as is increasingly apparent with BMW Guggenheim Labs and FutureFarmers, which included events at the Gowanus Canal, in the East Village and other offbeat locations.
Last night was the opening party for No Soul For Sale a (very) temporary show (it closes Saturday night) at the old Dia space on West 22nd Street organized by X Initiative. The crowning achievement--literally--is a lounge designed by LA-based architect Jeffery Inaba and his eponymous firm. An amusing if uncertain follow-up to Dan Graham's former installation, the new piece, entitled Pool Noodle Roof, is meant to provide both comfort and unease. Composed of 15,000 individual pieces of pool noodle foam tubes, each X-shaped (get it?) seat took five hours to make. With 150 seats scattered about the roof, well, you do the math. Part of the time involved in construction was getting the patterns just right, as the chairs spell out a secret message, "bububluooopppp," which Inaba explained is the sound of something either sinking or rising, a commentary on the uncertain state of art and design (markets) and the world in general. But more than anything else, the chairs made for a nice respite from the downright sweltering conditions inside the building. Sadly the capacity crowd was crammed into the Dan Flavin-lit stairwell because strict fire marshall's would only allow 150 people up at a time. Still, it was well worth it, seeing as this is apparently the show of the moment. (Is Jerry Saltz ever wrong?) For the remaining four nights of the exhibition, there will be live events on the roof, so don't think you've missed the party yet. Do hurry, though, before the whole brilliant (colored) thing sinks for good. Or is it rising to heaven, seeing as how Inaba plans on donating the chairs to local communities groups. Assuming, of course, they can stand the relentless abuse of the art world.