A new exhibition at the Guggenheim Museum Bilbao looks back on the historic design and construction of the seminal Spanish museum and its pioneering use of digital technology and avant-garde materials in the field. Architectural Effects, which opened on December 5, details Frank Gehry’s pivotal project while chronicling its influence on contemporary architecture and art. Organized by lead curator Manuel Cirauqui and Troy Conrad Therrien, curator of architecture and digital initiatives at the Solomon R. Guggenheim Museum in New York, the show asks: What makes architecture more than just a building? Through various mediums, the exhibition broadens the understanding of the museum’s initial impact by placing its technological and cultural achievements alongside other 21st-century works. The exhibition is split into three connected “territories.” In Airlock, the Garden, and the Bubble (a digital dimension available on a free app), visitors can explore both the materials on view as well as the virtual story of architectural advancement visible throughout the show. Airlock, the introductory territory, features major moments in the creation of groundbreaking digital technology, not just in architecture, but also in biology, pop culture, medicine, politics, and more. Video, audio, books, photographs, historic artifacts, and archival material populate this showcase, further explaining how these benchmarks—all made in the year 1997 when Gehry’s Guggenheim Bilbao was completed—have influenced the world at large. According to a statement, “The Airlock is a representation of the techno-cultural conditions in which the Guggenheim Museum Bilbao was developed to immediately become a global emblem.” Gehry’s vision for the project and the resulting Bilbao Effect are also heavily documented in this section of the exhibit. Garden, the main space in Architectural Effects, highlights post-1997 art and architecture through moving images, prototypes, models, sculptures, and artificial intelligence. It features works by prominent artists and architects over the last 20 years through drawings, animation, and architectural documentation. Three major projects are debuted in this section including El Otro by Frida Escobedo, A Tent without a Signal by MOS Architects, and Float Tank 01 by Leong Leong. Bubble offers visitors an online collection of media that contextualize and further illustrate the works on view. It includes educational materials and readings by influential artists, scholars, and writers like John Mernick, Gordon White, and Venkatesh Rao as well as critical essays by the exhibit’s curators and assistant curator Ashley Mendelsohn. Architectural Effects is on view through April 28, 2019, at the Guggenheim Museum Bilbao in Bilbao, Spain. Several talks, performances, and workshops will coincide with the exhibition. More information is available here.
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A new exhibition at the National Building Museum in Washington, D.C., chronicles the stunning and somewhat sad history of cinema houses in America’s Charm City. Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters opens tomorrow, November 17, showcasing the work of award-winning Baltimore Sun photographer Amy Davis. The show is based on Davis’s year-old book of the same name, which features 72 Baltimore buildings photographed from 1896 to today. Collected over a decade, her colorful documentary photography pits the current state of these once-opulent downtown theaters and modest neighborhood cinema houses with vintage black-and-white photos of the structures in their heyday. Curator Deborah Sorensen worked with Davis to collect over 100 architectural fragments and pieces of theater ephemera to populate the exhibition, each adding a layer of tangibility to the buildings detailed in the book. Along with these elements, personal stories unveiled through text illuminate both the local story of Baltimore’s own 20th-century urbanization, segregation, and suburban sprawl, as well as the national trends in theater design and the ever-evolving movie-going experience. “Baltimore was already a mid-size city at the turn-of-the-century,” said Sorensen. “As a case study, it mirrors the development of the film industry and how it shaped cities across America. Movie palaces were being built to reflect local civic pride and the power of movies. If you look at when cities really started booming, it’s when these structures were coming online.” Davis’s photographs not only unveil the architectural history of movie theaters, but track these shifts in local population, land use, and urban history in Baltimore. In the early 1900s, famous architects were called upon to design grand cinema houses for downtown commercial districts. Many sported shiny, stand-out marquees and seated up to 2,000 people. Post-World War II, the city had 119 theaters of varying sizes and designs, but due to the introduction of television and mega-malls, the way people consumed films dramatically changed, as well as the way theaters were constructed. Davis conducted 300 interviews with movie exhibitors, theater employees, property owners, and filmgoers to get at the heart of these theaters and their surrounding locales. She photographed the buildings as they stand today—some revitalized as performing arts centers, churches, or concert venues, others still derelict and falling apart, and some completely demolished. Their successful, or in some cases poor, evolutions point to local investment in preservation and development over time. “We’re looking at the rise of movie-going and the decline of downtowns through the lens of this particular place,” said Sorenson. “It’s a reality that many American cities have faced and are trying to recover from." Since the first movie theater opened its doors in the late 19th century, Baltimore has been home to a total of 240 cinemas. Today, it has only five functioning theaters, not including the homogenous AMC or Regal theaters common today. Two outstanding examples include the legendary Hippodrome, built in 1914, and Parkway, built in 1915. Both came back to life after multi-million dollar restoration and expansion projects. Not all movie theaters across the country have been so lucky. Flickering Treasures gives visitors an in-depth look at Baltimore’s former movie palaces and neighborhood film houses, as well as notable architects and industry entrepreneurs through poignant case studies and enlightening biographies. With photographs of rarely-seen interiors and much-need information on the history of these unique facades, Davis shines a spotlight on over a century of change in one American city. Flickering Treasures is open through October 14, 2019. For a sneak peek of the show, visit Davis's Flickering Treasures on Facebook.
A new exhibition at Architektur Galerie Berlin SATELLIT details the Polish firm BBGK Architekci and their recently completed Sprzeczna 4 apartment building in Warsaw, Poland. Manifesto of Prefabrication, on view through Saturday, September 29, explains why this multifamily complex is an innovative prototype for modular housing in the country. Most housing estates built in Poland during the communist period feature large-panel concrete in prefabricated designs. This typology is ubiquitous throughout the country, especially in the capital city of Warsaw, and it has a poor reputation for being ugly, impersonal, and unsustainable. BBGK constructed Sprzeczna 4 in protest against this conception and to show that prefabrication is a valuable construction method for 21st-century housing. The complex utilizes low-cost technology, prefabricated elements, and heated ceiling systems to achieve a cohesive, contextually appropriate design. Ample light infuses the apartments through large windows framed by exposed colored concrete. Sprzeczna 4 not only flips stereotypes about traditional modular construction in Poland, but it also sheds light on past improper building practices. Historically these buildings were built by poorly paid immigrants through a semi-feudal system, but BBGK implemented fair business practices and social responsibility to create this contemporary twist on conventional Polish housing. According to the curator, Marcin Szczelina, the project is a proposal for a new way of using the prefabrication method not only in Poland, but in Europe and beyond. Manifesto of Prefabrication can be seen this week only at the Architektur Galerie Berlin SATELLIT. It is open Tuesday to Friday from 2 p.m. to 7 p.m., and Saturday from 12 p.m. to 6 p.m.
Manifesta 12’s The Planetary Garden. Cultivating Coexistence, which opened on June 16 in Palermo, Sicily, is a sprawling and at times fragmented series of venues and events. But unlike other art and architecture biennials whose main purpose is to deliver trends, Manifesta 12 is the real thing. This is an exhibition that’s been hardwired into the city’s fabric, and while undeniably the city of Palermo completely upstages the Manifesta exhibition, this must have been the prime intention of the curatorial team from the start. Manifesta 12 is Palermo, and therefore the exhibition is a diagram to explore the city and to discover some of the most fascinating and haunting architectural spaces anywhere in the European-Mediterranean region. It is precisely this urban-based formula that the Dutch-based Manifesta “franchise” is best known for, and therefore the impressive success of this exhibition has much to do with the way the curators have been able to weave their fertile themes into the city’s fabric. There is art, there is architecture, and there is the city. Given how much there would be to cover in a review of this size, I will try to present some of the biennial’s bolder highlights. Much of the credit for Manifesta’s achievements is thanks to OMA’s partner Ippolito Pestellini Laparelli who led the curatorial team. Laparelli succeeds in cracking Palermo’s urban code, precisely because he trains his lens on Palermo’s convoluted urban fabric, its magnificent cardo and decumanus, the overgrown gardens, the abandoned urban masterplans, and melancholic housing estates. As Laparelli notes in the opening introduction to OMA’s Palermo Atlas, “the Biennial’s thematic and geographic organization are intertwined, triggering a journey through the city like a section through anatomy; from the abandoned and derelict heritage of the old town to the failed utopia of the outskirts; from the glorious history of its Gardens to its neglected and toxic coast.” This is especially true of the city and its dramatic relationship to its old town, one of the largest historic city centers in Europe. And yet this impressive segment of the city lies in some kind of lethargic black hole when compared with the adjacent districts of Palermo that grew in the thirties and then expanded exponentially in the sixties. The one constant is the draw of the periphery, which serves as the cash cow for the city’s black economy while the old town lies in neglect and disrepair—a condition the city continued to submit to well into the nineties. In order to better comprehend where Palermo was headed, Manifesta enlisted politicians, local associations, patrons of the arts, and institutions to suggest ways to engage the city, to establish new routes of access, and to generate new kinds of cultural experiences. By and large, it’s a project that has pervaded into different levels of society, and it’s not uncommon on the streets to hear locals discuss Manifesta’s merits or problems. And there are viable results: Massimo Valsecchi and his wife Francesca have made it their mission to restore the magnificent Palazzo Butera in the heart of the city. Valsecchi, whom I spoke with during Manifesta’s opening, saw the renovation of Palazzo Butera as a stopgap measure, a way to decisively reengage the city’s historic axis by reasserting the building’s role as both palatial seawall and monumental gateway to the ancient city. For what turns out to be the price of a single Gerhard Richter painting, the purchase of Palazzo Butera by these important Lombard contemporary art collectors could impact the city’s future. But for now, the palace’s impressive interior renovation, in preserved ruin style, frames Manifesta’s verdant exhibition Garden of Flows. Not far from Palazzo Butera one can enter the historic Botanical Gardens, another destination in the procession of Garden of Flows, to become entangled in the rhizomatic plant cultivations. Much of the same could be said about another architectural monument, Palazzo Forcella de Seta, an old bastion with a casino built above it from the 17th century. It’s aligned perpendicularly with the seafront and is just as mesmerizing a stage for this exhibition. This Moorish-influenced venue is one of the spaces around the city that are assembled together and are “Out of Control,” along with the Palazzo Ajutamicristo where we are confronted with projects investigating different conditions on immigration, data, and identity. There are projects by Forensic Architecture’s offshoot, Forensic Oceanography, where they investigate the militarized control of the Mediterranean, and Tania Bruguera’s look at the Mobile User Objective System, known as MUOS, the cordoned off American base in southeastern Sicily directing remote drone warfare. But it’s the urban conundrum that remains most compelling, and beyond the layers of 16th, 17th, and 18th century buildings, streetscapes, and gardens. There is also a ponderous stratum of Fascist-era buildings, many in near states of abandon, but all intriguing for what they once represented in the time of Fascistization when Sicily’s mafia was subjugated and Mussolini’s regime added its symbolic stamp to the island. One building in particular, the Casa del Mutilato, stands out for its unfinished beauty and troublesome iconography. Designed by the architect Giuseppe Spatrisano in 1939, the modern rationalist style building remains surprisingly intact with most of its original statues, icons, murals, furniture, and memorabilia. Inside its main interior hall is Cristina Lucas’s Unending Lightning, a mapping of the long and fatal history of aerial bombing. There’s also an intervention by Alessandro Petti’s "De-colonizing Architecture” developed by the students attending the Royal Institute of Art in Stockholm. Their workshop and symposium, “The Afterlife of Colonial-Fascist Architecture,” featured a scissor lift that extended up into the open dome of the central courtyard, inserted there to disrupt the building’s regimented spatial order. When I asked Petti about their intentions, he responded by saying: "With the re-emergence of today’s fascist ideologies in Europe–and the arrival of populations from north and east Africa–we have had to ask ourselves: how do the material traces of the Italian empire today acquire different meanings in the context of migration from the ex-colonies?” This point is especially onerous because not much inside this building has changed since its opening, and the building still features the original Fascist era maps of Eritrea, Ethiopia, and Somalia. Petti went on to note: “We have had to ask who has the right to reuse this fascist colonial building? Shouldn’t people arriving today from these countries that suffered fascist colonial occupation have the right to re-inhabit these kind of buildings?” But it doesn’t end here. Post-war Palermo continues to be fraught with good architectural intentions gone sour. Nothing encapsulates this urban dilemma more than ZEN (Zona Espansione Nord), a public housing expanse from the late sixties designed by Vittorio Gregotti with a team that included Franco Purini. Like many of these largescale mass housing projects built from this era, ZEN’s reputation belies its origins. According to an interview with Purini from 1998, the strength of this project was in its desire to replicate regional territorial characteristics, specifically the fenced citrus groves found all around the area. Purini, who would go on to develop the master plan for earthquake-devastated Nuovo Gibellina, recalled Gregotti’s close relationship with the Sicilian publisher Sellerio, who sought to ground Gregotti in the island’s local building culture, which resulted in the project’s unusual compactness. Evidently, the project stripped of its amenities was doomed to failure. But here is where Gilles Clément, author of The Third Landscape and guru behind Manifesta’s Planetary Garden concept, is making a significant comeback, precisely in these original disaffected groves. To get the perfect overview of Palermo, one can make his or her way up to the top of the peak Pizzo Sella, where the group Rotor has transformed one of the many unfinished and illegal private homes, basically a concrete frame into a spectacular viewing platform. Manifesta 12 is worth the time and the space. Some might worry it prefigures a wave of gentrification that will certainly kill all that is so enchanting about this city: the entropic streets and gardens, the ruined palaces, the many multi-cultural public spaces, polyvalent cuisines, and the sublime beauty of the city. But I don’t think so, or not just yet given the unusual political direction the city is taking under its current mayor. Leoluca Orlando, a veteran of previous campaigns against the Mafia, sees a bright future for the city in welcoming new immigrants. Palermo should not be considered a European peripheral city, but rather the center of the greater Mediterranean region: Sicily is at the crossroads of Africa, the Middle East, and the Ionian islands with a centuries-old history of multi-ethnicism and multi-culturalism. I see Palermo as an alternative model for living, outside the tired economies and nationalistic concerns of an older Europe. It will be interesting to see if Manifesta 13 will keep this kind of critical edge when it lands in Marseille in 2020. Manifesta 12’s The Planetary Garden. Cultivating Coexistence is curated by Ippolito Pestellini Laparelli, Mirjam Varadinis, Andrés Jaque, Bregtje van der Haak and is on view through November 4.
April 9–May 11, 2018 Exhibition Opening: April 9, 5–6pm Princeton University School of Architecture The Princeton University School of Architecture, Media + Modernity Program, Program in Latin American Studies, and Mellon Initiative announce the opening of LIQUID LA HABANA: ICE CREAM, RUM, WAVES, SWEAT AND SPOUTS curated by Beatriz Colomina, Ivan L. Munuera, and Bart-Jan Polman and designed by Diana Cristobal and KnitKnot Architecture. The exhibition research team includes Ingrid Brioso Rieumont, Gillian Shaffer and Eda Yetim. Graphic design by Fru*Fru. Architecture in La Habana, Cuba is usually understood from the point of view of colonialism, whether Spanish or North-American, Cold War politics, or tourist economies and ideologies. But it could also be seen as generating wholly new points of view – more fluid and less familiar. Liquid La Habana presents 5 different case studies from the late 19th century until today and challenges their common interpretations. The exhibition explores the ways in which these fluid projects of ICE CREAM, RUM, WAVES, SWEAT AND SPOUTS reshuffle social contracts, radically confronting ideas of modernity, society, economy, sexuality, privacy, diplomacy, aesthetics, geopolitics, race, and development.  Coppelia, the ICE CREAM parlor of 1966 that became a symbol of the new revolutionary society, is discussed as a laboratory in which the creation of a new species, the “Ubre Blanca,” a super cow that would produce more milk than any cow before, went hand in hand with international agreements and socioeconomic aspects.  Mies van der Rohe’s unbuilt 1957 project for a Bacardi Building in Santiago de Cuba is not presented as the work of an international architect that created a decontextualized object for promoting RUM, but for how it was closely tied to La Habana’s existing architecture and led several afterlives around the world, reshaping the architect.  The Malecón, La Habana’s 5 mile long sea walk begun in 1901, is an engineering work of both concrete and silicon, a Wi-Fi spot in which the notion of public space has been redefined by electronic WAVES and the public sphere has been extended through the paquete semanal (a weekly terabyte of digital information).  The Tropicana Night Club is not simply a glistening stage for tourist entertainment, but a place where the bodies in motion and SWEAT relocate the conception of political architecture in a simultaneously capitalist and socialist spectacle.  The National Schools of Arts deployed the sensuality of waterworks and forms, such as the so called “vulva” SPOUT, as a controversial architectural symbol of revolution.
Gallery 400 at the University of Illinois at Chicago (UIC) is holding dual exhibitions exploring the past and the future of the UIC campus. Back to the Future: Visualizing the Arts at UIC and The Netsch Campus: Materializing the Public at UIC bring together architects and designers to imagine a new arts site, while looking at Walter Netsch’s original vision for the campus. Back to the Future: Visualizing the Arts at UIC presents three speculative proposals by teams of architects and designers. Teams member include: Sarah Dunn, Kelly Bair, Maya Nash, and Cheryl Towler Weese; Sam Jacob, Alexander Eisenschmidt, and Mischa Leiner; Andrew Zago, Sarah Blankenbaker, and Sharon Oiga. Each team’s design engages with Netsch’s campus, while bringing together the currently separated arts programs around campus. The designs also symbolize the ambitions of the university and act as a gateway into the city. The Netsch Campus: Materializing the Public at UIC explores the Field Theory design of UIC. Opened in 1967, the complex Walter Netsch design was never completed. The exhibition displays original drawings, sketches, and watercolors of the campus’s design. Photographs by Orlando Cabanban show the portions of the campus that were completed. Complementing the new designs, the show includes never-before-displayed watercolor rendering of a consolidated arts building in Chicago’s West loop. The concurrent shows were co-curated by Judith K. De Jong and Lorelei Stewart and will run in Gallery 400 August 10th through August 27th. There will be a public reception on August 18th and guided tours are available throughout the run.
Exhibition on Architectural League of New York’s League Prize for Young Architects + Designers opens
The 2016 Architectural League of New York's League Prize for Young Architects + Designers focused on the theme of (im)permanence. As the League's website says, this year's competition "asks how time affects architecture’s assertion of style, methods of assembly, and relationship to program." The exhibition, open until July 30, showcases the drawings, models, and research of the winners at the Arnold and Sheila Aronson Galleries at Parsons School of Design at The New School. As The Architect's Newspaper reported in May, this year's diverse group included: Rania Ghosn and El Hadi Jazairy, DESIGN EARTH, Cambridge, MA and Ann Arbor, MI Juan Alfonso Garduño Jardón, G3 Arquitectos, Querétaro, Mexico Neyran Turan and Mete Sonmez, NEMESTUDIO, San Francisco, CA Neeraj Bhatia, The Open Workshop, San Francisco, CA Hubert Pelletier and Yves de Fontenay, Pelletier de Fontenay, Montreal, Canada Yasmin Vobis and Aaron Forrest, Ultramoderne, Providence, RI Three of the winners will also discuss their responses to the theme of (im)permanence in a June 30 lecture; the event can also be streamed live through the Architectural League of New York. The 2016 League Prize was organized by the Architectural League and its Young Architects + Designers Committee.
Now on view at BSA Space is an exhibition and accompanying education program that focuses on playgrounds around the world. Dubbed Extraordinary Playscapes, it will run until September 5, 2016 and was curated by Design Museum Boston. On display are drawings, sketches, videos, scale models, and playable installations featuring 40 international playgrounds. Examples of contemporary architect-designed playgrounds in the U.S. abound: in April, the Rockwell Group–designed Imagination Playground (featured in Extraordinary Playscapes) opened in Brownsville, Brooklyn. Similarly, in December the renovated Adventure Playground in Central Park, designed by Richard Dattner, also opened. These two playgrounds provide the opportunity for “unstructured play,” a growing trend in playgrounds. Some of the designs featured in the exhibition include: Wild Walk in Tupper Lake, New York, designed by Chip Reay; PlayForm7 in Singapore, designed by Playworld Inc; Esplanade Playspace in Boston, designed by Halvorson Design Partnership; Takino Rainbow Nest in Takino, Japan, designed by Toshiko Horiuchi MacAdam; Maggie Daley Park in Chicago, designed by Michael Van Valkenburgh Associates; and Ambulance Playground at Beit CURE Hospital in Malawi, Africa, designed by Super Local. You can read more about Extraordinary Playscapes here.
For design and architecture enthusiasts in the New York City area and Long Island, it’s your last chance to see the architecture exhibition Public Practice at the New York Institute of Technology (NYIT) Old Westbury campus before it closes after May 1. The solo show features models and drawings by Brooklyn-based architecture firm, Peterson Rich Office, also known as P.R.O. The exhibit is hosted in the NYIT architecture gallery and holds six P.R.O. conceptual projects that the firm created over the past four years. P.R.O. co-founders Miriam Peterson and Nathan Rich are visiting professors at the university. The school invited them to produce both an exhibit as well as a lecture under the theme of public practice. The projects address design in the context of small public spaces and propose temporary and adaptable installations for parks, sidewalks, plazas, and more. The concepts are “experiments in public space: quick, small-scale design exercises that engage issues related to the public realm in and around New York City,” explained Nathan Rich. “Each proposal is adaptable to multiple sites, and intended to generate dialogue about public space within its built context. They address specific urban conditions, but could be installed in a wide variety of spaces.” The six P.R.O. projects all feature two renderings as well as a ¼ scale 3D printed model. The models rest on mirrored tables “that reflect the public space around our designs, inviting viewers to consider how they might be a part of the work,” said Rich. There’s Stoop (2016) that considers the stoop as means of transition between public and private space along New York City Housing Authority (NYCHA) fences. “The stoop, a common space for interaction, is precisely the mediator between the public and private realms that is lacking in NYCHA campus planning,” Rich said. “At a time when affordable housing is very much in the public discourse, we decided to use this familiar form to think about how we can chip away at the edges of public housing superblocks, and start to think about integrating them back into the urban fabric.” There’s also Brooklyn Cloud (2012), conceived as a temporary traveling exhibit for downtown Brooklyn spaces that cannot be developed. “As a reaction against the static, sculptural designs that are more typical of architectural installations in public spaces, we conceived of this installation as a series of white air dancers: nylon tubes powered by high velocity fans.”
St. Louis’ Grand Center neighborhood has gone through a lot of changes. Though it was hit hard by suburban flight during the 1950s, in recent years the historic and predominantly African-American community area has enjoyed an artistic revival bolstered by theaters and cultural institutions like the Pulitzer Foundation for the Arts. Now a confluence of development corporations and nonprofits want the midtown neighborhood “to become the premiere cultural and entertainment tourist destination in the Midwest.” Part of that plan involves sprucing up the urban fabric. With a Great Streets Projects grant from the East-West Gateway Council of Governments, local groups are looking to do some placemaking. Read the full Grand Center Master Plan, named The Growing Grand Plan. On a neighborhood scale, the plan envisions corridors of development along Spring and Theresa streets flanking the “spine & transect” of Grand Boulevard and Washington Avenue. Within that framework, the plan pinpoints several intersections and cross-block connectors that could be activated by public programming to function as “outdoor rooms.” Trees and green infrastructure are meant to alleviate some of St. Louis’ flooding issues by retaining and filtering stormwater. The Great Streets plan even describes a new catchment area for Grand Center. Branding, wayfinding, lighting, and transportation analyses are also a focus of the plan. To help spur discussion, The Creative Exchange Lab of the Center for Architecture is mounting an exhibition on the topic. Titled Great Streets Project: Grand Center, the show kicks off with two presentations on May 22 and May 23 at The Creative Exchange Lab of the Center for Architecture + Design STL, 3307 Washington Ave., from 6-8:30 p.m. both evenings.
It looks like design history is in the air here in Chicago. The Chicago Design Museum is in the middle of a Kickstarter campaign to launch an exhibition looking back at 100 years of graphic arts. Chicagoisms just opened at The Art Institute—a meditation on Chicago’s architectural history and mythology that builds off a previous exhibition of unbuilt work reviewed here. Now another exhibit glances at Chicago's design history to better assess its present and future. Chicago’s design history will be on the menu at a new exhibition, CHGO DSGN: Recent Object and Graphic Design, which opens at the Chicago Cultural Center on May 30, from 6:00–10:00p.m. The exhibition runs through November 2, 2014. “Chicago has long been regarded as an international center for design, and this retrospective celebrates the region’s creative and innovative spirit,” reads a press release for the show. Curator Rick Valicenti, who won Cooper Hewitt’s 2011 National Design Award for Communications Design, and display designer Tim Parsons said in a statement that they want to celebrate Chicago’s design history, from early print developments through international modernism, and probe its future with more than 200 works that range from functional objects to theoretical proposals. Among the pieces on display will be Ania Jaworska's 8-foot-tall architectural model, Monument for Them, and an 80-foot print by Chicago photographer Sandro that includes 115 of the exhibitors—an homage to Richard Avedon's famous portrait of the Chicago Seven.
TransformKC is underway in Kansas City, and the dozens of projects on display are provoking discussion on topics from public transit to energy infrastructure. A joint effort between the Kansas City Regional Transit Alliance (KCRTA) and the American Institute of Architects Kansas City (AIA KC) Young Architects Forum (YAF), TransformKC curated built and unbuilt work around the topic of “regional mobility” in an attempt to “inspire the public’s imagination.” Explore all of the submissions here. Categories include architecture, infrastructure, planning, transit stations and urban design. The exhibition is on display in the East Hall of Kansas City, Missouri’s Union Station through October 25. Some work is local, like BNIM’s Better Block KC. Part of the 2011 Grand Boulevard Streetscape Plan, Better Block KC “envisions a safe, livable and walkable downtown” that uses complete street concepts. Disclosure: The Architect’s Newspaper is a media sponsor, and AN contributor Gunnar Hand served as the exhibition’s co-chair. Here are a few of the high-profile projects from outside Kansas City: BIG: Loop City Bjarke Ingels Group looks to a new light rail loop connecting 20 development zones around the 4-square-mile inner city of Copenhagen. They propose tying energy and water infrastructure into the rail line, creating “an artery of true urbanity pumping life into the heart of the suburbs.” KPF: Hudson Yards See AN's coverage of Kohn Pedersen Fox’s Hudson Yards towers here. SOM: Denver Union Station Skidmore, Owings and Merrill's plan calls for turning the historic Denver station into a multi-modal transportation network. John Gendall looked into the project for AN's feature on master planning.