For a long time in the West there has been a common misgiving that aid is about patronage. The Cooper Hewitt's latest exhibition, Design with the Other 90% : Cities, which opened this weekend at the United Nations Visitor's Center, rebukes this notion by spotlighting communities in the southern hemisphere who are taking the initiative, harnessing local resources to solve their own problems. In the show, designers and architects are tapping into existing currents of change. The clue is in the title, which follows on from the 2007 show Design for the Other 90%, which charted products and work that has been imported into impoverished communities. This latest exhibition—focusing on cities—presents a broad spectrum of solutions to critical issues of sanitation, space, communications, and infrastructure. Sixty featured projects were divided into six sections—Exchange, Reveal, Adapt, Include, Prosper, and Access. The projects were selected primarily for their success, which curator Cynthia Smith puts down to qualities of scalability, transferability, applicability in other locations as well as their positive impact. "What's interesting about so many of these projects is there's real application to what's currently happening," said Smith. She cites Urban Think Tank's Vertical Gym as one example. Intended to mark out a safe public space in a dense urban location, the gym has been designed as a kit of parts so it can be programmed and adapted to the site. The Venezuela-based project has been transformed into proposals for New York City public schools, as well as areas in the Netherlands and the Middle East. While all the ideas are site-specific and responsive to local geography, culture, and scale among other factors, the exhibition also features organizations such as Shack/Slum Dwellers International, which is practicing a horizontal exchange and offering a set of design tools that can be applied to problems in various countries, climates, and situations. "The scale of these problems is growing so rapidly that regional and local municipalities can't keep up with the growth, so you get cross-collaborations," said Smith. "The most interesting designs are the hybrid solutions, where the informal settlements and the formal city meet." Because there has been a dearth of information about this kind of design, Smith says that professors were using the last show's catalogue as a text book, so for this next installment, Cooper Hewitt has developed what they consider to be a tool for the next generation of designers. "We are looking at who is addressing these issues," she said. The Design for the Other 90% now has a social network where designers can upload projects and exchange ideas. The statistics are staggering: one billion people are living in informal settlements around the world, and it's projected that this number will increase to two billion by 2030. These facts are much more powerful when one is exposed to the physical artifacts that are the design solutions: bio-latrines that transform human waste into fertilizer and gas for cooking in Nairobi, floating schools and health clinics in flood-prone Bangladesh; favelas painted with women's faces in Rio, and plastic formwork systems that allow the unskilled to build houses in a day in South Africa. The innovations are astonishing. It is easy to produce a self-congratulatory exhibition about how design can help poorer communities around the world, but Cooper Hewitt's new exhibition demonstrates that approach is moot: these communities are already in the process of redesigning themselves.
Posts tagged with "Exhibitions":
In New York City, buildings account for almost 80 percent of greenhouse gas emissions and 95 percent of electricity use. It was these facts like these that prompted the Center for Architecture to further investigate the urban energy crisis and display the findings--and potential solutions--in an exhibit entitled Buildings=Energy. The exhibit, which opens on the evening of October 1st, explores how important choices made by designers, planners, architects, and building occupants can positively affect energy consumption in our cities. One such example featured in the exhibition is a model building designed by the firm Perkins+Will, whose proposal demonstrates the significance of site planning, materials, programs and their affects on energy costs. For instance, as firm principal Anthony Fieldman explains, tilting the exterior glass by only 10 degrees towards the street prevents a substantial amount of solar heat gains, saving the building on cooling costs throughout the summer months. Other highlights of the exhibit can be viewed from the sidewalk. The attention of passersby on LaGuardia Place will be caught by a display of nine building materials suspended in the Center's window, each representing the embodied energy of one gallon of oil--just a preview of the striking visuals on view inside. The Center for Architecture's kick off-event is presented as part of Archtober, the inaugural month-long festival of architecture activities, programs, and exhibitions in New York City.
Ceci n’est pas une reverie: The Architecture of Stanley Tigerman Yale School of Architecture 180 York Street New Haven, CT Through November 4 The exhibition Ceci n’est pas une reverie (“This is not a dream”) celebrates the work of architect Stanley Tigerman. Curated by Yale School of Architecture Associate Professor Emmanuel Petit, this retrospective tells the story of Tigerman’s professional career, beginning with his years at Yale as an undergraduate and then a graduate student in architecture. Organized around several motifs—utopia, allegory, death, humor, and division—the exhibition includes models and objects, documents, cartoons, sketches, and drawings, like an axonometric of formica, above. Video material from lectures and interviews also capture Tigerman’s eclectic style as it has evolved over the past 50 years, encompassing his early work at the Chicago-based firm Tigerman McCurry Architects and his return to Yale as a visiting professor. Ceci n’est pas une reverie will coincide with the publication of Tigerman’s collected writings, 1964-2011 Schlepping Through Ambivalence, Essays on an American Architectural Condition, and his autobiography Designing Bridges to Burn as well as a series of lectures at the Yale School of Architecture.
Last night, the AIA SF launched a new exhibition, Architecture of Consequence: San Francisco, kicking off a whole slew of events in its annual Architecture in the City Festival, the country's biggest such celebration of the built environment. The exhibit explores important social needs that architects can address and features the work of four San Francisco firms—Iwamoto Scott Architecture, Fletcher Studio, SOM, and Envelope A+D—side-by-side with four Dutch firms—Van Bergen Kolpa Architecten, 2012 Architecten, ZUS (Zones Humaines Sensibles), and OMA. Originally conceived by the Netherlands Architecture Institute in 2009, this spin-off of the internationally touring exhibit shows that similar preoccupations are on the minds of architects everywhere—whether it's renewable energy, adaptive reuse, local food production, or thoughtful urban infill. David Fletcher gave the whole exhibit a major boost of local flava with Beta-Bridge (above), "a radical reinvention and reuse of the soon-to-be-demolished eastern span of the existing Bay Bridge." He proposed to load the upper deck of the bridge with medical cannabis greenhouses and the lower deck with a data farm; the water used to irrigate the cannabis plants would circulate down and cool off the chugging servers. On the other end of the scale, OMA revisualized the world in terms of energy. In lieu of standard geopolitical boundaries, it divided the European continent into areas such as Biomassburg, Carbon Capture and Storage Republic (CCSR), and Solaria. The exhibition continues through October 21, and each of the San Francisco firms has been paired up with a Dutch firm to give a discussion about their shared interest over the course of the month (see schedule of talks). The Architecture and the City Festival runs through the end of the month, with in-depth tours of new projects such as Bar Agricole (September 10), the ever-popular Home Tours (September 17-18), and a unique opportunity to experience what it's like to navigate the city without sight ("Acoustic Wayfinding for the Blind," (September 20) led by architect Chris Downey, who talked about losing his sight in a 2010 issue of AN). Check out the full calendar of events.
Tim Burton Los Angeles County Museum of Art Los Angeles Through October 31 Best known for directing films like The Nightmare Before Christmas, Edward Scissorhands, Batman Returns, and Beetle Juice, Tim Burton and his work as an illustrator, writer, and artist are being honored with a retrospective at the Los Angeles County Museum of Art. This new show celebrates the way that Burton has managed to put his own spin on movies in an industry known for its fear of the unknown. With over 700 items on display, including drawings, paintings, photographs, film and video works, storyboards, puppets, concept artworks, maquettes, costumes, and assorted cinematic ephemera, visitors get a glimpse into the mind of this modern day Renaissance man. Though the show debuted on the east coast at New York’s Museum of Modern Art, the LACMA version of the show, organized by Britt Salvesen, offers its own take on the Burbank native’s body of work. Burton collaborated with the exhibition designers to transform the museum’s Resnick Pavilion into an appropriately “Burtonesque” environment. He also created several new pieces for the exhibition, including what the museum describes as a “revolving multimedia, black-light carousel installation that hangs from the ceiling.”
Seemingly sliced into the asphalt of a Brooklyn street beneath the Manhattan Bridge is an unexpected glass-filled "tattoo" designed by landscape architect Paula Meijerink, founder of Boston-based WANTED Landscape. Meijerink is among eight landscape architects featured in Material Landscapes, a recently opened exhibition at the Sheldon Art Galleries in St. Louis running through January 21st, 2012. Work from the eight firms including D.I.R.T studio, dlandstudio, Stoss Landscape Urbanism, Legge Lewis Legge, PEG office, Kaseman Beckman Advanced Strategies, and ESKYIU is presented in photographs and drawings. Curator Liane Hancock, senior lecturer at Washington University in St. Louis, chose projects ranging from a vertical container garden in Hong Kong to a waterfront in Milwaukee to reflect innovative use of materials in landscape architecture and to advance landscape design in St. Louis in light of major projects such as Citygarden and the redevelopment of the St. Louis Arch grounds.
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.
Many have lamented the disappearance of so many architecture book stores in recent years, chief among them the much-missed Prarie Avenue Books in Chicago. The Graham Foundation is doing their part to begin to fill that void by selling a selection of books at their stately home, the Madlener house. Tonight, the Foundation is hosting a holiday party and book store launch, from 5-8pm. The delightful exhibition, Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott-Brown, is also on view. Stop by and stock up. The Graham Foundation, 4 West Burton Place, Chicago.
Love Lucy? Lucille Ball, that is. Then you'll love her architect, too. Opening on October 22, the Art Museum of the University of Memphis is hosting the first museum exhibition of African-American architect Paul Revere Williams whose work spans the 1920s through the 1960s. While Paul Revere Williams is best known for his work on the west coast, his career took him across the country and the globe. Williams designed more than 3,000 structures on four continents including the Beverly Hills Hotel, the Los Angeles Airport (LAX), the Beverly Hills Saks Fifth Avenue, and, of course, the home of Lucille Ball and Desi Arnaz. The exhibition features 200 new photographs capturing the breadth of Williams' work arranged by decade and offers insights into the barrier-breaking life of the first African-American member of the American Institute of Architects and one of the most esteemed architects of the 20th century. From a release:
Born and reared in Los Angeles, Williams came to define the high-style look of Hollywood in the mid-1900s, and he was well known as “architect to the stars,” but he always considered himself an expert in the design of small homes. Williams was also a leader in developing new types of buildings that were demanded by the post-WWII suburban economy. His buildings contributed significantly to the popular image of 20th century Los Angeles and to the California style, but his work didn’t stop at the state line or even the national boundary. Williams was also licensed in Washington, D.C., Nevada, New York, and Tennessee, where he designed the original building for St. Jude Children’s Research Hospital in Memphis and a master plan for Fisk University in Nashville. He also had a busy practice in Colombia, South America, and projects in Mexico, Europe, and Africa.A public reception will take place on the evening of October 22 at 5:00 and the exhibit runs through January 8, 2011 at the Art Museum of the University of Memphis.
While it's doubtful anyone would think of Ireland as a design powerhouse, a new show at the American Irish Historical Society on New York's Upper East Side suggests the Emerald Isle deserves a second look. Curated by Brian Kennedy, the show includes furniture, ceramics, accessories, jewelery, a wall installation, as well as some models and sketches, and is an engaging crash course in Ireland's emerging design scene. While there's no one overriding style, an interest in organic shapes and natural materials is common in much of the work.Here's a selection of some of the work. Material Poetry is on view through November 18.
Well, this is embarrassing: the MoMA and the Yale Center for British Art have nearly simultaneously come out with exhibitions on the same subject. In museum-world, isn't that like two girls showing up to a party in the same dress? Nevertheless, it’s an interesting enough topic that the repetition hardly matters. The Yale Center's "Art For All: British Posters For Transport," on view through August 15, and the MoMA's "Underground Gallery: London Transport Posters 1920s-1940s," on view through February 28, 2011, both offer a fascinating look at London’s innovative campaign to bring art into the Underground and create a strong civic identity. The two exhibits' slightly different focuses also help reduce the redundancy. The larger Yale exhibit features over 100 posters, really giving a sense of the diversity of artistic schools represented in the Underground campaign, ranging from Cubism, to post-impressionism, to Japanese woodblock prints. The MoMA show is a smaller installation, with only 20 posters, but the curators have chosen carefully to capture the zeitgeist of the city of London during those years -- its culture, its entertainment, and its fears of war.
I don't know what y'all are doing on May 6 to 8, but if landscape design tickles your pickle then you might want to hightail it down to the Lone Star State. The Cultural Landscape Foundation has partnered with Preservation Dallas and Historic Fort Worth to bring us Landscapes For Living: Post War Years In Texas, a symposium on modern landscape architecture in Texas at the Dallas Museum of Fine Art. This is the sixth of nine regional symposia held in conjunction with the publication of Shaping The American Landscape: New Profiles From The Pioneers Of American Landscape Design Project (University of Virginia Press, 2009). Landscapes For Living will feature 13 guest speakers, a screening of "Water Garden" (1974) a film about Philip Johnson's designs for Fort Worth, and tours of many local private and public gardens. Speakers include Charles Birnbaum, Mark Gunderson, Laurie Olin, Doug Reed, Fritz Steiner, and Frank Welch. They will address the work of Arthur and Marie Burger, Lawrence Halprin, and Philip Johnson. Doug Reed will lead tours of both public and private landscapes, including Heritage Park, the Water Gardens, the former Patty and Henry Beck House, and the Greelee house. In addition, Tary Aterburn, a panel participant and landscape architect, will take symposium goers to one of his firms recent commissions.