The Dorsky Museum’s Hudson Valley Masters series continues in February 2018 with Steven Holl: Making Architecture, an exhibition examining the work of one of the world’s foremost architects. Architect Steven Holl has realized numerous commissions from private houses to major urban projects. Despite the demands of a highly successful office, he has managed to maintain the integrity and quality of his work by resisting corporatization. His practice reveals an inextricable link between his art and architecture. Holl draws with watercolors everyday, a solitary and hermetic practice from which each of his projects emerges. He also develops conceptual ideas in sculpture. Steven Holl: Making Architecture will reveal Holl’s intricate and distinctive process of making architecture through approximately one hundred models and related sketches and other studies created for nine recent projects, among them the Arts Building at Franklin and Marshall College, Pennsylvania; The Kennedy Center Expansion, Washington D.C.; the Museum of Fine Arts, Houston; and Maggie’s Cancer Care Center in London.
Posts tagged with "Exhibitions":
For addressing what some consider to be an extremely niche topic, As Seen: Exhibitions that Made Architecture and Design History makes a convincing argument for the importance of exhibitions in broader design. While the book may not convince those who are already skeptical of the role of exhibition in the design fields, those who are at all interested will find it an invaluable resource for understanding historical and contemporary exhibition practices. Using 11 benchmark exhibitions, editor Zoë Ryan builds a conversation between a number of today’s most noted curators, architects, designers, and academics through a series of essays. The end result is a brief critical history of historic and contemporary exhibitions that changed the way architecture and design are understood. Ryan, the John H. Bryan Chair and curator of architecture and design at the Art Institute of Chicago, opens the book with an argument for each of the exhibitions and their places in history. These exhibitions include: This is Tomorrow (1956), the IBM Pavilion at the New York World’s Fair (1964), aper22 (1970), Italy: The New Domestic Landscape (1972), Man Transforms (1976), Memphis (1981), Droog (1993), Mutant Materials in Contemporary Design (1995–97), Massive Change: The Future of Global Design (2004– 06), Sense of the City: An Alternate Approach to Urbanism (2005), and Super Normal: Sensations of the Ordinary (2007). The remainder of the book is divided up into sections covering the exhibitions themselves, their catalogs, their critical reception, and thoughts on their lasting impact on the design fields. Interestingly, as is pointed out multiple times in the text, many of these exhibitions were not necessarily popular or critically successful when they were first on show. This is Tomorrow, which was shown at the Whitechapel Art Gallery (now the Whitechapel Gallery) in London, was covered extensively by the press, and called everything from confusing to exciting. Memphis—which ran in what would now be called a collateral gallery, located at the edge of the Salone del Mobile in Milan—caused a stir among critics and designers alike, some feeling like the show was some sort of media stunt to elevate the career of Ettore Sottsass. Notably, there are no photographs of the Memphis show. The IBM Pavilion structure, designed by Eero Saarinen and Roche Dinkeloo was not altogether loved, but the interior exhibition, Think, produced by Ray and Charles Eames, received rave reviews and a constant stream of visitors. In all cases, the book lays out why we should care about these shows today, despite or thanks to their initial reception. It is carefully pointed out early in the book that the most recent show was over ten years ago, in order to maintain a critical distance from early reactions. Even with this distance, the book does bring some of the shows in very close with its choice of contributors. In more than one case, curators from the shows covered are given a chance to comment on the larger topic of exhibitions, if not their own work. Mirko Zardini outlines (in a text originally published in Log 20) what it means to show architectural work in Montreal, where his show Sense of the City was exhibited at the Canadian Centre for Architecture (CCA). Paola Antonelli talks more directly about the role of digital content and how it relates to her show Mutant Materials, which was the first show at the Museum of Modern Art to be accompanied by a website. A prevailing theme throughout the essays, if not the book as a whole, is the changing nature and role of exhibitions throughout time. Sylvia Lavin discusses the allure of contemporary exhibitions thanks to their blend of demonstration (full-scale architecture-artifacts), aesthetics (design as art), and information, all of which developed in design and architectural exhibitions in stops and starts in the past century. Meredith Carruthers dedicates an essay to the exhibition catalogs, another topic that pops up throughout the book. Stepping back even further from the exhibitions themselves, Penelope Dean and Alice Rawsthorn specifically discuss the changing shape of design criticism in the form of exhibition reviews over time. The physical book, designed by Project Projects, is appropriately reminiscent of a museum catalog. Highly stylized graphic design, rich imagery, and bold use of multiple paper stocks and colors make it an artifact in itself, an idea discussed extensively in the text about catalogs. This is doubly fitting, as the genesis of the book was a research project conducted by Ryan and displayed at the 2014 Istanbul Design Biennial and eventually as a show at the Art Institute. While not actually a catalog of that show, the meta idea of a book about an exhibition about exhibitions seems fitting for the topic, more so than a simple catalog. As Seen is not for everybody. Those who believe that the field of architecture and design is most importantly a professional one will likely find the conversation about long over exhibitions esoteric if not unnecessary. This book is not for them, though. For those who are interested in the expression of theoretical and avant-garde design concepts through exhibitions (which seems to be a growing number, considering the recent explosion of biennales and triennials around the world), As Seen: Exhibitions that Made Architecture and Design History is the closest thing to a textbook on the subject. As Seen: Exhibitions that Made Architecture and Design History Zoë Ryan Art Institute of Chicago, $30.49
Get out your Palm Pilots and Seinfeld DVDs—it’s time to start appreciating the 1990s. Time travelers can start their pre-Millennial studies by visiting the Skyscraper Museum’s new exhibition, Millennium: Lower Manhattan in the 1990s. The show, which runs through April, explores civic plans, architectural schemes, and urban legislation that proliferated in this time of simultaneous optimism and anxiety for Manhattan's southern tip. As the Financial District recovered from recession, and reckoned with a building stock and location that were becoming less desirable, the area was in need of new ideas and policies to enact them. In the museum’s mirrored galleries visitors come face to face with urban prescriptions, some successful, some not. Those that came to be included the J.M. Kaplan Foundation's Heritage Trails, walking tours guided by colorful signpost sharing the stories and significance of local buildings and sites. Most no longer stand, but thanks to the museum, you can now view them all online. There's also a massive model of Battery Park City, which added half a dozen buildings as well as significant new public space—like Machado Silvetti’s Wagner Park. Failed plans included SOM’s proposal for a revamped New York Stock Exchange, with a 51-story office building above, and Smith-Miller+Hawkinson’s Museum of Women—The Leadership Center, a nine-story institution just up the block from the Skyscraper Museum. Visitors should also take a look at James Sanders + Associates project for Liberty Plaza, now Zuccotti Park. Commissioned by Heritage Trails New York, the scheme was intended to inject the frenetic activity of the area's financial markets into its relatively sleepy urbanscape, with undulating stock tickers, interactive charts, full color LCD TV displays (a new technology at the time), learning kiosks, and even a beacon sending a beam of light high into the air; an early precursor to the Tribute in Light. The show methodically pinpoints other vital 1990s benchmarks: the crafting of a new neighborhood plan, the landmarking of dozens of buildings, the establishment of the Downtown Alliance, the first bombing of the World Trade Center (1994), the founding of the Skyscraper Museum itself, and the birth of a residential boom in the area thanks to residential conversions and financial incentives. It clearly paints a picture of how pivotal this period was in establishing contemporary New York, and how radically the area, and the country have changed since, as downtown has—for better and worse—morphed under the effects of global capital, real estate, and terrorism perhaps more profoundly than anywhere in the world.
Most New Yorkers know Housing Works though cheerfully crammed thrift stores where vintage blazers, crystal candy dishes, and nice books can be had for good prices. Yet the storefronts are infrastructure for a larger mission: As its name suggests, Housing Works provides housing and social services to homeless New Yorkers living with HIV and AIDS. A new project by a Columbia curator teases many stories out of the documents stretching back to its founding in 1990, when the city had few of supportive housing for an estimated 13,000 homeless citizens with HIV/AIDS. Housing Works History is a meticulous digital archive that covers the organization from its founding 27 years ago to its work today in a multimedia timeline that's as elegant as it is thorough. Timed to the 30th anniversary of ACT UP (AIDS Coalition to Unleash Power), the grassroots group and Housing Works precursor that formed in response to government inaction around HIV/AIDS, Housing Works History speaks to the past and future of supportive housing in New York for the most marginalized groups. That housing, and the activism that made it happen, shaped the city subtly but profoundly. "Focusing on physical spaces gave me a way in, a way to talk about the history, the stories, and the different voices from those spaces," said Gavin Browning, the curator behind Housing Works History. Drawing on his academic background in urban planning and his work at Columbia University (he's the director of public programs and engagement at Columbia University School of the Arts, and the inaugural director of Studio-X), Browning's project provides a forum for a distinctly New York story. Inspired by oral history and the Howard Zinn–esque bottom-up approach to historiography, Housing Works History sorts each significant event, program, or housing milestone chronologically along with links to important court rulings, scanned newspaper clippings, photographs, video, and other ephemera, grounded by parallel timelines of diagnosis and infection rates. The juxtaposed timelines, Browning said, help connect data to lived experience to "expose an archive that wasn't being seen or used, or really acknowledged. Most people don't know this history, and how it's connected to the development of the city. It's really essential New York City history." A click on the year 2000 brings viewers, via archival footage, to the Housing Works Gay Pride parade float, and to the organization's stewardship of two brownstones on West 130th Street, a project started by community group Stand Up Harlem. The project is a platform for collective voices that have shaped the organization and the movement it foregrounds, as well as a window into how a social movement shaped architecture and design in New York. Long abandoned, those brownstones were transformed into supportive housing for substance users. Designed by architect Benjamin Kracauer, the Stand Up Harlem House opened in 2008 and provides 16 units for single adults and families affected by HIV/AIDS. The design connects two adjacent brownstones but moves entryways to the garden level, providing streetscape continuity while allowing for greater accessibility. In addition to the timeline, Browning collaborated with Laura Hanna to shoot five original films featuring the architects, activists, and Housing Works employees behind five of the organization's housing projects. In one, Browning interviews, roundtable-style, a Stand Up Harlem resident, Desi Glazier, program director Ivan Gonzales, a Housing Works attorney, and Kracauer. For the spatially-inclined, there's a map, too, that organizes the group's projects and significant sites. Housing Works History, Browning said, was influenced by Group Material's 1989 installation, AIDS Timeline, which used media, artifacts, and ephemera to document AIDS's evolution from its roots as a health issue to one that shaped LGBT and dominant culture. Close to home, the project grew from a 2012 project Browning curated with Karen Kubey in New York. Living Room: Housing Works Builds Housing explored the group's activism and advocacy that led to the construction of 170 units in three neighborhoods for its target population. Despite his work, Browning isn't employed by for Housing Works; he obtained project funding from the Graham Foundation. Though the website officially debuts today, Housing Works History's official launch party is next week at the New York Pubic Library's main branch (details here). Browning sees the project as a "stepping stone" for other's work—he hopes, for example, the work could inspire others' academic research or ground perspectives on today's struggles for equity and visibility.
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.
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.
Eleven San Diego and Southern California cultural organizations are joining forces this fall to celebrate the life and works of Irving J. Gill. Gill, a famously overlooked San Diego architect who was responsible for introducing the beginnings of modernism to Southern California in the early 1900s. An uneducated migrant from upstate New York, Gill would eventually find himself working in the Chicago offices of Adler & Sullivan, where he worked on the firm’s designs for the 1893 World's Columbian Exposition. Gill left the White City for Southern California in 1893, going on to a prolific career at the helm of the firm Hebbard & Gill. A firm believer in the positive social impacts of proper architecture, Gill took on a variety of clients, providing design services for wealthy, white gentry as well as for several Native American reservations, an African American religious congregation, and the families of migrant Mexican workers. While well-known—if not more renowned—as contemporaries such as Greene and Greene during his lifetime, Gill’s reputation fell off the radar quickly after his death. With a blockbuster lineup of coordinated exhibitions, San Diego institutions are re-elevating Gill as their city’s patron saint of architecture. The San Diego History Center is leading the effort with their exhibition, Irving J. Gill: New Architecture for a Great Country, a survey of Gill’s greatest San Diego works, including many of his influential house designs as well as the La Jolla Women’s Club from 1914, considered to be the first tilt-slab construction building in Southern California. Among other institutions showcasing Gill’s work, The La Jolla Historical Society and Museum of Contemporary Art San Diego will team up to showcase an exhibition focused on Gill’s orthographic and perspectival drawings, sketches, and watercolor renderings on loan from Gill archives at University of California, Santa Barbara and the San Diego History Center. The Oceanside Museum of Art, housed in a Gill-designed structure originally used as the town’s City Hall from 1934 to 1994, will present a historical overview of the 5,000 square foot structure. In conjunction, the museum will also showcase the work by Frederick Fisher and Partners, who completed a large expansion to the structure in 2008. Lastly, the Save Our Heritage Organisation will present two exhibitions at the Gill-designed National Historic Landmark, Marston House Museum and Gardens. One, Irving J. Gill: Photographer, will showcase Gill’s previously-unknown architectural photographs as well as pictures of his buildings by other photographers. The second, Gill & the Decorative Arts, will dissect Gill’s interior and garden design philosophies through the lens of regional sustainability. The exhibitions open September 24th and run through March 31, 2017.
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.”
Twenty Five young American architects are taking on current significant issues facing the world in the 5x5 Participatory Provocations show at the University of Illinois at Urbana Champaign. With the aim of engaging with the public while still being provocative within the field of architecture, 5x5 argues for participatory criticism, or critical engagement through architectural practice. The curators posed five prompts for offices to explore one of through physical models. The prompts include; Droneports – contemplating the future of drone deliveries, Inve$tment Tower$ – the consequence of the construction of extreme luxury high-rises as financial investments, Lunar Resort – luxury tourism on the moon, NSA Community Branch – the fictional development of NSA community branches, and Trump Wall – the potential construction of an anti-immigration wall on the border between the United States and Mexico. The 25 offices participating are: Abruzzo Bodziak Architects Andrew Kovacs / Archive of Affinities Anthony Titus Studio Brillhart Architecture Carl Lostritto Club Club David Emmons Formlessfinder Future Expansion GELPI Projects is-office JKurtz KNE studio Kyle May, Architect Michael Abrahamson Norden Design Platform for Architecture + Research Path + Price Studio P.R.O. + Quarra Stone Company Sean Gaffney / Christina Nguyen Snarkitecture SOFTlab SPACECUTTER Studio Cadena Ultramoderne The resulting models range from the playful to the austere, while questioning the current status of their prompted issue. Abruzzo Bodziak Architects’s NSA Community Branch invites guests to "spy" on the model through cellphone peepholes, the interior revealing and endless web of space. PATH + Price Studio’s take on the same subject places an obtrusive metal building over a neighborhood intersection. Below the ground of the model, the building is revealed to be iceberg-like, with massive underground information storage space. Brillhart Architecure’s Droneport model visualizes the very airspace companies like Amazon are fighting for as product delivery systems are rethought. Projects working with the Inve$tment Tower$ prompt also take to the air with slender supertowers. Both SPACECUTTER’s and P.R.O.’s Inve$tment Tower$ step over the cities below them with thin legs, physically expressing the separation of the rich from the rest of the city. 5x5 Participatory Provocations is curated by Julia van den Hout, founder of Original Copy, and co-founder and Editor of CLOG, Kevin Erickson a New York–based designer, and an Associate Professor in the School of Architecture, and Kyle May a New York-based architect and co-founder and Editor-in-Chief of CLOG. Sponsored by the University of Illinois at Urbana Champaign, 5x5 Participatory Provocations will be open through March, 4th 2016.
The 18 winning projects shortlisted in the Field Constructs Design Competition flag a range of pressing socio-environmental issues through whimsical takes on interactive public art. The exhibits will occupy an old landfill and brownfield in Austin within the Circle Acres nature reserve, turning the site into a bizarre outdoor museum teeming with site-responsive sculptures and unforeseen creatures. Here, we take a look at some of the winning proposals to be displayed from November 14–22. Cloudfill by Blake Smith, John Cunningham, Seth Brunner (New York) This three-part installation is made of plastic bottles stuffed in bags. Each piece is specifically designed for either forestland, wetlands, or dry land, and references a different environmental issue, from deforestation to strip mining and microplastics in the ocean, to advance the educational mission of the Ecology Action of Texas. A floating bridge is planned for the park’s wetland area, which used to be a quarry.