Los Angeles-based Materials & Applications (M&A) has announced its Fall installation program, The Kid Gets Out of the Picture, due to open October 15th at the M&A Courtyard in Los Angeles's Silverlake neighborhood. The project, guest curated by Los Angeles Design Group (LADG), consists of a collaborative installation by the curators and a group of architectural offices (First Office, Laurel Broughton/Andrew Kovacs, and Hirsute) that aims for a “contemporary update on the aesthetic principles of early 19th century English landscape architecture.” The group installation will focus on the component parts, or “catalog of nouns,” deployed to achieve a cohesive whole in traditional English gardening design. The three-month long installation will work within the language of these landscape components—follies, berms, viewpoints, and walls—in an effort to “extract the qualities of [these] images and literalize them in the real world” and will be directly installed in M&As Courtyard space, where the non-profit, experimental public architecture group typically holds its exhibitions. Describing the still-in-the-works project, Kovacs and Broughton told The Architect's Newspaper in a joint statement, "We are super excited to be part of the project with the LADG, Hirsuta, and First Office. We think the collaborative format that includes all the work overlapping in the Materials & Applications courtyard is unique and will certainly produce strange and potent juxtapositions." Support for the project has been provided by the Los Angeles County Arts Commission, Pasadena Art Alliance, Graham Foundation, University of California, Los Angeles School of Architecture and Urban Design and the Los Angeles Department of Cultural Affairs. The Kid Gets Out of the Picture follows M&A’s earlier and more mobile installation from earlier this year, TURF: A Mini-Golf Project, which saw a constellation of young designers take on the design of individual holes for a mini-golf installation on a vacant plot of land adjacent to L.A.’s Echo Park.
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Mexico City–based Escobedo Solíz Studio is the winner of the 17th annual MoMA PS1 Young Architects Program (YAP) in Queens, New York. Escobedo Solíz Studio, beat five finalists to design a temporary urban landscape for the courtyard of the 2016 Warm Up summer music series. Weaving the Courtyard, will open at MoMA PS1 in Long Island City in early June. According to the architects, the installation will be “neither an object nor a sculpture standing in the courtyard, but a series of simple, powerful actions that generate new and different atmospheres.” The canopy departs from the last few object-based interventions, such as Wendy, Hy-Fi, and COSMO. A vibrant, colorful landscape will be created by using the formwork holes in the walls to anchor colored bands. Water will again be an experiential component, as a wading pool will allow visitors to cool off in fresh water. “This year’s finalists of the Young Architects Program explored a range of approaches, materials, and scales to effectively question the MoMA PS1 courtyard as an arena for escape. Escobedo Solíz’s ingenious proposal speaks to both the ephemerality of architectural imagery today but also to the nature of spatial transactions more broadly. From the evocative woven canopy that will engage visitors overhead to a reflective wading pool, Weaving the Courtyard sensitively brings together elements of MoMA PS1’s Warm Up Series with an exuberant collection of zones and environments,” said Sean Anderson, Associate Curator in MoMA’s Department of Architecture and Design, in a statement. Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large added, "This year marks the 40th anniversary of MoMA PS1 and the 17th joint annual competition brought together by the Architecture and Design Department at MoMA and MoMA PS1. The Mexico City-based team will work on a colorful, celebratory intervention that takes its point of departure to be the existing geometric concrete forms in the courtyard of MoMA PS1 simultaneously creating an urban beach of sand, water, and vibrant colors.” https://youtu.be/aH72lU4AGpU The other finalists for this year’s MoMA PS1 Young Architects Program were First Office (Andrew Atwood and Anna Neimark), Ultramoderne (Yasmin Vorbis and Aaron Forrest), COBALT OFFICE (Andrew Colopy and Robert Booth), and Frida Escobedo. An exhibition of the five finalists' proposed projects will be on view at MoMA over the summer, organized by Sean Anderson, Associate Curator, with Arièle Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design, MoMA.
MoMA has announced five finalists for the 2016 Young Architects Program. The winner will design and build an installation in MoMA PS1's courtyard during the summer Warm Up performance series. The honor is considered one of the most prestigious platforms for emerging architects in the United States and internationally. Notably, there are no New York architects on the lists this year. This is the program's seventeenth year. To choose the finalists, editors of architecture publications and deans of architecture schools nominate around twenty established architects working in a new style or with new methods, current students, and recent architecture school graduates. Practitioners and curators from the art and architecture worlds winnow the field down to five finalists. First Office / Andrew Atwood and Anna Neimark, Los Angeles ESCOBEDO + SOLIS / Lazbent Pavel Escobedo Amaral and Andres Soliz Paz, Mexico City ULTRAMODERNE / Yasmin Vobis and Aaron Forrest, Providence, Rhode Island COBALT OFFICE / Andrew Colopy and Robert Booth, Houston, Texas Frida Escobedo / Mexico City Last year, Madrid- and New York–based Andres Jacque Architects/Office for Political Innovation won the competition with COSMO, a living machine that makes the water filtration process visible. The whimsical installation commented on sustainability as well as architecture as the product of global networks. COSMO was sourced from generic parts in Spain, shipped to New York, and assembled onsite.
The bust, the sculptural counterpart of the portrait that dates back to classical antiquity, immortalizes not only the likeness of a person from the chest upwards, but the values of both the sculptor and the era in their concepts of beauty and nobility. An object no bigger than a head and a pair of shoulders, centuries later, is a relic embedded with cultural meaning—the preference towards an aquiline nose, for example, or a fixation with youth. With BUST, a group show on view at Jai & Jai in Los Angeles, curator William O’Brien, Jr. asked designers to apply the titular sculptural form to architecture. “Broadly speaking, the primary motivation for the exhibit is to provide a forum for the declaration of new cultures of form-making in architecture,” said O’Brien, a MIT professor and principal of WOJR. He commissioned busts by 11 firms: Andrew Kovacs, Bureau Spectacular, CODA, First Office, MILLIØNS, MOS Architects, Norman Kelley, PARA Project, Pita + Bloom, SO-IL, and WOJR (his own). The design brief asked that each practice take the notion of a basic architecture feature and reinterpret it as a figure of human scale that could be displayed on a plinth. Specifically, he was looking for individual interpretations of “characteristics associated with the facade,” according to the design brief: frontality, proportionality, symmetry, as well as anthropomorphism and zoomorphism. “The conception of a bust within an architectural context privileges certain architectural concerns—such as those related to form, figure, facade, hierarchy, orientation, exteriority, interiority—while diminishing many other architectural considerations that must ordinarily be addressed when designing buildings,” he explained. Each firm was given a relative autonomy to their approach, and in the absence of the real-world constraints typically posed by architectural-scale construction, the resulting works of sculptural abstraction lining the walls of the gallery in pantheonic rows are purely expressive. Wide variations in material and form reflect the varying mindsets. SO-IL’s Losing Face, an object of protruding surfaces shrink-wrapped in a semi-translucent plastic, brings to mind their recent Blueprint project, in which they used a similar wrapping method not to conserve the Steven Holl- and Vito Acconci-designed facade of the Storefront of Art and Architecture, but to “reinvigorate” it. Bureau Spectacular’s Contrapposto Institute cheekily takes the signature S-curve posture of Michaelangelo’s David and applies it three-story building, a tripartite stack with dangerously sloping floors. “This group represents the widest possible spectrum of contemporary architects thinking about form in new and as-of-yet-uncodified terms,” said O’Brien, with little exaggeration; other busts include a deflated Tyvek sac; a composition of mirrors and faux fur; and a humanoid bust studded with matches. “It’s my belief that the “center of gravity” of the discipline has become increasingly clouded. My feeling was that this array of contributors could help us understand the landscape of architecture-as-cultural-production ongoing today.”