The Indiana University Art Museum has received a $15 million gift which will be used for the renovation of the museum’s current 1982 I.M. Pei building. The gift was bestowed by the Indianapolis-based philanthropists Sidney and Lois Eskenazi. In honor of their gift, the museum has been renamed the Sidney and Lois Eskenazi Art Museum. The updates to the 34-year-old museum building, due to be completed in 2020, will be designed by the New York-based Ennead Architects and Indianapolis-based Browing Day Mullins Dierdorf. Along with the $15 million gift, the university will also be spending an additional $20 million on the project as part of their current gift-matching program. Along with the monetary gift, the Eskenazi’s have donated a nearly 100 works of their personal collection to the museum. The collection includes pieces by Miró, Picasso, Calder, Chigall, Dali and others. These pieces will be added to the museums already 45,000 piece collection, which ranges from ancient to modern art of a diverse range of cultures. The current I.M. Pei-designed museum is often cited as having no right angles. Though this is not accurate, the building is defined by two large triangular forms connected by a large triangular glass atrium.
Posts tagged with "Indiana":
Healthcare in the Indianapolis area is getting a check-up, as a new masterplan seeks to streamline operations at one of South Central Indiana's biggest medical institutions. St. Louis–based HOK is leading the design team, which will take on three big jobs: merging Indiana University Health Methodist and IU Health University hospitals’ adult services into one academic medical campus in downtown Indianapolis; building a new regional academic health campus in Bloomington, Ind.; and bringing women’s services near Riley Hospital for Children closer to IU Health in Indianapolis. The project includes an expansion of IU Health's campus north of Indianapolis' central business district, and improving its connections to Riley Hospital for Children about 1.5 miles to the southwest. Several urban planning overhauls are underway in Indianapolis, including a contentious expansion of public transit.
Hoosiers, if you didn't get a gift for Indiana on the occasion of its 200th birthday next year, don't fret—state and local governments have pledged tens of millions in infrastructure investments and new buildings for the Bicentennial. The state's share carries a total value of more than $55 million, inviting criticism from fiscal conservatives. Americans for Prosperity, the political group bankrolled by Billionaire brothers Charles and David Koch, is among those casting doubt on claims from statehouse budget officials that a decision to sell off underutilized cellular tower capacity will offset the new spending. Projects include a long-discussed upgrade to the state archives facility totaling $25 million, and $24 million for a new inn at Potato Creek State Park near South Bend. The state has also planned to spend $1.6 million on a six-week, statewide torch relay across all 92 Indiana counties, and $2 million to build a new Bicentennial Plaza designed by landscape architects at MKSK Studios. Former Lt. Gov. Becky Skillman, who co-chairs the state's Bicentennial Commission along with former Congressman Lee Hamilton, told the Indianapolis Star the projects leading up to the actual statehood Bicentennial of December 11, 2016 are an investment in the future of the state:
We want to celebrate and make memories, of course,” Skillman said, “but more importantly we want to help prepare Indiana for the next 100 years of progress and change.
United States Department of Transportation Secretary Anthony Foxx recently delivered some welcome news to proponents of bus rapid transit (BRT) in Indianapolis. "The city is on throes of launching something unique,” Foxx said in April while touring the proposed system's first leg, the 28-mile, $100 million electric bus route known as the Red Line. "Transit can be the difference between someone having a shot and not having one in the 21st-century economy.” Central Indiana has struggled for years to scrape together enough money to expand public transit throughout the metropolitan area under an ambitious $1.2 billion transportation plan, known as IndyConnect. The Red Line is a key component of that plan, eventually connecting Hamilton, Marion, and Johnson Counties with a north-south, electric bus rapid transit route that would stop at local landmarks like the state fairgrounds and the Carmel Arts District. About 100,000 people live within a half mile of the Red Line and 169,000 people work within a half-mile of it, according to the Indianapolis Star. Last year Indianapolis won $2 million from the federal government for an environmental study of the Red Line, adding to a pot of a few million dollars already established by the city and surrounding suburbs. The project is now eligible for a federal construction grant of up to $50 million.
Union Station Technology Center (USTC) in South Bend, Indiana began its life as a train station. Now it's a data center and the state's second largest carrier hotel. As a piece of internet infrastructure, it's high tech. With the help of Adrian Smith + Gordon Gill Architecture, the building owners are aiming for a design to suit. The building is in South Bend's Studebaker Corridor, so named for the wagon company turned automobile titan. Before it closed in 1963, Studebaker was the fourth largest automobile manufacturer in the nation, employing as many as 23,000 people in South Bend. Union Station Technology Center is among the tech-oriented rehabs that local businesspeople like Nick Easley, director of strategic initiatives for USTC, and developer Kevin Smith are using to rebrand the area as South Bend’s Renaissance District. AS+GG was selected as the emerging district's master planner in 2012. On Sunday it was announced that the Chicago-based firm—known for energy-efficient, eye-grabbing projects around the world—would lead the redesign of USTC, as well as “a mixed-use campus consisting of more than one million square feet of Class A office, education, technology, research grade manufacturing, data center, and live-work spaces.” A press release promises to turn USTC into “a large scale, sustainably designed tech hub that promises to spur a second economic boom for South Bend and the surrounding region.” South Bend's boosters hope the cold climate—which cuts server cooling costs—and local knowledge base at University of Notre Dame will help it stand out among cities from coast to coast currently chasing tech jobs to replace manufacturing work.
Folded aluminum panels deliver the illusion of movement to passersby.During their recent expansion, Eskenazi Hospital in Indianapolis approached Urbana Studio with an unusual request. The hospital wanted the Los Angeles-based art and architecture firm to design an interactive facade for a recently completed parking structure. "With Indianapolis' really extreme weather patterns, we gave a lot of thought to: how can we make something that's interactive but won't be broken in a year?" said Urbana principal Rob Ley. "Unfortunately, the history of kinetic facades teaches us that that they can become a maintenance nightmare." Urbana's solution was to turn the relationship between movement and the object on its head. Though the aluminum facade, titled May September, is itself static, it appears to morph and change color as the viewer walks or drives by. May September—a semi-transparent rectangular wall comprising 7,000 angled aluminum panels—was inspired in part by Ley's interest in camouflage, and specifically active camouflage. "I wanted to take that on more in a passive way than an active way," he said. The designers set out to create something like a lenticular image, which seems to shift or jump into three dimensions as the angle of view changes. "Could we make something where the pieces themselves don't move, but we recognize that the people in front of it will be moving?" asked Ley. Urbana Studio dedicated six months to the design before sending it to fabrication. The first half of the work was digital, primarily using Rhino and Grasshopper as well as software the designers wrote themselves in Processing. The team spent a lot of time on color. "The idea was to find two colors that would have a good contrast, and that maybe don't exist at all in Indianapolis," said Ley. The final scheme, which pairs deep blue with golden yellow, drew on the work of local landscape artist T.C. Steele. After building renderings and animations on the computer, the firm constructed mockups to check their assumptions. The unique site conditions influenced both the choice of material—aluminum—and the placement of the panels. "It had to be very lightweight, because it was going on a structure that wasn't engineered to have anything like this on it," said Ley. The designers also had to contend with the natural movement of the garage, and wind gusts up to 90 miles per hour. "It doesn't seem that interesting, but when the entire project is basically making sails, the wind issue is counterintuitive to what you're doing," said Ley. Indianapolis Fabrications fabricated and installed the facade. "We'd worked to pare the design down to be very modular, so there would be no waste materials," said Ley. "We also worked out a system that would look like there's an infinite number of variations of angles, but in the end there are only three. We're faking a lot of variability with a system that doesn't have that many possibilities." Urbana Studio also designed a custom aluminum extrusion so that the bolts—three per panel, or 21,000 in total—could slide into the facade's vertical structural elements without the use of a drill. "It allowed us to have this very erratic placement of elements without having thousands of holes to verify," explained Ley. Indianapolis Fabrications assembled the facade off site in 10 by 26 foot sections. The size of the pieces was dictated by factors including the width of the street, the overhang on the existing structure, and the wind resistance each component would face as it was lifted into place. Ley was pleasantly surprised by the interest May September generated among other would-be garage designers. "There are a lot of parking garages out there," he said. "Usually they're very much an appliance. As an archetype, the parking structure is not very interesting, but everyone's anticipating that they're not going away." As for his own firm, Ley would welcome another commission for a parking structure—particularly one that allowed him to work from the ground up. "I enjoyed dealing with a window treatment," he said. "But it would be nice to be involved earlier on, to be able to pursue it in a more holistic way."
Deborah Berke, SHoP, Tod Williams Billie Tsien to compete for new Cummins’ Indianapolis headquarters
Engine manufacturer Cummins Corporation announced plans for a new regional headquarters in Indianapolis Monday, but the Columbus, Indiana–based Fortune 500 company won’t look to local design talent to lead the project. Instead, three of the country's leading names—all based in New York City—will compete for the project. Three New York–based design firms will compete to build the new headquarters, which will be on the site of the former Market Square Arena in downtown Indianapolis: Deborah Berke Partners, SHoP Architects, and Tod Williams Billie Tsien Architects. Cummins hasn’t released any design specifications for the $30 million building, but the company has a history of pursuing striking architecture. Its foundation arm has contributed to the creation and preservation of iconic modernist structures in Columbus, Indiana, including the Miller House, which was designed collaboratively by Eero Saarinen, Dan Kiley, and Alexander Girard. Market Square Arena was demolished in 2001, but only recently have developers begun to fill in the vacant land. Cummins is expected to select a winning design this September.
Piles of dusty, black waste from coal and petroleum processing have been piling up on Chicago’s southeast side, angering residents and prompting Mayor Rahm Emanuel to weigh in on the contentious environmental issue. The Sun-Times has reported that Emanuel will introduce an ordinance at next month’s City Council meeting banning new storage facilities for so-called petcoke—a byproduct of the oil refinery process that can be sold overseas. It’s a step back from an outright ban proposed in December by Alderman Edward Burke, whose constituents were outraged by black dust clouds wafting from uncovered piles of petcoke along the Calumet River. Southeast side communities like Calumet, South Chicago, and South Deering are no strangers to industrial zoning. The Illinois-Indiana border has long been a pastiche of brownfields, residential communities, natural areas, and heavy industry. But the swirling black dust incited a class-action lawsuit filed against three storage sites last year. Chicago’s Department of Public Health shares area residents’ concerns. “We know that petcoke is a respiratory irritant and the main concern is if the petcoke is inhaled,” Commissioner of Public Health Dr. Bechara Choucair told the Sun-Times. “If you have somebody with asthma or other respiratory problems, inhaling petcoke would really lead to more problems…We are advancing this ordinance to protect our residents.” The anticipated zoning ordinance would prevent new petcoke storage facilities from entering the city, and would keep current outfits from expanding. KCBX, the largest such facility in the area, says the ordinance is unjustified, a sentiment shared by some business groups:
Mark Denzler, vice president of the Illinois Manufacturers’ Association called the ordinance “a solution in search of a problem.” … The Illinois Chamber of Commerce is also questioning the ordinance, calling it an “overreaction.” “We don’t understand what the mayor is trying to accomplish here. Petcoke and coal have been handled and stored in Chicago for decades with few issues. This seems like an overreaction to one incident – good policy rarely comes from overreacting,” Doug Whitley, Illinois Chamber of Commerce CEO said.KCBX is an affiliate of Koch Industries, the business empire of brothers Charles and David H. Koch. Their company, Koch Carbon, came under fire last year for storing the same material along the Detroit River.
Indianapolis’ public parks system, Indy Parks, is looking for third parties interested in privatizing some or all of the city’s parks and recreation holdings. The move follows last year’s survey seeking ways to upgrade the city’s 207 parks properties. With a $46 million backlog of needed improvements and just $3.4 million available in the annual budget, Indy Parks could use some help. Deputy Director Jen Pittman told Indianapolis Business Journal the agency’s aware that the request for proposals, issued in November, is broad: “We wanted to cast a wide net to engage the creativity of the community … We’re looking for proposals that will take our parks from good to great.” Any deals larger than $25,000 must be approved by the city-county Council, but the parks board can handle smaller sponsorship agreements itself. Parks board members are appointed by the mayor and members of the City-County Council. One candidate for private operation is the 50-acre World Sports Park, currently under construction. Five multi-use fields at 1313 South Post Road would host cricket and other international sports. Its $6 million price tag is the subject of controversy. Indiana is no stranger to privatization. Indy Parks’ golf courses are already privately operated, as is its Major Taylor Velodrome complex. Nashville, too, has sought private bids to help sponsor its public parks system. Partnership proposals must be in by Jan. 31, 2014.
Maybe You Lost My Number: Eavesdrop wants to know why we weren’t invited to your Kentucky Derby party, De Leon and Primmer. You guys are practically the only cool architecture firm in the River City! We were down in Louisville the weekend of the Derby and wandered (hungover, naturally) past your office on Sunday morning. That new bright green, sort of trellised structure erected in front of your place was really enticing. We wandered through that and did a little look-y loo in the windows of your studio, where we noticed the remnants of a party, like, 15 empty bourbon bottles. You guys, bourbon is Eavesdrop’s favorite beverage. We have so much in common! Call us! Don’t Hold Indiana Against Them: Driving I-65 the length of Indiana is so unbearable with its “Hell is REAL” billboards and endless Monsanto fields of pesticides, but it’s necessary to get from Chicago to the South. On our way home from the Derby, we were reminded of two places we’ve been meaning to stop and stretch our legs—and, no, it’s not the outlet mall. Seasonal tours at the Saarinen-designed Miller House in Columbus, Indiana, have restarted. The house is now owned and maintained by the Indianapolis Museum of Art, the second place in Indiana we’ve been meaning to check out. This Architectural Life: The drive wasn’t that bad because I discovered a must-listen radio show devoted to design and architecture: 99% Invisible on WBEZ, Chicago’s NPR station. Look it up!
AI WEIWEI: ACCORDING TO WHAT? Indianapolis Museum of Art Allen Whitehill Clowes Special Exhibition Gallery 4000 Michigan Road Indianapolis, Indiana Through July 21 Ai Weiwei is internationally recognized as one of China’s most controversial and influential contemporary artists. In his exhibition Ai Weiwei: According to What?, the artist, through various media (sculpture, photography, architectural installations, and video), boldly addresses issues of human rights in China and comments on the nation’s history, traditions, and politics. The exhibit features more than 30 works spanning more than 20 years. One is an early work, Forever (2003), in which Ai arranged 42 Forever brand bicycles into a circle, to honor China’s most popular, and reliable (the bicycles were made of heavy-duty steel), mode of transportation during the mid-1900s. The exhibit is also devoted to Ai’s more provocative pieces, such as a 38-ton steel carpet entitled Straight (2008). The artist used rusted steel rebar taken from the remains of a poorly-built school that collapsed during the 2008 Sichuan earthquake that tragically killed more than 5,000 schoolchildren. The piece commemorates the thousands of lost lives while openly condemning the Chinese government’s stance on human rights.
Alyson Shotz: The Geometry of Light Indianapolis Museum of Art 4000 Michigan Rd. Indianapolis, IN Through January 6, 2013 Following the U.S premiere of her animated Fluid State, which visualizes the creation of matter in a fictional landscape, artist Alyson Shotz has adapted her installation The Geometry of Light for the Indianapolis Museum of Art’s Efroymson Family Entrance Pavilion Series. Shotz—who is recognized for exploring the physical world by engaging with concepts of light, gravity, and space—uses industrial materials such as stainless steel wire, silvered glass beads, and cut Fresnel lens sheets to form a sculpture that considers the duality of light as both particle and wave. During daylight hours, natural light filters through the lens sheets, and the varying angles bring life to the piece as the position of the sun changes throughout the day. By moving through the room, visitors perceive how light and motion shape the experience of space.