The Rockaways was one of many waterfront communities that sustained serious damage from Hurricane Sandy, which makes it an appropriate site for MoMA PS1’s upcoming exhibit. But first, MoMA PS1 and MoMA’s Department of Architecture and Design are reaching out to artists, architects, and designers to come up with ideas for creating a sustainable waterfront—whether that touches upon protection of the shoreline or alternative housing—to be presented at the show. Twenty-five proposals will be selected and presented online and at MoMA PS1’s temporary space, the VW Dome2 in Rockaway Beach during the month of April. But hurry, the deadline for proposals is tomorrow. Submissions should be in the format of a short video (under 3 minutes).
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Here in New York, we're excited to see CODA's massive Party Wall installation made of scrap from skateboard manufacturing rise at MoMA PS1 for this year's Young Architects Program (YAP). But the annual YAP, which recognizes emerging architects and invites them to design and build a temporary installation, has gone global. MoMA has announced the third installment of YAP at Rome's MAXXI museum designed by bam! bottega di architettura metropolitan and has launched a new program in Istanbul won by SO? Architecture and Ideas. SO? Architecture and Ideas' installation, Sky Spotting Stop, calls for a series of mirrored sun shades that give height to the museum's courtyard and play off the waters of the nearby Bosphorus. The mirrored discs are intended to provide playful shadows and reflections during the day and can be uplit at night. The installation opens in June at Istanbul Modern. In Rome, bam! bottega di architettura metropolitan's Helium-filled installation, He, will float above the MAXXI's courtyard shading a grassy lawn and wooden platform below. During the day, water will drip from the installation to cool the plaza. At night, the mass will glow as a large, floating lantern. At the end of the summer, the Helium from the installation will be reused for scientific research. The installation will open on June 20 at the MAXXI museum. A third international program has also been established in Santiago, Chile.
Big Ass Fans are, as their name suggests, a producer of very large fans. They're used everywhere from dairy barns to art galleries to outdoor public installations like Wendy, HWKN's star-shaped pavilion for MoMA PS1's summer Warm Up series. They also make residential models, like Haiku, the latest product in their line up. Once you get over the eye roll-inducing slogan—Haiku: Poetry in Motion—it's a really incredible product. According to Energy Star it's the world's most efficient residential ceiling fan, and even exceeds their efficiency requirements by 450 to 750 percent. Whereas most fans use 90 to 100 watts, the Haiku uses just two to 30 watts, costing an average of $5 per year. The fan blades are made from Moso bamboo, a super-strong, fast-renewing material that's harvested sustainably in China and handcrafted in Kentucky. Before the bamboo is dried and finished, each individual stalk is inspected for imperfections. Haiku also comes in a glass-infused matrix composite in black or white. Either way, black, white, or bamboo, the cool-running motor is completely silent, even on the highest setting (there are ten in all). There's also a brand new mode called the Whoosh, which pulses to simulate natural variations in air flow. "Human thermal receptors have peak sensitivity to wind gusts that vary by 0.47 Hz; Providing air movement with this variation can increase perceived cooling by up to 40 percent." So far Haiku has won a handful of awards, including a red dot design award for product and bronze in the International Design Excellence Awards (IDEA) in the living room and bedroom category. Haiku in bamboo retails for $995.
Last night, crowds of young architecture types filled the courtyard at MoMA PS1 in Queens to meet Wendy, this year's Young Architects Program winner by HWKN. Visible from the nearby elevated subway station and from the streets around MoMA PS1, Wendy is comprised of pollution-fighting fabric spikes set in a grid of scaffolding intersecting the concrete courtyard walls. Yesterday's crowds were given special access to the interior of the installation, revealing a complex structure of poles, fans, and misters that will cool visitors this summer. MoMA PS1 will host its annual Warm Up music series in the courtyard beginning on July 7, showcasing "the best in experimental live music, sound, performance, and DJs." Wendy will officially open to the public on July 1. Meanwhile, at a taxi garage across the street, small fragments of last year's installation by Interboro called Holding Pattern are still in use on the sidewalk. Click on a thumbnail to launch the slideshow.
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Wendy will eat the smog of the equivalent of 260 cars this summer"I cannot wait for the data to come in so we can show people," said Matthias Hollwich, a principal of the Manhattan-based architecture firm HWKN. Hollwich is talking about the air quality monitoring system that will be hooked up to Wendy, the 3,000 square-foot star-shaped pavilion HWKN is currently installing in the courtyard of MoMA PS1 for the annual Young Architect's Program. Because PS1's Kraftwerk exhibition occupied the museum's courtyard until May 14th, HWKN only had six weeks to build Wendy, which will not only house a pool, a misting station, a water canon, an elevated dj booth and an exhibition space, it will "eat" smog all summer long thanks to a special little ingredient called TiO2. Developed by Cristal, a titanium dioxide products manufacturer, and Glen Finkel at PURETi, TiO2 is a titanium nanoparticle that, when activated by the sun, engages in photocatalytic oxidation, a chemical process that safely and instantly oxidizes organic matter at the molecular level and converts it into water vapor and trace amounts of CO2. Since TiO2 is the catalyst, it's not consumed in the process. When it's applied to a building, a road or, in this case, a huge outdoor pavilion, its smog-fighting properties last for a minimum of five years. And because the water vapor washes away, the treated surfaces stay dramatically cleaner than their untreated counterparts. There are several brands of titanium dioxide coating on the market, but Finkel claims that PURETi's award-winning formula is the best because it doesn't come from a powder that’s mixed in or melted down, but from a liquid (99% water, 1% mineral content) so thin, clear and durable it can bond to virtually any surface, including fabric, glass and stone. It also requires less light to function than any known competitor, and is the only photocatalytic surface treatment known to work on the north side of a building in the shade. To maximize the surface area onto which TiO2 can be sprayed, HWKN created an intricate cluster of pointed shapes and employed structural engineers from Knippers Helbig, who worked for one month to develop a "totally reinvented" cross bracing system to hold the shape of the TiO2-treated PVC-based fabric from Botex(they were originally going to use nylon but it sags over time). “Normally when you have tensile structures it has a curve, and that has been done,” said Hollwich. “We wanted to do something formally different, so the cones are wrapped around the cross bracing which gives it its stealth form.” Surrounding Wendy with scaffolding was an aesthetic choice as much as it was a structural necessity. "The fabric is being pulled from the core to the edges and to be able to hold that edge we needed the scaffolding. The form of Wendy is also the structural system.” The whole framework is held in place by forty 5-foot-long temporary ground screws by Krinner that can be unscrewed in September when the pavilion is taken down. Using an equation based on the amount of nano particles sprayed onto Wendy, the estimated sun exposure and the average pollutants generated by local Long Island City traffic, HWKN calculated that over the course of the summer Wendy's paint job will clean up pollutants from the equivalent of 260 cars. If it sounds too good to be true, the only downside of TiO2 seems to be that it's expensive, though a little bit does go a long way—one gallon can cover 4,000 square feet. Still, at 70 cents per square-foot it's no surprise that Pureti's main clients aren't homeowners, but NASA and other large institutions like Los Angeles Community College, the 2015 Milan Expo, and office buildings in London. Hollwich sayid he's "surprised that the whole world isn't using it, because it's really magical," adding that he hopes the high visibility of Wendy will encourage more people to use TiO2 in everything from buildings and roads to textiles. In fact, MoMA will be selling t-shirts and totes sprayed down with TiO2, and after the summer programming is over Wendy herself will be cut apart and sewn into smog-fighting bags.
Lara Favaretto: Just Knocked Out MoMA PS1 22-25 Jackson Avenue Long Island City, NY Through September 10 Lara Favaretto’s installations and sculptures at once perform and memorialize their decay. Often incorporating elements from previous installations in new works and using discarded industrial material, Favaretto makes futile and impermanent gestures, ephemeral monuments to aspiration and failure. The works describe loss: found paintings encased in yarn, obscuring and preserving the original; cubes made of confetti, decomposing throughout the span of an exhibition; car-wash brushes, whirling and wearing down against metal plates (above). These mechanisms celebrate futile motions, becoming memorials imbued with the reality of their own obsolescence.
Walking into the large, egg-like structure of the MoMA Ps1 Performance Dome, the German electronic band Kraftwerk's song "Man-Machine" was the perfect accompaniment to the architecture. Their music represents the kind of progressive attitude towards materials (instruments) and aesthetics (sounds) that is captured perfectly in the temporary structure. A shiny, white, geodesic dome reminiscent of fellow early techno-fetishist Buckminster Fuller, the space features a super-high-fidelity sound system, 8 screens projecting various computer art, and not much else. It is the ideal pairing of minimalism and technology with Kraftwerk's slick electronic melodies. Completely white on the inside and out, the dome is like a default setting, its tabula-rasa interior serving as the screen for 8 large projections approximately 15 feet off the ground, which are large enough to capture your attention and hold it. Each performance can start over, with its own tailored set of videos or images. The dome itself is almost blank, the speakers and projectors creating the spatial experience. The depth of sound that these speakers produces creates a voluminous soundscape. The nature of the dome is that there is quite a bit of extra space at the top, so the space is left half filled with the sounds of the performance and accompanying projections. These projections form a ring, and the dome is at its best when the lights are low enough to obscure the actual structure. The ring of projections then becomes the ceiling, like a spectacular cathedral to performance, or a futuristic, cosmic Pantheon. Instead of a single screen located behind the stage, these eight projections are arranged radially, on one surface, maintaining a spectacular sense of scale, but providing little spatial context. It is easy to get lost, disoriented. Everywhere around the circular stage is almost exactly the same, and you are left subject to only two 'architectural' forces: the speakers, and the videos, both of which are arranged in a equidistant, radial pattern. The user is transposed into one of Kraftwerk's visions, into a momentary place where technology becomes the only mediator of space and body and the building disappears. The electronic elements of performance become the spatial experience. The dome is a moving take on the immaterial, ephemeral nature of performance art, and stands as a high-water mark for museums presenting multidisciplinary work.
So you want to win the MoMA PS1 Young Architects Program? This year's champs Matthias Hollwich and Marc Kushner of HollwichKushner (HWKN) shared some insight about their strategy with AN. The competition started with an invited portfolio submission from about 20 young architects. After being selected by the MoMA PS1 panel as one of three finalists, HWKN started in with rigorous research into past winners and the selection process. "We made a book about every entry," Hollwich said. This study provided in-depth knowledge of the different approaches and forms which have won, and also those that have not been successful. The next step was a brainstorming session with their project team that produced 100 ideas. Those 100 were trimmed to 10, and then cut to three, but then Wendy, a striking scheme for a neon blue star, was added, making four. Once the final choice was made, a retroactive analysis helped to assure that they made the right choice and that the design had all the elements they were looking for. "It was not a linear process, but design never is," Kushner said. Wendy is a formal departure from recent winners. MOS' afterparty in 2009, Pole Dance by Solid Objectives - Idenburg Liu (SO - IL) from 2010, and Interboro's Holding Pattern from 2011 all worked as canopy-like structures spanning the courtyard, providing shade by creating spaces with overhead elements. Wendy is an object, and is more autonomous and isolated than previous entries. "I am interested in volume more than surface," Hollwich explained. The competing teams worked together in an unusual way. During the competition process, HWKN was in contact with the other teams regarding site information, which they felt helped create an even playing field between the competitors. As the only team from New York, HWKN assisted out of town firms with measurements and other on-site information. Upon being named winners, the other architects called to congratulate the HWKN team, said Hollwich. But then things got real. "High-speed architecture and prototyping have many hurdles. We are glad that we were already able to jump a couple of them," Hollwich explained. There was some unexpected drama when the question of ambulance access arose, requiring a column to be moved breaking the 3-D grid of scaffolding, but making for an interesting moment in Wendy's final form. A shout-out goes to the intern at HWKN who successfully convinced the leaders of the project to go with the name "Wendy." One late night in the studio, Hollwich received a long email detailing the reasons the name fit. He liked it, but figured Kushner would hate it. Kushner liked it, but thought Hollwich would hate it. "We think of Wendy as a kind of perfect storm, and every perfect storm is named for a woman." Personifying the building breaks with conventional architectural naming, and, the team hopes, invites visitors to fall in love. Construction begins May 15, and is set to be completed June 27th.
The Italian website Tafter reports that the finalists are 6mu6 (Turin, Italy), Rural Boxx (Sacile, Italy), Urban Movement (New York, USA / Rome, Italy), and Yellow Office Yellow Office (Milan, Italy), and a team composed of John A. Salvator Liotta, Matteo Belfiore with Taichi Kuma and Yuta Ito (Naples, Italy / Tokyo, Japan). The winner will be announced early in 2012, with the installation opening at the MAXXI in June simultaneously with New York's YAP installation at MoMA PS 1. In bocca al lupo!
Walk much? Personal urban transportation devices has found a new friend in the Skatecycle. This hubless, self-propelled riding machine may require some serious agility, balance, and style to master but its sleek body and lightweight components has earned it the Core77 2011 Design Award in the transportation category. What's next, wheels in our shoes? Reiner & Lautner. Designer, manufacturer, and lover of modernist architecture, Kenneth Reiner, died recently in Long Beach, CA. Reiner will be forever remembered for his decade-long collaboration on Silvertop, one of John Lautner's modernist masterpiece homes in Los Angeles. Chicago Tribune tells the story. By bike or by mule. The arrival of the new pedicab transportation system in New Orleans has been met with fanfare and reluctance. Mule-drawn carriage drivers are concerned that this cheaper mode of transit will deter from the experience and authenticity of motor-less travel in the French Quarter. However, Forbes reported that they are not about to throw in the reigns. 3 days in LIC. 72 Hour Urban Action, a culturally aware, civic minded architectural design outfit is set to bring their festival to Long Island City in 2012. They have a year to prepare and coordinate for a 3 day building process. Inhabitat has more.
YAP to the Max. MoMA PS 1 and the MAXXI open exhibits of the now-transatlantic Young Architects Program, featuring the winners (whose concepts are now installed in New York and in Rome, above) and the finalists. Made of Glass. Designer Piero Lissoni utilized Glas Italia's prime material to expand the high-end manufacturing company's headquarters in Macherio, Italy. Azure reports that the new minimalist building is completely constructed out of glass, and looks best at night when the translucent structure becomes an illuminated box. Blight on the London Skyline. The phallic silhouette of the skyscraper, which won the 2004 Sterling prize, continues to generate controversy. The Telegraph records Ken Shuttleworth, a former associate at Norman Foster & Partners and the designer widely credited for 30 St Mary Axe, a.k.a. “the Gherkin,” expressing regret for his design of the tower. French Flat Iron. Architectures completes the Ministère de la Culture’s coveted Biscornet commission: a modern residential building amid Paris’ Haussmannian stock. Architecture Lab notes that the trapezoidal-structure perfectly fits the slightly set back site on the Place de la Bastille, facing both the Gare de Lyon and the Bassin de l’Arsenal. The facade’s pleated metal panels shift to reflect the light and the time-of-day, emanating a golden shadow on the historic location.
P.S. 1 and the Museum of Modern Art have just announced that Brooklyn-based urban design and planning firm Interboro Partners are the winners of the 2011 Young Architects Program. Now celebrating its 12th year, the honor means designing what by now is widely recognized as the liveliest party space of the summer, the outdoor plaza of P.S. 1 in Queens. “Simple materials that transform a space to create a kind of public living room and rec room are trademarks of this young Brooklyn firm,” said Barry Bergdoll, MoMa’s Philip Johnson chief curator. “Interboro is interested in creating elegant and unpretentious spaces with common materials. Their work has both a modesty and a commitment quite at odds with the luxury and complex computer-generated form that has prevailed in the city in recent years.” The firm has also been selected this year as one of the eight firms participating in the Emerging Voices series at the Architectural League. Much of their work focuses on urban challenges, from completing a neighborhood development plan for Newark, the first in decades, to a temporary park at Canal and Varick streets, Lent Space, with mobile trees, seating and walls. Meanwhile, in Rome, a companion program called YAP_MAXXI in an outdoor space at the entrance of the new Zaha Hadid-designed museum, was also launched. Roman architects, stARTT, have been selected as the first-up in a partnership between MoMA P.S. 1 and the overseas institution, a model of a collaboration that could easily expand to other countries in no time. StARTT’s entry “Whatami” appears to be a series of discrete and turf-covered hillocks with Hadid-like curves constructed of various recyclable materials including straw, geo-textiles, and plastic. Recycling, in fact, was a key theme this year as Interboro also canvassed local libraries, greenmarkets, senior and daycare centers to see who might be able to use the rope and other materials when summer is over.