After both impressing and frustrating the Landmarks Preservation Commission last year, Jean Nouvel's Torre de Verre is making its way through the public review process in order to secure a few zoning variance to allow the funky Moma-ttached tower to be built. Curbed reports the tower was panned by the local community board (it's a largely symbolic vote, however), but the most striking thing to us was this new rendering, which shows how the now-1,250-foot tower would look from Central Park. Quelle horror!
Posts tagged with "The Museum of Modern Art MoMA":
"Everybody's doing it." That's how Erica Stoller of Esto described the august architectural photo agency's foray into web video. Now don't fret. At the heart of these videos remains Esto's unparalleled still camerawork, but given these changing times, experimentation is in order. And, as Stoller's colleague Joel Sanders explained, the philosophy remains the same. "Esto has always been about expressing architecture in its truest, purest, most honest form," Sanders told us over the phone. "We see these videos simply as an extension of that. It's a means to describing the architecture." For its first two videos, Esto showcases the work of photographer Albert Vecerka. One documents the restoration, more than 13 years later, of P.S. 70, a burned out Bed-Stuy school that was transformed by Robert A.M. Stern into the Excellence Charter School. The other presents a time lapse installation from last summer of KieranTimberlake's Cellophane House at MoMA's prefab show, Home Delivery.
When the Modern reopened its Yoshio Taniguchi-designed doors in 2004, critical opinion of the new building was split. Some critics and museum visitors complained that the building, and the institution it housed, seemed to lack a point of view, and that it was geared more toward moving hoards of tourists than to contemplative art viewing. One longtime MoMA watcher, however, cautioned me, “We always hate the new MoMA. Then you get used to it and grow to love it.” While hoards of tourists have not gone away, recently the museum seems to be getting more comfortable in its skin. In the architecture and design galleries, small thematic exhibitions have helped to focus the viewing experience, breaking down the Greatest Hits approach that has made so many design galleries indistinguishable from showrooms. Currently on view are strong capsule exhibitions on Jean Prouvé, the graphic designer George Lois, and a group show called Rough Cut: Design Takes on a Sharp Edge (which is a bit of a rehash of Safe: Design Takes on Risk, but is full of interesting work). Perhaps the most challenging area of the new building is the vast five story atrium, currently, and pleasantly, inhabited by a massive video installation, Pipliotti Rist: Pour Your Body Out (7354 Cubic Meters), commissioned by the Museum specifically for the space. While large-scale installations have become common in museums, and are geared to spectacle hungry cultural travelers, there is something joyful and welcoming about Rist’s piece, especially during the holidays in congested midtown. Pour Your Body Out invites you to recline on a massive circular couch, embedded with speakers, to take in the color saturated show and immerse yourself in what chief media curator Klaus Biesenbach called an image “pool.” Rist has said she wanted the installation to “kiss Taniguchi.” Even at 25 feet high, Rist’s video only begins to fill the atrium, though she cleverly covered the high catwalks with pink curtains, containing the sound and providing some much needed warmth and intimacy to the vast white space. In the video below, Biesenbach discusses the installation and how it is meant to work in Taniguchi’s gallery. Pour Your Body Out is on view through Feburary 2.