Posts tagged with "The Museum of Modern Art MoMA":
The exhibition at the CFA includes a model of Ain's MoMA house. The model had turned up at architect Theodore "The Dean of Models" Conrad's house in New Jersey. In addition to this, F.B.I. files procured by Robbins after a Freedom of Information Act (FOIA) request are also on display. The files disclose oddly specific details on Ain, such as his weight and also his alias, Fred Grant.
Despite the unearthed files, Ain's house is yet to be found. “To put all of that money into the exhibition house only to demolish it doesn’t make sense,” said Robbins.
This Future Has a Past is presented in cooperation with Anyspace. The exhibition was initially intended for the 15th International Venice Biennale of Architecture but is on show at the CFA until September 12, 2017. A special talk, "Who was Gregory Ain?" is planned for September 7. More details on that can be found here.
Unlike a standard ebook, this digital version is designed specifically for an art book reading experience. While the catalogue is available in print format—and there still is nothing like thumbing through physical pages—the digitized version offers a user-friendly interface whose features make up for the lack of tactility.
Published through Musebooks, perhaps the best feature of this digital version is the ability to toggle between text view, image view, and page view while staying in the same section. The image view compiles all of the catalogue’s illustrations into one webpage and allows readers to zoom into the detailed drawings without losing much of the resolution, a feature that is critical for discerning readers.
The catalogue and exhibition highlight Wright’s expansive practice and feature architectural drawings, models, furniture, films, and television broadcasts. Focusing on objects from the Frank Lloyd Wright Foundation Archives, they include essays penned by architecture professors and critics like Mabel O. Wilson, Michael Desmond, and Ken Tadashi Oshima, accompanied by almost 300 illustrations.
A preview of the digital version of Frank Lloyd Wright: Unpacking the Archive is available through Musebooks, where it is also being sold for $25.99. (The hardcover, meanwhile, will set you back $44.15 on Amazon.)
As Frank Lloyd Wright turns 150, the MoMA immerses visitors in 450 works by the iconic American architect
The Museum of Modern Art is throwing Frank Lloyd Wright a birthday party by brushing the dust off of some of his oldest works in the new exhibition Frank Lloyd Wright at 150: Unpacking the Archive.
Opening June 12, four days after the architect’s 150th birthday, the exhibit features approximately 450 works in the form of drawings, models, films, furniture, textiles, photos, and building fragments. The works are organized into 12 sections to present Wright’s work as an anthology, exploring the timeline of major events and projects in his life and career.
A catalogue will accompany the exhibition, featuring newly photographed drawings, models, and buildings, as well as a series of critiques and essays by guest scholars—including a piece by Barry Bergdoll, curator in the Department of Architecture and Design at MoMA and organizer of the exhibit.
Frank Lloyd Wright at 150: Unpacking the Archive The Museum of Modern Art 11 West 53rd Street, New York June 12–October 1
Ithaca, New York—based practice Jenny Sabin Studio has won the 18th iteration of The Museum of Modern Art (MoMA) and MoMA PS1’s annual Young Architects Program for her project entitled Lumen. The immersive design will be on show starting June 27 at the MoMA PS1 courtyard in Long Island City.
Lumen changes throughout the day, offering shade and shelter from the sun, while also providing artificial illumination after sunset. This is achieved thanks to a tubular lattice canopy comprised of recycled, photo-luminescent, and solar active textiles that absorb, collect, and emit light. The canopy reacts to changes in daylight, absorbing and producing light when necessary. In conjunction with this, fabric stalactites will release mist in response to visitors' proximity, allowing the adaptive structure to respond to changes in heat and the density of the crowd.
Sabin's design will be present for the 20th season of Warm Up, an outdoor music series from MoMA PS1, and will stay on view for the rest of summer. Lumen was chosen as the winner ahead of four other projects. The competition brief called for projects that address environmental issues such as sustainability and recycling. The temporary outdoor installation had to be capable of providing water as well as seating and shade.
"Jenny Sabin's catalytic immersive environment, Lumen, captured the jury's attention for imaginatively merging public and private spaces," said Sean Anderson, associate curator in MoMA’s Department of Architecture and Design. "With innovative construction and design processes borne from a critical merging of technology and nature to precise attention to detail at every scale, Lumen will no doubt engage visitors from day to night in a series of graduated environments and experiences."
Losing out to Sabin were four other finalists. These included Bureau Spectacular (Jimenez Lai and Joanna Grant), Ania Jaworska, Office of III (Sean Canty, Ryan Golenberg, and Stephanie Lin), and SCHAUM/SHIEH (Rosalyne Shieh and Troy Schaum). Despite not being realized, their work will be on show at the MoMA during the summer.
“The Young Architects Program remains one of the most significant opportunities for architects and designers from across the country and world to build radical yet transformative ideas. This year's finalists are no exception; their projects illustrate a diversity of approaches and refreshing ideas for architecture today,” Anderson added.
Modernism’s alienating functionalism seems not so subtly hidden in the perfect grids and modular shelters of refugee camps. The urgency of survival turns shelter into a problem to be solved while ignoring the complexities of refugees’ situations. For example, the 2007 edition of the United Nations High Commissioner for Refugees’ Handbook for Emergencies presupposes that refugee camp shelters can be organized around nuclear family units (hardly a universal cultural constant). MoMA associate curator Sean Anderson cited a similar example of poor shelter design as the impetus for his exhibition Insecurities: Tracing Displacement and Shelter. In Jordan, where Anderson spent extensive time visiting camps, refugees were given metal shelters—a disastrous choice in the punishing desert heat. To counter the seductive notion that “architecture is the solution to assist, aid, represent and help these populations,” as Anderson said, the exhibit presents a range of drawings, photography, artworks, and objects to question whether there is a simple “solution” at all. While Insecurities laudably forefronts this perennial issue (there are some 60 million refugees worldwide) and highlights what makes it challenging (a complex fusion of geography, violence, international politics, and architecture), it also seems like a missed opportunity to take a long, hard look at specific instances where designers failed refugees.
I say a long, hard look because—as Anderson himself said in an interview—refugees often find themselves trapped in camps for years, decades, sometimes in seeming perpetuity. One of the exhibition’s most poignant works is a large wool tapestry designed by Sahrawi refugees in the Western Sahara. The Sahrawis were forced from Morocco some forty years ago and have subsequently remained in a remote region of neighboring Algeria ever since. The National Union of Sahrawi Women, in collaboration with Switzerland and Germany-based architect Manuel Herz, created this map of Rabouni (the camp-turned-capital of the Sahrawi government-in-exile). The camp bears the hallmarks of a proper capital, with ministries of defense, the interior, and education, though with a key difference: The UN’s World Food Program is at the heart of Rabouni.
Much like the Rabouni tapestry, Refugee Republic testifies to how camps evolve. This immersive audiovisual installation mapped the sounds and layout of Camp Domiz, a collection of some 58,000 Syrian refugees in Iraq. On a visceral level, it places you in the camp: Users hear the sounds of a small city while they take an illustrated walking tour of its shops, bus stops, community spaces, restaurants, hairdressers, and more. While permanency and the camp-cities are critical dimensions to the global refugee crises, the exhibition also rightly highlights the extreme and immediate vulnerability of refugees: Liquid Traces: The Left-to-Die Boat is a video, assembled by a team of researchers and designers, that tracks how a boat of migrants was left to drift on the Mediterranean Sea within a NATO surveillance area, leaving 9 survivors out of 72.
Yet, for all the urgency and nuance that some works in Insecurities bring, others fall short. One wall features a grid of photographs depicting different emergency shelters made from plastic, metal, sandbags, etc. It seems dangerous to present these shelters—as well as large photographs of camps from around the world—without context. Tasked with helping respond to a refugee crises, any architect or organizer would immediately face tremendous dilemmas: By preparing a community for the long haul (building permanent homes, economic infrastructure, local government) refugees may fear that tacitly admitting that a return to their homeland would be impossible and, consequently, that they must settle for whatever fate their host country provides.Government-provided shelters and protective fences may later seem like prison cells and walls. Where’s the line between providing shelter and containment? How does architecture—supposedly solid and sturdy—respond to communities in limbo?
This is a paradox the exhibition makes clear and it’s a question that architects must consider if they’re to be part of a response to refugee crises. But when the exhibition displays photographs of countless camps—Nizip II (a Syrian refugee camp in Turkey), Mugombwa in Rwanda, Dadaab in Kenya, Dheisheh in the West Bank, and shelters in Berlin’s Tempelhof Airport—it makes one wonder: What worked? What failed? How can architects respond? Perhaps a tall order, but the exhibition could have investigated further to offer at least bread crumbs toward a new, comprehensive architectural response.
Insecurities: Tracing Displacement and Shelter highlights how refugees are caught between invisible borders, relocated to the periphery, and controlled by governments under the guise of protection or security. Those are the symptoms of a deeper reality: Refugees are, by definition, individuals and communities without the protection of architecture or government. The fact that refugees are without the advocacy of their national government (assuming it exists somewhere) makes the role of the designer even more fraught (not to mention the potential shades of colonialism, something the exhibition doesn’t address). The UN can provide instructions to help leaders manage a crisis, but we would hardly expect a single, universal manual for any field of design or planning. If architects are to step up, there must be a deep and broad institutional awareness of past failures and successes to chart a path forward.
Insecurities: Tracing Displacement and Shelter Museum of Modern Art, New York, through January 22
How Should We Live? Propositions for the Modern Interior will recreate a dozen full-scale interior spaces dating from the 1920s to the 1950s and feature over 200 objects. Each interior will focus on the design elements within its specific setting, as well as its connection to external factors and attitudes—aesthetic, social, technological, and political.Divided into three chronological groupings—the late 1920s to the early 1930s, the late 1930s to the mid-1940s, and the late 1940s into the 1950s—the scenes will also explore several designers’ own living spaces, and frequently overlooked areas in the field of design, such as textile furnishings, wallpapers, kitchens, temporary exhibitions, and promotional displays. Works by major women architect-designers, many created in partnerships, also will be highlighted. Featured collaborators include Lilly Reich and Mies van der Rohe; Florence Knoll and Herbert Matter; and Charlotte Perriand and Le Corbusier. Among the interiors on display will be the 1927 Velvet-Silk Café, designed by Reich for a women’s fashion exhibition in Berlin, with tubular steel furniture by Van der Rohe; 1929 furniture and exhibition designs by Perriand, Le Corbusier, and Pierre Jeanneret; the 1948 Knoll furniture showroom in Manhattan, designed by Knoll and Matter; and a 1959 study bedroom for the Maison du Brésil at the Cité Internationale Universitaire de Paris by Perriand, Le Corbusier, and Lúcio Costa.
How Should We Live? Propositions for the Modern Interior Museum of Modern Art, 11 West 53rd Street, New York Through April 23