It’s good to see some good old-fashioned roasting, and that’s what the Westside Urban Forum’s WUFFIES awards are all about. This year’s event, held earlier this month at the Los Angeles Times of all places, was full of the usual snipes on botched RFPs and difficult County Supervisors. But it also got in some good jibes at architecture’s expense. Our favorite: the Darth Vader Award, which went both to Peter Zumthor’s foreboding, jet black LACMA expansion and to Renzo Piano’s Academy of Motion Picture Arts and Sciences Museum with its helmet-looking theater bulging out of the old May Company Building.
Posts tagged with "Museums":
Up-and-coming architect Frank Gehry recently sat down with the New York Times to discuss his Guggenheim museum under construction on Saadiyat Island near Abu Dhabi. The eccentric or idiosyncratic or whimsical structure totals 450,000 square feet, making it 12 times larger than the Guggenheim in New York. The Guggenheim Abu Dhabi is defined by multiple cones that Gehry says were influenced by teepees because of how they remove hot air. The design is also supposed to evoke the domes of mosques around the Middle East. Although that's a bit harder to discern. On Saadiyat Island, Gehry's museum will be joined by other lavish projects from Zaha Hadid, Rafael Viñoly, Tadao Ando, and Jean Nouvel. These architects, and their clients, have faced scrutiny for the notoriously bad labor conditions in the region. But back in September, Gehry addressed these concerns in an interview with Architectural Record. In a statement, the architect's firm said, “Gehry Partners has been engaged in a substantial and on-going dialogue over many years now that has involved government, the construction industry, architects, project, sponsors and NGOs." Record added, "Gehry may be the first prominent architect to take steps towards labor reform on Saadiyat Island." If you like, give the video a look, but be warned there's a lot of self congratulations and opining on world affairs.
Steven Holl Architects have been selected to design a new addition to Mumbai’s City Museum, besting finalists including OMA, Zaha Hadid Architects, Amanda Levete, wHY, and Pei Cobb Freed, among others. The 125,000 square foot white concrete addition will include 65,000 square feet of galleries, each with carefully calibrated natural light filtering down from overhead. Light is used as a device to draw visitors through the spaces. In addition to providing natural light, cuts in the roof form channels that feed a large monsoon pool adjacent to the museum. Inspired by India’s monumental well architecture, the pool serves a contemporary function: Lined with photovoltaic cells, the pool will generate 60 percent of the museum’s energy. Guy Nordenson & Associates is engineering the project, and Transsolar is serving as sustainability consultants. The international competition was the first ever held for a public building in India. Construction is expected to begin in 2015.
With Art Basel underway, not-quite-yet-starchitect Fernando Romero has unveiled new plans for what could become Miami's next architectural icon: the Latin American Art Museum (LAAM). That's right, this 90,000 square foot, cantilevering structure could overshadow the nearby works of his higher-profile peers like Frank Gehry, Zaha Hadid, and Lord Norman Foster. And Jeanne Gang and Herzog & de Meuron. And also Bjarke Ingels and Enrique Norten, because Romero's—sorry, and Richard Meier and Rem Koolhaas. Okay, that has to be everyone. All starchitects have been accounted for. Where were we? Right, the Latin American Art Museum. Romero's firm, Fernando Romero EnterprisE (FR-EE) has created an arresting structure defined by generous, crisscrossing terraces that provide circulation and open-air gallery space called "sculptural gardens." Together, the rotated squares evoke a deck of cards being shuffled or an uneven stack of plates. “The different levels of the building define LAAM’S program,” FR-EE said in a statement. “The first floor will be reserved to young and emergent artists; the second one will be for temporal exhibitions; the third floor will house a selection of 600 pieces belonging to the permanent collection; finally, a restaurant will crown the top of the building.” In October, the Miami Herald reported that the museum is being funded by local art collector Gary Nader, and that it will heavily draw from his own collection. Right, kind of like George Lucas and his contested museum of narrative art in Chicago. Nader will reportedly build a residential tower on the same piece of property in Downtown Miami to help pay for the museum, which is expected to open in 2016.
Over 1,700 proposals were submitted in the Guggenheim Foundation’s open-call competition to design a new museum in Helsinki—and now, just six teams remain. In a statement, the competition’s 11-member jury said it shortlisted these schemes because they would each “expand the idea of what a museum can be.” The teams that made the cut are AGPS Architecture (Zurich, Los Angeles), Asif Khan (London), Fake Industries Architectural Agonism (New York, Barcelona, Sydney), Haas Cook Zemmrich STUDIO2050 (Stuttgart), Moreau Kusunoki Architect (Paris), SMAR Architecture Studio (Madrid, Western Australia). While the names of the teams have been unveiled, the six proposals are only known by individual registration numbers. Physical models of these plans will be produced in March and a single winner will be selected in June. But as AN reported earlier this fall, what happens next in Helsinki remains to be seen. This news comes as the Guggenheim makes a renewed push into the world of architecture. In November, the Foundation named Troy Conrad Therrien as its first-ever curator of Architecture & Digital Initiatives. He will likely play a significant role in the further rollout of this competition. You can read about the six finalists below, with descriptions courtesy of each team. For more on these proposals and what happens next, visit the competition's website. From the design team:
GH-76091181 comprises a ring of slender, sculptural towers faced with timber shingles, reminiscent of vernacular architecture, gathered around a cathedral-like central space. The towers, with their play of light and shadow, create an architectural beacon, visible by land or sea, while the central space, sheltered from extremes of weather yet part of the quayside, provides an exceptional new site for public events on the waterfront. Exhibition galleries are housed in timber cabinets stacked within the towers. Bridges connecting the towers offer respite space for visitors between experiencing art and offer new viewing points over the city and harbor.From the design team:
GH-5631681770 reconfigures circulation and use of the East and West Harbors to establish an area of industrial activity and an area of cultural activity, with the museum as the link between the city and the waterfront. In a critical shift from the idea of a building as static object to a building that accommodates the flux of daily life, a city street runs through the interior of the museum, opening it to appropriation by the citizens and creating a combination of programs: a museum program and an unpredictable street program, in which visitors may become productive and creative users of the space.From the design team:
GH-04380895 links the museum to the rest of the city through a pedestrian footbridge to Tähtitorninvuori Park and a promenade along the port, including a food hall and a market during the warm months. The museum programs are housed in pavilion-scale buildings treated as independent, fragmentary volumes within this landscape, allowing for a strong integration of outdoor display and event spaces with interior exhibition galleries. The ensemble is made to stand out from afar by being composed around a landmark tower. The use of charred timber in the facade evokes the process of regeneration that occurs when forests burn and then grow back stronger than before.From the design team:
GH-121371443 drapes a skin of textured glass panels over a bar-like, two-story interior structure, creating an environmentally sustainable public space between the facade and the gallery volumes, with natural light diffused throughout. In an unusual innovation, the element that makes the building sustainable—the intelligent glass wrapper, which uses technology such as Nanogel glazing and rollable thermal shutters—is also the element that distinguishes the project visually, giving the building an ethereal presence. Within the building, an annex for the work of younger Nordic artists is paired with a market hall, and a service pavilion encloses a sculpture garden.From the design team:
GH-1128435973 creates two facilities in dialogue with each other. The ground floor is an adaptive reuse of the existing Makasiini Terminal, conceived as a public space that extends the pedestrian boardwalk into the building. This is a place for education, civic activity, and incubating ideas. The second floor is an exhibition hall on stilts, which hovers above the terminal building, partly removed from everyday life. The long rectangular volume offers a flexible space for all types of exhibitions and adheres to the notion of a museum as a space apart. Through this dual scheme, the proposed museum could engage its public to co- create value and meaning.From the design team:
GH-5059206475 reuses the laminated wood structure of the Makasiini Terminal to rebuild a wooden volume that exactly follows the geometry of the original, and preserves the current views from the park and the adjacent buildings. Within this structure—essentially an undisturbed network of existing conditions—the project creates 31 rooms: eight of them measuring 20 x 20 m, 18 of them 6.5 x 6.5 m, four of them 10 x 10 m, and one 40 x 100 m. This rigid set of spatial conditions is combined with a deliberate distribution of climates based on the program and principles of sustainability, with each room acclimatized independently so that the galleries together form a 'thermal onion.'
The Los Angeles Board of Supervisors yesterday approved the contribution of $125 million in bond funds to LACMA's $600 million makeover, which, under the guidance of Peter Zumthor, would tear down most of the campus and snake over Wilshire Boulevard. The new 410,000 square foot building would open in 2023, with the remaining funding coming from private donations. According to the LA Times, LACMA director Michael Govan told the Board of Supervisors that the museum's older buildings “are really ailing. They are not worth saving. The new building will be much more energy efficient and accessible to a broad public.” According to LACMA the campus' existing buildings would need $246 million to $320 million for upgrades. And so in a city of teardowns, the biggest museum in town seems to be clearing the way for one of its own. Meeting their demise would be William Pereira's Ahmanson, Hammer, and Bing buildings, as well as Hardy Holzman Pfeiffer's 1986 addition. Buildings remaining would include Renzo Piano's new BCAM and Resnick buildings and Bruce Goff's Japanese Pavilion. The project is still far from moving ahead. LACMA spokesperson Miranda Carroll recently told AN that there is close to a year remaining before the project's feasibility concludes, and the museum's board still must vote to proceed. The agreement (PDF) with the supervisors also provided about $7.5 million for feasibility and planning studies.
Archtober Building of the Day #31 Starlight at the Museum of the City of New York 1220 Fifth Avenue Cooper Joseph Studio Starlight, the aptly named chandelier in the neo-Georgian rotunda of the Museum of the City of New York, was a marvelous termination to our fourth Archtober. Wendy Evans Joseph, principal at Cooper Joseph Studio, described the light fixture with meticulousness equal to the design itself. Fifteen feet in diameter, the display is a three dimensional grid of paired LED lenses fixed within three wires and suspended from the ceiling. The visual effects are stunning, ranging from infinite reflected vistas of tiny lights, to starbursts, and pixelated moire patterns. Executive Director Susan Henshaw Jones joined the tour and called the piece “the most successful thing ever!” and “everybody’s favorite thing!” Demonstrating the extraordinary craft of Studio 1 Thousand and RUSHdesign, Starlight provides a dynamic experience enhancing the trip up the swell old marble stair. It received a 2014 AIA New York Chapter Design Award in the catch-all “Projects” category. So Archtober 4 comes to a close, and the ghosts and ghouls have mustered down here in Greenwich Village for the after the annual Halloween parade. See you next year!
Cynthia Phifer Kracauer, AIA, is the Managing Director of the Center for Architecture and the festival director for Archtober: Architecture and Design Month NYC. She was previously a partner at Butler Rogers Baskett, and from 1989-2005 at Swanke Hayden Connell. After graduating from Princeton (AB 1975, M.Arch 1979) she worked for Philip Johnson, held faculty appointments at the University of Virginia, NJIT, and her alma mater. firstname.lastname@example.org
As AN recently reported, the Guggenheim Foundation has unveiled more than 1700 proposals for its planned campus in Helsinki. All of these submissions have been kept anonymous and made available to the public through an online gallery which displays two renderings and a brief description for each plan. Given the amount of proposals the Guggenheim received, the gallery can be a little—let's say—hard on the eyes. If you're not up for scrolling through all of it, we picked out some interesting renderings that stood out to us. Yes, we undoubtedly missed some good ones in the process—there are 1,700 after all. If you're looking for Guggenheim's comprehensive list, head on over to the full gallery.
As we’ve mentioned before, the biggest competition in town is not in the United States. Virtually every design firm in California and everywhere else has entered the competition for the Guggenheim Helsinki. Proposals were due on September 10, and Eavesdrop received a secret picture of the storeroom where they are being kept. Let’s just say it is FULL. There appears to be several hundred submissions. Only six of the proposals will advance to stage two of the competition, a list that will be announced later this fall. The winning entry will eventually be chosen next June. So stay tuned, there’s plenty of Guggenheim madness left! (And why doesn’t the Guggenheim open a branch in Los Angeles already?!)
The Antoine Predock–designed Canadian Museum for Human Rights opened in Winnipeg last Friday with a ceremony featuring an indigenous blessing, performances by Ginette Reno, The Tenors, Maria Aragon, and Sierra Noble, plus remarks by several Canadian government officials as well as representatives of the museum. With its Tyndall limestone ramparts, layers of curved glass, and projecting Tower of Hope, the museum evokes the wings of a dove—the symbol of peace—enfolding an ancient mountain. The carefully choreographed entry sequence leads visitors from the building's rocky base down into the carved-out Great Hall, through a hidden winter garden, and, finally, up to the Tower of Hope, whose structure frames views of the city and beyond. Geological and astronomical references abound, from the 450-million-year-old limestone itself to the orientation of the stone-clad Roots, whose apertures welcome the solstice and equinox sun. The brainchild of the late philanthropist and entrepreneur Israel Asper, the Canadian Museum for Human Rights is the world's only museum focused exclusively on human rights. It opens to the public on Saturday, September 27. Antoine Predock will deliver the opening keynote address at next month's Facades+ Dallas conference, during which he will discuss the conceptual and technical drivers of the museum's design. For more information or to register, visit the conference website.
In an effort to make math appear exciting, London's Science Museum has tapped Zaha Hadid to design its new mathematics gallery. According to the museum, the new multi-million dollar, Hadid-ian space will "tell stories that place mathematics at the heart of our lives, exploring how mathematicians, their tools and ideas have helped to shape the world from the turn of the 17th century to the present." If that doesn't sound absolutely riveting to you, well maybe some math-themed architecture can help. Good news, that is exactly what Hadid has planned for the space. In a statement, she said, “the design explores the many influences of mathematics in our everyday lives; transforming seemingly abstract mathematical concepts into an exciting interactive experience for visitors of all ages." The centerpiece of Hadid's design is a 1920s-era Handley Page airplane that is surrounded by undulating forms that appear like visualized turbulence. "The gallery's design will bring this remarkable story of the Handley Page bi-plane to life by considering the entire gallery as a wind tunnel for the aircraft," explained the architect. The gallery is expected to open in 2016. [h/t bdonline]
On Saturday, August 2, I had the opportunity to attend the ribbon cutting ceremony and member's opening of the new Aspen Art Museum (AAM), designed by this year's Pritzker Prize winner, Shigeru Ban. The event took place at the tail end of AAM's annual ArtCrush festival, which gathers artists, art collectors, curators, gallery owners, celebrities, and philanthropists from around the world to celebrate contemporary art and raise money for the museum through an auction. While the museum opening was well timed to take advantage of the glut of luminaries in town for ArtCrush, it did catch the building itself—Shigeru Ban's first permanent museum project in the U.S.—at an awkward moment in terms of its construction. Workers were still finishing up the last details—including installing a piece by Jim Hodges called With Liberty and Justice For All (A Work In Progress) that will occupy the sidewalk—but it was intact enough to get a good impression of what visitors will experience when it opens to the general public on August 9. To kick things off with a bang, AAM commissioned New York–based artist Cai Guo-Qiang to put together a day-time firework display known as Black Lighting, which was spectacular, though a little frightening in its resemblance to artillery fire. While you can wait for my critique of the museum (coming soon) for a full run-down of the design, the basic concept was to integrate the building respectfully within the built fabric of Aspen while at the same time taking full advantage of the natural beauty of its Rocky Mountain setting and providing ideal spaces for displaying an ever changing array of art. AAM is not a collecting institution. Its director, Heidi Zuckerman Jacobson, is always on the search for the next upcoming artist, and thus the gallery spaces had to offer a lot of flexibility. Shigeru Ban stacked three floors of galleries against the party wall (one below grade, two above), wrapped them in circulation and offices (at the back), enclosed it all in a white metal and glass curtain wall, and then wrapped the street faces (it's a corner lot) with a woven Prodeema screen whose wood veneer offers a warm, hand-crafted expression that cozies up to Aspen's masonry and timber context. (Front Inc. provided facade consulting services. The architect of record is Cottle Carr Yaw of Basalt, Colorado.) The screen is not uniform. Its apertures are larger toward the corner and top of the building, providing the best views there, while concealing the emergency stair and back of house spaces at the opposite ends. A glass elevator at the corner allows visitors to look out at the surroundings as they ascend or descend. A grand stair between the screen and glass curtain wall provides access directly to the top of the building, where there is a cafe and terrace/sculpture garden. (For the opening the terrace was occupied by another Cai Guo-Qiang installation called Moving Ghost Town, which involved a sort of barnyard pen where two African Sulcata tortoises with iPads mounted to their shells were free to wander, or hide their heads in the dirt, as one found it fit to do throughout the reception. The iPads played video that the tortoises had "filmed" while wandering through a nearby Colorado ghost town.) The rooftop/top floor spaces can be open to one another or closed off, depending on the weather, by way of a manually operated sliding glass wall. Another stair just inside the curtain wall, which mirrors the one outside, provides direct access to the gallery spaces. The idea behind this circulation scheme is that, like on Aspen's ski slopes, visitors can climb to the top before "sliding" down through the exhibition spaces. Structurally, the building is made up of a composite system that includes post-tensioned cast-in-pace concrete (which offered the most efficient floor-to-floor dimensions (about 16 feet), allowing the architects to provide 14-foot-high ceilings (to the bottom of the beam) in the gallery spaces while fitting the building within Aspen's 47-foot height limit), exposed structural steel pipes, and an exposed timber space frame for the roof. The timber space frame is, in my mind, the highlight of the architecture. Fabricated by Spearhead Timberworks in British Columbia, it features three types of wood: spruce chords, birch web members, and Douglas fir end caps. The webs have curving profiles that create flat interfaces with the top and bottom chords of the truss. This allowed the connection between web and chord to be made with a single steel screw—as opposed to a gusset plate connection—driven in from above so that it is invisible from below, giving the impression that it is an all-wood structure. Ventilation ducts, sprinklers, and lighting integrate well within the space frame structure as well. Four out of the six galleries feature some access to daylight, while two are completely artificially lit. (L'Observatoire International designed the lighting scheme.) This was one aspect where the collaboration between Shigeru Ban and Heidi Zuckerman Jacobson shows. Heidi originally wanted black box spaces where she could have total control over the lighting, in keeping with at least the past 50 years of curatorial thinking and gallery design in this country. Shigeru, however, convinced her (after a tour of naturally lit gallery spaces) that she could have the control she wanted while taking advantage of the dynamic qualities natural light. After all, art is created in natural light. Another place the collaboration shows is in the openness of the building (see the roof) and the variety of ways in which one can traverse it. Shigeru reportedly at first wanted a very controlled circulation sequence, providing one way to proceed through the museum, but Heidi put her foot down, explaining that in the U.S.A., especially in the West, people expect a little more freedom of movement.