On Sunday, November 22, twenty four teams from architecture and design firms in Washington, D.C. built sculptures out of canned food inside the National Building Museum. The theme this year is transportation and sculptures included the Scooby Doo Mystery Machine, a full-size smart car, a Mayflower bean soup ship, CAN-nook Chopper to the Rescue, a Lunar module, and more. Canstruction is a national food drive for the Capital Area Food Bank. Last year, Canstruction teams donated 56,000 pounds of food and $18,000—the equivalent of 42,000 meals. More than 275 tons of food has been donated through CanstructionDC since the event began in 1998. The sculptures will be on display until Monday, November 30, and visitors can vote for their favorite to win the “People’s Choice Award” by donating a can of food in the “ballot box” next to each sculpture. For those who can’t make it to D.C. (or who want to see more) Work Zone Cam created a time-lapse video for the event. To get completely up to speed on National Building events, check out The Beach by Snarkitecture from this past summer and The Maze by BIG, both in the National Building’s great hall. https://www.youtube.com/watch?v=JrixcmmsP3s To learn about Canstruction in your area, check out this website.
Posts tagged with "Museums":
Daniel Libeskind has released the design for a 33,400 square-foot, contemporary art center in the heart of Vilnius, Lithuania, a city famous for its baroque architecture and medieval old town. The center, which represents Vilnius past and present, was designed by Studio Libeskind in partnership with Do Architects and Baltic Engineers. It is the first center ever to be dedicated solely to modern and contemporary art by Lithuanian artists. “We wanted to create a museum for the people of Lithuania, and also give this collection a home and an international audience," Viktoras Butkus, co-founder of the nonprofit Modern Art Center (MAC), said in a statement. "This collection is about the cultural legacy of the country. Libeskind’s work is expressive, innovative, and, most importantly, has the power to tell the story of the past while connecting to the future of the city.” The museum will house works solely by Lithuanian artists, ranging from the 1960s through the present day. Works include: Vincas Kisarauskas "Falling Broken Man" 1965; Arvydas Saltenis "Woman" 1972; and Kostas Dereskevicius "Mailboxes" 1987; photographs by Antanas Sutkus "J. P. Sartre ir S. de Beauvoir in Lithuania"; video by Deimantas Narkevicius "The Dud Effect." Being a Modern Art Center in a historic city, the design takes into account the local architecture both formally and materially, according to Libeskind. For instance, the structure is comprised of two intertwining forms that create indoor and outdoor spaces, while the exterior is clad in white concrete—already a prevalent material throughout the city. An interior courtyard cuts through the entire building, featuring a staircase that runs to a public planted roof and sculpture garden which connect to the street-level piazza. “The Modern Art Center not only creates a home for this extraordinary collection, but the design connects the galleries to the street and the urban fabric—giving the citizens of Vilnius a new cultural center infused with public space,” Libeskind said in a statement. The design calls for floor-to-ceiling glazing that will flood the interior galleries with light, and a 16-foot cantilever will provide shading, regulating the southern facing exposure. The north side has a three-story, 33-foot-tall glazed entrance, which opens into a sun-filled lobby. An open floor plan connects all the galleries, in which 10,800 square-feet are dedicated to both permanent and temporary exhibitions. The design also includes a café, bookstore, educational areas, auditorium, and a storage and administrative space. The Lithuanian Modern Art Center will begin construction in 2017 and should be complete by early 2019.
While the world has been discussing how much Drake’s “Hotline Bling” music video borrowed from James Turrell’s installations (Hint: a lot*), ARoS Aarhus Art Museum in Denmark announced that the artist is collaborating with Danish architecture firm Schmidt Hammer Lassen on the museum’s new expansion. “The Next Level” expansion project will contain a 12,900-square-foot subterranean gallery and two semi-subterranean art installations, The Sphere and The Dome. Intended to “bring the museum into the elite world of modern art museums,” the extension will cost an estimated $32 million. Schmidt Hammer Lassen originally designed the space in the early 2003 and is working with the museum and the artist to retain the building’s original integrity so the expansion will feel seamless and natural. The firm also worked with Olafur Eliasson on Your Rainbow Panorama, which opened last year. “The Next Level project will develop the museum horizontally in contrast to the existing vertical movement and it is exciting to work with the great lines spanning from the river to the square of the Aarhus Music Hall. Our studio is not just designing a new room for a new artwork, we are co-creating the space and the installation simultaneously with James Turrell,” Morten Schmidt, founding partner at Schmidt Hammer Lassen said in a press release. It seems that Turrell is having quite the week. In addition to the AroS expansion, it was also reported that Yvette Lee of the Guggenheim and Whitney Museum will be the new director of the Roden Crater in Arizona (The crater’s completion date has still not been released.) Responding to Drake's video set*, Turrell had a few select words. "While I am truly flattered to learn that Drake f*cks with me," wrote Turrell in a statement from his lawyer via Vice, "I nevertheless wish to make clear that neither I nor any of my woes was involved in any way in the making of the ‘Hotline Bling' video." If you want to decide for yourself, we recommend watching the music video below and then glancing at a few installations. (If you want to go further down the bizarre rabbit hole, AN has also previously reported rumors from CityLab that “Hotline Bling” is about poor city planning.) https://www.youtube.com/watch?v=uxpDa-c-4Mc
The American Museum of Natural History (AMNH) has unveiled the Richard Gilder Center for Science, Education, and Innovation, a six story, 218,000 square foot, $325 million expansion, at Columbus Avenue and 79th Street, designed by Jeanne Gang. The principal of New York– and Chicago-based Studio Gang stated that the exuberant organic forms recall “geological canyons, glacial forms," spaces shaped in increments by the forces of nature. Here, form follows function: the aim of the Gilder Center is to build scientific literacy in young people and encourage study in the STEM fields. In addition to creating learning spaces, the structure reconciles the museum's rambling circulation, creating 30 connections to ten AMNH buildings. Its mass dialogues with the existing buildings, maintaing the same height as its neighbors. Inside, cavities in the concrete walls create exhibition galleries, a library, insect hall, classrooms, theaters, and laboratories. The reinforced concrete walls in the Central Exhibition Hall comprise the building's load-bearing apparatus. Exhibition designs are by Ralph Appelbaum Associates (New York). The expansion will be complete by late 2019 or early 2020, although the design has yet to undergo the public approval process. Neighbors have raised concerns about the museum's encroachment onto adjacent Theodore Roosevelt Park. AMNH will present its plans to community groups and the Landmarks Preservation Commission. See the gallery below for additional images of the project.
The Stanley Hotel, the Colorado inn that inspired Stephen King's horror book (later adapted into the film) The Shining has revealed plans to open a horror-based museum. Denver-based MOA Architecture will design the space, touted to cost $24 million, with backing from some of the biggest names in the horror genre. Featuring a horror film archive with both indoor and outdoor venues, the 43,000 square foot museum will also hold a film production studio with teaching spaces, a 3,000-square-foot soundstage, and a 500-seat auditorium. This isn't the first time the Stanley Hotel has openly used its horror pedigree as attraction. Earlier this year a competition was held for a 10,100-square-foot hedge maze that has now been built. Now, the hotel is running another competition for a sculptural intervention to accompany the maze. In case you're interested in a healthy dose of horror upon your stay, a discovery center within the modified hotel will showcase temporary exhibits with installations from popular horror shows and movies like the Walking Dead. The museum's board features a star-studded cast including actors Elijah Wood and Simon Pegg (known for their roles in Maniac and Shaun of the Dead), producer Daniel Noah, and distinguished horror director George A. Romero. "I would love to have a home we can come to year-round to celebrate the genre with other horror fans from around the world," Elijah Wood told ABC News. "There's really no better place for there to be a permanent home for this as an art form than the Stanley Hotel. It was practically built for it." To kickstart the project, other notable behind-the-scenes figures within the horror genre have made plans for exhibitions. Among them, artist of the Walking Dead comic book, Charlie Adlard; Rick Baker, a prominent makeup and special effects artist; and Clive Baker, a director and producer of notable horror films like Hellraiser and Candyman. Hoping to draw in horror fans from across the country, the hotel has made a bid for $11.5 million in film-center-generated state sales tax via the Colorado Regional Tourism Act. "The Stanley Film Center is my chance to give back to the millions of horror fans around the world who have supported Estes Park and the hotel for so many years," John Cullen, owner of the hotel, said. "At 109-years-old, the story of the Stanley Hotel is just beginning."
Whitney Museum of American Art 99 Gansevoort Street, Manhattan Renzo Piano Building Workshop in collaboration with Cooper Robertson When the Whitney Museum made the move from its iconic Breuer Building to a new location in Manhattan's Meatpacking District, the institution was “returning to our downtown roots,” Larissa Gentile, New Building Project Director for the Whitney, told today’s Archtober Building of the Day Tour attendees. The museum’s shiny new steel-clad, Renzo Piano–designed building, which opened in May, is situated between two linear parks running through Manhattan. Piano conceived of the building as a link between the High Line, just east of the museum, and Hudson River Park, just west. Visitors to the Whitney never feel far from either of these green spaces—on each of the eight floors of the museum, strategically located windows frame scenes of the Hudson River and out onto the city skyline. The interplay between interior and exterior is a defining element of the new Whitney. Gentile described the institution and the architect’s intentions for the building to engage in a dialogue with its urban context. The building has eastward-facing terraces on each level of the museum, connected by an outdoor staircase. These “outdoor galleries” not only give museum-goers iconic views of stretching across Manhattan, but also allows those strolling down the High Line, or driving down the West Side Highway, an opportunity to see some of the museum’s impressive collection. The exterior staircase allows visitors to move between gallery floors outside, so as to alleviate some internal circulation issues that might arise given the museum’s record-breaking number of visitors. On the ground level, the museum lobby is a porous and open glass space, meant to feel like an extension of the pedestrian streetscape. Passersby glimpse what is going on in the museum—indeed, today, although the museum was closed to the public, people walking by were privy to the installation process of the new Frank Stella exhibition underway. “Exposing the machine of building, and revealing the institution as an entire organism, was an exciting opportunity for the museum,” Gentile told us. Throughout the building, staff offices, research spaces, conservation labs, and educational facilities, that, in the old building, were either non-existent or tucked away, are now revealed to museum-goers. The new Whitney has greatly increased gallery space. Each gallery was designed to be column-free and highly flexible, so as to allow curators and artists to reimagine the space with every show. The gallery size and ceiling height varies from floor to floor, giving the museum a distinctly different feel as you travel throughout it. The top floor gallery is bathed in natural light from a skylight above. Some galleries are much more intimate, displaying smaller paintings and works on paper, while more spacious areas of the museum house impressive sculptures and installations. In addition to adding more gallery space for the museum to display its 22,000-object permanent collection and creating new educational and conservation facilities, the new, soon-to-be certified LEED Gold museum building also houses a flexible theater space with multiple projection options, and retractable seating, allowing the museum to host lectures, performances, and installations. As Gentile told our tour, “No space here has one function.” The highly mutable building provides the opportunity for the institution and visitors alike to engage intimately with both the cultural and urban milieus this city has to offer. Alex Tell is the Committee's Coordinator for the AIANY | Center for Architecture.
Staten Island Museum at Snug Harbor 1000 Richmond Terrace, Snug Harbor Campus, Building A Staten Island Gluckman Tang Architects The recently reopened Staten Island Museum at Snug Harbor, housed in a former dormitory for aged and decrepit sailors, has a renewed vitality in a historic setting. “When restoring historic buildings, make interventions as quietly as you can,” Richard Gluckman told Archtober enthusiasts gathered at the museum today. The neoclassical building, originally designed by Richard Smyth in 1879 and landmarked in 1965, is part of a complex of historic buildings occupying the bucolic 83-acre Snug Harbor area of Staten Island. Gluckman Tang Architects was responsible for breathing new life into the building to better showcase the museum’s diverse collection spanning the arts, natural history, and local history objects. Over the past ten years, Gluckman Tang has been responsible for undoing previous—and precarious—restorations of the building, redoing the shell, restoring original elements, including the staircase and windows, and adding contemporary interventions to bring the building up to American Museum Association and LEED standards. The museum building serves as an important link between the local history and the museum’s mission. Gluckman Tang introduced geothermal well fields, paying tribute to the Staten Island Museum’s conservationist history. The auditorium and education space has linoleum floors, a functional choice by the architects, but also a reference to Staten Island’s Linoleumville, the location of first linoleum factory in the United States. Gluckman and his colleague James Young-Sik Lim discussed the “congenial relationship” between the historic and the contemporary that they nurtured during the renovation process. Visitors feel elements of the historic structure underfoot—the wood floors were repurposed from the building’s original pine beams. Gluckman also emphasized the importance of maintaining a sense of the historical usage of the building. He pointed to a compass rose inlaid in the wood floors—a contemporary interpretation of a historic detail that serves as a nod to the nautical history of the space, and as a centralized orientation point for visitors. Upstairs in the Treasure Box Gallery, the museum’s eclectic collection is displayed in a room flooded with natural light. The architects focused on flexibility within the exhibition spaces, a crucial aspect of the redesign, given the museum’s mission as a general interest cultural institution covering art, science, and history. The tour ended in the Mastodon Room, housing a life-sized replica of the now-extinct mammal. The mastodon (for which the museum is currently in the process of naming) serves as an elegant metaphor for the museum’s mission and Gluckman Tang’s renovation—history comes alive here, whether in the form of a giant-tusked creature or a beautifully restored cast-iron neoclassical staircase. Next up, Archtober-ites will venture to the Goethe-Institute. Alex Tell is the Committee's Coordinator for the AIANY | Center for Architecture.
Cooper Hewitt, Smithsonian Design Museum 2 East 91st Street, Manhattan Babb, Cook & Willard (1902) Gluckman Mayner Architects with Beyer Blinder Belle (2014) Part a historic house tour and part a lesson on material culture and curatorial practices, today’s Archtober lunchtime session packed a ton of information into 60 minutes. Brooke Hodge, deputy director of the Cooper Hewitt, National Design Museum, showed us around one of the finest mansions of Manhattan. Designed by Babb, Cook & Willard in 1902, the Carnegie Mansion’s most recent renovations were completed just last year. Executive architect Beyer Blinder Belle developed the master plan, while Gluckman Tang Architects (formerly Gluckman Mayner Architects, the firm responsible for the Staten Island Museum at Snug Harbor that we’ll be touring on Thursday) oversaw the historic preservation aspects of the project. Diller Scofidio + Renfro worked closely with the museum’s curators to develop the display cases and exhibition design. The firm also oversaw the plan of the garden, which, once complete, will open at 8:00a.m. to welcome visitors onto the property even beyond hours of admission. Our dear friends at Pentagram worked on the graphic identity together with the typographer Chester Jenkins, who developed an open-source typeface called the Cooper Hewitt. This initiative was yet another way to make the museum more inviting to the public, and to encourage people to feel connected with design. The renovation added 7,000 square feet of exhibition space to the mansion without expanding the building’s envelope. Offices and the library were relocated to adjacent townhouses, and part of the collection was moved to offsite storage. Other smaller pockets of space were carved out: a former powder room is called the “Teaspoon Gallery,” a play on its location next to the Spoon Gallery, which was named after a donor family. Visitors are encouraged to grab a Pen (note the capital “P” since we still never take ink into exhibitions) at the admissions desk and keep track of their favorite objects. These electronic styluses turn visitors into collectors, and encourage creative moments of exploration. One gallery features a projection screen that covers two walls, reproducing visitor-drawn forms as wallpaper. The digital transformation of these designs into large-scale patterns help visitors connect with the objects on display. Fragments of wallpaper that might otherwise be interpreted as whole objects unto themselves can now be understood as part of repeating patterns that set the tones of entire rooms. Julia Cohen is the Archtober Coordinator at the Center for Architecture.
Architect Tom Wiscombe and developer Tom Gilmore have been spotted on more than one occasion imbibing at Redbird, the restaurant located in the former rectory of the cathedral of the Roman Catholic Archdiocese of Los Angeles. (Gilmore is the landlord.) Does this mean that the pair’s plans for Old Bank District Museum, a futuristic art venue designed by Wiscombe, is on track for a 2017 opening? Only the bartender knows.
After years of planning, the Vancouver Art Gallery revealed renderings for its new home by Swiss firm Herzog & de Meuron this Tuesday. The conceptual design is a striking departure for a city of tall, slim towers, but an ongoing motif for the firm. Concept images depict wood and glass clad cantilevered boxes of varying sizes hovering over downtown Vancouver. The new project would fill in what is now a parking lot several blocks east from the current museum. Vancouver urban planners are frequently recognized for embracing both density and nature—and the design for the new museum building also seeks to unite the two. In the renderings, the vertical museum—topping out at seven stories—rises from a public 40,000-square-foot garden courtyard. The expansion would create 85,000 square feet of galleries, including an admissions-free ground level and a seventh-floor terrace displaying sculptures. There are also plans for an education center, a theater, a library, as well as a cafe, bringing the new space to a grand total of 310,000 square feet. There would also be room to grow vertically in the future. “It is so vertically dominated, this city, that to do a museum [that] would only stay on the ground – you couldn’t do it. You have to explore the height which is so much a topic of this city," Christine Binswanger, senior partner at Herzog & de Meuron told the Canadian newspaper, The Globe and Mail. The city is leasing the land for the new building to the Vancouver Art Gallery. The estimated cost for the project: $350 million—to be achieved through a mix of private and public funding, with an expected opening in 2021.
Endless House: Intersections of Art and Architecture Museum of Modern Art The Robert Menschel Architecture and Design Gallery 11 West 53rd Street, New York Through March 6, 2016 The Museum of Modern Art pays homage to the single-family home in Endless House: Intersections of Art and Architecture, a rich exhibition comprised of photographs, drawings, video, installations, and architectural models from MoMA’s collection. It showcases the artistic endeavors of both architects and artists alike with works that span seven decades. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. The inspiration for the exhibit’s name is Frederick Kiesler’s "Endless House," shown in the 1960 MoMA show Visionary Architecture. Courtesy MoMA
On the heels of designing Dallas’s McKinney & Olive tower, his first in the city, Cesar Pelli snagged a competitive proposal as the architect of the Shraman South Asian Museum and Learning Center. The new museum will be located at the corner of Woodall Rodgers Freeway and Field Street in downtown Dallas. Specific details on the museum have yet to be released, but it will be the first museum in the United States exclusively devoted to South Asia; much of the collection will be focused on India. Although Pelli is best known for building some of the tallest towers in the world, the museum is not intended to be a skyscraper, but rather a new cultural addition to the burgeoning area. The proposed 4.7-acre site will be a few blocks away from the Perot Museum of Nature and Science and the not-yet-completed Victory Park complex, making it one of several exciting new additions to the neighborhood.