Change is underway at Chicago's Museum of Contemporary Art. At a press conference Friday MCA officials revealed that the institution is working on a new image, new programming and even a new master plan for the museum's space led by Los Angeles–based design firm Johnston Marklee. The announcement was timed to coincide with the last push of a major fundraising campaign. The museum has quietly raised $60 million in recent years, nearing a “vision campaign” goal of $64 million. Today they revealed their latest donation: $10 million from Kenneth Griffin, an MCA trustee who is also the richest man in Illinois. MCA's fourth floor galleries will now bear his name. “We've been thinking about what a 21st Century museum looks like,” said Madeleine Grynsztejn, MCA's director. Citing figures from the National Endowment for the Arts, Grynsztejn said the museum needs to become more “responsive” to the community—“a civic institution of local necessity and international distinction.” Part of that mission includes converting the cafe space into an “engagement zone” for public events, performances and education. Museum goers looking for a snack will have to find it on the first floor, where a new restaurant will front onto Pearson Street. Those and other changes to the 1996, Josef Paul Kleihues–designed building's programming are part of a new masterplan currently in development at the offices of architects Sharon Johnston and Mark Lee. Dutch designers Armand Mevis and Linda Van Deursen of the firm Mevis & Van Deursen also designed a new logo for the museum—part of a larger campaign to rebrand the museum and reengage with a public tempted to seek out art online or otherwise outside the Streeterville museum's walls. MCA has had some success reinvigorating popular conversation about contemporary art with its David Bowie Is exhibition, which recently wrapped up its run at the museum after drawing nearly 200,000 visitors—an MCA record, according to Grynsztejn. “The Bowie show challenged the MCA to raise our game,” she said. That could include expanding hours or more drastically reconsidering the museum's model, Grynsztejn wondered aloud Friday. But it will definitely include more shows for young artists on the cusp of a breakout, said curator Michael Darling, as well as more interactive exhibitions. Darling pointed to an upcoming residency by the Grammy-winning chamber group Eighth Blackbird, which he said would include unannounced and improvised performances throughout the museum, with the intent to connect the public with contemporary music and the process of creating it.
Posts tagged with "Music":
Undulating birch walls create pockets of privacy in an apartment building lobby.When Boston design and fabrication firm Radlab began work on Clefs Moiré, the permanent installation in the lobby of One North of Boston in Chelsea, Massachusetts, they had relatively little to go on. They knew that the apartment building's developer wanted a pair of walls of a certain size to activate the lobby space, but that was about it. "Normally we get more information, so we can come up with a story—a concept based on the building and its requirement," said Radlab's Matt Trimble. "For this we pulled back and said, we have an opportunity to be a little more abstract about how we approach this conceptually." Inspired by moiré patterning and a harpsichord composition by J.S. Bach, the team designed and built two slatted birch walls whose undulating surfaces embody a dialog between transparency and opacity. The client's interest in achieving moments of privacy within a public space led Radlab to moiré patterning, the phenomenon in which a third pattern emerges when two other semi-transparent patterns are superimposed on one another. Trimble compares the moiré effect to standing in a cornfield. "It's not until that moment when you look at it from the perpendicular that you see the rows of corn," he said. "When you look to either side, the crossing prevents you from seeing depths." The designers decided to think about the two walls as a single volume that would later be split. "There's this potential for reading it as a single wall when you look at it from different perspectives," explained Trimble. "This made sense because the project is about viewpoint. If you're perpendicular to the wall, you see straight through it." Radlab began with a traditional approach to moiré patterning, playing with identical vertical components set askew to one another. Then they looked at J.S. Bach's Partita No. 2 in B-flat Major: Gigue. Bach's challenging composition requires the performer to cross his or her hands, the left hand playing the treble clef while the right hand plays the bass. "That became an inspiration for a way to structure and organize the two walls," said Trimble. "To think of one as being the result of a bass set of wavelengths, and the other as a treble set." The designers realized that they could modulate the metaphorical wavelengths across both the vertical and horizontal sections to create an interesting, and varied, third element. "That's where the Gigue became influential," said Trimble. "It gave us a way to create a rhythm in the wall that would pace itself." The team relied heavily on Rhino and Grasshopper both to design the installation and to plan fabrication. "We would create various iterations in 3D modeling software, then disassemble them into the flat XY plane and try to understand: how would we actually build this?" said Trimble. Simpson Gumpertz & Heger's Paul Kassabian provided crucial help with structural engineering, including designing a base plate that is invisible except when the wall is viewed from a 90-degree angle. Radlab CNC-milled the wood slats and spacers before coating them with varnish. "Fabrication was long and arduous, but it challenged us in really great ways," said Trimble. The group developed a hanging mechanism to efficiently apply fire retardant to the ribs. To prevent varnish from adhering to the points of connection between the ribs and spacers, they fabricated each spacer twice, once out of birch, and once out of chipboard. They affixed the chipboard templates to the ribs before spraying the varnish, leaving an untouched patch for the final spacer. "It was process-intensive, there was no getting around that," recalled Trimble. "But we embraced that process-intensive journey from the onset, to see if there were ways we could be creative about creating improvements to make fabrication more efficient." On site, Radlab laid down templates of the base plates to drill holes for the anchor bolts, then returned with the walls themselves. Each wall was prefabricated of four panels and assembled in the shop. "They tilted up almost like tilt-up concrete walls," said Trimble. In addition to having inspired the form of Clefs Moiré, Bach's Gigue works as a metaphor for how the finished walls perform in space. "It starts and stops abruptly," explained Trimble. "There's no crescendo or tapering of intensity. The walls do the exact same thing: there is no rising up from the ground or falling into it. They start and stop in a similar way."
As the world of 3-D printing advances, it's becoming possible to create more and more complex shapes and systems. Now, the technology is making waves in the music world. Olaf Diegel, a professor of product development at Lund University in Sweden, recently produced the first ever 3-D printed saxophone. The saxophone isn't Diegel's first foray into musical printing—the professor has created other instruments including a guitar and drums—but this prototype appears to be the most ambitious yet. He believes the technology has great potential in creating customized instruments tailored to the individual needs or aesthetic choices of each musician. The prototype of Diegel's 3D printed alto saxophone, which he can actually play, took about six months to create using 3D modeling software. "I first designed the saxophone in 3D CAD software. Then, I sent the model to the 3D printer which sliced it up into very thin slices, and then 'printed' each slice, one on top of the other until the whole sax was printed," Diegel said in a statement. "In this case, it 'printed' each slice by spreading a very thin layer of plastic powder, and a laser then scanned the shape of the sax for that layer. After that, it spread another layer of powder on top of the first, and repeated the process again and again until the whole sax was done." The 3D printed saxophone is comprised of 41 different parts (not including springs and screws) and is a quarter the weight of a traditional metal sax. He admitted that a few notes on the instrument are out of tune due to air leaking between the parts, a flaw he is aiming to correct in future versions. For instance, the prototype was designed essentially as a clone of a traditional sax, but Diegel said a future version designed specifically for the digital manufacturing process might look different. "The next version will be even better looking, as 3D printing allows me to create shapes that would be impossible to make with traditional manufacturing," he said. A new version is expected later this year.
More than one year after Reed Kroloff announced he would leave his post as director of Michigan’s Cranbrook Academy of Art, the illustrious arts campus and museum has plucked an art museum director from the West Coast to fill his shoes. Christopher Scoates has worked with California State University Long Beach since 2005. A native of England, he has a Master of Fine Arts in Photography from Cranbrook and more than 25 years of experience in universities and art schools. As a curator he has organized exhibitions bringing together music, lighting, and various media for shows that have traveled the country. “Cranbrook Academy of Art's rich legacy and history of innovation have made it one of the top institutions of graduate education in the visual and fine arts,” Scoates said in a statement. “Together, the Academy and Museum share a commitment to new art and new ideas, and I look forward to developing new partnerships, alliances, and audiences that will extend both the Academy and Museum programs far beyond the walls of the campus.” His appointment takes effect August 1st. Cranbrook is a top ranked, graduate-only program in architecture, design, and fine art famous for its Saarinen-designed campus and small class size—just 150 students per year. (Disclosure: Kroloff serves as an editorial advisor to The Architect’s Newspaper.)
Unfrozen Music Santa Monica Main Library Saturday, October 26th, 2013 7:00-9:00pm Martin Luther King Jr. Auditorium 601 Santa Monica Blvd., Santa Monica, CA It's that time of year again: time for local architects to put down their laptops and pick up their musical instruments. This Saturday, October 26, Shimahara Illustration will hold its fifth annual Unfrozen Music concert at the Santa Monica Main Library. The concert program includes six short sets performed by Los Angeles architects. AN's West Coast Editor, Sam Lubell, will MC the event. Performers include Alice Kimm (principal of John Friedman Alice Kimm Architects and Director of undergraduate programs at USC) on piano, Jonathan Ward (Partner at NBBJ) on acoustic bass, Terence Young (Design Director for Aviation, Transportation, and Retail Entertainment at Gensler) on cello, and many more. The concert series takes its name from a quote by theorist Johann Wolfgang von Goethe: "I consider architecture to be unfrozen music." This year's event will feature digital animations corresponding to each piece, a new wrinkle that will bring in a visual element; fitting considering who is performing.
A system of 946 unique panels will produce optimal acoustics and aesthetics at the University of Iowa's new School of Music.For a 700-seat concert hall at the new School of Music at the University of Iowa, Seattle-based LMN Architects wanted to design a high-performing ceiling canopy that would unify the many features of traditional theatrical and acoustic systems. The result is a 150-foot-long by 70-foot-wide surface composed of 946 suspended, intricately laced panels that incorporate complex, interdependent, and at times conflicting systems—including lighting, theatrics, speakers, sprinklers, and acoustical functionality—in a unified architectural gesture. "The system is sculptural for sure, but it had to conceal structural truss work, which was a major cost savings as opposed to building an acoustic container," said Stephen Van Dyck, a principal at LMN Architects. The design team worked with both parametric digital and physical models to coordinate the structural system with the acoustic, theatrical, audio/visual, lighting, fire, and material elements of the canopy. "From Day One, it was a digital model," he said. "We needed a smaller physical model to get everyone's head around making this happen physically. A three-foot room model has a big impact on ability to conceive." LMN fabricated the scale model, as well as a few full-sized components, on the firm’s 3-axis CNC mill. The canopy is divided into hundreds of panels, each of which is unique to accommodate the needs of the many systems. Along the back of the canopy's perimeter, panels feature large openings so that the sound profile of each concealed speaker passes through unimpeded. Other panels along the perimeter are designed with varying degrees of acoustic transparency relative to the size of openings on surrounding panels. Medium openings toward the back of the canopy house stage lighting, while smaller openings accommodate house lights. Panels with the smallest openings, or those less than 70 percent open, conceal sprinklers, while the solid panels that droop down over the stage are angled to effectively reflect sound into the house. "From the audience, the intent is for sound to reach you quickly rather than for other sounds to arrive slower," Van Dyck explained, "so the sculptural gesture brings sounds right back to the audience." The many consultants who contributed to the design worked in different digital formats. The acousticians used SketchUp; the lighting designers worked in Revit; and theater and audio/visual specifications were saved as DWG files. Each program was compatible with Rhino and, with a Grasshopper plugin, LMN was able to incorporate information from all other platforms. "The parametric model was very flexible and let us accommodate changes all along as developments came from other contributors," Van Dyck said of the design process, which he described as more cyclical than linear. The parametric capabilities of the digital tools that the team used helped facilitate a smooth and efficient documentation process during the mock ups, making it easy to go back through any kinks that were uncovered. LMN built the mockup from aluminum composite paneling, a relatively inexpensive metal system composed of two layers of aluminum with a composite core. The material is highly flexible and it can be bent by hand after scoring on the CNC mill. This process could potentially eliminate on-site fabrication requirements. Fabrication data generated by this production model will be applied to all 946 of the unique panels in the final project. Documents will go to bid this summer, and the building is expected to open in 2016.
Chimes Bridged. It seems there's something to making music while we walk. First a Swedish architect designed piano stairs and now an artist has created a musical bridge. Blending the sculptural, auditory, and kinetic, artist Mark Nixon designed a whimsical bridge that "sings." Chimes hidden below the span are activated as visitors walk across, Gizmodo says. The musical creation was last displayed at Sculpture by the Sea, an exhibition in Aarhus, Denmark. Village Uncovered. Villa Epecuen, a town located on Lake Epecuen, southwest of Buenos Aires, was flooded in 1985, but now after more than two decades, the water is receding. Photographs by The Atlantic uncover a strange, haunting landscape: aerial views expose the original street layout of the town, while others reveal original trees and cars visible amid the rubble. Carmageddon Averted. For two days last weekend, the busiest stretch of highway in America—the 405 Freeway in LA—was shut down for construction. While many feared disastrous traffic jams bringing life in LA to a halt, it turns out that life went on without incident, according to the LA Times. During the traffic-non-event, JetBlue offered to fly residents between two of the city's airports in Burbank and Long Beach, sparking a challenge from cyclists who said they could make the trip faster. As reported in Slate, it turns out the bikes were right, making the trip nearly an hour-and-a-half faster than by plane. Destruction Archived. Information Aesthetics points us to the “Hiroshima Archive” which documents the extensive societal and structural devastation the atomic bomb caused 66 years ago. Using Google Earth’s virtual globe, the digital archive exhibits topographical maps, contemporary building models, photographs, and personal accounts from the Hiroshima Peace Memorial Museum, the Hiroshima Jogakuin Gaines Association, and the Hachioji Hibakusha (Atomic Bomb Survivors) Association.
Architecture is often referred to as frozen music, but with a little digital technology, artist Blake Carrington has learned to capture the "diverse rhythms, drones and textures" from the stone walls of cathedrals. In his aural performances called Cathedral Scan, Carrington uses a church's floor plan combined with the space's unique acoustics to create to generate his his unique architectural sounds. Here's more from the artist:
Groups of scanners filling the sonic spectrum may act in synch, forming a single harmonically-dense rhythm, or they may scan the plans at different speeds, resulting in complex polyrhythms. Each plan is treated as a modular score, with a distinct rhythm and timbre of its own. Also, by varying the speed and intensity of each scanning group, drone-like sounds may emerge based on the “resonant frequency” of the black and white plan.This Thursday, March 3, Carrington will reveal the hidden sound of New York's Basilica of St. Patrick's Old Cathedral for a CD release concert. He will be joined by audiovisual artists Mark Cetilia (of Mem1) and Kamran Sadeghi. More information on the AN events diary. (Via BldgBlog.) The video below captures the digital output of Cathedral Scan without the reverberations and echoes unique to each space, but the live event sounds like it could be quite a spiritual experience.