Posts tagged with "National Building Museum":

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Studio Gang’s “Hive” was inspired partly by the Washington, D. C. Women’s March

What color is your hive? For the new Hive exhibit at the National Building Museum, architect Jeanne Gang and her firm, Studio Gang, chose two colors, a silver shade for the outer surface and magenta for the underside and the floor. The team selected silver, Gang said, because it was a good complement to the marble columns and walls of the former Pension Building, now home of the museum, which provides the backdrop for the installation that opens July 6. And the magenta? “The magenta was inspired by the Women’s March” in Washington, D. C. last January, Gang said during a press preview this week. “It kind of connects back to that.” The color choice was an aesthetic decision, Gang explained. Besides playing off the marble in the museum, she said, “magenta was so present at the Women’s March, when you saw the hats,” Gang said. “You couldn’t help but be inspired by the color. We wanted to bring that out.” The Women’s March took place on January 21, one day after Donald Trump was inaugurated President of the United States, and drew hundreds of thousands of people to the National Mall. It was also around the time when Studio Gang was starting to plan its Washington exhibit, which became the Hive. The pink hats worn at the Women’s March were conceived as part of an initiative called the Pussyhat Project. It was started by West Coast residents Krista Suh, Jayna Zweiman, and Kat Coyle, who envisioned marchers wearing knitted hats that would make a visual statement about the event while also keeping themselves warm. “If everyone at the march wears a pink hat, the crowd will be a sea of pink, showing that we stand together, united,” they said on their website. Pink is an appropriate color for the hats because it’s associated with femininity and womanhood, the organizers wrote. “Pink is considered a very female color representing caring, compassion, and love—all qualities that have been derided as weak but are actually STRONG. Wearing pink together is a powerful statement that we are unapologetically feminine and we unapologetically stand for women’s rights.” On Monday, Gang led a tour of the Hive, demonstrating some of its acoustic components, including tubulums and wind chimes. Hive is a series of chambers made of 2,578 wound paper tubes, and the tubes have nine different diameters. Visitors can enter the chambers or walk around them to see how they were put together. One chamber, 58 feet high, is the tallest structure ever built inside the museum. Gang said the installation, like much of Studio Gang’s work, represents an effort to create spaces that encourage people to “gather and interact.” She described how the museum has planned a series of programs and activities that make use of the hive, including yoga circles and drum circles. “We’re really hoping to create a community, even if only a temporary community of people who come into the museum,” she said. Hive is the fourth “summer block party” exhibit at the National Building Museum and the first designed by a woman-led team. Other summer exhibits were designed by Bjarke Ingels Group (BIG); Daniel Arsham and Alex Mustonen of Snarkitecture, and James Corner Field Operations. Hive opens July 6 and runs through September 4. The museum is located at 401 F Street N. W. in Washington. Jeanne Gang will give a talk about her firm’s work on Thursday starting at 7 p.m. at the museum.
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Watch Studio Gang’s “Hive” installation rise at the National Building Museum

Hive, an exhibition by Studio Gang, will be this year's Summer Block Party installation at the National Building Museum. While it opens July 4, you can watch its progress from the comfort of home, courtesy a work zone cam on the Museum's website. Built entirely of more than 2,700 wound paper tubes, the installation features three interconnected, domed chambers that reach 60 feet in height and mimic insect hives. Its tallest dome features an oculus over ten feet in diameter; it will filter in light to create light and shadow patterns. The tubes, which are made out of sustainable material, have a reflective silver exterior and a magenta interior that contrasts sharply with the Museum’s historic 19th-century architecture and Corinthian columns. Hive's form is inspired by other iconic built structures, including Eero Saarinen’s Gateway Arch and Brunelleschi’s Dome at the Florence Cathedral in Italy, as well as natural forms like a spider web. The smaller chambers also feature tubular instruments ranging from simple drum-like tubes to chimes. The installation creates pockets of spaces within the vast Great Hall, allowing different programs to occur within each area. Its modification of sound, light, and scale aims to challenge the way humans interact with spaces and installation sculptures. Hive will go on display from July 4, 2017, to September 4, 2017. Visit nmb.org to find the web cam and for further information on special exhibitions and programs.
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Studio Gang will design enormous, acoustically-attuned domes for the National Building Museum

Studio Gang will install a human hive in the halls of the National Building Museum this summer. The Chicago- and New York–based studio will erect thousands of wound paper tubes to create three domed rooms, the tallest of which will stretch 60 feet into the air. The tubes, a sustainable building material, range in height from a few inches to ten feet. The installation, aptly named Hive, will anchor the D.C. museum's Summer Block Party, a series of temporary commissions inside its Great Hall. Previous participants include James Corner Field Operations (2016), Snarkitecture (2015), and BIG (2014). “When you enter the Great Hall you almost feel like you’re in an outside space because of the distance sound travels before it is reflected back and made audible,” said Studio Gang founding principal Jeanne Gang, in a prepared statement. “We’ve designed a series of chambers shaped by sound that are ideally suited for intimate conversations and gatherings as well as performances and acoustic experimentation. Using wound paper tubes, a common building material with unique sonic properties, and interlocking them to form a catenary dome, we create a hive for these activities, bringing people together to explore and engage the senses.” The firm's installation will compress the capacious Great Hall, with its imposing Corinthian columns, into intimate spaces for conversation, playing musical instruments, or cooperative building activities for children (and adults so inclined). The tubes also feature reflective silver exteriors and vivid magenta interiors, creating a spectacular visual contrast with the Museum’s historic nineteenth-century interior. Hive will be on view from July 4–September 4, 2017. Check nbm.org for more information about the exhibition and related programming.
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Not your grandfather’s two-by-fours: A new exhibition showcases modern wood construction

Here we are in the year 2016, getting ready to ride in robot cars and eat meat grown in labs, but a skyscraper built out of wood still seems outlandish. Why? Wood is one of the world’s sturdiest and most versatile building materials. It has a single raw ingredient that doesn’t require intensive energy to produce: trees. The Horyuji temple precinct in Japan has wood structures that have been standing since about 700 AD. The onion-domed wooden churches on Russia’s Kizhi Island date to the early 18th century.

Today we have an innate distrust of tall wood buildings, a sense that they’ll roar into flame at the first spark. This distrust is, in part, a legacy of terrible 19th-century conflagrations like the Chicago Fire of 1871 and the Boston Fire of 1872. Those disasters and others led to the adoption of fire codes that prohibited wood structures above a certain height, saving lives in the process.

But it’s the 21st century, and a new exhibition at the National Building Museum in Washington challenges us to let go of our fear and embrace the future. The structural wood products that have recently entered the market are not your grandfather’s two-by-fours. Engineered timber beams have been proven in tests to be just as fireproof as steel, and arguably more so, since their cores as less likely to melt in a fire. They are also surprisingly strong.

In 2009, a nine-story apartment block in London was completed with an all-wood structure—load-bearing walls, floor slabs, elevator cores. Building with modern timber calls for a front-loaded process, which begins with sustainable forest management and expert milling (in close collaboration with the architect), and ends with a relatively quick assembly of prefabricated components. In other words, it changes how materials are sourced and how buildings are built. An overused cliché seems warranted here: Mass timber (the catch-all term for a host of different products) could disrupt the design and construction industries.

On display through May 21, 2017, Timber City occupies a single long room and part of the adjacent hallway on the second floor of Washington’s cavernous National Building Museum. Happily, wood is both the message and the medium in the exhibition design, by Yugon Kim and Tomomi Itakura of the Boston-based firm IKD. Information is presented on tall wooden boards propped against the walls. Large wood lozenges, stacked like pennies, hold the models. It’s a tactile and even olfactory show: Visitors can run a hand down a curved glu-lam beam, count the layers in a sandwich of cross-laminated timber (CLT), and compare laminated veneer to laminated strand lumber. Groups of tree stumps at either end of the room let you sit down for a moment to sniff the air (with so much wood, the room smells great).

Among the projects featured is a carousel pavilion in Stamford, Connecticut, that is just shy of completion, and a charter school in New Haven that opened a few months ago, both by Gray Organschi Architecture. The model of the carousel pavilion shows the undulations of precisely milled CLT in a cupola with three skylights, supported by a glu-lam rim beam. The UMass Design Building by Leers Weinzapfel Associates, now under construction in Amherst, Massachusetts, also makes extensive use of timber, including in its zipper-trussed atrium.

Those structures don’t exactly pierce the sky (the Design Building is four stories). But Framework, a project by Lever Architecture, will rise to 12 stories after it breaks ground next year in Portland, which will make it the tallest timber structure in the United States so far. Framework and another wood tower design by SHoP Architects, 475 West 18th (planned for a site on the High Line), won a prize from the U.S. Department of Agriculture, which is promoting tall timber—another sign this is not a passing fad.

For a small show, Timber City packs in a lot of information, and at times I wished it had more space to breathe. The Timber Over Time mural on one of the short walls is based on a clever conceit: It presents the history of wood construction through concentric tree rings. But as elsewhere, the text is small and dense. A board explaining the “forest-to-frame” life cycle is compelling—it really does seem to be a virtuous circle, with trees harvested at their carbon-storing peak, milled with little waste, and replaced by new growth—but I missed a more vivid sense of how trees become beams and boards. Too bad there wasn’t room to show footage from inside a factory or a time-lapse video of one of the buildings going up. (There is, however, a neat case of different wood byproducts that explains their uses.)

The exhibit is sponsored in part by the lumber industry, and it feels a bit like a sales pitch. But perhaps that’s necessary. The concrete and steel industries are huge; building codes are entrenched and slow to change (many of the early mass-timber buildings have gotten special code exemptions). Still an upstart, the timber camp may have to shout to make itself heard. Timber City proves that we all should be listening.

Timber City National Building Museum, Washington, D.C., through May 21, 2017

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National Building Museum picks Studio Gang for 2017 summer installation

The National Building Museum has announced Studio Gang Architects as the designers of the 2017 Summer Block Party Installation. This year’s installation, ICEBERGS, was designed by James Corner Field Operations. Previous installations include BIG Maze by Bjarke Ingles Group and The BEACH by Snarkitecture. In 2003 Studio Gang designed another installation for the National Building Museum, a hanging translucent marble curtain that was part of  in the Masonry Variations exhibit. Firm founder Jeanne Gang has also served as an advisor for the National Building Museum’s Intelligent Cities project. “We are delighted to embark on a new collaboration with Studio Gang over the next year,” said Chase W. Rynd, executive director of the National Building Museum, in a press release. “With their creativity and impeccable design credentials, they are poised to reimagine the possibilities of this series.” Details will be announced in early 2017, with a public opening planned for July 4th through Labor Day 2017. “It’s great to return to the National Building Museum, where our Marble Curtain was such an important early project for Studio Gang, one that informed our thinking about material innovation and research,” remarked Jeanne Gang in a press release. “We are looking forward to building on the legacy and energy of the summer series, in the historic space of the Museum’s Great Hall.”
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James Corner Field Operations’ “ICEBERGS” exhibit opens at the National Building Museum

  A new installation at the National Building Museum in Washington, D.C. gives visitors an icy antidote to the city’s hot summer temperatures, which are expected to surge up to 100 degrees. Dubbed ICEBERGS, the exhibit lets visitors explore an underwater world of snow and ice. The exhibit, designed by the landscape architecture firm James Corner Field Operations, consists of “icebergs” made from reusable construction materials and a 50-foot “water line” topped by an airy outpost above. The total space of the exhibition is over 12,000 square feet. In addition to exploring icebergs and caves, guests can try a Japanese shaved ice snack called kakigori courtesy of Daikaya restaurant. Last summer the National Building Museum exhibited the Snarkitecture-designed THE BEACH, which featured a massive ball pit that encouraged visitors young and old to go play. THE BEACH also had a 50-foot “shoreline” with umbrellas and beach chairs, and a mirrored wall that made the sea of close to 1 million translucent plastic balls seem to go on forever. This glacial, underwater world contrasts with the hot, sticky Washington DC summer, but it’s also a reminder of climate change. “Such a world is both beautiful and ominous,” said James Corner Field Operations’ founder and director James Corner, “given our current epoch of climate change, ice-melt, and rising seas.” Learn more about the exhibit here.
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Re-Ball! winner Hou de Souse reuses 650,000 plastic balls for interactive installation in abandoned D.C. trolley station

It has been a little over two and a half weeks since the last submissions rolled in March 4 for Re-Ball!, an international competition hosted by Dupont Underground. Raise/Raze, the winning design by New York City-based architecture firm Hou de Sousa, emphasizes interactivity and social interaction, inviting users to make their own mark on the building (and destruction) process. Re-Ball! is an organization seeking to bring life to a defunct trolley station under Dupont Circle in Washington, D.C. The station opened in 1949 and was abandoned in 1962, when the city stopped its streetcar service. (Though in the 1960s parts were used as a fallout shelter and later a food court.) Dupont Underground signed a five-year lease with the city in 2014, and hopes to create a Low Line-like experience, yet with a more cultural bend, hosting art and design exhibitions, community and educational events. They also want to host pop up restaurants and retail, creative incubators, and more, both temporary and permanent. To start activating the Dupont space and get those creative juices flowing, the competition asked entrants to create a site-specific installation repurposing over 650,000 translucent white plastic balls used in a former National Building Museum installation last summer. They asked entrants to create a design to help fill the 14,000 square foot east platform, now mostly raw concrete and subway tile, beneath Dupont Circle. “The winning entry should be thoughtful, provocative, witty, safe, and executable on a limited budget, in a limited time frame, and within the confines of the site,” Dupont Underground wrote in their competition brief. “Raise/Raze is like sand in a massive sandbox; it allows its users to alter their surroundings with ease,” said the designers in a statement. To see the installation when it opens April 30, you’ll need to make a reservation. Advanced admission tickets are available via the Indiegogo campaign. The installation will run through June 1. Check out the finalists here and a gallery of all proposals over here.
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Stay Cool: ICEBERGS ahead at the National Building Museum

The National Building Museum, in Washington D.C., will open a radical new exhibition, ICEBERGS, on July 2 of this year. Designed by New York–based landscape architecture firm James Corner Field Operations, the exhibition will feature stunning underwater glacial ice fields that stretch across the Museum's Great Hall. The one-of-a-kind installation will focus on three recurring themes of construction, geometry, and landscape representation. Part of the museum's Summer Block Party series, Corner's ICEBERGS includes glacial-style landscaping throughout the Great Hall, all coming in a various sizes comprising reusable construction materials like scaffolding and polycarbonate paneling—often found in greenhouses. Hanging 20 feet from the ceiling, a "water line" divides the space which subsequently facilitates panoramic views from both the supposed ocean surface plane and down below by the icebergs. The "bergs" however, aren't exactly small. Designed to appear imposing and at times ominous, the tallest artificial iceberg area will rise to 56 feet, soaring above the waterline up to the third-story balcony. A viewing area has also been incorporated into the inside the largest iceberg, allowing visitors to step inside, walk along an undersea bridge, chill out in icy seabed grottos, choose from a selection of "shaved-ice snacks," and engage in educational programs on landscape architecture and the environment. Corner said in a press release,“ICEBERGS invokes the surreal underwater-world of glacial ice fields. Such a world is both beautiful and ominous given our current epoch of climate change, ice-melt, and rising seas. The installation creates an ambient field of texture, movement, and interaction, as in an unfolding landscape of multiples, distinct from a static, single object." All in all, ICEBERGS will take up 12,540 square feet within the museum. The exhibit runs through September 5, 2016.   “ICEBERGS symbolizes an extreme counterpoint to the sweltering heat of the Washington, D.C. summer,” said Chase W. Rynd, executive director of the National Building Museum. “We hope that James Corner Field Operations’ striking design will provoke both serious public conversation about the complex relationship between design and landscape, while also eliciting a sense of wonder and play among visitors of all ages.”
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James Corner Field Operations will design the National Building Museum’s summer 2016 installation

Following in the stead of Snarkitecture and Bjarke Ingels, New York's James Corner Field Operations will create the National Building Museum's summer 2016 installation. The landscape architecture firm is best known for its outdoor projects such as the High Line, Santa Monica’s Tongva Park and Ken Genser Square, Race Street Pier in Philadelphia, and Seattle’s Central Waterfront. Field Operations will likely bring a fresh perspective inside the building's four-story Grand Hall. The National Building Museum opened in 1985 in the Pension Bureau building, originally built in 1887 and designed by Montgomery C. Meigs, the U.S. Army quartermaster general during the Civil War. Notably, the Italian Renaissance–style building features 75-foot-tall Corinthian columns in the Grand Hall and a 28-panel frieze by American sculptor Caspar Buberl.   A design will be revealed in the spring and the exhibition will run in tandem with the museum's summer block party series. “We are very excited about this opportunity to once again transform the Great Hall for summer spectacle and pleasure,” said James Corner, founder of James Corner Field Operations, in a press release. “It will be a great challenge to surpass the genius of previous installations, but also an opportunity to explore something new and unexpected.” Snarkitecture opted for a giant, monochromatic ball pit (Click to see AN's report on this installation) in 2015 and the year before, Bjarke Ingels took advantage of the hall's height to craft a giant maze (Read more about the maze here). Stay tuned to learn what Field Operations creates for the space. To learn more about Field Operations and its projects, check out the Miami Underline and Great Falls State Park.
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Watch 24 Architecture and Design Teams Create “Canstructions” in Time Lapse

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.
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This giant ball pit in New York City is all about “the transformative power of play”

By now you’ve surely seen a friend or relative’s selfie from the massive ball pit at the National Building Museum in Washington, D.C. The installation, dubbed The BEACH, was designed by Snarkitecture and includes nearly one-million all-white, translucent, recyclable plastic balls. It's like a McDonald's ball pit, but artsier and probably a little bit cleaner. As AN reported earlier this summer, “A mirrored wall at one end creates the illusion of an unending abyss of translucent orbs. Bordering the enclosure is a 50-foot ‘shoreline,’ filled with umbrellas and monochromatic beach chairs for lounging in the sunshine that filters through the window-laden ceiling four stories above.” If you’re not able to hit The BEACH before it closes on Labor Day, you now have another chance to swim through a sea of plastic and strangers. AMNY reported that New Yorkers are getting their very own ball pit from August 21st to September 21st. The installation, called JumpIn!, comes from the London- and New York–based creative agency Pearlfisher. According to the company, the installation is all about “promoting the transformative power of play.” While the ball pit will likely be quite popular, and a lot of fun, let’s not kid ourselves here: with a grand total of (only) 81,000 white plastic balls, JumpIn is a fraction of The Beach. (You win this round, Washington!) https://instagram.com/p/x16nbCpN3D/ JumpIn! will be at Pearlfisher's Soho offices, which are on the 5th floor of 455 Broadway. It's free to enjoy, but reservations must be made in advance. You can do that here. https://instagram.com/p/x6sSRKJN4y/ [h/t Curbed]
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Last year a labyrinth, now a giant ball pit: National Building Museum hosts indoor beach in its Great Hall

The magnificent, four-story Great Hall of the National Building Museum is now a site for executing cannonballs, rolling on the floor laughing, and other acts of gleeful revelry. A giant ball pit filled with recyclable translucent plastic orbs cuts between the colossal Corinthian columns, bounded by an enclosure made from scaffolding, wooden panels, and perforated mesh all painted stark white. A mirrored wall at one end creates the illusion of an unending abyss of translucent orbs. Bordering the enclosure is a 50-foot “shoreline,” filled with umbrellas and monochromatic beach chairs for lounging in the sunshine that filters through the window-laden ceiling four stories above. Adults can recline on “dry” land with a book, play paddleball, or have a drink at the snack bar. The installation, titled The BEACH was dreamed up by Brooklyn-based design firm Snarkitecture, which bills it as “an exciting opportunity to create an architectural installation that reimagines the qualities and possibilities of material, encourages exploration and interaction with one’s surroundings, and offers an unexpected and memorable landscape for visitors to relax and socialize within.” The fun-fest is part of the National Building Museum’s ‘Summer Block Party’ series, which last year hosted Big Maze by the Bjarke Ingels Group. Visitors wandered through an 18 foot-high maple plywood structure inspired by ancient labyrinths, garden and hedge mazes of 17th and 18th-century Europe and modern American corn mazes.