As three-term mayor of San Antonio, Julián Castro was known for innovative governance. His “Decade of Downtown” program campaigned for new investments in San Antonio’s city center and older communities and brought in $350 million of private sector money, generating more than 2,400 housing units. In 2010, Castro was enrolled in the World Economic Forum’s list of Young Global Leaders and named by Time magazine as one of its “40 under 40” list of notable leaders in American politics. At the 2012 Democratic National Convention, he became the first Latino to deliver a keynote. Castro took office as the sixteenth Secretary of the US Department of Housing and Urban Development on July 28, 2014.This year’s festival promises to be an energetic follow-up to the previous years under the direction of Joseph Grima, who has been involved in no less than three Biennials in the last year, including Chicago’s Architecture Biennial and Biennale Interieur in Belgium. IDEAS CITY is also a partnership of The New Museum (Founder), The Architectural League of New York, Bowery Poetry Club, The Cooper Union, Storefront for Art & Architecture, The Drawing Center. Some of the other events that stand out are: —IDEAS CITY Street Program —Institute for Public Architecture: Total Reset —Kurt Andersen, Carmen Yulín Cruz, and others: MAYORAL CONVERSATION: Finding The Invisible City —Rhizome: AIRBNB Pavilion: Stay With Me —Kim Stanley Robinson, Bjarke Ingels: Make No Little Plans: A CONVERSATION IN TWO PARTS:Part 1. Toward A Plausible Utopia —Municipal Art Society, Architizer: Pitching the City —Manny Cantor Center, Laura Nova: Moving Stories
Posts tagged with "New Museum":
Julian Castro, the United States Secretary of Housing and Urban Development, has been announced as the keynote speaker for the third annual IDEAS CITY festival in New York. IDEAS CITY is a biennial street fair that “explores the future of cities with culture as a driving force.” It will launch its third annual rendition on May 28th–30th on the Bowery. Castro will address this year’s theme of “The Invisible City,” highlighting the parts of the city that go unseen, or the forces that are driving change that are not always easy to map. Castro was appointed Secretary of HUD in July, after gaining notoriety as not only an up-and-coming Democratic mayor of San Antonio, who has been mentioned as a possible Vice Presidential candidate in the 2016 race, but also as a strong advocate and innovator in urban policy with a design slant. From the IDEAS CITY website:
Winner of the 2015 Street Architecture Prize Competition proposes spot-on initiative for “consensus-based” architecture
The 2015 Street Architecture Prize Competition recently announced a winner: a temporary public installation made of Geofoam blocks, whose potential extends beyond its built form. Foamspace by architecture collaborative SecondMedia is a series of structures built from the lightweight, expanded polystyrene foam, often confused with Styrofoam. As crucial as mortar though equally invisible, these Geofoam blocks typically fill voids below highways, bridge approaches, embankments and parking lots. They are also used for insulation, sound-proofing, and in shallow foundations. Adopting the theme of this year’s IDEAS CITY Festival: The Invisible City, the project seeks to put these normally invisible blocks at the forefront as they form walls, workshop spaces, corridors, and benches. There will be designated spaces for debate, a stage for performances and an urban lounge for relaxation. In its third edition, The Street Architecture Prize Competition continues to honor designs that propose unique, temporary outdoor structures presenting fresh takes on public gathering. Foamspace, however, will be on view for less than 24 hours. In light of Mayor DeBlasio’s ban (effective July 1) on single-use Styrofoam, also a type of expanded polystyrene foam, the fleeting installation seems to tread the fine line of “single-use.” However, the Geofam blocks will be sold at market price at the end of the festival to pool funds for further architectural projects—therein lies the project’s innovation. Users can register for a digital wallet on the project's website, Foam.Space, to receive a "Foamspace Coin." This coin is a badge of membership in the Foamspace community, in which partakers can vote for, propose, and fund architecture ideas for “consensus-based” building projects in direct response to community demand. “The Geofoam blocks become a visual metaphor for the Bitcoin Blockchain,” Foamspace writes on its website. As soon as the ball gets rolling, the success of each project and publicity generated adds value to the Foamspace Coin, potentially increasing the number of funders and community members on board to make architecture a democratic practice. Foamspace will premiere on the streets of New York City on May 30, together with 100 other selected projects.
Streaming from the ceiling like colored rain, Daniel Steegmann Mangrané’s steel curtain installation is far less delicate than it appears. Up close, the completely see-through curtain of steel mesh looks like raindrops stitched together, whose straight-down free-fall is punctuated by geometric and and insect-like laser cutouts framed in powder-coated steel. The cutouts are painted in a contrasting look-at-me neon shades against the primary colors of the mesh, and those reaching down to the floor are sufficiently large for the viewer to pass silently through. In other instances, the cutouts are positioned at eye level, in which case the viewer must walk straight through the mesh, a metallic clinking sound announcing his or her entrance. Half industrial and half handmade, Mangrané’s installation dithers at the intersection of immateriality and corporeality. Such curtains are frequently found in butcher shops and home entrances. Currently on view through May 24 at the New Museum’s 2015 Triennial: Surround Audience in Manhattan, Mangrané’s curtains operate both as independent sculptures and elements of a larger installation. The installation has migrated to and from various prominent exhibitions, recently generating buzz at the Frieze Art Fair New York 2014 and the Nouveau Musée National de Monaco. Spanish interiors company Kriska Décor produced the mesh curtains for the Spanish born, Brazil-based artist.
Mayor Rahm Emanuel's announcement that Chicago would launch an international festival of art and architecture—its own take on the famous Venice biennale—drew jeers and cheers from the design community both near and far from The Second City. AN called for the show aspiring to be North America's largest architectural exhibition to go beyond tourism bromides. Now the upstart expo has a name, as well as its first show. The inaugural Chicago architecture biennial will begin in October 2015, and will be called “The State of the Art of Architecture,” in reference to the controversial conference organized in 1977 by architect Stanley Tigerman. Tigerman's show celebrated the postmodern rejection of Chicago's old masters like Mies van der Rohe, forging the position of architectural protest group The Chicago Seven. A press release from the organizing committee alludes to the upcoming exhibition's wide scope:
More than a profession or a repertoire of built artifacts, architecture is a dynamic cultural practice that manifests at different scales and through various media: buildings and cities, but also art, performance, film, landscape and new technologies. It permeates fundamental registers of everyday life—from housing to education, from environmental awareness to economic growth, from local communities to global networks.The biennial's first commission was announced Wednesday by co-directors Joseph Grima—a former curator of the Storefront for Art and Architecture, and director of the Ideas City platform of the New Museum—and Sarah Herda, director of the Graham Foundation and AN editorial advisor. Renowned photographer Iwan Baan will contribute an original photo essay about Chicago featuring aerial shots taken at sunrise. The work will “capture the city during a moment of its daily routine,” according to the press release. “Like the Biennial itself, Baan’s expansive photographs interpret Chicago as a realm of architectural possibility, past and future.” The free festival's home base will be the Chicago Cultural Center, but organizers say it won't be restricted to downtown. “Using the city as a canvas, installations will be created in Millennium Park and other Chicago neighborhoods, including new projects and public programs developed by renowned artist Theaster Gates on Chicago’s south side,” reads a press release. “The Biennial will also feature collateral exhibitions and events with partner institutions throughout the city, and will offer educational programming for local and international students.” Tigerman, whose 1977 exhibition is the inspiration for the 2015 show's title, sits on the biennial's International Advisory Committee, which also includes architects David Adjaye, Elizabeth Diller, Jeanne Gang, and Frank Gehry, along with critic Sylvia Lavin, Lord Peter Palumbo and Hans Ulrich Obrist. Ty Tabing, former executive director of the Chicago Loop Alliance and founder of Singapore River One, will serve as the biennial's executive director. Oil giant BP has agreed to donate $2.5 million for the show, but Mayor Emanuel is reportedly seeking $1.5 million more.
The architect of the Bowery Mission John Young of Cryptome was invited by its director Matt Krivich in March to display an art work for the institution as part of The New Museum's just concluded IDEAS CITY street festival. Cryptome was restoring the mission's underground vaults at the time and in August of 2012 put up a wall drawing by Deborah Natsios, a principal of the firm, on the street front scaffolding called Sidewalk Vaults. This original rendering was an illusion to the long history of the vaults as an important structural element of the Bowery, the city's oldest thoroughfare. Natsios agreed to create a work and produced a series of eight panels in the style of Sidewalk Vaults that she called Partywall. This work was meant to question the relationship between the Mission and its neighbor the New Museum and the rapidly changing character of the Bowery. The drawings, Natsios claims, were created, "in good faith (and) received a favorable response from the director, in his invitation to partner with the Bowery Mission during StreetFest." However the panels, it was discovered by the artists, were "taken down within 24 hours (May 2) after we were advised by the Mission of pressure from the New Museum." The director of the Mission Bowery would not comment on this story and for its part a spokesman for the New Museum claims, "the posters were not removed by the New Museum, it was the choice of the Bowery Mission. The Mission and New Museum continue to maintain a close neighborly relationship (and worked together on IDEAS CITY and other projects)." The original work by Natsios can still be seen at 229 Bowery but its a shame the other eight were not viewable during the festival.
The Storefront for Art and Architecture and the New Museum in New York City have announced the winners of the StreetFest Tenting Competition for their upcoming IDEAS CITY Festival, arriving Saturday in front of the New Museum on the Bowery. The international competition asked architects to re-imagine the typical street fair tent with a more compelling and sustainable form. Winner Davidson Rafailidis—lead by Georg Rafailidis and Stephanie Davidson of Buffalo—were chosen for their entry, MirrorMirror, which will premiere at 6:00pm on Saturday May 4th. Like Sir Norman Foster’s recent “Vieux Port” pavilion in Marseilles, MirrorMirror features a reflective ceiling that mirrors street level activity to create a more dynamic urban experience. Meanwhile, the pavilion’s gable roof reflects the surrounding skylines, allowing passersby to engage with nearby architecture without craning their necks. The simple design, constructed from aluminum frames and Mylar mirror foil, suggests the overarching objectives of the IDEAS CITY Festival: raising consciousness about the untapped capital of the urban environment. Last year’s winner, The Worms by New York based Family and PlayLab, will be on view once again. The other submissions for this year’s competition, over 80 in all, can be seen in an online exhibition hosted by the Storefront starting May 1st. The biennial IDEAS CITY Festival will run from May 1-4, featuring conferences and workshops, and culminating in a street festival on Saturday along Bowery, Rivington, Chrystie, and Stanton.
Craving an adventure? The New Museum dares you to travel back in time to 1993 by picking up many of thousands of Manhattan payphones and dialing the toll-free number 1-855-FOR-1993. You’ll find yourself checking your surroundings as you’re immersed into an oral history of what it was like to live on that block in 1993. The project, “Recalling 1993” is part of a larger exhibition at museum entitled NYC 1993: Experimental Jet Set, Trash and No Star, named after the rock band, Sonic Youth’s eighth album recorded in 1993. The organizers of the project connected 5,000 Manhattan payphones to voice recordings left from some of the most popular personalities of the 90’s including comedian Doug E. Doug, former porn actress Robin Byrd, party promoter and club kid James St. James, radio talk show host Brian Lehrer, and CUNY’s Suzanne Wasserman. Hearing their voices recount stories of major events such as the World Trade Center bombing in the Financial District, or a wild night out at the infamous club, Limelight, in Chelsea will either leave you longing for what was or leave you feeling grateful that we’ve come such a long way. Several of the recordings recall some not-so-fond memories of a much more dangerous New York City. For example, Fernando Mateo, President of the New York State Federation of Taxi Driver remembers, “Nineteen ninety-three was a war zone in New York. Cabbies were being killed, 30 to 60 a year.” But not all the recollections are negative. Sister Kevin, who was once the director of the school of nursing at St. Vincent’s Hospital in Greenwich Village, identifies 1993 as the year in which healthcare facilities started to have greater control of the AIDS crisis. Together, the four and a half hours of voice recordings paint an accurate picture of New York during an undoubtedly pivotal year in the 1990s.
The New Museum has been transformed into a real-life game of chutes and ladders, or perhaps a Fun Palace a la Cedric Price, for its new exhibition Carsten Höller: Experience that opened this week and is running through January 15, 2012. The centerpiece of the show is a spiraling stainless steel slide traversing the fourth through second floors and providing what certainly must be the most rapid vertical circulation in the entire city short of a plummeting elevator . We stopped by to check out the slide and, after signing our lives away on a waiver, took a couple rides ourselves. Carsten Höller, originally a scientist, is known for experimenting on others' perceptions of the world around them, and upon entering the New Museum and being confronted by a series of ten-foot-tall mushrooms lined up against the back wall, it was clear Experience would be unlike a typical museum visit. On the fourth floor, the sleek stainless steel of Höller's slide emerges from a concrete floor, offering no insight to where you might end up. Sandwiched between an unusually slow, mirrored carousel and a mobile made of bird cages (and singing live birds), the slide clearly steels the show. Once saddling up on a canvas sheet to speed your descent, the plunge down the rabbit hole only lasts a couple seconds. You don't notice others gawking at you through plastic windows as you fly through what the museum has likened to "a giant 102-foot-long pneumatic mailing system." The spiral deposits viewers on the second floor largely no worse for wear (but watch your elbows on that last turn!) and uncontrollably grinning, perhaps wondering if they had indeed just slid through three levels of an art museum. While many made a bee-line for the elevator back upstairs, we suggest taking the spiral staircase to beat the others back to the line.
Haters of kitsch rejoice! No longer will visitors to the New Museum be greeted by Ugo Rondinone’s glowing, rainbow affirmation. Hell, Yes! has been replaced as part of the museum’s ongoing Façade Sculpture Program. In its place, Rose II, a far subtler work by German artist Isa Genzken. Growing from the first tier of SANAA’s ethereal Bowery building, the sculpture, a 28-foot tall rose, was created in 1993 and reprised in 2007. The New Museum describes Genzken as “an artist whose work re-imagines architecture, assemblage, and installation, giving form to new plastic environments and precarious structures.” Her art “draws on the legacies of Constructivism and Minimalism and often involves a critical open dialogue with Modernist Architecture.” In this respect she will likely be considered a pleasant successor to Ugo Rondinone, whose Hell, Yes! garnered less than favorable reviews when the New Museum opened in December 2007. Though she lives and works in Berlin, Genzken formed a lasting bond with New York when she first visited as a student forty years ago. Rose II, her first public work in the United States, is on extended loan from the David Zwirner Gallery, New York, and will be on view through 2011.