Romantic notions would have us imagine finished sculptural forms as trapped within raw, unhammered rock until the artist who divines their truth liberates them. Isamu Noguchi had a more nuanced understanding of how sculpture might emerge from stone. He saw the final work as the result of a dialogue between subject and object, with the outcome contingent on their chance meeting. Happenstance, as stone was sometimes to Noguchi, was the medium of his friend and occasional collaborator John Cage. Known for setting up frameworks to embrace unintended occurrences, Cage’s work put forward incidental manifestations within parameters he set up as the finished outcome. Naomi Frangos, professor and curator of Inhabiting Surface, an exhibit at the New York Institute of Technology (NYIT), had the student authors of the exhibited works study Noguchi’s sculptures as part of a collaborative project with professor Rennie Tang. As a visitor to the exhibition, familiar traces of Noguchi’s dialogue was apparent in their work. While spending time with artifacts of the process by which they were made, Cage’s chance became palpable. Yet what made the long trip to this remote show in Long Island worthwhile were the ways that these architectural experiments went beyond the work of canonic thinkers to stir the more nebulous topic of specific human bodies that architecture usually neglects. Casting any material is usually done using rigid formwork that sets up stable negative spaces that will produce the same outcome over and over again. Frangos, however, directed students to sew flexible, woven, plastic fabric into sacks of their own design to restrain the concrete while it was still in fluid form. Scaffolding made of the same rebar usually inside the formwork was installed around the flaccid sewn bags and served as restraints to influence the final form as the liquid concrete engorged them. Lime slumped over steel, concrete hardened against plastic to make it appear forever wet. Fabric removed, the shapes that emerged evoked Noguchi chats, yet this time he might have been speaking with a younger stone still plump with baby fat. With Frangos’ technique in the students’ hands, a direction for spatial production opened up to the same uncanny collapse of the distinction between building and body sought by Aziz + Cucher's mole-ridden interiors, festooned with follicles, or more directly akin to Andrew Kudless’ P-Wall. Displayed alongside the sculptural objects were the flayed formwork skins themselves. Like the Shroud of Turin, efflorescent traces of the casting’s seepage furthered a sense of how imperfect human bodies might find their way into how architecture is made. Inhabiting Surface’s greatest promise was the hint toward an architectural future that might become through the process of play, discovery, and openness to the unintended that Frangos and Tang encouraged. As these young practitioners set the agenda for the way buildings are to be made, their next experiments will move up in scale from the sculptural to the inhabitable. In a couple of decades, it is my hope to walk in to a building designed by one of these young people that makes me feel at home in the same time-based body that will certainly have sagged by then as well. Inhabiting Surface, Studies in Variable Formwork Design New York Institute of Technology, Center Gallery, Education Hall, Old Westbury Northern Boulevard, New York February 26–April 2, 2018
Posts tagged with "New York Institute of Technology":
For design and architecture enthusiasts in the New York City area and Long Island, it’s your last chance to see the architecture exhibition Public Practice at the New York Institute of Technology (NYIT) Old Westbury campus before it closes after May 1. The solo show features models and drawings by Brooklyn-based architecture firm, Peterson Rich Office, also known as P.R.O. The exhibit is hosted in the NYIT architecture gallery and holds six P.R.O. conceptual projects that the firm created over the past four years. P.R.O. co-founders Miriam Peterson and Nathan Rich are visiting professors at the university. The school invited them to produce both an exhibit as well as a lecture under the theme of public practice. The projects address design in the context of small public spaces and propose temporary and adaptable installations for parks, sidewalks, plazas, and more. The concepts are “experiments in public space: quick, small-scale design exercises that engage issues related to the public realm in and around New York City,” explained Nathan Rich. “Each proposal is adaptable to multiple sites, and intended to generate dialogue about public space within its built context. They address specific urban conditions, but could be installed in a wide variety of spaces.” The six P.R.O. projects all feature two renderings as well as a ¼ scale 3D printed model. The models rest on mirrored tables “that reflect the public space around our designs, inviting viewers to consider how they might be a part of the work,” said Rich. There’s Stoop (2016) that considers the stoop as means of transition between public and private space along New York City Housing Authority (NYCHA) fences. “The stoop, a common space for interaction, is precisely the mediator between the public and private realms that is lacking in NYCHA campus planning,” Rich said. “At a time when affordable housing is very much in the public discourse, we decided to use this familiar form to think about how we can chip away at the edges of public housing superblocks, and start to think about integrating them back into the urban fabric.” There’s also Brooklyn Cloud (2012), conceived as a temporary traveling exhibit for downtown Brooklyn spaces that cannot be developed. “As a reaction against the static, sculptural designs that are more typical of architectural installations in public spaces, we conceived of this installation as a series of white air dancers: nylon tubes powered by high velocity fans.”
Prismatic pyramid evokes desert mirage by day, Aurora Borealis by night.Given that their pyramidal acrylic installation at this summer's Burning Man was inspired in part by Pink Floyd's Dark Side of the Moon album cover, it seems safe to say that the architects at Red Deer "get" the festival's vibe. "We try to get very intimate with our sites, so it was interesting to approach one that we hadn't been able to visit," said founding director Ciarán O'Brien. "Some of the primal forces we could see at play there were the heat of the desert and the way people interact with structures. Specifically, for us it was about light in all its forms." The UK firm worked closely with the structural engineers at Structure Mode to design a transparent six-meter-tall structure comprising interlocking equilateral triangles, while New York Institute of Technology professor Charles Matz contributed an integrated light display based on the Aurora Borealis. "All kinds of imagery came to mind that held to the desert landscape," said O'Brien. "By day, the concept evoked a mirage; by night, a kaleidoscope. One is ephemeral, a non-place; the other is specific, a beacon." Called Luz 2.0, the Burning Man installation is only the latest iteration of an ongoing exploration of the relationship between matter and light. The project began as a response to a commission for a band pavilion. "Red Deer's original idea was a scaffolding framework that would be clad in some reflective material," recalled Structure Mode's Geoff Morrow. "We suggested going one step beyond that and building an acrylic pyramid, to make it much more special." The clients canceled, but the designers applied for grants, ran a successful Kickstarter campaign, and debuted Luz at Secret Garden Party 2013 in Abbots Ripton, England. The first Luz featured a touch-sensitive floor screen-printed with a colorful pattern that appeared to change shape under different lighting conditions. For Burning Man, Red Deer omitted the floor "so that you interacted with the playa landscape," said O'Brien. Red Deer and Structure Mode jointly developed Luz 2.0's reciprocal modular system. "It was really interesting investigating how all these different connections could work, what different shapes could work within a three-sided pyramid," said Red Deer's Lucas Che Tizard. "The system we use is composed of equilateral triangles, but it actually gives us more than just pyramids—you see hexagons as well." The architects worked first with hand sketches, then transferred their ideas to SketchUp before moving to 3ds Max, Rhino, and Vectorworks to finalize the structure and start to explore how the modules would connect to one another. Structure Mode analyzed the design's structural stability in Oasys' GSA Suite. Red Deer flattened the final design and emailed the files to the CNC cutters. At that point the three-dimensional installation "became a flat pack kit," said O'Brien. "Part of the challenge was that each of these pieces should be human-sized, so that they could be built by a small team using basic tools in desert conditions." To simplify installation, Structure Mode developed a streamlined bolt-and-nut assembly based on furniture-making connections. "In a way it's kind of low-tech, but it looks high-tech," said O'Brien. The UK contingent shipped Luz 2.0 to the Nevada desert in three crates. The components took longer than expected to arrive: though they had hoped to begin installation on Monday, the architects were forced to wait until Thursday. Nonetheless, the on-site crew managed to assemble the pyramid in just two days using hand drills. Matz's team, meanwhile, arrived on site with the electronics, including custom hardware based on 3D models sent to them by Red Deer. The installation of the lighting system "came together seamlessly," said O'Brien. "We were somewhat concerned about voltage, but it worked out." The only disappointment involved the Mogees sensors, designed to trigger changes in the light show as visitors climbed on and around the pyramid. They worked well in a small-scale test, but "unfortunately the settings didn't translate to the seven-meter structure," said O'Brien. "I can't say it fully fulfilled that brief." Red Deer and their collaborators will soon have another shot at realizing the vision behind Luz 2.0. As befits the installation's emphasis on the immaterial—not to mention the ethos of Burning Man itself—the architects plan to re-erect the structure elsewhere. "We've had quite a few offers from various benefactors, but we haven't figured out what would be best," said O'Brien. "Right now it's in storage in Reno, awaiting its next move."
Architecture students from the New York Institute of Technology (NYIT) are returning to Nosara, Costa Rica to continue work on a recycling center to help alleviate the region’s overlooked municipal solid waste management problem. Led by architect and professor Tobias Holler of HOLLER architecture, the NYIT team began designing and building the recycling center last summer with the help of a Kickstarter campaign that raised over $20,000 in four weeks. To complete the project, the team has launched another Kickstarter campaign and with just 13 days to go before the campaign ends, $5,130 still needs to be raised. The recycling center design was generated by a NYIT student competition. The submissions were posted online and reached 43,000 voters. Winning the competition was a modern design inspired from Costa Rica’s natural materials and local designs. It features a community space and recycled building materials. Track the project's progress on its Facebook page and blog.
The Aluminaire House is homeless once again. Built in 1931 for the Allied Arts and Industry and Architectural League Exhibition, the house introduced prefabricated design methods espoused by Le Corbusier to an American audience. Corbu disciple Albert Frey designed the house with A. Lawrence Kocher, onetime editor at Architectural Record. After more than 100,000 visitors passed through, the architect Wallace Harrision snapped it up and placed it on his estate to be used as guest house. The building later was featured in Hitchcock and Johnson's 1932 MoMA exhibition and in their book The International Style. Eventually, the house came under the care of the New York Institute of Technology and onto their former Islip campus. Last month, the house was dismantled once again and handed over to the newly formed Aluminaire House Foundation, run by architects Frances Campani and Michael Schwarting of Campani and Schwarting Architects. It would seem that the repetitious reassembly and dismantling has inadvertently supported the modular mass production theories of the house’s designers. With that in mind, the foundation is looking for a low-rise high-density site on the outskirts of New York City where the house might not necessarily be an aesthetic fit, but a theoretical one. In a telephone interview Schwarting said that that a place like Forrest Hills Queens, where Kocher once lived, might be an interesting notion, in so much as this too was middle class housing for a planned community. The group has also identified a site in Sunnyside Gardens, which was arose in nearly same period of the Aluminaire, but was built in a stripped-down colonial revival style. But Schwarting noted that, like Sunnyside's housing stock, the plan for the house was to be as repeatable as the multiblock redbrick abodes found there. “They were both looking at housing problems at the same time,” said Schwarting. “They’re visually very different, but they were addressing the same issues.” The group has looked into other locales and entities. They’ve been in touch with Barry Bergdoll at MoMA. “It’s fairly demanding in putting the house back together the way it was,” said Schwarting. “With a museum it becomes an art object and I don’t think we need to go that far.” Giving the house over to a public entity such as the Parks Department would involve all negotiating a caretaker situation with a department that is already stretched to the limit, as was demonstrated in the recent Poe Park Visitor Center debacle. They even talked to Richard Meier as he did the layout for the Houses of Sagaponac development, but that deal fell through, which was probably a fortuitous. “We hope to return to the house to the agenda of the early modern movement,” said Schwarting. “If we can put it in a reasonable setting, where its original intentions for affordable housing are reflected, that would be ideal.”
Stephen Cassell, principal of Architecture Research Office, has been elected Chair of the Van Alen Institute Board of Trustees. Cassell takes the reins from Abby Hamlin, president of the real estate development company Hamlin Ventures. Gretchen Bank, who currently serves as the Marketing & PR Committee Co-Chair at AIA New York, steps into the position of Director of Business Development & Marketing at Cosentini Associates, effective February 6. Architect and New York Institute of Technology (NYIT) alumnus Peter J. Romano has joined NYIT's Board of Trustees. With his wife, Jane, Romano established an endowed scholarship fund for students attending NYIT’s School of Architecture and Design. The bathroom fixtures company Duravit has appointed Frank Richter to succeed Franz Kook as Management Board Chairman; Kook has retired after 41 years with the company. Have news on career moves in the architecture & design universe for SHFT+ALT+DEL? Send your tips to email@example.com!
December 7, 2010, a day that will live in memory, as opposed to infamy, for winners from New York Institute of Technology’s (NYIT) Student Design Competition held at the Intrepid Sea, Air and Space Museum. Students were charged with creating a sustainable airplane hangar on the deck of the floating museum for under $1 million. Chosen among the six finalists, Team Alphabet Soup walked away with the $3,000 prize by incorporating renewable energy into the design and developing a educational environment for museum visitors. After several years of participating in the Solar Decathlon sponsored by the U.S. Department of Energy, the school decided to take that interdisciplinary model on the road, or river, as the case may be. The Intrepid currently maintains and restores their collection of 30 aircrafts inside a white plastic tent on deck. A former NYIT alumnus who works for the museum lobbied for the school’s participation in a redesign. As an extracurricular activity, the contest supplemented student coursework with the faculty acting as coaches. “The students got a taste of what a real jury looks like. That was real pragmatic,” said Associate Dean Frank Mruk of a stone-faced jury made up of museum and school officials. “The judges were the real world experience,” agreed the winning team leader Luke Ferland. “But we were up for it. They were really engaged with the structure.” The winning concept riffs on the ship’s history with five descending tiers of the structure representing the five kamikaze attacks that the ship sustained during the attack on Pearl Harbor in 1941. The hangar rises toward the superstructure of the ship leaving a 28-foot gap between itself and the command control tower. Catwalks and deck side windows furnish visitors with a glimpse of the restoration process. A multipurpose interior space allows for rental income and provides an enviable perch from which to view Fourth of July fireworks. The matte gray structure provides 130% renewable energy through wind turbines and solar panels. “We’re kind of using the ship as a grid,” said Ferland. “We gave the ship the ability to siphon off the extra energy.” The winning design will become the basis for senior level design classes in engineering, computing sciences and architecture. Ultimately, students will finalized the design with Ted Moudis Associates, sponsors of the competition. Mruk said he expects the museum to start building the new hanger by late next year. He added that the ultimate reward for students remains in the effort. Participant Colin Joyce agreed: “I haven’t slept in five days. No joke.”