Architect Peter Marino is opening his contemporary art collection to the public and has revealed plans for an eponymous art foundation and accompanying museum in Southampton, New York. The architect, who was recently stripped of awards by the AIA because of harassment charges, is no stranger to designing gallery spaces, but Marino is also well known as a collector, having amassed several thousand pieces of art from across the late 20th and 21st centuries. Marino announced the creation of the Peter Marino Art Foundation during the opening ceremony of Counterpoint: Selections from The Peter Marino Collection at the Southampton Arts Center. The show, which runs from July 28 through September 23, pulls from Marino’s personal collection and includes work from artists that range from Robert Mapplethorpe to Damien Hirst. The show also includes sculptures and photographs from Marino’s completed architectural projects and gardens. The Peter Marino Art Foundation will be housed in the building next to the Southampton Arts Center, in what was originally the Rogers Memorial Library. The two-story, 8,000-square-foot red brick building at 11 Jobs Lane was designed by R.H. Robertson and completed in 1896. The building has been used to house pop-up retail and an interior design firm after the Parrish Art Museum, which had been using the library as an annex, departed for the neighboring town of Water Mill in 2012. Marino has purchased the building and plans to begin renovating the former library in September 2019, with an estimated opening date sometime in 2020. The foundation will focus on exhibiting work from local visual artists in addition to showcasing Marino’s own collection and will host rotating shows from guest artists as well as workshops and educational programming. When asked for comment, Marino mentioned the tight-knit nature of communities in the Hamptons. “When the Parish museum left for Watermill it unfortunately left a hole in Southampton, in terms of dedication to the visual arts within the village,” said Marino. “We intend to restore 11 Jobs Lane to its original purpose. Counterpoint: Selections from The Peter Marino Collection is a taste of the art that will be at the Peter Marino Art Foundation. Hopefully it will be a premier spot for art, for anywhere in the world. “My wife and I have been here since the early 90s and we came here because we love the village of Southampton. We love the village, we love the trees, we love Lake Agawam, the inlet, the ducks and the swans. I’ve been working on architectural projects in the Hamptons for over 30 years. For my own home, I’ve been working on its gardens (in Southampton) for over 20 years.” No cost estimates for either the purchase of the building or construction have been given. Marino has stated that he hopes the foundation will be able to work in tandem with the adjacent Southampton Arts Center to further both institutions.
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In a sign of how the #metoo movement is reverberating across the field of architecture, today AIA New York (AIANY) announced that it would be stripping recent awards from Richard Meier and Peter Marino, two New York City architects accused of sexual misconduct. The AIANY Board of Directors rescinded Meier and Marino’s 2018 Design Awards. Meier’s serial harassment—as well as an alleged assault—were exposed in a New York Times story last week. Though Marino’s conduct hasn’t been covered extensively in the media, the architect is facing a harassment suit. AIANY Executive Director Benjamin Prosky explained the board’s reasoning in a short statement. “Our decision does not speak to the design quality of the projects or the contributions from the respective firms’ design teams. Rather we cannot in good conscience confer these awards under these circumstances.” The 2018 award winners, minus Marino and Meier, were announced in January, and will be fêted at an April luncheon. Peter Marino Architect was expected to accept a Merit Award for the Seagram Building’s Lobster Club restaurant, while Richard Meier & Partners Architects was to be honored with the same for its work on the Leblon Offices in Rio de Janeiro. There were 32 (now 30) award winners in all. The AIANY is far from the only professional organization to distance themselves from Meier following the Times report. Ben Derbyshire, president of the Royal Institute of British Architects (RIBA) has condemned Meier's behavior (he was honored with the association's Gold Medal in 1988), while AIA National stated it was "deeply troubled" by the allegations. In a statement, AIA president Carl Elefante, FAIA, reiterated the organization's stance against sexual harassment. “AIA stands by a set of values that guide us as a profession and a Code of Ethics that define standards of behavior for our members. Sexual harassment is not only illegal, it flies in the face of our values and ethics,” said Elefante. “We are deeply troubled by the allegations in The New York Times today, and believe that sexual harassment—in any form and in any workplace—should not be tolerated and must be addressed swiftly and forcefully.” Peter Marino Architect has provided the following statement to AN in response: "PMA is committed to eliminating harassment from the workplace as is any other member of AIA New York. But AIA's new policy goes too far. According to AIANY's new policy, if there is any allegation pending - regardless of merit - AIANY bars a member from being honored. In the case of Peter Marino, had AIANY just read the public record, it would have learned that PMA has disputed the sole hostile work environment claim against the firm, a claim raised by a claimant who quit her PMA job and is trying to use the courts to have her employment reinstated. In fact a pending motion seeks sanctions against the claimant, who has been countersued by PMA for malfeasance and insurance fraud. That dispute with a former PMA employee bears no resemblance to the type of misconduct that has garnered much recent public attention. Nor does it merit any public rebuke from the AIA or any other professional colleague."
Luxury New York architect Peter Marino is allegedly being sued for making racist and sexist comments. Deirdre O’Brien, Marino’s former office manager, worked at his eponymous firm for 14 years. On October 26, Marino allegedly “’unleashed a tirade’ against her in front of male executives… He ordered her out, calling her a ‘c–t’ as her back was turned” reported the Post's Page 6. The suit also alleges that this is not an isolated incident, but rather the tipping point for O’Brien, who claims that Marino has a history of making racist comments against his black and Asian employees, as well as calling his female employees offensive names. O’Brien claims that she was fired after issuing a complaint to the HR department, which is what led to her unfair dismissal suit. Marino, known as “fashion’s favorite architect,” has designed hundreds of stores for high-end fashion brands such as Chanel, Christian Dior, Bulgari, and Louis Vuitton, and got his break designing Andy Warhol’s townhouse in 1978. Recently, he designed a 12-story residential building on New York’s Highline with developer Michael Shvo. He is also rather infamously known for his biker-inspired, full-leather get-ups—replete with codpieces. Unfortunately for Marino, not everyone has leather-thick skin when it comes to being called the c-word.
In the insane race to build more and more luxury condos in New York City, the High Line is staking its claim as the scrappy younger sibling of Billionaire’s Row on 57th Street. The latest addition will be an 8-unit, 47,000 square-foot building by “the leather daddy of luxury,” Peter Marino. The new building will be developed by Victor Homes and Michael Shvo. It will be located at 239 Tenth Avenue, at 24th Street, right near the High Line. At first glance, we were nervous that this new structure would abut one of the best buildings on the ‘Line, Neil Denari’s HL23. However, the building in the rendering's background faked us out—it's actually a very similar building to HL23 at 245 10th Avenue, which straddles the corner lot that Marino’s boxy structure will occupy. What makes this building odd is that it is not a typical Marino design. Usually, “the leather daddy of luxury” dispenses over-the-top, opulent designs that are perverse in their subversion and skirting of the logic of efficient detailing. The initial rendering of 239 Tenth shows little in common with Marino's flashy and very luxurious interiors and retail spaces. Instead, the facade appears as a flat black grid with uneven yet predictable fenestrations. We'll be waiting to see the details.
The fabulous Peter Marino has designed a fabulous new store for Chanel in Soho, which opened Friday for Fashion Night Out. It’s so fabulous that Chanel Global Creative Director Peter Phillips created a new makeup line paying homage to Marino’s sleek lines and the sleeker girls who hobble about the cobblestone streets surrounding the store. As for the renovation itself, it was inspired by the artsy spirit of the neighborhood and features an acrylic Chanel No. 5 bottle that stands over 10 feet high and will display video art as well as video of runway shows from Paris. The newly outfitted boutique has a gallery feel to it, complete with commissioned artworks by Peter Belyi, Alan Rath, and Robert Greene. More makeup and makeover after the jump.
PEOPLE'S CHOICE AWARDS Who among us hasn’t been following the pruning at our beloved Condé Nast? “Cold,” we gasped as the swag was packed up and shipped to the catacombs under 4 Times Square. “Just plain mean!” we stammered when Gourmet was euthanized. Cold and mean are economic realities across the board these days, so we soldier on. Recently, however, we learned of a totally out-of-character editorial move at Vanity Fair editor Graydon Carter sent letters, via FedEx, to 80 architects, critics, historians, and others asking them to contribute to an “opinion survey” from which the “five most important” buildings or works of engineering or infrastructure since 1980 would emerge. Respondents were then asked to name, in their opinion, the single most important work completed thus far in the 21st century. The letter went on to promise a lavishly illustrated feature, including interviews with the winning architects. This is not the way we evaluate art, design, and architecture. This is the way we pick the best corned-beef sandwich in town. One of the esteemed invitees opined that if the survey went out to all the usual suspects, then we can expect the winners to be the usual and suspect as well. Another cynic pointed out that the survey relieves the magazine from having to pay a real writer. (Forbes did something similar in 2002, but its search was for the ugliest.) Yet another voter suggested that the article be a roundup of architects who have designed showrooms or headquarters for *Vanity Fair advertisers: Koolhaas, Marino, Koolhaas, Pawson, Koolhaas. BACK TO THE FUTURE Eavesdrop is giddy about the opening of Bauhaus 1919–1933: Workshops for Modernity at MoMA. Much to see and do. And yet, we’d like to draw your attention to a footnote, one of those insider’s jokes with historical significance beyond its visual impact. Think back to 1975. Arthur Drexler, MoMA’s director of architecture and design, had just mounted *The Architecture of the Ecole des Beaux-Arts, which many thought was an anachronistic exhibition for a modern museum. As an ironic joke, Suzanne Stephens, now deputy editor at Architectural Record, and Susana Torre, a practicing architect in Spain, designed a “bring back the Bauhaus” button for the 1975 opening. Both Stephens and Torre, alumnae of MoMA’s Architecture and Design Department, wanted to acknowledge the shock value of presenting a show based on a 19th-century academy. According to the package notes, when offered a button at the opening, Drexler refused but by the end of the evening he was caught up in the spirit of the occasion. We are happy to announce that now that MoMA has indeed brought back the Bauhaus, the button has been reissued. Go buy one before someone introduces “bring back the Beaux.” Send Anni Albers rugs and Breuer club chairs to firstname.lastname@example.org.
If the model sporting the purple Italian cashmere scarf and hand-finished denim in the November J.Crew catalog looks familiar to you, that's because he's none other than New York architect Caleb Mulvena, principal with Colin Brice at the hot new firm Mapos. Along with some residential projects, Mapos is currently overseeing construction for the sustainable building supplier Green Depot's first flagship store, right across the street from the New Museum on the Bowery (in an 1885 building that was New York's first YMCA). Coincidentally, Mulvena was most recently senior design architect for Peter Marino, where he was in charge of two high-fashion clients: the global concept store for Zegna in Milan, as well as Louis Vuitton's recent flagship store on the Champs-Élysées in Paris. J.Crew is, of course, plenty attuned to modern architecture, seeing as they orchestrated a spring photo shoot in Richard Neutra's Kaufmann House in Palm Springs just before its notorious un-sale at Christie's in May. Mulvena had to settle for boring old Chamonix. And for all you budding "marchitects" out there: Mulvena was discovered in the lobby where Mapos' studio is located, the architect-heavy 195 Chrystie Street. A building with the "highest concentration of design genius" in the city, according to NY Mag. More details about Mulvena and Brice can be found at Mapos' website, which also has contact information, should you want to retain Mulvena's design services (or maybe have him put on a supersoft lambswool sweater and a pair of vintage cords and strut around your apartment).