Posts tagged with "Princeton University":
Love architecture, be it ancient or modern. Love it for its fantastic, adventurous and solemn creations; for its inventions; for the abstract, allusive and figurative forms that enchant our spirit and enrapture our thoughts. Love architecture, the stage, and support of our lives. -Gio Ponti, Amate l’architettura (In praise of architecture) 1957In collaboration with CSAC of Parma and Gio Ponti Archives, MAXXI National Museum of 21st Century Arts has put on a major retrospective of work by Italian architect, Gio Ponti. The exhibition is curated by Maristella Casciato (the senior curator of architectural collections at the Getty Research Institute) and surveys Ponti’s prolific, multifaceted career as an architect, designer, poet, and critic through models, photographs, books, objects, and more. Margherita Guccione, director of MAXXI Architettura said in a recent press release, “Neither classical nor modern, the work of Gio Ponti was unique... ranging from the design of objects of everyday use to the invention of spatial configurations for the modern home and the creation of complex projects embedded within the urban context, maintaining architecture, setting and saving grace of our lives, as the fixed core of his research.” Alexander Rosenberg: A Climber's Guide to Eastern State Penitentiary or, Eastern State's Architecture, and How to Escape It On view now through January 1, 2020 Eastern State Penitentiary 2027 Fairmount Avenue Philadelphia, PA 19130 Alexander Rosenberg is a Philadelphia-based artist, educator, and writer. Receiving his BFA in Glass from RISD and Master of Science in Visual Studies from MIT, much of his work is a deep exploration of the study of glass as a material. In this body of work, Rosenberg produced a site-specific installation and performance in response to the architecture and preservation of Eastern State Penitentiary. Rosenberg has developed and climbed more than a dozen possible routes to scale the prison’s 30-foot walls using “clean climbing” techniques. For the climbs, the artist fabricated climbing gear from materials that would have been readily available within the penitentiary at the year of its closing in 1971, as well as maps of the climbs and a guidebook for “how to escape” the architecture. According to an artist’s statement, the project aims to “provoke discussion about conservation and preservation between nature and artifice in the built and ‘natural’ worlds.” Architecture Arboretum November 4, 2019, through January 21, 2020 Princeton University School of Architecture North Gallery School of Architecture, Princeton, NJ 08544 A new exhibition at Princeton University School of Architecture investigates the important relationship between architecture and trees. Architecture Arboretum, curated by Sylvia Lavin, a professor of history and theory of architecture at the university, evaluates trees as natural objects that have influenced major shifts in architectural thinking. The exhibition looks at how modern architectural drawings are filled with a variety of carefully considered trees that have been used as objects of observation, linguistic signs, as well as objects in themselves that can be designed. The concept of the show, as described on the University’s website, is that “Architecture and trees share important features—the capacity to define space, produce climates, and shape the visual field—but also because trees perform architectural tasks in ways that care for the earth’s surface better than most buildings.” Lauren Henkin: Props November 22, 2019, through March 2020 Contemporary Arts Center, Cincinnati 44 East 6 Street, Downtown Cincinnati Conceived as a dialogue between site-specific installation work and Zaha Hadid’s first U.S. building, Lauren Henkin’s, Props, will be on view at Contemporary Arts Center in Cincinnati through March 2020. The exhibition features eight sculptures scattered throughout the museum in locations considered “unconventional” or “unintended” exhibition spaces, never before used to display art. “Henkin’s pieces will invite visitors to consider with greater care and nuance often overlooked architectural details and spaces,” said Harris Weston, director and chief curator in a press release. The physical access given to the artist provides her with the room to interrogate the architectural and stylistic elements of the starchitect-designed museum. The Architect’s Studio: Tatiana Bilbao October 18, 2019, through March 5, 2020 Louisiana Museum of Modern Art Gl Strandvej 13, 3050 Humlebæk, Denmark Mexican architect Tatiana Bilbao explores Mexico’s culture and building traditions in a new exhibition at Denmark’s Louisiana Museum of Modern Art. The show is the third in The Architect’s Studio series, which focuses on a new generation of architects who work with sustainability and social practice in mind. “When you come from a country without resources, you are used to not wasting them,” Bilbao explained in an interview on the museum’s website. The analysis of both landscape and cultural traditions plays a major role in Bilbao’s work which makes use of materials such as rammed earth and ideas on how the built environment influences those who occupy it. Survival Architecture and the Art of Resilience Through May 3, 2020 The Museum of Craft and Design 2569 Third Street, San Francisco, CA An exhibition at San Francisco’s Museum of Craft and Design will showcase visionary solutions for emergency shelters in the wake of natural disasters. Curated by Randy Jayne Rosenberg of Art Works for Change, Survival Architecture and The Art of Resilience imagines the future of a climate-constrained world by addressing the need for adaptable housing for vulnerable populations. One project, Cardborigami (2016) by Tina Hovsepian, is a compact and foldable cardboard structure suitable for two people to sleep in. Other projects by over 20 artists and studios illustrate similar radical proposals for navigating the possibility of extreme weather. Organized into four themes—Circular, Portable, Visionary, and Resilient—every project begs the viewers to examine how the built environment can be designed flexibly when change is the only constant.
Michael Graves's former residence in Princeton, New Jersey, known as The Warehouse, will be purchased by Kean University. Located in New Jersey, Kean University is also home to the Michael Graves College for architecture and design.
A champion of postmodernism, Graves passed away last year and had asked in his will for the properties to go to Princeton University where he taught. However, Princeton in fact snubbed the offer, stating that they "could not meet the terms and conditions associated with the gift."
Graves had asked that the dwellings be adequately maintained for educational use. Kean, unlike Princeton, has decided to bare this burden, something that the university's president Dawood Farahi estimates at costing up to $40,000 per year in terms of preservation costs alone. Despite only costing Kean University $20, the total value of the former residences has been placed at $3.2 million.
Speaking of The Warehouse in particular, Linda Kinsey, a principal at Michael Graves Architecture & Design, spoke of how the building represented Graves's postmodernist approach to architecture. “It is a perfect expression of Michael’s humanistic design philosophy, with its thoughtful integration of architecture, interiors, furniture, artifacts, artwork and landscape,” she said.
As for house's use, David Mohney, dean of the Michael Graves College, said that the university will "use the house the way Michael did"—Graves used it as an art studio as well as a residency—and that the "scale of use would be consistent.” In terms of the building's role as an educational tool, Mohney added that it will be an "an opportunity for students to see firsthand what life was like for a major architect."
The University's Board of Trustees, in fact, approved the purchase of three Graves properties total; the other two will be used as venues for various events and lodging for guest lecturers.
Like many universities situated in the heart of their communities, Princeton is grappling with the enormous challenge of growing its campus to accommodate new and expanded programs. Some of the strategies to expand include selective densification of the core and the renewal and repurposing of existing facilities. But longer range, the university will have few options but to expand at the periphery. While densification risks upsetting the delicate balance between buildings and open space that defines Princeton’s campus and grants it a majestic beauty, the ability to craft large swaths of land in the image of itself is also a welcome opportunity.
Recent examples include the new sciences neighborhood at the campus’s southern border, where new buildings by Hopkins Architects and Rafael Moneo join a genomics facility by Rafael Viñoly, and an expanded engineering precinct at the campus’s eastern side, which just welcomed the new Andlinger Center for Energy and the Environment by Tod Williams Billie Tsien.
Located on a 23-acre site at the campus’s western edge, the arts and transit neighborhood is an exercise in forging a more engaged relationship between the university and town with new arts facilities, a transit hall and rail station, and various eateries, including a Wawa. Planning the precinct was tasked to Beyer Blinder Belle Architects and Michael Van Valkenburgh, who were working with the university at the time on a ten-year plan to guide campus growth through 2016. Scheduled to be complete in 2017, the $300 million project is the largest expansion project in the university’s 265 year history.
The new facilities inscribe themselves into the fabric of the campus by integrating the language of the neighborhood and surrounding courtyards in their form, scale, and materials. Steven Holl’s Lewis Center for the Arts anchors the precinct and creates a new campus gateway. It provides performance and teaching spaces for the theater and dance program, the department of music, and the arts in three buildings organized around a three-sided courtyard that opens to the community.
In the center of the courtyard a shallow pool defines a main public space. The buildings’ Italian limestone exteriors reference the early stones and bluestone paving used elsewhere on campus. The arts tower is scaled to Blair Arch. Rick Joy’s transit hub creates a chapel-like space that is washed in natural light. One of Joy’s big place-making gestures was putting the transit hall and the Wawa in two separate buildings to shape a new public space. “We had a program for it and the Wawa but we never conceived of splitting it apart,” said university architect Ron McCoy.
In addition to new facilities, the university is bringing in new infrastructure—reworking roads, creating plazas and circulation routes for pedestrians and cyclists, and providing for parking.