Posts tagged with "Raumlaborberlin":

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Giant, inflatable dome will host a week-long Democracy Lab at the Brooklyn Public Library this summer

From June 11-17, an inflatable bubble that can fit more than one hundred people will rise at Grand Army Plaza in Brooklyn to house the week-long Democracy Lab. The lab is organized by the Brooklyn Public Library, in partnership with Prospect Park Alliance, Storefront for Art & Architecture, and visitBerlin, and will feature workshops and talks on social justice and civic engagement by established community members of Brooklyn and greater New York. The dome, dubbed the Spacebuster, is designed and developed by raumlaborberlin, a collective of eight Berlin-based architects. It was first commissioned by Storefront for Art and Architecture in 2009 in New York City. The giant dome hatches in the back of a delivery van. People can enter into the space through the passenger door of the van, then walk through to the dome down a ramp. A fan under the ramp generates the air pressure. The Spacebuster is a not only a backdrop for events but also actively participates in them. The translucent membrane acts as a blurred boundary, so pedestrians can look into the events happening inside the billowing urban room. Images can be projected onto the membrane and can be viewed both from the outside and the inside. It can also accommodate tables and chairs, depending on the program taking place inside. Democracy Lab will feature workshops and talks by The New Yorker writer Rachel Aviv, The Simpsons show-runner and writer Mike Reiss and daily guided readings of The New York Times led by community leaders and writers such as the paper’s own critic Wesley Morris, among others. To see the full calendar of scheduled events, check out this link.
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With a trio of exhibitions, the Pulitzer Arts Foundation makes an in-depth exploration of the home

Home. Everyday. Ordinary. These words describe what binds the three summer exhibitions at the Pulitzer Arts Foundation (PAF) in St. Louis: 4562 Enright Avenue, Exquisite Everyday: 18th Century Decorative Arts Objects from the J. Paul Getty Museum, and The Ordinary Must Not Be Dull: Claes Oldenburg’s Soft Sculptures. But they raise as many questions as they answer. Whose home? What routines? Which physical structures/objects are used? The prospect is ripe with dichotomies: fluidity/stasis, divisions/confluence, asset/liability, thought/action, open space/occupied territory, vacant/inhabited, continuity/disruption, utopian/dystopian, creation/devastation, fade/appear. raumlaborberlin, the German architecture collective, is behind 4562 Enright Avenue, which transposes elements of this long-abandoned house—windows, beams, doors, staircases—into a nearly identical-sized gallery at the Pulitzer’s Tadao Ando-designed building 1.7 miles and lights years away. (Like Duchamp’s Fountain [urinal], it’s all about context.) Meanwhile, on site, the brick shell remains. At the museum, one turns the corner to encounter a facade of two stories with arched windows and a door crowned with a glass door light featuring the number 4562. You enter the first room, a living room with stately, upholstered chairs and a mantle. On the floor there are chalk outlines, like police evidence at a crime scene, of more furniture, that constitute the formal room from the house’s heyday—and that Jan Liesegang of raumlaborberlin imagines was barely used. The next room is filled with debris and stacks of materials precisely as found in the abandoned house in 2015. The third and last room on the ground floor imagines what could be for St. Louis housing going forward, displayed in a workshop setting with drafting table, photographs (Saarinen’s Gateway Arch), drawings (Pruitt-Igoe), and books (including Mapping Decline by Colin Gordon), all of which can be handled by visitors. Two staircases—one front-of-house and one for service—lead to a second floor that sports a suspended sink, wooden slat backboards, and, in contrast to the found objects and materials, a new pod-alike intervention. The pod is wrapped in white-painted newsprint in a neatly folded, scale-like pattern, around a translucent rectangular oculus lit from within. This belongs to Liesegang’s fanciful occupant of the house, an imaginary scientist. Since visitors cannot climb the stairs, this apparition remains mysterious. Shelves and tables outside the house are workstations and a video display showcases interviews with residents and neighbors of Enright Avenue. raumlaborberlin: 4562 Enright Avenue - Time-lapse from Pulitzer Arts Foundation on Vimeo. The process of creating this display was nearly a year in the making. raumlaborberlin, whose name means “space” + “laboratory,” is known for projects in transitional urban spaces that combine architecture, urban planning, landscape architecture, and art (See Spacebuster at Storefront for Art & Architecture and the New Museum’s Festival of Ideas for the New City, 2008 & 2011). St. Louis was described to me as a fetishized Detroit, a city where, in certain neighborhoods, lots are vacant and houses are abandoned like missing teeth, directly alongside occupied homes. The description painted a hollow urban center—the City of St. Louis—ringed by a suburban collar and the County of St. Louis (Ferguson is in the County). St. Louis is recovering from a long slide of white flight coupled with the decline of manufacturing and Mississippi River traffic. It’s a long way from the city’s role as Gateway to the West, the start of Lewis and Clark’s journey. The city is also bisected by Delmar Avenue; Enright Avenue is one block north (where 98% of residents identify as black, median home value is $73,000, and median annual income is $18,000), whereas Washington Avenue, where the Pulitzer is located, is one block south (where 73% of residents identify as white, median home value is $335,000, and median annual income is $50,000). To raumlaborberlin, this urban divide was familiar from the Berlin Wall in their home city and seen as hopeful since that barrier is now a memory after the wall’s demise 27 years ago. Asked to address the ways that we inhabit the urban landscape, and specifically engaging St. Louis and its residents, the collective zeroed in on the Lewis Place/Vanderventer neighborhood and its contemporary ruins. (Interestingly, A.E. Hotchner’s coming of age book, King of the Hill, was written about his childhood in a seedy hotel at Delmar & Kingshighway, a few short blocks away.) Together with neighbors and the City of St. Louis Building Commissioner, this uninhabited, structurally unsound Romanesque/French Renaissance Revival house built in 1890 (and slated for demolition) was selected. To shine a light on issues, they decided to move the building to the museum in order to reimagine the structure and what might replace it. It is meant to pose questions, rather than answers. A key one Liesegang asked is “How much can you take away from a house and it's still a home?” Exquisite Everyday: 18th-Century Decorative Art Objects from the J. Paul Getty Museum at first seems to be the antithesis of 4562 Enright. But it signifies someone else’s “everyday,” in this case upper class French and Italians. These objects—sauceboat, armchair, wall sconce, carpet, basin and ewer, chamber pot—are beautiful, ornate, and highly crafted, yet represent changing styles and practices. The sauceboat, for example, shows a more casual buffet style where diners helped themselves, rather than relying entirely on footmen. The objects for personal hygiene were used for ablution, rather than bathing by submersion, which was considered unhealthy. One can imagine their equivalents at 4562 Enright Avenue, when it was first inhabited by middle-class Germans, and then by black residents in the 20th century. Claes Oldenberg’s soft sculptures in The Ordinary Must Not Be Dull depict household objects including light switches, key, tires, 3-way electric plug, clothespin, ice bag, folding chair, and an array of food that includes french fries, baked potato, and green beans. Oldenburg shines a light on the everyday, making us look at the familiar in unfamiliar ways. In addition to exaggerating their size by inflating them to a vast scale, he also questions the traditional notion of sculpture’s substance by making them soft and pliable, rather than of more conventional hard, solid materials. The Pulitzer has a tradition of engaging the city, starting with The Light Project (2008), a series of public art commissions; Urban Alchemy/Gordon Matta-Clark (2010) by Theaster Gates, Robert Longer, and Jenny Murphy; and Crossing the Delmar Divide (2012-14), a 2-year project with the Missouri Historical Society and the Anti-Defamation League addressing racial and socioeconomic disparities. PAF’s work will continue with PXSTL, a collaboration with Washington University’s Sam Fox School of Design & Visual Arts, that has commissioned a site-specific temporary structure for community-based programs and events by architect Amanda Williams and artist/educator Andres Hernandez to open in May 2017. Director Cara Starke, who previously served as Director of Exhibitions at Creative Time, spearheaded the raumlaborberlin commission when she assumed the position one year ago, so we can look forward to continued inquiry into the built environment from the Pulitzer. Pulitzer Arts Foundation 3716 Washington Boulevard St. Louis MO 63108 raumlaborberlin: 4562 Enright Avenue Exquisite Everyday: 18th-Century Decorative Arts from the J. Paul Getty Museum The Ordinary Must Not Be Dull: Claes Oldenburg’s Soft Sculptures All exhibits on view through October 15, 2016.
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New Pulitzer Arts Foundation exhibition will explore drastic urban decline in St. Louis

Witnessing a 60 percent decline in population since its heyday in the 1950s, empty properties have become an all-too common sight in the city of St. Louis. More than 7,000 buildings are abandoned and the bulk of those dwellings are slated to be torn down. In reaction to this, the Pulitzer Arts Foundation asked: "What does a house represent, and how does it reflect our lives, desires, and dreams?"

To help form an answer, the Foundation has commissioned Berlin-based architecture studio Raumlaborberlin to create a physical reaction to their question. To prepare, the studio has been working alongside neighborhood residents and numerous figures in urban planning. For the exhibit, the studio will partially dismantle an empty property (pictured), essentially gutting it, and use its interior framework to rebuild it within the Pulitzer Gallery only a few blocks away.

As a result, the house, which sits on 4562 Enright Avenue, will survive as a shell for a few days before being finally brought to its knees and demolished in early August. This process is due to take e several days with much of the materials, most notably the brick, being resold within the community. Lending a hand a deconstruction and refabrication firm Refab. Funds from the materials will then go towards developing a youth program win the Enright neighborhood, while on July 30, a block party is being held to mark the beginning of the demolition process. The aim of this, says the Foundation, is to "reflect the house’s historical past, tenuous present, and speculative future."

The studio's first museum exhibition in the U.S., the exhibition will also offer video interviews carried out by Raumlaborberlin with local residents touching on the economic and social factors contributing to the urban dereliction.

“It’s a microcosm that exists across all American cities,” said Cara Starke, the Foundation’s director, speaking about the project in the New York Times. "The proceeds from the sale of the wood and bricks from the original house are to be reinvested into landscaping and youth programming in the Enright Avenue community.

“So many stakeholders have come together to create shared goals,” Starke added. “We’ll see how this persists past the project.” The exhibition, dubbed raumlaborberlin:4562 Enright Avenue, will run through October 15.