“The building is not static—it is designed to gracefully mature over time as life and art move forward together,” said Snøhetta’s Craig Dykers poetically wrapped up his opening remarks at the pre-launch event of their heralded new addition to the SFMOMA, which is slated to open May 14, 2016. These words captured well the essence of his presentation, one that focused on the new expansion as a landmark affair in the eighty-year history of the West Coast’s first museum devoted to modern and contemporary art. A development which witnessed an astoundingly successful fundraising campaign that topped off at $610 million which, in addition to covering construction costs, has more than tripled SFMOMA’s endowment. “This expansion enables us to tap more fully into the energy all around us, in a region known for its special creativity and beauty, while greatly increasing the presentations of a collection that includes remarkable concentrations of artworks that can be found nowhere else,” noted museum director Neal Benezra. A hardhat tour of the Snøhetta addition led visitors through a vastly expanded and exploded in scale and breadth building, which highlights new and unique spaces designed to house the large scale projects of modern art such as Richard Serra’s monumental sculpture Sequence (2006) and others. Soon, museum visitors will have access to more outdoor terraces that are scattered throughout the building offering exclusive and exceptional experiences of the downtown San Francisco urban cityscape. Previously a one entrance and exit museum this new building sports multiple access points and talks to current notions of porosity and an opening up of architecture as a fluid and dematerialized experience both programmatically and in the phenomenological. The focal point of the project, of course, is the eastern facade of the Snøhetta expansion, which is comprised of more than 700 individually shaped FRP (fiberglass reinforced polymer) panels fabricated by Kreysler & Associates, a local fabrication shop specializing in composites, affixed to a curtain-wall system, allowed for a much lighter structural frame because of their own lightweight nature, bringing costs down, and highlighting the technological versatility of sustainable, locally sourced materials, and digital fabrication. In celebrating the new building as a space for art, speakers at the topping off event ecstatically showed off new acquisitions their presentations and discussed the unique partnerships that allowed for these enormously expensive works to join the collection. Bob Fisher, the eldest son of Don and Doris Fisher, recounted his parents’ love affair with artwork and how they assembled over 1,100 art pieces that will become the focus point of many of the new exhibitions and offerings at SFMOMA over the next 100 years through an unprecedented public/private partnership. There was much discussion of the finances of the new building in addition to the artwork that has been added to the collection. Charles R. Schwab, chairman of SFMOMA’s Board of Trustees, focused on many of the unique collaborations and joint acquisitions of artwork through unique partnerships with other world renowned museums. Over 500 donors supported the campaign which both raised money and alongside it—the Campaign for Art has secured more than 3,000 artworks from over 200 donors, enhancing key areas of the museum’s holdings and providing visitors with a fuller, more textured view of contemporary art. In addition, the museum has added the Pritzker Center for Photography, the largest gallery, research and interpretive space devoted to photography in any U.S. art museum, and an increase in programs for children and families in the new Koret Education Center. SFMOMA will also now be free to anyone under 18, a gesture aimed at education and increasing accessibility for more kids and families to visit the space, in a time when ticket prices to exclusive culturally rich atmospheres seem to only get more and more expensive. This building sings a new song to the city of San Francisco and the world and one can only hope that more architects and designers (and most apropos developers) press forward with exceptional and forward thinking designs that help craft international and world-class destinations.
Posts tagged with "Richard Serra":
Everything Loose Will Land Graham Foundation 4 West Burton Place, Chicago Through July 26 Everything Loose Will Land explores the intersection of art and architecture in Los Angeles during the 1970s. The show’s title refers to a Frank Lloyd Wright quote that if you “tip the world over on its side and everything loose will land in Los Angeles.” This freeness alludes to the fact that this dislodging did not lead to chaos but rather a multidisciplinary artistic community that redefined LA. The exhibition features one hundred and twenty drawings, photographs, media works, sculptures, prototypes, models, and ephemera. The presentations function as a kind of archive of architectural ideas that connect a variety of disciplines. Projects by Carl Andre, Ed Moses, Peter Alexander, Michael Asher, James Turrell, Maria Nordman, Robert Irwin, Frank Gehry, Richard Serra, Coy Howard, Craig Ellwood, Peter Pearce, Morphosis, Bruce Nauman, Craig Hodgetts, Jeff Raskin, Ed Ruscha, Noah Purifoy, Paolo Soleri, Ray Kappe, Denise Scott Brown, Archigram, L.A. Fine Arts Squad, Bernard Tschumi, Eleanor Antin, Peter Kamnitzer, Cesar Pelli, Andrew Holmes, Elizabeth Orr, and others are explored. Curated by Sylvia Lavin, Director of Critical Studies in the Department of Architecture and Urban Design at UCLA, the show began its journey at the MAK Center for Architecture and then traveled to the Yale School of Architecture before arriving at the Graham Foundation.
A folly in a Rotterdam suburb draws on residents' complex relationship with the city.The residents of Carnisselande, a garden suburb in Barendrecht, the Netherlands, have a curious relationship with Rotterdam. Many of them work in the city, or are otherwise mentally and emotionally connected to it, yet they go home at night to a place that is physically and visually separate. When NEXT architects was tapped to build a folly on a hill in the new town, they seized on this apparent contradiction. “This suburb is completely hidden behind sound barriers, highways, totally disconnected from Rotterdam,” said NEXT director Marijn Schenk. “We discovered when you’re on top of the hill and jump, you can see Rotterdam. We said, ‘Can we make the jump into an art piece?’” NEXT designed The Elastic Perspective, a staircase based on the Möbius strip. “The idea of the impossible stair [is] you’re not able to continue your trip. At first it seems to be a continuous route, but once you’re up there, the path is flipping over,” explained Schenk. “That’s a reference to the feeling of the people living there.” To catch a glimpse of Rotterdam, users must turn their backs on Carnisselande. Yet while the view is in one sense the destination, the staircase ends where it started, in the reality of the garden suburb. NEXT began by experimenting with strips of paper and thin sheets of steel to form the staircase’s basic shape. The architects then turned to AutoCad, where they finalized the design before 3D printing a 1:200 scale model. NEXT worked with engineers at ABT throughout the process. They relied heavily on 3D design software, Schenk said, “because all the steel was sort of double-curved.” Mannen van Staal fabricated the staircase from seven steel panels custom-cut with a CNC machine, said project architect Joost Lemmens. They bent the plates, largely by hand, and assembled the entire structure in their factory, temporarily welding the pieces together. They then disassembled the structure for transport to the site, where the components were re-welded by hand and using a vacuum-cleaner-sized robot. Cor-ten was a practical choice on the one hand because the rust obscures the stitches used to reconnect the seven panels. In addition, said Schenk, “It’s weatherproof, and sustainable in the sense that we’re not using a toxic coating.” The choice of Cor-ten also holds aesthetic and cultural meaning. The orange of the staircase contrasts with the green of the hill. Plus, “it’s a material quite often used in artworks, so of course it refers to the work of Richard Serra [and others],” said Schenk. “I think in short what it’s about is the idea of making a jump, make people be able to make a jump to see the skyline of the city,” he concluded. “We’re using the Möbius strip to express the ambiguity of the people living there: feeling connected to Rotterdam but being somewhere else.”
Richard Serra: Early Work David Zwirner Gallery 537 West 20th Street New York, NY Through June 15 David Zwirner presents an exposition of early work by artist Richard Serra. The works on display, dating from 1966 to 1971 and compiled from museum and private collections, represent Serra’s earliest innovative, process-oriented experiments that employ nontraditional materials. He uses vulcanized rubber, neon, and lead to emphasize weight in relationship to the nature of materials. The exhibition, on view through June 15 at David Zwirner, examines the innovative methods and ideas that so decisively place Serra in the history of Twentieth-Century art. Serra’s work can be seen in numerous public and private collections in the United States and abroad, including the Museum of Modern Art and the Guggenheim Museum in New York. Since his early work, his approach to sculpture has evolved through focusing on site-specific projects that work with particular architectural, urban, or landscape settings. In concurrence with the exhibition, the gallery has published a complete monograph dedicated to the artist’s early practice. The publication includes archival manuscripts and photographs from the years 1966 to 1972. Also on view will be a program featuring Serra’s films from the same period.
Kids get it. While the adults stand around discussing the merits and aspirations of a large sculpture or installation, kids climb all over it. A few years back, when Richard Serra's Intersections II was installed in MoMA's sculpture garden, toddlers raced between the tilted arcs in a game of hide and seek. More recently, kids playing around Situ Studio's reOrder installation have turned the Great Hall of the Brooklyn Museum into Romper Room. Now, with Storm King bringing in Mark di Suvero sculptures and Figment in town to install their annual golf course and sculpture garden, Governors Island is getting its workout. On Memorial Day weekend some of the artists creating the "Bugs and Features" golf course were still working out some of the kinks with their designs. While many of them addressed the issues of hot sun and island winds, they didn't quite account for the destructive nature of children. Dee Dee Maucher stood quietly pondering her installation, trying to figure out what would make it more kid proof. Two days in and her segment in the the golf course, titled The Composting Micro Bug Food Spiral, was in need repair. Michael Loverich of Bittertang mulled over how to keep the kids from climbing atop Burble Bup, this year's winner of the City of Dreams Pavilion, sponsored in part by the Emerging New York Architect committee of the AIANY and the Structural Engineers Association of New York. "We don’t want the kids, or even adults, to come in and kick it," said Loverich. "We kind of knew that people would be interacting with it, but not so aggressively." Loverich said that he and his partner Antonio Torres were considering installing some preventative climbing measures.