Posts tagged with "SFMOMA":
“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.
Although the Snøhetta-designed SFMOMA expansion won’t open until mid-2016, there’s a lot going on behind the scenes. Earlier this month the museum promoted Jennifer Dunlop Fletcher to the Helen Hilton Raiser Curator of Architecture and Design and head of the Department of Architecture and Design. Dunlop Fletcher (who joined the museum as an assistant curator in 2007) co-curated the impressive Lebbeus Woods, Architect exhibition in 2013. AN spoke to her about the future of architecture and design in San Francisco and Silicon Valley. The Architect's Newspaper: What is your vision for your curatorial role and for the new space? Jennifer Dunlop Fletcher: That’s always the hardest thing to answer. First, we will have a new gallery dedicated to architecture and design on the sixth floor of the new museum, which I’m very excited about. In the previous building, we had three spaces cobbled together with different ceiling heights, so having a refreshed gallery is going to be great. Also, we will have another dedicated A&D space on the third floor. Second, we get to participate in more museum-wide programs. I see a lot of opportunity for us to expand outside of our gallery and take advantage of the way designers work and be flexible and responsive to different spaces. In terms of responsiveness, how might the new design impact how you approach exhibitions? So, the way that Snøhetta responds to the physical conditions of the site and social conditions of the site, I think we also recognize that the engineering coming out of Silicon Valley has been a tremendous attracter for many designers to come to San Francisco. Internally, we’ve been focusing on research funded by an Andrew W. Mellon Foundation grant that looks at how designer practice has changed so much in the last 30 years due to new software tools. And of course, that relates so much to what is happening just outside our door. If we can really study those practices and the migration from pen and pencil to software we will have a whole new collecting approach internationally. This is something that has changed and affected every single design discipline: graphic design, product design, and architecture. So, if we take the three-year period (which we’ve outlined in the grant) to really look at some key designers and understand their practice behind the scenes, it will affect how we move forward in collecting and displaying this integrated work. I think it’s going to be a very big difference. In what way? The twenty-first century has moved away from object-based presentation and museums need to recognize that. Everyone still loves to come into the museum and see an original object, but the way that designers communicate with each other and clients has changed. We can’t impose a kind of more traditional display on that relationship. So, can we expect an expanded idea of representation? Are we talking about more screens? Well, I’ve been warned not to really discuss exactly what’s happening in the opening, but I think screens, but not screens in a consumption sense, not in a passive, let’s just watch something unfold sense, but more in a dynamic sense. And maybe…oh, I wish I could talk about this one thing! How can I speak about it abstractly? New ways to experience design that is traditionally experienced kind of phenomenologically, all the senses. So there might be a way for screens or devices to enable a different kind of interaction. We seem to be talking a little bit more about design and industrial design. What about sort of the architecture part of the equation? I’m not trying to exclude the architecture at all. The architects I see here are very, very interested in poking holes in existing software and hacking software and responsive buildings and robotic mechanized buildings. It’s permeated all the design disciplines here.
Wave-like composite facade animates SFMOMA expansion.While visually interesting, the primary facade of the SFMOMA expansion (Snøhetta with associate architect EHDD) was not originally designed to pioneer a new material system. All that changed when William Kreysler visited the architect's New York office. "I went there to meet them about the interior," recalled Kreysler, whose firm—composite specialists Kreysler & Associates—had been called in to advise on the project's vaulted ceilings. "I asked about the exterior, how that was going to get done. They didn't know." Over the coming months, Kreysler & Associates transitioned from interior consultant to envelope fabricator as the facade itself was transformed from a ductal concrete fantasy to a fiber-reinforced polymer (FRP) reality. Along the way, thanks to a patent-pending process developed by Kreysler & Associates, the design and fabrication team positioned itself on the cutting edge of high performance building enclosures with the first major use of FRP cladding on a multi-story facade in North America. When a client's representative called to ask if his firm—at that point poised to collaborate with an outside glass fiber reinforced concrete (GFRC) contractor on mold-making—would consider taking on fabrication themselves, Kreysler's reaction was mixed. "I said, 'Yes, I don't see anything particularly complicated about it in terms of fabrication,'" he recalled. "The problem was the fire codes. No one in the [FRP] business had attempted to pass the fire code requirements." Kreysler & Associates had been keeping abreast of the regulatory situation, and had been involved in inserting a new section for FRP into the International Building Code[s]. But the fire code test itself, NFPA 285, is expensive. After further conversation, the client committed to partially fund the test. "We got to the point where I said, 'Okay, I'm willing to put some money at risk here,'" said Kreysler. "We went ahead and did it." Kreysler & Associates' system, which they call Fireshield 285, passed the test, likely becoming the first FRP cladding panel to do so. Having thus paved the way for a more widespread application of the lightweight material to building exteriors, the fabricator's next step was to bid to three facade companies. Of the firms to which they introduced their design, Enclos was the most engaged. By the end of the first meeting, Kreysler & Associates and Enclos had brainstormed ideas to eliminate the secondary structural frame intended to go in front of the weatherproof wall specified in the original design. Soon the group introduced an additional innovation. Enclos is known for its expertise in unitized panel systems rather than conventional walls, explained Kreysler. "We said, 'Maybe we could make our material so lightweight, we could just fasten our material onto the front of the unitized wall panel.'" Kreysler is quick to give credit to Enclos "for seeing the potential and sharing their expertise in building facades so we could work collaboratively to take full advantage of both systems' strengths." With a combined composite-unitized wall panel assembly, one team of contractors could erect the entire rain screen in a single shot. "It would save one million pounds of structural steel, plus the time of going around the building three times," said Kreysler. Not surprisingly, "the contractor liked it, and the owner liked it," he recalled. Only one obstacle remained. "Unitized wall systems are designed to go in straight lines, or if curved, are curved in a radius," said Kreysler. "But if you look at the facade of SFMOMA, it's all over the place." The Kreysler & Associates-Enclos team quickly developed a solution: Kreysler & Associates would fabricate their panels with edges of different depths to bridge the gap between the facade's surface and the flat unitized panel wall. "We were able to create a curved front even though the the wall behind was a nice straight line," explained Kreysler. "From the front of the building you don't see any of the edges—you see this flowing curved line. That was a big breakthrough, and as a result, Enclos really got behind our system." The client was suitably impressed, and Kreysler & Associates won the contract against bids involving GFRC systems. "Even if our price turned out to be higher, the benefits of only going around the building one time, and the benefits of a system considered to be a higher-quality weatherproof wall" won out, said Kreysler. Though the expansion is not expected to open until 2016, Kreysler & Associates' work on the project is finished. The installation went "beautifully," said Kreysler. The 710 unique FRP panels were mechanically fastened and bonded to the unitized wall using a custom aluminum extrusion. The Enclos representatives had been nervous, he recalled. However, "the project manager told me that in the years he's being doing this, it was the most complicated project he's ever done, but in the end this was the most straightforward part of the project." As for Kreysler himself, he has no regrets—quite the opposite. "It was tricky, but it was fun and interesting," he said. "And it was nice to know that we were breaking new ground."
If constructing a museum were this effortless, there might be one on nearly every street corner. Norway-based firm Snøhetta recently posted a time-lapse video of the ongoing expansion of SF MoMA, compressing a two-year effort into a roughly 7-second breeze-through akin to folding origami: “2 years of construction over in the blink of an eye—time flies when you’re having fun and we can’t wait for Spring 2016!” The caption on the Instagram video reads.
After winning an international competition in 2010, the firm was selected to design a 235,000-square-foot expansion of SF MoMA to accommodate its growing audience, educational programs, and collection. The goal of the new wing is to increase public circulation between the museum and the city through free public galleries at ground level, new entrances for accessibility from different directions, and a central public gathering space. The architects deployed glass throughout the building to foster a welcoming, transparent aesthetic, further opening up the building with the addition of two outdoor terraces and a vertical sculpture garden on the third floor, which offers views of Alexander Calder’s work in an adjacent gallery while overlooking bustling Howard Street. The expansion promises a total of 15,000 square feet of art-filled, free-access public space, including a large, glass-walled gallery at ground level. Though designed to be “forward-looking,” the modern concrete structure respectfully complements the red-brick, Mario Botta-designed main building, which opened in 1995. At its heart is seven levels of flexible, performance-based gallery space for live art programming, and an additional 130,000 square feet of indoor and outdoor gallery space. A versatile, double-height “White Box” space on the fourth floor is equipped with cutting-edge lighting and sound systems for live performances. Meanwhile, a new outdoor terrace on the seventh floor offers dramatic city views, accomplishing SF MoMA’s long-term goal of integrating the urban indoor/outdoor experience.
In recent years, architects and fabricators in the field of facade design and construction have formed new collaborative relationships through the design assist model of contracting. Under design assist, the fabricator contributes their know-how throughout the design process, not just during building. A couple of factors have encouraged the shift to design assist. On the one hand, "the recent increase of building skin complexity has been a driver of this new way of working," explained Enclos’ Luke Smith. "But I think budget and schedule demands have also played an important role." Next week, Smith will moderate a panel on design assist contracting, "Delivering Complexity," at Facades+ LA. With panelists Bill Kreysler (Kreysler), Paul Martin (Zahner), and Kerenza Harris (Morphosis), Smith will explore several case studies of architect-fabricator collaborations, and will examine the benefits and challenges of these new alliances. (Smith is also leading a dialog workshop, "Material Explorations: The Resurgence of Wood," on the second day of the workshop.) Because design assist encourages early and frequent communication between architect and fabricator, said Smith "all of the involved parties feel invested in the project." Collaboration also improves the likelihood that a design is actually built. "Working together toward a buildable solution can often mean the difference between whether a project moves ahead or not," said Smith. "At Enclos we’re seeing that the discrepancy between design intent and budgetary restrictions can be minimized through early involvement on a project." As for the criticism that design assist removes control from the architect, he argued, "given the intricate knowledge required, the facade is no longer simply a byproduct of design, but is a specialty of its own." Smith and the rest of the panel will focus on two examples the group knows well: Morphosis' Emerson College Los Angeles Center (with Zahner), and Snøhetta's San Francisco Museum of Modern Art. The museum expansion, said Smith, "has been a great opportunity for Enclos, partnering with Kreysler, to explore solutions with Snøhetta from a very early stage of facade conception." Regarding the future of design assist, "increased communication between the two 'sides' of architecture and construction will only benefit everyone in the long run," said Smith. "Whether we need to collaborate on all projects is another question. Where we really see the process take center stage is when a new challenge arises." To hear more about design assist from some of the AEC industry's top experts in building envelope design and construction, register today for Facades+ LA. More information, including a complete symposium agenda and lineup of tech and dialog workshops, is available online.
What was the most popular architecture or design exhibition in 2013? If you guessed MoMA's Le Corbusier spectacular or SFMOMA's landmark Lebbeus Woods: Architect (coming to New York's Drawing Center April 15) you're close but off the mark. In fact the most popular architecture exhibition in the world, according to The Art Newspaper's 2013 Visitors Figures was MoMA's Henri Labrouste exhibition that drew 438,680 viewers (4,100 a day) compared to the Le Corbusier show that had 405,000 visitors (4,010 a day). In fact, MoMA had the top three architecture exhibitions in the world last year with their 9+1 Ways of Being Political the third most attended exhibition with 2,594 visitors a day during its eight-month run on 53rd Street. Lebbeus Woods: Architect was the fourth-most-attended architecture exhibition with 210,122 (2,287 a day). With both Le Corbusier and Henri Labrouste in the top fifty exhibitions of any kind worldwide, clearly MoMA curator Barry Bergdoll has done something right in his time at the museum.
Jennifer Dunlop Fletcher was recently named the head of the department of architecture and design at the San Francisco Museum of Modern Art (SFMOMA), filling a position vacated by Henry Urbach more than two years ago. Fletcher just completed a assessment of the museum’s architecture and design collection, and, most recently, she co-curated the exhibition Lebbeus Woods, Architect. She sat down with AN editors Nicole Anderson and Alan G. Brake to discuss her plans for the department. The Architect’s Newspaper: What direction do you plan to take the architecture and design department? Jennifer Dunlop Fletcher: The collection just turned 25 and so I think it was important that my colleague Joseph Becker and I, along with Henry Urbach, really undertook a collection analysis and are trying to draw on the identity and strengths of the collection: the experimental and conceptual architecture, the iconic chairs that capture every 20th century design movement, and then the Bay Area collection. We’ll definitely continue with focusing in those areas, and in this interim period, spend some time drilling down on some connections between the two like Bay Area experimental architecture like Ant Farm and some of the architects coming out of California. Thanks to Aaron Betsky we happen to have some great early drawings by Morphosis and Thom Mayne, and Neil Denari and want to revisit those moments. We’ve definitely been in dialogue with those guys. Also through this Lebbeus Woods show, kind of looking back at that moment around the founding of the Storefront for Art and Architecture. That seems a little under collected and something that because of the architecture department coming around in the late 80s, it is what Aaron and a lot of people were very interested in. We want to explore product design, but produce design where it merges with technology because of our obviously being embedded right there in the Bay Area. And it is infiltrating every field. You see it even in the graphic design and the architecture, with responsive buildings. I think just what we want to do with product design is not just collect it, but probably take the time working with our conservation department and interpretation department to figure out how to not just maintain it and upgrade it, but how to display it. Because all of a sudden, the moment of just displaying the hardware, the iPhone just as hardware, has passed. Any specific ideas about how you will display the product design? We haven’t landed on any clear avenue to take yet because we also recognize within product design there is the extra challenge of how to deal with a commercial product. Film or these kinds of media that we’re used to, marketing departments already use. And it is very expensive to invest in yet another film. Maybe in 20 years from now, the marketing itself will be kind of interesting. It is a challenging question given the rate that technology is developing and changing. How do you evaluate what is going be influential? It seems that we as even as museum professionals and media are so quick to identify something that could potentially be a game changer. I feel like at the museum we really need to take the time to say why is this culturally relevant? And interpret it in that context. There is also a side of me that says the museum—this holder of objects—and maybe we’re already moving towards no objects. Maybe we should not even be trying to go in that direction. If we are beholden to our 5000 objects that we already have—we may land on this might not be appropriate for us to pursue because we have this building and this collection and it would be abandoning this past. I don’t know, but this is what is exciting to me—what lies ahead. And in the meantime while the building the expansion is being completed, are you working on any with other cultural organizations collaborations outside of the museum? We are part of this project in Los Altos in the middle of Silicon Valley. It is the neighbor city to Palo Alto. It is also one of the wealthiest cities, wealthier than Beverly Hills. Downtown has State and Main Streets—so it’s a classic American city and there are a number of empty storefronts, so the city invited the museum to occupy temporarily these storefronts in order to show some works of art that dealt with the context of Silicon Valley. I am already working with Mike Mills, the filmmaker and graphic designer. He has done a couple of videos and films on suburbia and identity. He has proposed a piece that deals with the past but starting in 1976, the moment when the first Apple computer was built in a garage there in Los Altos, to the present and then the future. He has proposed interviewing children of employees of some of the tech companies and asking them about the future—what would you design for the future? It is a little revisiting Buckminster Fuller when he invited children to ask him about the world and the future. Is there anything you’re particularly excited about in terms of using the new building? We have a set architecture and design gallery which we have always had in the existing building, but also we will have more opportunities to use the larger temporary exhibition space on the 4th floor to do larger exhibitions that would travel. And be more collegial with peer institutions. Really get the SFMOMA collection in conversation with other collections and share the scholarship. Also at the same time, accept exhibitions. We have affinities with the FRAC and the Pompidou with the experimental architecture and our interest in product design relates to MoMA. Look at LACMA and their California emphasis and our Northern California emphasis. I am not really ready to talk about this other proposal we have in the city—because we really want to do something that is not in the gallery at all but in the city. In your analysis of the collection, were there any happy discoveries that you weren’t aware of or things that struck you in a new way? I think looking at the kind of beginning why every curator has continued this strand of conceptual architecture and where Paolo Polledri was the first A&D curator—really looking locally and inviting architects to address the Bay area. Aaron Betsky was sort of voraciously looking outside the Bay area and seeing this moment in Los Angeles and in New York happen. So looking at that strand of where I think Paolo called it visionary and Aaron was calling it conceptual and Joe Rosa was calling it un-built works. Can you comment on at all where you see the architecture scene in the Bay Area today? There seems to be a lot of built work happening. There is a lot of built work happening. There is a lot of repurposing happening. We are going to be right next to the new Yelp headquarters, which is in the Timothy Pflueger building from 1927. Particularly in the Bay Area because a lot of the practitioners have access to tech companies and robotics that responsive architecture is emerging here—which we are so well positioned to look at with our interest in technology—architecture that is not just fabricated in a new method but responds to occupancy and climate. And also recognizing that these were early hopes from architects of the 1960s. This kind of Ant Farm movement, but ok now we know what technology can do. Is there anything else you would like to comment on? I don’t want to ignore our iconic chair collection. Along with our look at how to display product design. I think we’re also thinking will this trickle down into the pre-software products. We have all recognized that when you put a chair on display in a museum, you’re taking away its function. But maybe what we learn from how to display software maybe that would inform how we might display a chair.
Just weeks after architect Lebbeus Woods' death at age 72, SFMOMA is getting the word out about a new exhibition of his work that will run from February 16th through June 2nd, 2013. The show, entitled Lebbeus Woods, Architect, will feature 75 pieces from the eccentric designer's portfolio—most of them mutating forms in pencil— including Nine Reconstructed Boxes (1999) and High Houses (1996), which are currently in the SFMOMA collection. From SFMOMA's exhibition description:
Acknowledging the parallels between society's physical and psychological constructions, architect Lebbeus Woods (1940 - 2012) depicted a career-long narrative of how these constructions transform our being. Working mostly with pencil on paper, Woods created an oeuvre of complex worlds—at times abstract and at times explicit—that present shifts, cycles, and repetitions within the built environment. His timeless architecture is not in a particular style or in response to a singular moment in the field; rather, it offers an opportunity to consider how built forms are transformative for the individual and the collective, and how one person contributes to the development and mutation of the built world.See more images from the museum's impressive Woods' collection below.
Naoya Hatakeyoma: Natural Stories San Francisco Museum of Modern Art 151 Third Street San Francisco Through November 4 Naoya Hatakeyoma’s award winning photography contrasts the reciprocal impact of human industries on the natural world and that of natural forces on human activities. His photographs, ranging in topic from German coalmines to the underground Tokyo sewer systems, chronicle manmade industrial formations from their time of creation to their degeneration and ultimate decay, all captured in a seemingly objective yet sublime manner. Through this impartial method, devoid of speculation and sentiment, Hatakeyoma’s images garner the greatest impression on the viewer. Hatakeyoma was born in Rikuzentakata in Iwate Prefecture in 1958. His latest work, Rikuzentakata illustrates the devastation caused by the 2011 Tohoku earthquake and tsunami in his birthplace. In the first ever solo U.S museum exhibition, curated by Lisa J. Sutcliffe, SFMOMA showcases more than 100 photographs and 2 video installations spanning Hatakeyoma’s entire career.
Field Conditions San Francisco Museum of Modern Art 151 Third Street, San Francisco, CA Through January 6, 2013 Blurring the distinction between conceptual art and theoretical architecture, San Francisco Museum of Modern Art investigates the conception and experience of space by using the notion of “field” as a reference. Curator Joseph Becker describes the pieces in the exhibition as “spatial experiments,” united by the use of architectural devices to describe a spatial condition. The term “field conditions” derives from the 1996 essay by architect Stan Allen in which he describes a shift from traditional architectural form toward an understanding of systems and networks, a “field” being described by the interconnections of discrete points that constitute the whole. Many works in the exhibition deploy a process of serializing and accumulating, describing spatial qualities through deformation (such as Conflict Space 3, 2006, by Lebbeus Woods, above).
Bummer. SFMOMA, soon closing for several months for its Snøhetta-designed expansion, was hoping to keep things interesting by hiring Greg Lynn to design a floating exhibition in the San Francisco Bay. The project, coordinated with sail maker North Sails, would have included 200 sculptural chairs (made out of carbon fiber—the same material used in America’s Cup boats’ sails) under a large canopy on a large barge, providing clear views of the America’s Cup, which will soon be held in San Francisco. According to North Sails, Lynn may now produce some of the chairs for Vitra instead.
High up. The New York Times' Edward Rothstein went out on a ledge for the paper today. The critic took on the glass boxes that protrude from the Willis Tower in Chicago known appropriately as the Ledge. The critic waxes poetic about the vulnerability of the city and the fully human sensations that occur when floating some 1,353 feet above the street. He also takes the opportunity to point out the redundancy of the Ledge's cousin, the Grand Canyon Skywalk. Tear Down. Christopher Hawthorne balked at SFMOMA's public relations campaign to portray the museum's new Snøhetta-designed wing as a wallflower respecting its Mario Botta-designed neighbor. But as Hawthorne points out in the LA Times, the new building is anything but quiet. Rather it's more a "chiseled behemoth." Hawthorne finds the museum's affront to its Botta as part of a larger trend in the American museum world where the tendency is to drop good, but alas, old architecture in lieu of ever newer names and trends. Read: Whitney, MoMA, Barnes, to name but a few. Put a Lid on It. In a totally biased and unabashedly opinionated piece for City Watch, Jack Humphreville writes that a back room deal may have LA ratepayers of the Department of Water and Power footing the bill for a new twelve-acre park designed to cap the underground reservoir replacing the Elysian Reservoir. Humprhies argues that the $85 million park should fall under the auspices of the City and the Department of Recreation and Parks. Manhattanhenge. Gothamist reminds us that tonight at 8:17PM the full sun will set in perfect alignment with east west axis of Manhattan's street grid. Remember not to stare, mesmerized, for too long.