Jennifer Steinkamp: Street Views Contemporary Art Museum St. Louis 3750 Washington Blvd, St. Louis, MO Through December 23 The Contemporary Art Museum of St. Louis has inaugurated Street Views, an exhibition featuring a series of works by digital installation media artist Jennifer Steinkamp. As part of the 10th anniversary of CAM’s building, the museum will be turned inside out, as its exterior will be transformed into a gallery with large-scale video art being projected onto its facade. Through the use of powerful projectors and intricate computer algorithms, Steinkamp will transform the museum’s metallic and concrete structure into a dynamic garden capturing a mesmerizing natural environment. Her utilization of video and new media enables the viewer to explore different ideas about architecture, design, motion, and interpretation. The use of vernacular imagery conveys the power of nature and enables visitors to perceive the building through a different lens, thus providing them with a new synaesthetic experience. This innovative outdoor moving image series strikes a balance between the natural landscape and computer-generated imagery. By transforming CAM’s building into a compelling projection screen, Steinkamp brings digital media into the mainstream of contemporary art.
Posts tagged with "St. Louis":
For nextSTL, Richard Bose takes a close look at what's next for St. Louis' transit-oriented neighborhood. The Skinker-DeBaliviere neighborhood and the area near the Delmar and Forest Park MetroLink stations (both Red and Blue lines) have six bus routes. They’re near the forthcoming Loop Trolley line. A Department of Housing and Urban Development–funded sustainability plan, called OneSTL is examining opportunities for transit-oriented development near MetroLink stops. AN surveyed transit-spurred development around the Midwest in our August issue, focusing on St. Louis’ Delmar Loop Trolley. “Developers really trust the fixed-track nature of this kind of public transit,” area entrepreneur Joe Edwards told Ian Fullerton. “It’s happening in cities around the country—it’s not unique to St. Louis, but it’s time that we bring it back.” Led by H3 Studio, St. Louis’ plans for the Skinker-DeBaliviere area include streetscape improvements, parking and development to varying degrees (see nextSTL for more), but critically they call for a form-based code for the area’s buildings. Eliminating parking minimums and rolling back regulations that make transit-oriented development more difficult, the plan would make the Central West End the first area in the city to implement such a code.
On View> “Thomas Bayrle: Chrysler Tapete” Opens September 6 at the Contemporary Art Museum St. Louis
Thomas Bayrle: Chrysler Tapete Contemporary Art Museum St. Louis 3750 Washington Blvd, St. Louis, MO September 6, 2013 to October 27, 2013 From September 6 to October 27, the Contemporary Art Museum St. Louis and chief curator Dominic Molon present Chrysler Tapete (1970) as part of the institution’s ongoing Front Room program. One of a series of wallpaper works that German artist Thomas Bayrle has produced since the late 1960s, Chrysler Tapete features the repeated image of an automobile until its distinctiveness subsides into a colossal collectiveness. The purpose is to signify the tension between positive, shared experiences and the feeling of oppressive uniformity. Bayrle, a leader in European Pop Art—frequently referred to as Grey Pop—continues to experiment with painting, sculpture, fashion, and graphic design and currently lives and works in Frankfurt am Main, Germany. Through solo and group exhibitions, his objective is to uncover how our society of mass production and consumption influences our understanding of the world. Bayrle investigates how physical space, scale, and pattern influence the observer. Chrysler Tapete, consisting of silkscreen print on paper, has an intense visual presence that provides visitors with a new way to experience the exhibition space itself, a fitting role as the installation coincides with the tenth anniversary of the Contemporary Art Museum’s building.
As cities across the country struggle to bring new life to aging athenaeums and cash-strapped local libraries, the AIA has honored six outstanding examples of library design in this year’s AIA/ALA Library Building Awards. In the past we have seen a Walmart transformed into a library, a controversial starchitect renovation in New York, and an interactive, LED light-show—now take a look at these honored projects. From democratic design in the nation’s capital to a stunning Beaux-Arts restoration in St. Louis and high-tech solutions in North Carolina, this year's winning projects present a range of answers to the challenges facing our fading repositories. The jury for the biannual award included Jeanne M. Jackson, FAIA, Chair, VCBO Architecture; John R. Dale, FAIA, Harley Ellis Devereaux; Charles Forrest, Emory University Libraries; Kathleen Imhoff, Library Consultant; J. Stuart Pettitt, AIA, Straub Pettitt Yaste and John F. Szabo, Los Angeles Public Library. Anacostia Neighborhood Library Washington, D.C. The Freelon Group From the AIA: The small-scale residential context provided the inspiration for the design of this new branch library, located in a low-income, underserved neighborhood in Washington, D.C. The project not only fulfilled programmatic needs but also provided a stimulus for community pride and economic development. The residential scale is reflected in the library design as a series of pavilions for program areas that require enclosure: the children’s program room, the young adults’ area, support spaces, and public meeting rooms. The remainder of the level one plan is high, open space for the main reading room, stacks, computers, and public seating areas. A large green roof structure provides shelter over all program areas. Central Library Renovation St. Louis Cannon Design From the AIA: Cass Gilbert’s grand Beaux-Arts library, now 100 years old and a St. Louis cultural landmark, was in need of a transformative restoration that would increase public access and modernize it for the 21st century. On the interior, the centrally located Great Hall is surrounded by five wings, four dedicated to public reading rooms and the fifth, the north wing, to a multistory book depository closed to the public. The transformation of the north wing truly rejuvenated the library and brought it into the next century. Old book stacks were removed, and a new “building within a building” was inserted. Now, a multistory public atrium provides an accessible and welcoming entry. The new “floating platforms” surround the atrium without touching existing interior walls. Glass-enclosed upper levels house the collection with compact high-density bookshelves. The windows of the north wall, now clear glass, bounce natural light deep into the interior and provide striking views. New York Public Library, Hamilton Grange Teen Center New York City Rice + Libpka Architects From the AIA: The center, located on the previously empty third-floor space of Harlem’s Hamilton Grange branch library, designed by McKim, Mead and White, is NYPL’s first full-floor space dedicated to teens. In an effort to attract and engage neighborhood youth, the 4,400-square-foot space challenges the norms of library design. The light-filled floor is divided into specific zones that foster small-group interaction and socialization. Visibility is maintained across the entire floor. Two programmatic elements—a 20-foot-diameter Media Vitrine and a bamboo bleacher—occupy the center of the space and work to define the seven zones between and around them. The vitrine’s open-top glass enclosure upends the notion that multimedia spaces must be dark, hyperisolated rooms. The bleacher allows views out to the street from the existing high south-facing windows and provides a sunny hang-out for a range of group sizes. Custom L-shaped lounge benches bracket this space and can be rolled away to allow for other uses and activities. James B. Hunt Library Raleigh, North Carolina Snøhetta and Pear Brinkley Cease + Lee From the AIA: An $11 million reduction in the budget for this library during the schematic design phase prompted the design, construction, and client teams to formulate a range of new ideas to maintain functionality and quality. The building would need to be highly programmed and reasonably versatile as well as comfortable and stimulating to visitors. One innovation was the introduction of an automated book delivery system (ABDS), which effectively reduced the total area of the building by 200,000 gross square feet and allowed more space for collaboration and technology. The ABDS is supported by user-friendly browsing software that matches and even enhances the traditional pleasure of browsing a collection. Oak Forest Neighborhood Library Houston NAAA + AWI + JRA From the AIA: This 7,600-square-foot modern brick and glass structure opened in 1961. Fifty years later, there was still great nostalgia for the library’s mid-century modern design, but the building no longer met the standards of the Houston Public Library system or the needs of the surrounding neighborhood. The 2011 renovations and additions respect the character of the existing library and enhance its accessibility and functionality. The original building’s restored signature green tile mosaic still graces the parking entry area on the north, but now the neighborhood is welcomed by a tree-shaded second entry and outdoor reading room framed by new dedicated adult and teen areas on the west. The original tile mosaic and globe light canopy of the old circulation desk were restored to create a toddler-sized reading nook. Each age group—from toddlers through teens and adults—now has appropriate facilities, furnishings, and technology. A new lobby and circulation space, lit by a continuous shaded clerestory, occupies the seam between old and new and unites the two entries. South Mountain Community Library Phoenix richärd+brauer From the AIA: The building integrates the varied uses of a contemporary public library with the needs of a state-of-the-art central campus library, allowing each to function both independently and collaboratively. The design is modeled after that of an integrated circuit, providing insulation between disparate functions and promoting interaction and connection between like functions and spaces. The simple massing of the building is attenuated to focus views on the surrounding mountains and provide shade and transparency. The site was once home to fertile agricultural valleys and citrus groves, and the building consciously merges interior and exterior spaces to connect to the area’s rich history. A series of rooftop monitors and light shafts flood natural light into the first-level core. The rain screen, formed of bent planks of copper, calls to mind the pattern of an abstracted bar code. Variegated cedar strips reinforce the digital aesthetic of the building. Further echoing the design of a circuit board, building systems are organized and expressed within an internally lit independent distribution soffit.
An 18-foot, bright red “B” plucked from St. Louis’ Anheuser-Busch brewery will find a permanent home in the beer conglomerate’s first U.S. “biergarten.” The “B” is a relic of the neon Budweiser sign replaced by LEDs in February. Located adjacent to the brewery’s tour center at 12th and Lynch streets, the beer garden joins what is already one of the region’s largest tourist attractions, drawing 350,000 visitors annually. Five of the dozen U.S. breweries are owned by A-B, which itself is a wholly-owned subsidiary of Belgium-based A-B InBev, but the St. Louis location is so far the only one with a beer garden on tap. As STL Today points out, the macrobrewer is keeping pace with local craft brewers Urban Chestnut Brewing Co., which opened a 400-seat beer garden in 2011, and Schlafly Bottleworks, who expanded their outdoor seating last year to serve 150 people. The A-B biergarten will seat 300, and could be open by mid-summer. They will offer light fare meant to complement the 17 A-B beers available on draught, as well as daily Brewmaster’s Tastings. St. Louis earlier this year broke ground on Ballpark Village, a mixed-use development oriented around Busch Stadium.
Agribusiness titan Monsanto has pledged hundreds of millions of dollars in upgrades to its research facility outside St. Louis, and design details are starting to pop up. Cannon Design will plan, design and engineer a new 400,000 square foot center for life sciences research. The expansion will bring 675 new employees to Chesterfield, on the western fringe of the St. Louis metropolitan area. Those jobs will be mainly high-paying research positions, encouraging for suburban Chesterfield after tax revenue sagged following 2009 layoffs at Pfizer, another major tenant of the business complex. But, as NextSTL points out, some urbanists would rather see such development closer to the urban core—namely in the CORTEX bioscience district in the city’s Central West End neighborhood. CORTEX would turn an old telephone factory and other industrial buildings into a biotech business district along Duncan Avenue.
The winners of St. Louis’ first-ever “Sustainable Land Lab” competition, put on by Washington University and city officials, attempted to make the most of a regrettably abundant resource: vacant lots. Local architects took top honors in a competition that garnered some four dozen submissions. Each winner gets a two-year lease on a North St. Louis vacant lot and $5,000 in seed money to realize their ideas. Five winning projects will share four lots (two finalist teams combined their proposals into one new plan) across the city. 1. Bistro Box / Renewing Roots Urban Farm (now called Our Farm) — Repurposed shipping containers comprise a small, unpretentious restaurant attached to an urban farm. 2. Chess Pocket Park — Just what it sounds like. A small park meant to build community around outdoor chess tables. 3. Mighty Mississippians — A "modern agricultural model" would combine farming, recreation and environmental remediation in a permacultural park. 4.Sunflower+ Project — A test plot for environmental remediation via sunflower and winter wheat farming. The plants will be encouraged through electroculture, an experimental farming technique that uses electricity to encourage plant growth. St. Louis, like many cities pock-marked with vacant land, spends hundreds of thousands of dollars each year just mowing vacant parcels. The land lab competition follows other innovative design competitions, like Flint, Michigan's Flat Lot and the Cleveland Design Competition, that encourage adaptive reuse and creative public projects throughout the Midwest. A ground-breaking ceremony is scheduled for April 27.
A new development in St. Louis has proposed using shipping containers to create a mixed-use building. The project, known as The Grove, is located at 4312 Manchester Avenue. It features a three-story structure of stacked steel boxes with retail on the first level and offices and residential above. The development, which already garnered the support of the Forest Park Southeast Development Committee, is set on the site of a former four-family brick home and is presently awaiting approval from the 17th Ward Alderman. If approved and completed, the mixed-use container building will be the first of its kind in the region. The past decade has seen a profusion of interest in shipping container for architectural projects. Thousands of the modular steel boxes arrive in the United States each year and often sit unoccupied due to a shortage of export products. They can be purchased for $900 to $6,000 each. Amsterdam has made use of container homes and in the United States, pop-up shipping containers are being used to augment already complete structures. San Francisco’s shipping container village continues to grow as well. [Via NextSTL.]
[beforeafter] [/beforeafter] The Eero Saarinen-designed Gateway Arch in St. Louis is preparing to celebrate the 50th anniversary of its opening, taking place in 2015, and the original Dan Kiley landscape around the monumental catenary arch is getting an overhaul by Michael Van Valkenburgh Associates (MVVA). The full story about the newly updated plans for the ambitious project appeared in the Midwest edition of AN News. MVVA shared these views of the current landscape and what's proposed, showing just how dramatic the transformation will be. Take a look. All images courtesy MVVA. [beforeafter] [/beforeafter] [beforeafter] [/beforeafter] [beforeafter] [/beforeafter] [beforeafter] [/beforeafter] [beforeafter] [/beforeafter] [beforeafter] [/beforeafter] [beforeafter] [/beforeafter] [beforeafter] [/beforeafter]
Washington University in St. Louis will soon begin work on two major projects totaling $130 million, according to NextSTL. St. Louis’ Hastings+Chivetta will design the $120 field house expansion, an extensive addition to Washington University’s historic field house, built out from the 1903 Francis gymnasium. Clayton, MO-based Ottolino Winters Huebner will design a $10 million cyclotron, a particle accelerator used for medical imaging and for the synthesis of radioisotopes for pharmaceutical production. The university’s Dr. Michel Ter-Pogossian is considered the father of positron emission tomography (PET scans), a nuclear medical imaging technique that produces 3-D images of internal body processes. (Rendering: Hastings+Chivetta)
Fifty years ago, the St. Louis waterfront was one gigantic parking lot after 40 blocks of the city's gritty industrial quarter were cleared in the late 1930s to create a site for a new Jefferson National Expansion Memorial. It took another two decades to get anything built, but on February 12, 1963, the missing slice of St. Louis began to change as ground was broken for Eero Saarinen's famous Gateway Arch that still defines St. Louis in one dramatic gesture. The posthumous groundbreaking (Saarinen died in 1961) of the stainless-steel-clad catenary arch captured the nation's imagination, and in December 1963, Popular Mechanics noted, "The Arch is America's newest and highest national monument, and certainly its most unique." It went on to correctly predict that "The majestic monument in gleaming stainless steel will be such a dominant landmark that it inevitably will come to symbolize St. Louis." The article goes on to discuss the construction challenges that lay ahead as the two 630-foot-tall sides of the arch were built independently and had to line up at the top with a margin of error of only 1/64 of an inch. Today, leaders in St. Louis and at the National Park Service are hurring to complete the next chapter of the Gateway Arch's history: remaking the landscape around the monument to better connect and engage with the surrounding city. Michael Van Valkenburgh Associates's design won following a competition in 2010, and later this month, CityArchRiver, the organization overseeing the redevelopment, will hold a public meeting to report on the latest news and updates.
Tadao Ando's architecture strives for perfection, with glass-smooth concrete walls nearly as reflective as mirrors, ideal proportion and geometry creating a sacred sense of space, and design details that reveal no part of a building is too small for consideration. In fact, as one story goes, Ando requested that a foot-thick concrete wall at his Pulitzer Foundation for the Arts in St. Louis be rebuilt multiple times since it didn't meet his strict standards. The Pulitzer, one of only a handful of buildings the Japanese architect has completed in the United States and the first in the US intended for public use, opened in 2001, demurely set behind a concrete wall in the city's Grand Center neighborhood. This Friday and Saturday (February 8 and 9), the Pulitzer Foundation for the Arts and Washington University in St. Louis are hosting the free Building Pulitzer colloquium looking back at the four-year construction period of Ando's Pulitzer Foundation. According to Liane Hancock, architecture professor at Louisiana Tech University and co-organizer of Building Pulitzer, "The goal of the colloquium is to reveal how a building designed by an internationally recognized architect is actually brought to fruition." Multiple events taking place at Ando's Pulitzer Foundation and at the Fumihiko Maki-designed Steinberg Auditorium at Washington University will consider the Pulitzer's design and four-year construction process. Hancock continued:
Tadao Ando asked for one simple thing—that the local designers and contractors give their personal best to the project. As the team learned more and more how to meet the challenges of the building, their personal best continuously improved. What is pretty amazing is how both the architects of record and the contractors both talk about the environment that was built to encourage collaboration, problem solving, and innovation to meet the tolerances that Ando requested.A number of events are planned, including a tour of the Pulitzer on Friday and a series of lectures and discussions by architecture professors Liane Hancock, Eric Hoffman of Washington University, Emily Rauh Pulitzer, and others. A keynote lecture on Friday, "Collaboration and Inovation Outside of Japan," will be delivered by Masataka Yano, associate at Tadao Ando Architect & Associates and project architect for the Pulitzer. Topics at the Building Pulitzer colloquium include:
- the working structure between Tadao Ando’s team and the St. Louis team (“Working with Osaka”)
- the realization of Ando’s design through unique methods of construction (“Translating Design Intent: Developing Means and Methods”)
- the development of a work environment that fostered construction excellence (“Personal Best: Creating a Receptive Environment for Construction Excellence”)