Posts tagged with "Studio Gang":

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Details announced for U.S. Pavilion at 2018 Venice Architecture Biennale

More details were announced Monday about the upcoming U.S. Pavilion at the 2018 Venice Architecture Biennale. The exhibition will be titled Dimensions of Citizenship and curated by Niall Atkinson, associate professor of architectural history at the University of Chicago; Ann Lui, assistant professor at the School of the Art Institute of Chicago (SAIC); Mimi Zeiger, an independent critic, editor, curator, and educator; and associate curator Iker Gil, lecturer at SAIC. Dimensions of Citizenship will feature the work of seven architecture practices to “explore how citizenship may be defined, constructed, enacted, contested, or expressed in the built environment at seven different spatial scales. Expanding from the body and city to the network and the heavens, the seven installations raise questions about issues including belonging, sovereignty, and ecology,” according to the curatorial statement. The seven spatial scales are used as an organizing principle to examine the ways citizenship affects and is affected by the built environment. Each studio is assigned a scale as the prompt. Scale: Citizen / Amanda Williams + Andres L. Hernandez, in collaboration with Shani Crowe From the project description: “Dimensions of Citizenship begins at the scale of the citizen with the project Thrival Geographies (In My Mind I See a Line), which will consider how race shapes notions of identity, shelter, and public space in historically African-American communities. For their installation in the courtyard of the U.S. Pavilion, Williams (a recently named 2018 USA Ford Fellow) and Hernandez, who is an associate professor of art education at SAIC, will partner with Chicago-based artist Shani Crowe, whose intricate braided hair sculptures have been worn by celebrities such as Solange. While the specter of slavery and continued racial injustice will be at the core of the installation, the piece will ultimately strive for a possible architecture of freedom that might allow all citizens to thrive and participate in the democratic ideal. Scale: Civitas / Studio Gang From the project description: “Led by 2011 MacArthur Fellow Jeanne Gang, Studio Gang uses design as a medium to help strengthen communities. Stone Stories builds on the Studio’s ongoing work in Memphis, Tennessee, to investigate how redesigning cities’ public space can be an exercise of citizenship and empowerment. Inspired by Memphis’s recent removal of two Confederate statues, Stone Storiesoffers an inclusive urban vision for Cobblestone Landing, an overlooked yet historically important site along the Mississippi River. Hundreds of Memphis cobblestones will be shipped to Venice and used as a platform to share the stories of Memphians past and present, offering visitors a visceral and material interaction with a distant public space and the citizens who are actively building its shared urban future.” Scale: Region / SCAPE From the project description: “SCAPE, under the leadership of 2017 MacArthur Fellow Kate Orff, will demonstrate that landscape architecture can be a critical tool for re-envisioning the response of citizens to climate change. SCAPE’s project, Ecological Citizens, understands the region as an area defined by the shifting relationships of ecology, infrastructure, and climate. It takes the Venetian Lagoon as a globally significant case study of a tidal region under ecological threat. Partnering with Università di Bologna and the Italian Institute of Marine Sciences, SCAPE will present possible solutions or interventions to aid the environmentally sensitive La Certosa island in the lagoon. Scale: Nation / Estudio Teddy Cruz + Fonna Forman From the project description: “Estudio Teddy Cruz + Fonna Forman challenges the way we think about national boundaries. Their project, MEXUS: A Geography of Interdependence, reveals a transnational zone comprised of eight watershed systems shared by Mexico and the United States. MEXUS provokes us to rethink citizenship beyond the limits of the nation, mobilizing a more inclusive, interdependent idea based on co-existence, shared assets, and cooperative opportunities between divided communities. Cruz is the winner of the 2018 Vilcek Prize in Architecture, which is presented to immigrants who are champions of the arts and sciences. Scale: Globe / Diller Scofidio + Renfro, Laura Kurgan, Robert Gerard Pietrusko with Columbia Center for Spatial Research From the project description: “When we zoom out to the scale of the globe, the primacy of the individual, the city, and even the nation drops away and is replaced by data: electricity, trade routes, migratory shifts, and the flow of capital, goods, and people. In Plain Sight—a collaboration among Diller Scofidio + Renfro, Laura Kurgan, and Robert Gerard Pietrusko with Columbia Center for Spatial Research—uses data drawn from images created by the Soumi National Polar-orbiting Partnership satellite to visualize where people live on earth. Two contrasting NASA images of the Earth taken at 1:30 pm and 1:30 amshow us the gaps in the network: the places with many people and no lights, and those with bright lights and no people. This information maps out a political geography of belonging and exclusion. Scale: Network / Keller Easterling with MANY From the project description: “Keller Easterling’s writings and projects regularly investigate the emergent territory where the state meets the digital network. With MANY, an online platform designed to facilitate migration through an exchange of needs, Easterling and team propose that we use the network to rethink possibly outdated notions of citizenship. With a nod to the pervasive and familiar share economies that define online life, MANY envisions a global form of matchmaking between the sidelined talents of migrating populations and the multitude of opportunities around the world. Favoring cosmopolitan mobility over national identity, MANY looks to short-term visas as a tool to foster an exchange of needs. Scale: Cosmos / Design Earth From the project description: “The space above Earth, as a site of existing human occupation and potential belonging, has become a territory that both captures the imagination and serves as a theater for existing conflicts or conditions. In looking to the cosmos, Design Earth’s speculative designs suggest possible off-world architectural responses. Design Earth’s El Hadi Jazairy and Rania Ghosn (recipient of the 2017 Boghossian Foundation Prize) present three “geo-stories,” which speculate on the legal geography of citizenship when extended to “the province of all mankind.” Together the stories in Cosmorama—Mining the Sky, Planetary Ark, and Pacific Cemetery—ask how we should reckon with the epic and frontier narratives that have fueled space exploration, at a time when prospects of instability and extinction have become normal on Earth.
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Memphis looks to its river for a new cultural space and aquarium

Like so many cities, Memphis, Tennessee, is imagining the future of one of its largest natural assets, its waterfront. The Home of the Blues marks the approximate midpoint of the Mississippi River, and until recently, it has mainly utilized it for industrial purposes, like many other American waterfront cities. While the river has been home to casino riverboats, and a riverfront park does exist, plans are now underway to turn the area into a full-fledged cultural destination. Memphis-based archimania, in collab­oration with Peter Chermayeff and BWS&C have put forward a plan called the Mud Is­land River Park + Cultural Center, which aims to bring the public closer to the wa­ter and provide educational opportuni­ties. The scheme calls for cultural facilities linked by a pedestrian path that would also connect Mud Island (a peninsula edging the city and the river) and the city’s riverfront to the adjacent redeveloped Fourth Bluff Civ­ic Commons. The centerpiece of the project is the Aquarium Museum, a complex on Mud Is­land that will show off aquatic species and focus on the city’s long history with the river as well as contemporary water studies. On the other side of the river, the complex will likely include a reimagined Memphis Brooks Museum of Art. The Brooks is currently lo­cated outside of the downtown area. The past few years have seen a number of proposals for Memphis’s downtown and waterfront, with an eye on the city’s bicen­tennial in 2019. Just northeast of the pro­posed Mud Island project, a building and development moratorium for the downtown Pinch District is being reassessed through a planning and architecture study led by the Division of Housing and Community Devel­opment and the Memphis office of Looney Ricks Kiss. Chicago-based Studio Gang Ar­chitects have also produced a Riverfront study for the city, which was released in mid-2017. The Mud Island proposal was in­formed by the Studio Gang research, which called for any projects along the river to fos­ter, restore, and connect the city, the river, and the larger ecology of the area. Considering the numerous proposals, it is likely that we will see multiple develop­ments and amenities coming to Memphis’s extensive riverfront in the coming years. To get the wheel turning, fundraising is set to begin for the Mud Island River Park + Cul­tural Center in 2018, with construction start­ing within the next four years.
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Studio Gang and SCAPE unveil plans for Arkansas Arts Center expansion

What does a cultural hub for the 21st century require? With their newly unveiled design for the Arkansas Arts Center in Little RockStudio Gang and SCAPE Landscape Architecture have a few ideas in mind: flexibility, inclusivity, community, and a nod to sustainability. The expansion and renovation, which is scheduled to break ground in 2019 and open in 2022, addresses a number of concerns from the existing 1937 structure and the work of eight subsequent additions. ("A very complicated puzzle," as museum director Todd Herman described the existing space.) In addition to selective demolition that will reveal the original facade, the first course of action involved uniting the spaces, which the architects plan to accomplish with the addition of a pleated covered walkway spine that links the city-facing north entrance with a new southern entrance connected to parkland. “Starting from the inside out, the design clarifies the organization of the building and extends its presence into MacArthur Park and out to Crescent Lawn,” Studio Gang Founding Principal Jeanne Gang said in a statement. “By doing so, the Center becomes a vibrant place for social interaction, education, and appreciation for the arts.” In addition to the central corridor, the expansion will also include an indoor-outdoor dining space and a multifunctional area called the Cultural Living Room that's designed to welcome visitors to engage and relax, while also offering space for large-scale events and performances. Specific attention will be paid to the sustainability of the materials and mechanical systems, underscoring the connection to nature that's at the core of the project, which has been described as a "museum in a forest." Critical to that concept is the SCAPE's new plan for the landscape, which increases parkland with more than 250 new tress and a variety of new paths and trails. SCAPE founder Kate Orff found inspiration for the design in Little Rock's unique ecology, which spans from the Mississippi Delta to the bluffs of Emerald Park. “This an exciting moment for the Arkansas Arts Center, central Arkansas, and the entire state,” Herman said of the $70 million project in a statement. “The reimagined Arts Center will be a welcoming place that encourages prolonged and meaningful interaction with the collection and programs at the Arts Center. It is intended to be a gathering place for the community that highlights the interplay between the AAC and the surrounding park.”
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CCA converts a vacant-ish lot into an experimental art playscape

The Designing Material Innovation exhibition—co-presented by the California College of the Arts (CCA) and the University of Michigan Taubman College of Architecture and Urban Planning at the CCA campus in San Francisco—aims to utilize contemporary architectural research in an effort to envision potential futures for the school’s backlot. The exhibition consists of five experimental architectural pavilions built to test new conceptual approaches in the realms of materiality, fabrication, and design. The pavilions, crafted with industry and academic partners, also attempt to articulate new ways of working outdoors in an effort to help guide designs for a forthcoming campus expansion by Studio Gang. Designs for the expansion are still in the works, but the scheme is expected to rely on a network of socially-driven outdoor workspaces and venues—Designing Material Innovation will act as a pop-up of sorts, testing the limits of what is possible outdoors at the CCA. The exhibition was curated by Jonathan Massey—the current dean at Taubman College and recent dean of architecture at CCA—who brought together APTUM Architecture, MATSYS, the CCA Digital Craft Lab, T+E+A+M, and Matter Design for the show. Exhibition design for the showcase came from Oakland, California–based Endemic Architecture, who created a “confetti urbanism” installation for the site that whimsically reworks existing furnishings into a playscape that hosts the experimental pavilions, as well as give students a place to fabricate their projects. “Designing Material Innovation shows how designers and industry leaders partner to achieve great things, whether that is making concrete structures light and delicate, promoting ecological diversity, or repurposing waste,” Massey said. APTUM Architecture collaborated with Mexican building materials company CEMEX to devise new methods of testing fiber-reinforced methods to pursue extremely thin concrete shell structures. The ten-foot-by-ten-foot pavilion is made of interlocking concrete arches that are only one-third of an inch thick. A second vaulted pavilion was made by Oakland-based MATSYS with help from the CCA Digital Craft Lab. The complexly curved shell structure was robotically milled from foam waste and is coated in synthetic resin. The Buoyant Ecologies Float Lab by the CCA Digital Craft Lab and Kreysler & Associates comprises a “floating composite shell structure” according to the exhibition website, and was fabricated using fiber-reinforced polymers. T+E+A+M and University of Michigan came together to generate a “new architectural order” made from “plasticglomerate,” an amalgamation of rocks and plastic waste cast into a grouped cluster of columns. The final team—Matter Design and Massachusetts Institute of Technology—fabricated a 16-foot-tall, 2,000-pound glass fiber reinforced concrete sculpture that pivots and moves freely despite its hefty appearance. Taken together, the installations offer not just a glimpse into the future of material experimentation, but pique interest in Studio Gang’s forthcoming additions, as well.
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What is the future of the Chicago riverfront?

While many architects moon over biennials and architecture festivals, these shows are often a bit esoteric for the general public. The Chicago Architecture Biennial (CAB) is no exception. Amidst the complex discussions and abstract installations, the average visitor may enjoy the show, but also feel a bit disconnected. However, there is one show at CAB that anyone would find accessible. Located in EXPO 72 across the street from the Chicago Cultural Center, the exhibition, Chicago Urban River Edges Ideas Lab, presents the visions of nine firms for the Chicago River. Chicago Urban River Edges Ideas Lab was initiated by the City of Chicago’s Department of Planning and Development and the Metropolitan Planning Council to solicit proposals for the city’s quickly evolving riverfront. Firms participating in the show include David Adjaye, James Corner Field Operations, Perkins + Will, Ross Barney Architects, Sasaki, Site Design, SOM, Studio Gang Architects, and SWA. Each firm addressed three sites along the river with designs that ranged from outdoor theater spaces to water remediation and ecological classrooms. Other ideas included policy suggestions, such as SWA’s forest bonus, rather than a density bonus. Multiple offices proposed ways of engaging more closely with the river itself, including James Corner Field Operation’s softened edge and Perkins+Will’s riverside beach. The three sections of the river addressed by the show are the Civic Opera House, the Congress Parkway, and the Air Line Bridge. Each of these sites present different challenges which the city hopes to resolve. While large stretches of the riverfront have already been converted into the Chicago Riverwalk, there are over 156 miles that have yet to be developed or connected with public walkways and activity spaces. The initial downtown stretch of redeveloped space was designed by Ross Barney Architects and Sasaki, and was completed earlier this year. The exhibition, which was also designed by Ross Barney Architects, aims to engage public feedback and present ambitious yet feasible visions of the river’s future. Throughout, large renderings with texts allow visitors to compare proposals side by side. Those interested are directed to the project's extensive website to watch interviews with the architects, watch animated shorts about the proposals, and send commentary to the city and designers. “We thought this would be a great way to bring together a bunch of very creative folks, as well as help Chicagoans begin to imagine how this could work and what their place in it would be,” explained Josh Ellis, vice president of Metropolitan Planning Council at the exhibition opening. While the exhibition is not intended to be a competition, it is clear that each of the offices poured resources and brain power into the project. The Department of Planning and Development as well as the Mayor’s office have been explicit in their search for ideas for the future of the river. “This is just a snapshot of how serious each of these teams took this. These are meant to be ideas that can be realized,” said Clare Cahan, studio design director at Studio Gang at the opening. “There are things that will be attractive to communities, attractive to the city, and attractive to developers.”
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Jeanne Gang announced as 2017 Marcus Prize Recipient

The University of Wisconsin-Milwaukee School of Architecture and Urban Planning has announced Jeanne Gang, head of Chicago-based Studio Gang, as the recipient of the 2017 Marcus Prize. In part, the $100,000 reward goes to support a design studio led by the recipient at the school. Awarded every two years, the Marcus Prize was founded by the school and the Marcus Corporation Foundation to award practices "on a trajectory to greatness." Started in 2005, past winners include Winy Maas, Frank Barkow, Alejandro Aravena, Diébédo Francis Kéré, and Sou Fujimoto. The last winner was Joshua Prince-Ramus in 2015. The Marcus Prize Studios have produced everything from large bodies of research for publication to a permanent park pavilion in Milwaukee. While no theme has been announced for this year’s studio, Gang has worked on proposals for Milwaukee, including a vision for the future of the Milwaukee Harbor and lakefront. Nominees for the award are required to have demonstrated at least ten years of exceptional practice. The 2017 pool of nominees came from 16 countries on four continents. This year’s jury included Frances Bronet, Provost and Senior Vice President of Academic Affairs at Illinois Institute of Technology; John Czarnecki, Editor-in-Chief of Contract Magazine; Anne Rieselbach, Program Director at the Architectural League of New York; David Marcus, CEO of Marcus Investments and Robert Greenstreet, Dean, University of Wisconsin-Milwaukee School of Architecture and Urban Planning. Jury member John Czarnecki commented that Gang “is adept at outstanding design for all scales--from the neighborhood and urban scale to the detail of buildings and interior elements. Her practice combines design thinking about the impact of architecture and urban design on cities as well as the creation of beautiful buildings rooted in context that will stand the test of time.”
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Jeanne Gang-Nick Cave collaboration launches EXPO and Chicago Architecture Biennial

For the concurrent opening of EXPO Chicago and the Chicago Architecture Biennial, artist Nick Cave and architect Jeanne Gang put on a show few are likely to forget. The first performance of their collaboration, Here Hear Chicago. took place on September 13 at Navy Pier’s AON Grand Ball Room for a capacity crowd during EXPO’s Vernissage. Subsequent shows will take place over the weekend for the public. The buzzing atmosphere of EXPO’s preview night was overtaken by the sound of drums a half hour before the scheduled start of the performance, as a parade of Cave's uncanny “Soundsuit”-clad performers marched between the stalls of the international art show. Guests ran to get a look and cheered the scene as the performers made their way to the grand ballroom. Before entering the space, the troop moved through a forest of six-foot tall “buoys,” made by Studio Gang. Each performer wove and danced around the more than 200 teetering chrome Mylar objects as the crowd followed. Nick Cave-Jeanne Gang: Here Hear Chicago (Courtesy Spirit of Space) from Architect's Newspaper on Vimeo. The show itself began in a more muted key. Set to the haunting music of composer Kahil El'Zabar, Cave and a group of young men took the stage. Sitting perfectly still for a full half hour, each was attended to by a white-clad attendant who slowly and methodically dressed them in colorful fur soundsuits. When they finally stood, bodies completely abstracted, the crowd roared their approval. For the next 45 minutes, the performers moved through the space, interacting with each other and the crowd. Most of the time their bodies were abstracted and concealed. A fleeting glimpse of a foot or hand shooting out from the exorbitant costuming was the only hint of humanity in the alien forms. Guttural calls and howls by the performances accompanied El'Zabar’s abstract jazz, with the occasional call back from members of the audience. In the last moments of the show, Nick Cave set the long line of buoys lining the stage into movement. For those who may have hoped that the Studio Gang-designed elements would have played a larger role in the performance, this was the apex. Once the show was complete, many guests rushed to engage with the playful forms. Here Hear Chicago was part of the kick-off of the sixth EXPO CHICAGO international art exhibition and the second Chicago Architecture Biennial. EXPO runs from September 13 through September 17 at Navy Pier, and the Chicago Architecture Biennial runs from September 16 through January 7, 2018 at various venues, with a main exhibition at the Chicago Cultural Center.  
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American Museum of Natural History files plans for Gilder Center expansion

The American Museum of Natural History (AMNH) filed plans for its $340 million expansion with the Department of Buildings (DOB) yesterday, an indication that the project is moving forward, according to Real Estate Weekly.

Designed by Chicago-based Studio Gang and officially named the Richard Gilder Center for Science, Education, and Innovation, the project was unanimously approved last year by the Landmarks Preservation Commission (LPC). The 245,000-square-foot, six-story expansion will be erected on the western side of the museum.

The proposed building is noticeably different from the AMNH’s current architectural language of Victorian Gothic, Beaux Arts, and Richardson Romanesque, but the Gilder Center will act as connective tissue for existing exhibition spaces. (The museum's Ennead-designed Rose Center for Earth and Space, while modern, is also styled very differently.) In January, Studio Gang's founding principal, Jeanne Gang, revealed the latest interior designs, which are inspired by ice glaciers and canyons to create an organic theme.

The museum plans to expand its research, educational, and exhibition capacity by building a Butterfly Vivarium, an Invisible Worlds Theater, an insectarium, and new classrooms. The designs also include 30 new circulation connections meant to solve current wayfinding issues at the museum.

While the proposal cleared the LPC and garnered support from other officials and organizations, residents and preservation and park advocates had some reservations due to the building’s encroaching footprint on Theodore Roosevelt Park. But the designers adjusted their plans, and now the building will only take up less than two percent of the 10-acre park.

The Gilder Center is slated to open in 2020, if construction starts imminently.

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Studio Gang envisions the future of Memphis’s Mississippi riverfront

Chicago-based Studio Gang Architects has released an extensive outline envisioning the future of Memphis, Tennessee's Mississippi riverfront. Studio Gang’s Memphis Riverfront Concept is a broad framework spanning six miles of the east bank of the river. Divided into five zones—Fourth Bluff, Mud Island, Tom Lee Park, M.L.K. Park, and Greenbelt Park—the Riverfront Concept is designed to re-link the city’s downtown to the underutilized waterfront. The plan calls for changes, large and small, ranging from new park buildings to major ecological remediation. Many of the changes proposed are meant to build on the things people in Memphis already enjoy about the river. Throughout the design process, Studio Gang worked with the public and the Mayor’s Riverfront Task Force to gauge interest and gain insights into the future role of the river in the city. Based on community suggestions, the plan calls for enhancing views across the river, year-round attractions, additional family spaces, and various bike and pedestrian paths. Picturesque sunsets, barbecue, and the blues—just a few of Memphis's favorite pastimes—were all considered in the plan. For example, Tom Lee Park's new adventure playground and waterfront pavilions aim to be catalysts for the generally quiet park. Currently, the park is primarily programmed for a month-long fair each year. Studio Gang hopes that the Riverfront Concept will make it a year-round destination. The namesake of the park, Tom Lee, is a local African-American hero. Along with the Memphis-based National Civil Rights Museum, the plan proposes a “Civil Rights History Loop.” The riverfront has always been of historical significance to the city. Not only was the riverfront the site of the settlement which eventually became the city, trade along the river was the driving economic force for most of the Memphis's history. The Riverfront Concept hopes to reignite interest in the Mississippi River while reflecting back on its past importance. Among other areas that will see major changes is Mud Island—a peninsula in the river—which has been re-imagined as an Eco Hub. Currently, the area is a cultural center in the city and includes portions of the University of Memphis, as well as the Mississippi River Museum and an outdoor amphitheater. The Riverfront Concept includes learning and research areas, as well as ideas about institutional collaboration. Considering the Mississippi River watershed constitutes nearly 40 percent of the United States surface freshwater, Studio Gang argues that Memphis is an ideal location for freshwater studies. The Memphis Riverfront Concept is meant to be a starting point for much larger changes for the city. Over the past 60 years, Memphis's population has moved further and further east, away from the river. The Riverfront Concept aims to re-center the focus of the city on its historic starting point along the bluffs of the river and provide an expansive shared amenity. To do so, Studio Gang developed three design principles: foster, restore, connect. Each of these principals was constructed through discourse with the public and city officials. The "foster" principle focuses on bringing the public together and encouraging civic pride and appreciation for the river. "Restore" focuses on bringing back native ecological conditions and allowing the public to better understand the river system. The "connect" principle sets goals for bridging the divide between the city and the river, physically and culturally. The entire 140-page Memphis Riverfront Concept is available online for the public to view.
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Studio Gang’s “Hive” was inspired partly by the Washington, D. C. Women’s March

What color is your hive? For the new Hive exhibit at the National Building Museum, architect Jeanne Gang and her firm, Studio Gang, chose two colors, a silver shade for the outer surface and magenta for the underside and the floor. The team selected silver, Gang said, because it was a good complement to the marble columns and walls of the former Pension Building, now home of the museum, which provides the backdrop for the installation that opens July 6. And the magenta? “The magenta was inspired by the Women’s March” in Washington, D. C. last January, Gang said during a press preview this week. “It kind of connects back to that.” The color choice was an aesthetic decision, Gang explained. Besides playing off the marble in the museum, she said, “magenta was so present at the Women’s March, when you saw the hats,” Gang said. “You couldn’t help but be inspired by the color. We wanted to bring that out.” The Women’s March took place on January 21, one day after Donald Trump was inaugurated President of the United States, and drew hundreds of thousands of people to the National Mall. It was also around the time when Studio Gang was starting to plan its Washington exhibit, which became the Hive. The pink hats worn at the Women’s March were conceived as part of an initiative called the Pussyhat Project. It was started by West Coast residents Krista Suh, Jayna Zweiman, and Kat Coyle, who envisioned marchers wearing knitted hats that would make a visual statement about the event while also keeping themselves warm. “If everyone at the march wears a pink hat, the crowd will be a sea of pink, showing that we stand together, united,” they said on their website. Pink is an appropriate color for the hats because it’s associated with femininity and womanhood, the organizers wrote. “Pink is considered a very female color representing caring, compassion, and love—all qualities that have been derided as weak but are actually STRONG. Wearing pink together is a powerful statement that we are unapologetically feminine and we unapologetically stand for women’s rights.” On Monday, Gang led a tour of the Hive, demonstrating some of its acoustic components, including tubulums and wind chimes. Hive is a series of chambers made of 2,578 wound paper tubes, and the tubes have nine different diameters. Visitors can enter the chambers or walk around them to see how they were put together. One chamber, 58 feet high, is the tallest structure ever built inside the museum. Gang said the installation, like much of Studio Gang’s work, represents an effort to create spaces that encourage people to “gather and interact.” She described how the museum has planned a series of programs and activities that make use of the hive, including yoga circles and drum circles. “We’re really hoping to create a community, even if only a temporary community of people who come into the museum,” she said. Hive is the fourth “summer block party” exhibit at the National Building Museum and the first designed by a woman-led team. Other summer exhibits were designed by Bjarke Ingels Group (BIG); Daniel Arsham and Alex Mustonen of Snarkitecture, and James Corner Field Operations. Hive opens July 6 and runs through September 4. The museum is located at 401 F Street N. W. in Washington. Jeanne Gang will give a talk about her firm’s work on Thursday starting at 7 p.m. at the museum.
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Studio Gang and artist Nick Cave team up for special performance

As details begin to emerge surrounding EXPO Chicago and the Chicago Architecture Biennial, this latest announcement brings together one of Chicago’s favorite artists with one of its favorite architects. Scheduled to debut during EXPO’s vernissage on September 13th, Jeanne Gang and her office Studio Gang Architects have teamed up with artist Nick Cave to produce a new performance piece. Entitled Here Hear, the collaboration will have performers “intersect and respond to a field of dynamic, custom-fabricated objects.” Dressed in Nick Cave’s fantastical "Soundsuits," performers will enact Cave's latest choreographed Up Right Chicago as well as his HEARD performance. All of this will presumably take place in an environment designed by Studio Gang, all to the music of Chicago Jazz musician Kahil El Zabar. “Up Right Chicago is a call to arms, head and heart, with each performance preparing the initiates’ mind, body and spirit to face the forces that stand in the way of selfhood,” said Cave in a press release. “Through movement, ritual and song, performers enter a world they have complete control over, like warriors of their own destiny.” The new Up Right Chicago performance involves ten “initiates”—members of the community—as well as ten “practitioners,” including Cave and his partner Bob Faust. “Like Cave’s works, the objects blur the boundary between audience and performer,” said Gang. “People will engage with the objects, making them performative and expanding the collaboration to the city of Chicago.” After the first performance, the show will be moved to the outdoors to Navy Pier’s Polk Bros Performance Lawn to be performed on September 16th as part of the Chicago Architecture Biennial. EXPO has also hinted that there may be additional performances, saying a full schedule will be released later in the summer.
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Watch Studio Gang’s “Hive” installation rise at the National Building Museum

Hive, an exhibition by Studio Gang, will be this year's Summer Block Party installation at the National Building Museum. While it opens July 4, you can watch its progress from the comfort of home, courtesy a work zone cam on the Museum's website. Built entirely of more than 2,700 wound paper tubes, the installation features three interconnected, domed chambers that reach 60 feet in height and mimic insect hives. Its tallest dome features an oculus over ten feet in diameter; it will filter in light to create light and shadow patterns. The tubes, which are made out of sustainable material, have a reflective silver exterior and a magenta interior that contrasts sharply with the Museum’s historic 19th-century architecture and Corinthian columns. Hive's form is inspired by other iconic built structures, including Eero Saarinen’s Gateway Arch and Brunelleschi’s Dome at the Florence Cathedral in Italy, as well as natural forms like a spider web. The smaller chambers also feature tubular instruments ranging from simple drum-like tubes to chimes. The installation creates pockets of spaces within the vast Great Hall, allowing different programs to occur within each area. Its modification of sound, light, and scale aims to challenge the way humans interact with spaces and installation sculptures. Hive will go on display from July 4, 2017, to September 4, 2017. Visit nmb.org to find the web cam and for further information on special exhibitions and programs.