François Pinault, the founder of the luxury group Kering and the investment company Artémis, is known throughout Europe as an avid supporter of contemporary art. In 2017, Pinault announced that he had purchased Paris’s former stock exchange Bourse de Commerce, two blocks north of the Louvre Museum, to house at least a portion of his vast collection. “With the creation of this new museum,” Pinault wrote of the institution, now titled Bourse de Commerce — Pinault Collection, on its official website, “I am writing the next chapter of my cultural project, whose goal is to share my passion for contemporary art with as broad an audience as possible.” With an estimated budget of $170 million, he commissioned famed Japanese architect Tadao Ando to renovate the 19th-century domed structure with the assistance of local talent including NeM Architects, architect Pierre-Antoine Gatier, and engineering firm Setec. Pinault additionally entrusted designers Ronan and Erwan Bouroullec with the interior and exterior furnishings. Three years later, the project is nearly ready for the public. To renovate the Bourse de Commerce to its condition in 1889, the year in which all of its additions were first completed, the team used archival documents produced by architect Henri Blondel to analyze the original carpentry of the facades, update the marble mosaic tiles lining the interior of the vestibule and rotunda, replaced the glass canopy, and reinforced the iron framework on cast-iron columns. Restoring the paintings lining the interior of the dome proved to be an enormous challenge in itself, yet in the process, the team discovered graffiti and other embellishments from previous eras. Ando’s greatest contribution to the space is a large, cylindrical concrete wall at the center of the multistory interior designed to increase wall space for exhibitions without visually competing with the hand-painted dome above. There will also be a restaurant added on the top floor of the building, as well as an auditorium with 300 seats, and a black-box theater for video installations and experimental performances. According to the museum’s website, the additional components of the building, which was once solely animated by the frenzy of the stock market, “will become the actors in a scenography intended to remove visitors from their daily lives, to allow them to focus on what’s before their eyes, on the here and now.” The institution is expected to have ten special exhibitions a year on average while also featuring work from Pinault’s private collection. The opening date has been pushed more than once; it was first scheduled to be complete in 2019, then once again in June of this year. According to ARTnews, the institution’s opening has again been postponed due to the coronavirus, and is now scheduled to welcome visitors sometime in September. When complete, the Bourse de Commerce—Pinault Collection will be the third gallery Ando has completed for Pinault, following the Palazzo Grassi and Punta della Dogana in Venice, Italy.
Posts tagged with "Tadao Ando":
Tadao Ando’s first building in New York is quiet. At least, that’s the way the Pritzer Prize–winning architect wants it to be perceived. Located in Manhattan’s Nolita neighborhood, the newly-completed 152 Elizabeth is Ando’s latest luxury residential project, and though it only has seven home inside it, is slated to subtly stand out amongst its neighbors. While the idea of being quiet and sophisticated is reflected in its simple yet elegant design scheme, the 32,000-square-foot building quite literally is engineered to be noise-proof; it’s a “sanctuary” for its inhabitants, according to Ando. Read the full article on our interiors and design website, aninteriormag.com.
Pritzker Prize laureate Tadao Ando has transformed a vintage Lincoln Park apartment in Chicago into a space for exhibitions devoted to architecture and socially engaged art. Wrightwood 659 is a private, non-commercial initiative founded by Alphawood Foundation president and Chicago philanthropist Fred Eychaner and architectural historian Dan Whittaker. The building is the second work by Ando commissioned by Eychaner, whose private residence was designed by the self-taught Japanese architect in 1998 and is located next door to the exhibition space. The Eychaner home was the first free-standing building constructed by Ando in the United States. For Wrightwood 659, Ando worked within the existing envelope of a four-story 1930s apartment building, which has been completely hulled, leaving the brick shell along with minimal classical revival details on the outside. A new rooftop structure hovers above the existing building on a tilted axis from the original building, leaving room for a rooftop terrace that provides skyline views and an additional gallery. Inside, the reconfigured space contains a new steel and reinforced concrete structure, allowing for the creation of a multi-story atrium clad in Chicago common brick reclaimed from the existing building, and a grand staircase of smooth poured concrete, an Ando signature. Wrightwood 659 celebrated a soft pre-opening earlier this year with Trace by Chinese contemporary artist Ai Weiwei, exhibited in collaboration with the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, D.C. The exhibition space opens to the public on October 12 with Ando and Le Corbusier: Masters of Architecture, with works on loan from the Art Institute of Chicago and the Fondation Le Corbusier in Paris, as well as scale models of works of Le Corbusier by students of Tadao Ando. The second floor of the space will be filled with the works of Le Corbusier, while the third and fourth floors will focus on Tadao Ando. The exhibition kicks off with a lecture by the architect at the Art Institute of Chicago on October 11 and continues with a symposium of Le Corbusier scholars on November 8 and 9.
Japanese architect Tadao Ando has been tapped to design a new museum inside one of Paris’s historical buildings, the former stock exchange Bourse de Commerce. On Monday, French billionaire and art collector François Pinault unveiled his plans to create a contemporary museum for his private art collection within the glass-domed building, which is steps away from the Louvre and the Palais Royal. Pinault, who has worked with Ando before on the Palazzo Grassi and Punta della Dogana in Venice, chose him to lead the Paris project's design and preservation efforts, along with French firm NeM Architects, French National Heritage architect Pierre-Antoine Gatier, and engineering firm Setec. “Considering the scope of this challenge, it seemed obvious that I should entrust Tadao Ando with this mission, as Ando is one of the few architects working today who is able to create a dialogue between architecture and its context, its past and present, masterfully combining originality and discretion,” said François Pinault in a press release. Ando’s addition will be a cylinder in the iconic rotunda that will create three levels of gallery spaces that are open to the dome and encase an auditorium below ground. Corridors will also be constructed between the outside of the cylinder and the "interior facade" to create a new space for circulation. (The Bourse de Commerce incorporates several structures built over the centuries on that site; French architect Henri Blondel (1821-1897) designed an 1889 addition that serves as the current facade.) Besides a redesign of the internal space, the plans for the Bourse also include restoring its exterior and landmarked interiors—the internal facade, skylights, and frescoes. Restoration to the 19th century, neoclassical building is estimated to cost $121 million. The announcement also revives a long battle between the two well-known art collectors in France: Pinault and Bernald Arnault. They have both sought homes for their private art collections, with Arnault’s currently in the Frank Gehry–designed Fondation Louis Vuitton in Paris. The ambitious project takes on additional political significance in “tumultuous times,” where recurring terrorist incidents and Brexit cast doubt on what the future holds, as Ando described in a press release. “This is a project that calls on the people to recall France’s proud identity as a country of culture and art and to renew their hopes for the future.” The museum is expected to open in 2019.
The Pulitzer Arts Foundation and the Sam Fox School of Design & Visual Arts at Washington University in St. Louis have announced three finalists for the second iteration of the design-build PXSTL competition. The three finalist were culled from a list of 35 artist, architects, and designers, who were solicited by the organizer. The list includes: —Randstad, NL and Istanbul-based architects Merve Bedir and Jason Hilgefort —New York/Houston-based artist Mary Ellen Carroll —Chicago-based architect Amanda Williams and artist/educator Andres L. Hernandez Canopy of the 2014 PXSTL structure. (David Johnson) All of the finalist will travel to St. Louis in mid-February to conduct detailed site analysis and give public presentations on their previous work and interest in PXSTL. The winner will be announced in March. Along with an $80,000 budget to complete the project, the winner will teach an architecture studio as visiting faculty at the Sam Fox Graduate School of Architecture & Urban Planning in Fall 2016 semester. With commentary from community stakeholders, cultural organizers and local artist, the winner will work with their students to develop the project over the semester. PXSTL (an acronym for Pulitzer, Sam FoX School, and ST. Louis) is a competition for a design-build commission to build a temporary structure on an empty lot near the Pulitzer Art Foundation in the Grand Center arts district. The fist iteration of the PXSTL was completed in 2014 by the Brooklyn-based Freecell Architecture. Their project comprises of a large canopy under which dance, music, and community events were held throughout the summer of 2014. This year’s competition will conclude in the pavilion construction in spring of 2017 and community programing through the summer of 2017. The goal of PXSTL is in engage the community with small-scale intervention to encourage urban transformation. As part of this, the public will have a chance to offer feedback in public forums to be held in the fall. “Since its founding, the Pulitzer has been dedicated to creating opportunities for art and culture to have a positive impact on the broader St. Louis community. As PXSTL demonstrates, this means working closely with and listening carefully to both our community and cultural partners.” Remarked Cara Starke, director of the Pulitzer Arts Foundation, in a press release.
The Noguchi Museum has named architect Tadao Ando and artist Elyn Zimmerman recipients of the 2016 Isamu Noguchi Award. The award, given annually since 2014, recognizes practitioners who "share Noguchi’s spirit of innovation, global consciousness, and East-West exchange." The awards will be presented during the Noguchi Museum’s Spring Benefit in May. Like Noguchi, Ando incorporates natural elements into his designs, and shapes space with humble materials like concrete. Among many notable commissions, his Osaka-baed practice, Tadao Ando Architects & Associates, designed the Pulitzer Arts Foundation building in St. Louis, Missouri (2001), the Modern Art Museum of Fort Worth, Texas (2002), and the Punta Della Dogana Contemporary Art Center, Venice (2009). Ando received the Pritzker Prize in 1995. Zimmerman is known for her site-specific stone installations that play on water and light. Her public commissions include the Sculpture Garden at the Birmingham Museum of Art in Birmingham, Alabama (1993), a pool and granite sculpture, for the National Geographic headquarters in Washington, D.C. (1980), as well as Suspended Arcs, a commission for the Beijing Olympics (2008). In 2015, the award was granted to industrial designer Jasper Morrison and architect Yoshio Taniguchi. Norman Foster and artist Hiroshi Sugimoto claimed the honor in its inaugural year.
Tadao Ando opens up about his first New York City building, architecture as living light, and an early career in professional boxing
New York developers Sumaida & Khurana are breaking architectural ground with a series of residential buildings in New York City designed by architects who have never built there before. Their first is a seven-unit beaut by Tadao Ando—called ICHIGONI (152) or 152 Elizabeth—set to bring glass-smooth concrete and highly detailed steel to Manhattan's Nolita neighborhood. And now Ando is opening up about its design. https://vimeo.com/130195081 AN previously covered the project's design by Ando and Gabellini Sheppard:
According to Ando, “A living space should be a sanctuary,” and for the NoLita project, the team has chosen a natural material palette that creates spaces that compress and expand while giving “life to light and water,” according to Michael Gabellini, principal of Gabellini Sheppard. Concrete solids give way to voids of glass and light. “Concrete is a very democratic material, very accessible,” Gabellini explained. “It doesn’t create a gap between the rich and poor like some other materials.”Now, design video 'zine Nowness has released a video interview with Ando, where he speaks about his design philosophy and process in his native tongue (with captions, too). In the video, Ando said, "A living space should be a sanctuary. It has to be a place where you can reflect on your life. When one arrives home, there's a very tranquil feeling. This project is about that." He compared the design process to his experience boxing professionally as a teenager, staying a step ahead. "Architecture is also a battle," he said. "I wanted to make something which no one else could," Ando continued. "A very quiet piece of architecture." Specifically, he sought to bring a distinct Japanese sensibility to the project while not losing its unique sense of place in the city. "Here is where you most feel, 'I'm living in New York,'" he said. In his design, he said water and light become "a living thing." Watch the video for yourself above and view more renderings here. Developers also plan another 400-foot-tall tower in Midtown by famed Portuguese architect Álvaro Siza Vieira.
Founder and Chair of the Pulitzer Arts Foundation, Emily Rauh Pulitzer, announced today that Cara Starke, the director of exhibitions at Creative Time, will step into the role of director at the St. Louis–based cultural institution, beginning this July. During her years at Creative Time, Starke spearheaded some of the organization's more elaborate, large-scale projects and exhibitions, including this past summer's popular installation, A Subtlety, by artist Kara Walker. “Cara’s approach to the work and operations of an arts institution is exceptional. She has a keen understanding of the evolving role the arts play in our lives and in our communities—a vision that is well in line with the Pulitzer’s tradition of pushing the boundaries of the arts experience,” said Pulitzer in a statement. Prior to her tenure at Creative Time, Starke cut her teeth as the assistant curator for the department of media and performance art at the Museum of Modern Art, where she helped organize several exhibitions, such as Olafur Eliasson's Take your time and Doug Aitken's Sleepwalkers. The Tadao Ando–designed Pulitzer building is currently undergoing an expansion to add 3,700 square feet of public space—complementing the 7,500-square feet of existing galleries—to carve out new areas for exhibitions and programs. Starke will take over for Kristina Van Dyke who has served as director since 2011 and worked with Mrs. Pulitzer in the conception of the institution's expansion. "The Pulitzer is a remarkable space that brings together intellectual experimentation and thoughtful contemplation with a commitment to local audiences and experiences that extend beyond the institution’s walls,” said Starke in a press release. “With the recent expansion, the Pulitzer has increased opportunities to offer unexpected, profound, and innovative approaches to artistic and cultural expression. I am honored to lead the Pulitzer into its next phase as an open and inspired space for art and culture.”
Deafening Silence: Morphosis designs a skyscraper in the Alps next to Peter Zumthor's famous Therme Vals spa
Can a 1,250-foot-tall skyscraper qualify as "a minimalist object” under any circumstances? It depends on who you ask—particularly if the building in question, the 7132 Tower hotel designed by Los Angeles–based architecture firm Morphosis for a site in Vals, Switzerland, would go up next to Peter Zumthor’s understated Therme Vals spa. Morphosis’ Thom Mayne said yes, calling the slender, reflective high-rise “a minimalist act that reiterates the site and offers to the viewer a mirrored, refracted perspective of the landscape.” The project’s critics, meanwhile, accuse Morphosis and client 7132 Limited of disrespecting the hotel’s surroundings, both natural and built. Zumthor, who completed the quartzite-walled Therme Vals spa in 1996, appears to be taking the “if you don’t have anything nice to say, don’t say anything at all” approach. BD Online quoted a firm spokesperson as saying, “He doesn’t want to comment on this hotel.” The tower—which would top Renzo Piano’s Shard by over 200 feet to become the tallest in the European Union—is still a long way from being built, requiring planning permission and a public vote prior to construction. Among the marks against it are the manner by which Morphosis received the commission. What began as a competition ended in February with a unilateral decision by 7132 Limited to narrow the three-firm shortlist down to one, over the jury’s objection. On the plus side, Mayne’s concept has garnered a vote of confidence from Tadao Ando, whose nearby Valser Path park is expected to be finished by 2017. “I believe it will harmonize in the beautiful landscape and will attract and impress various guests and visitors from all over the world,” said Ando.
One of Russia’s most distinctive pieces of architecture—the 1920s-era Shukhov Radio and Television tower in Moscow—has skirted what appeared to be its imminent death. Earlier this year, news broke that local authorities planned to dismantle the deteriorating, hyperboloid structure, which was built as a communist communications tower. Russian officials said the structure could possibly be reassembled somewhere else, but preservationists didn't buy it. And, at the time, leading architects from around the world—including Rem Koolhaas, Thom Mayne, Tadao Ando, and Elizabeth Diller—signed a petition to stop the tower’s demolition. It’s hard to know exactly what impact that petition had, but something clearly changed in the past few months. The Moscow Times is now reporting that the city has placed the structure on a federal list of protected heritage sites. While this reportedly stops plans to dismantle or relocate the structure, the Shukhov Tower is not entirely in the clear just yet. The tower has been decaying for years and needs close to $14 million in repairs. "The bureaucratic procedure of drafting documents to preserve buildings … is not a guarantee they will be saved," Sergei Arsenyev, the vice president of the Shukhov Tower Federation, told the Guardian. "If they don't allocate money for saving [the] tower, sooner or later it will die." [h/t ArchDaily]
Since news about a Tadao Ando–designed residential building in Manhattan's Nolita neighborhood broke in March, anticipation has been building about what the Pritzker Prize–winning starchitect had planned for his first large-scale project in New York City. Now, renderings of the seven-story project have been published by Dezeen, but they offer a frustratingly vague sense of what's in store for Elizabeth Street. Here's what we do know: the building has floor-to-ceiling windows, a significant concrete wall on at least of its sides, and a rooftop terrace with a reflecting pool. Dezeen reported, “It will be constructed using in-situ concrete, galvanised steel and large expanses of glazing"—materials that Ando has used for many projects, from his 1989 Church of the Light in Osaka to the recently completed art and design school at the University of Monterrey. The building only houses eight units, each of which has interiors designed by Gabellini Sheppard Associates. All to say, these apartments won’t run cheap so Ando fans better start saving their cash now—the building opens in 2016. While Ando has received multiple awards and international acclaim, this is his first major entry into the New York market. But it is not his first: Ando designed the lobby and penthouse at 43 Crosby Street and the interior of the Morimoto restaurant. As his first ground-up project gets underway in New York, he is also expected to break ground on an expansion of his Pulitzer Arts Foundation in St. Louis.
Tadao Ando appears set to realize his first ground-up residential project in New York City. Andrew Luck's favorite will be designing eight condominiums in a building to be located on a Nolita corner currently occupied by a parking garage. Developers Saif Sumaida and Amit Khurana drummed up $21 million to purchase the site and thus pave the way for what is projected to be a 32,000-square-foot structure. The Pritzker Prize winner has previously offered smaller contributions to the city. Ando made his New York debut inside Japanese restaurant Morimoto and also designed the penthouse and lobby of a Soho apartment building. Gabellini Sheppard will take care of the interior of the new space, which is said to be opening in 2016. [Via Curbed.]