Posts tagged with "Texas":
According to the League of American Cyclists, Austin is the only “Gold Level” city in Texas. The cycle group, Bike Austin, currently boasts approximately 13,000 members—more than one percent of Austin’s population. So perhaps a sculpture titled Forever Bicycles has found the right home.
Forever Bicycles comprises, well, you guessed it, a lot of bicycles—1,200, to be precise.
The large-scale work from Chinese artist Ai Weiwei is part of The Contemporary Austin’s Museum Without Walls program and its ongoing partnership with Waller Creek Conservancy. It can be found adjacent to the Waller Creek Boathouse at 74 Trinity Street.
The steel bikes have not been painted or colored, resulting in a gray monolith that recalls Weiwei’s childhood memories and dadaist principles. In particular, it seems to reference Marcel Duchamp’s subversions of the everyday object such as the Bicycle Wheel, one first of the French artist’s “readymades.”
However, while Duchamp toyed with the mode transport in a singular fashion, Weiwei exhibits it in excess, recalling the bike brand “Forever” that dominated the streets of China during his childhood, yet were out of his, and many others’, price range.
The bikes are connected and arranged in a seemingly disorderly manner, yet this pattern of partially tessellating bicycles is repeated 11 times, with each iteration being equidistant from the next. From certain angles, the density of the sculpture obscures the cycle motif and the artwork is instead perceived as a metal mesh. However, this isn’t putting off Bike Austin, which says it will be incorporating the sculpture into the daily cycle routes.
Forever Bicycles is actually one of two Weiwei works that now fall under the Museum Without Walls program. The second, titled Iron Tree Trunk, is located at the museum’s Betty and Edward Marcus Sculpture Park at Laguna Gloria and sees a replica dead tree trunk rise 15 feet.
On a visit to the Chinese town of Jingdezhen, Weiwei observed how locals trade dry wood by basing the value on the wood’s form and general aesthetic. This inspired Weiwei to experiment with wood in a large-scale format. By 2009, he was exhibiting works that used twisted timber, and Iron Tree Trunk, conceived in 2015, continues this thought. The sculpture uses the remains of a large tree that have been pieced together to form a new “tree” that, at a glance, looks as if it is from oxidized iron.
“With beautiful and outspoken conceptual work fused to his own larger-than-life persona, Ai Weiwei has become one of the most important artists working today,” said Louis Grachos, executive director of The Contemporary Austin in a statement. “And his relevance is only deepening given the current political climate in the United States and throughout the world.”
Steven Holl's design for the Museum of Fine Arts, Houston (MFAH) has started construction. In 2015, Holl described the commission as "the most important" of his career.
Steven Holl Architects was awarded the job back in 2012, seeing off competition from Morphosis and Snøhetta, but working out the design has been a drawn-out experience. “What you see here is the culmination of a 36-month design process,” Holl said at a design unveiling two years ago. In addition to the 165,000-square-foot Nancy and Rich Kinder Building, and the Glassell School of Art, the architect also worked on the museum's master plan.
The 14-acre campus will also include the Sarah Campbell Blaffer Foundation Center for Conservation, designed by Lake|Flato Architects of San Antonio. The two-storey facility will sit above MFAH's existing parking garage and provide conservation labs and studios, and a street-level cafe. Holl's translucent Nancy and Rich Kinder Building, meanwhile, will see two floors of galleries circling a top-lit three-level atrium added along with a restaurant, theater, reflecting pools, vertical gardens, meeting rooms, and underground parking.
The building will have etched glass tubular cladding that will allow daylight to filter through and also give the building a soft glow come sunset. At ground level, six reflecting pools of water will amplify the luminous qualities of the structure's skin, which will also include seven vertical gardens. These will be cut into segments of vision glass instead of the translucent tubing. Inside, the two galleries will total 54,000 square feet. The upper level is to be shielded by a luminous canopy roof, which has concave curves inspired by Texas' billowing clouds. All of the gallery spaces feature natural light. Holl is working with New York–based lighting design firm L’Observatoire International on the project.Furthermore, Holl's new Glassell School of Art will connect with the water pools and connect the campus to The Brown Foundation, Inc. Plaza. All in all, MFAH's additions will come to $450 million. Construction is touted for completion in 2019.
This “barn” uses traditional red wooden planks and copper to produce a striking, long lasting facade
As architects, we believe that the Alamo Master Plan in its final form can restore both the Alamo and the integrity of this historic place in our city. We applaud this incredible effort. All the residents in our city and our state want this plan to succeed. To be a vital destination for everyone, it is equally important to have the plaza be a dynamic and welcoming civic space as it has been for the past 200 years—perhaps the most memorable place in the state. Like all good master plans, the first plan is the beginning of the conversation. We should honor the Alamo and Alamo Plaza by having a thoughtful “listening” period to allow the plan to get better (building upon the successes of the River North, Broadway, Hemisfair and South Town Master Plans). Alamo Plaza should be a memorable place for residents and visitors to return to again and again. A place that strengthens our city. On May 11, we hoped the City Council will approve the master plan conditional on the need for a continuing process that keeps the plaza as a connected civic space rather than a controlled-access outdoor museum. The plaza must be a welcoming and integral part of our city, balancing the historic aspects of the Alamo with the civic needs of the plaza.Thirty-one architects signed the letter, including David Lake and Ted Flato from Lake/Flato Architects and Lawrence Speck, professor, School of Architecture at the University of Texas at Austin. The letter can be read in full here. The day after this letter was posted online, however, David Lake published a critique of the master plan in The Rivard Report. He responded to elements in the master plan that in his view, were not addressed in an appropriate manner, notably the proposed glass walls. Here are a few of the key faults he noted:
The master plan creates new walls to the north and a west acequia which are not in historic locations and confuse the integrity of the battlefield. The arbitrary location of the north wall and the west acequia disrupt the plaza’s original character implying a much smaller space, which is not historically accurate. The walls exclude the community and disrupt connectivity, creating a place for visitors but inflexible to events that occur today. In this plan, it is no longer a community gathering place.Lake also argued that the plan only honored the Alamo Plaza of 1836 and "not the history of commerce in the plaza post-1836." His critique in full can be found here. If the master plan is approved, half of the sum required will come from San Antonio and the state, while the rest would be privately funded. A decision is due to be made on May 11. [UPDATE, 5/2/2017] This text has been updated from a previous version, published yesterday that did not include architect David Lake's critique of the master plan, which was also published that day. Further text from the signed architects' letter has been added to clarify their support for the "master plan process" rather than the master plan in its current form.