You’ll want to stop by the Dia in New York City to see LaMonte Young’s “truly immersive” Dream House
In New York in the 1960s and ’70s, a movement against pictorial, illusionistic, or fictive art began to favor more direct and literal figurations. This movement—now called Minimalism by many—was often spatial in nature as it was drawn on flat surfaces, sculpted, and displayed in white box galleries.
In February, a Twin Cities design firm advertised an unusual yard sale of sorts. CityDeskStudio offered to pay $5,000 to whomever could haul away and repurpose an 84-foot long section of Minneapolis‘ famous skyway system that once spanned South 5th Street. The skyway segment is now headed to a private residence in Brainerd, Minnesota—but not before playing host to a contemplative art installation that examines the philosophical dimensions of this defunct piece of pedestrian infrastructure.
Chatter: Architecture Talks Back opened at the Art Institute of Chicago on Saturday with a buzzing roundtable “salon” between experimental architects and progressive design scholars. Packed to standing-room-only, the dialogue asked how new modes of communication are reshaping architecture’s heritage of representation.
On View> Architecture students to fill Museum of Contemporary Art St. Louis with plastic bubble clouds
Graduate students at the Sam Fox School of Design & Visual Arts of Washington University in St. Louis are bringing to life a cloud of plastic bubbles in a show they’re designing, building, and calling ACCUMULUS—a portmanteau of the words ‘Accumulation, Cummulus, and Us.’
Jean Prouvé rocks! He was a designer with a sharp, clear idea of what he hoped to achieve and the ability to clearly make his point with modern materials and simple plans. If you have an all-steel pavilion with large, inoperable panes of sheet glass then open the wall instead. In his 1956 temporary School of Villejuif, for example, he did just this with aluminum wall sections featuring round holes and a sheet-metal covering to open and close the wall.
Political action and its relationship to the printed page is the subject of an afternoon event at Columbia University on Friday, March 27, at 12:00 p.m. Three young architecture historians—Samuel Johnson, Simon Sadler, Meredith TenHoor—will present their research on artists, architects, and other creatives who use the printed page as a platform to advance positions in both thought and design. Felicity Scott of Columbia will respond and discuss how print becomes a site of spatial politics. The event will take place in GSAPP’s Ware Lounge. More info here.
When the Future had Fins: American Automotive Designs and Concepts, 1959-1973
Christopher West Mount Gallery, Pacific Design Center
8687 Melrose Avenue, West Hollywood, CA
Through May 20
Once upon a time the American car industry was king. Nothing captures the prestige, aspirations, and mythology of Detroit’s heyday quite like the working sketches and drawings used to develop and promote the land boats we used to call automobiles.
On View> New York’s landmarked interiors get their own show at the New York School of Interior Design
Rescued, Restored, Reimagined: New York’s Landmark Interiors
New York School of Interior Design Gallery
161 East 69th Street, New York City
Through April 24
There are 117 landmarked public interior spaces in New York City. That seems like a fair number until you realize that the city is home to more than 1,300 building exteriors that have been granted landmark status. Rescued, Restored, Reimagined, an exhibition currently on show at the New York School of Interior Design Gallery (NYSID), seeks to strike a balance by making the argument that historic interiors are just as important as the edifices that enclose them.
Remember the Future: Daniel Arsham
Contemporary Arts Center
44 East 6th Street
March 20–August 30
Remember the Future is the first major exhibition in Ohio by Cleveland-born artist Daniel Arsham. In it, site-specific installations respond to the scale, light, and structure of the Contemporary Arts Center building in Cincinnati.
The word “sapienza” means “wisdom” in Italian. It also refers to the Church of Saint Yves at La Sapienza, 1642–1660, designed by Baroque architect Francesco Borromini. In Eugene Green’s film, La Sapienza, Borromini is a hero of the protagonist, architect Alexandre Schmid (played by Fabrizio Rongione). Borromini incorporated the remains of a 14th century church, rather than razing it, a touchstone for Schmid. Geometry reigns throughout: the building is capped by a corkscrew lantern, and triangles and semi-circles are combined with figurative elements.