Review> Paul Gunther on preservation and the ongoing exhibit, Saving Place: 50 Years of New York City Landmarks
Saving Place: 50 Years of New York City Landmarks
An exhibition at the Museum of the City of New York and Catalog edited by Donald Albrecht, Andrew Dolkart, and Seri Worden
Through January 3, 2016
Since the first trace of the species homo sapiens, human evolution only represents four one hundred thousandths of one percent of the earth’s age. In proportion to an 80-year life span, that means just 31 hours—less than a day and a half of the 701,280 hours lived.
With the existential threat of climate change and ecological ruination gaining traction in collective consciousness—combined with the outsized expectations of breath-holding fundamentalists for whom earth’s rapturous end can’t come soon enough—our sense of what permanence means has begun to shift. If all human culture to date is just four-dozen millennia and we’ve wreaked so much havoc already, “forever” strikes a dubious chord.
This Friday, catch the world premiere of “Modern Ruin” all about the New York State Pavilion from the 1964 World’s Fair
World Premiere of Modern Ruin: A World’s Fair Pavilion
Friday, May 22nd, 2015
Cocktails 7:00–8:00p.m., Screening 8:00–9:30p.m.
Queens Theatre, 14 United Nations Avenue South
Flushing Meadows Corona Park, Queens
Philip Johnson and Lev Zetlin’s New York State Pavilion for the 1964 World’s Fair in Queens’ Flushing Meadows Corona Park should be more than an eyebrow raiser as those curious, disc-on-pole structures seen when driving to JFK airport. It was Munchkinland, the starting place for Dorothy’s journey to Manhattan—correction, Oz—in the 1978 film The Wiz. It was an alien spacecraft tower in the original 1997 Men in Black which crashes into the nearby Unisphere. And it was the site of Tony Stark/Ironman’s confrontation with his adversaries in Iron Man 2 on the grounds of Stark Expo 2010, a digitally updated 1964 World’s Fair grounds (director Jon Favreau’s childhood home overlooked the park). And it will appear in the new film Tomorrowland starring George Clooney that opens May 22.
In 2010, director Wim Wenders created a 3D video installation at the Venice Architecture Biennale about the Bolex Learning Center in Lausanne, Switzerland, called If These Walls Could Talk. The ability to visually explore the building and simulate being inside the space that the medium affords inspired him to team up with Robert Redford to create a 3D series called Cathedrals of Culture, which will be shown at the IFC Center in New York beginning on May 1.
Urbanism From Within
654 Mission Street, San Francisco
Through May 1st
There’s a little over a week left at the exhibition Urbanism From Within put on by the San Francisco Planning & Urban Renewal Association (SPUR), so head over and brace yourself for some captivating research, drawings and peep-show high-jinks along the downtown Mission corridor.
This year’s Park City offerings at the Sundance and Slamdance film festivals ranged from portraits of architects, a mayor with architectural dreams, a victim of the foreclosure crisis, those trapped in physical and dreamed spaces, and individuals exploring the cultural landscape. Always a harbinger of what is coming up, look out for these films and media projects coming to a screen near you.
At the Aronson Galleries at the New School, a wall of pickle jars taped with black-and-white cutout portraits of twenty dictators lines the windowsill. A standard 8 ½ x 11 paper sign invites visitors to Pick Your Own Dick by placing a poker chip in a jar. Chairman Mao, a world-class “dick” whose Cultural Revolution starved and murdered millions of Chinese, and Turkish President Erdogan, an elected Muslim fundamentalist morphing into a military strongman, handily won opening night.
Romancing True Power: D20, the mischievous exhibition designed by Srdjan Jovanovic Weiss of NAO and conceived by Nina Khrushcheva, associate dean and professor at the Milano School of International Affairs, Management, and Urban Policy at the New School, cheekily invites public debate about the nature of and difference between types of dictatorship, taking special glee in thumbing its nose at ostentatious symbols of power. The exhibit was accompanied by a journal compiled by Khrushcheva with Yiqing Wang-Holborn and by a book of graphic novellas designed as a result of Weiss’s seminar on new ideologies at Columbia GSAPP, both profiling selected dictators and their trappings.
Sketch to Structure
Heinz Architectural Center
Carnegie Museum of Art
Through May 20, 2015
The concept and visual for Sketch to Structure, an exhibition that has just opened at Pittsburg’s Heinz Architectural Center, is so cogent and well thought out it’s a wonder no other museum hasn’t already staged such a show. The exhibit is curated by Alyssum Skjeie of the Heinz Center and takes the architectural design process and divides it into four discrete sections—concept, collaboration, communication, case studies—each with drawings and renderings taken from the center’s own collection.
Emanuele Piccardo and Amit Wolf’s “Beyond Environment” explores American naturalism and European urbanity
The 1972 MOMA exhibition, The New Domestic Landscape, featured the unique voices and high designs coming from Italy (particularly Florence) during the period. It was a design interpretation of “Counter Culture” lifestyles coming from American college campuses and media interrupted by the young generation of Italian designers that called themselves radicals practicing “Superarchitettura.” What comes through in the drawings, videos, and objects in the show is that while much of the work foregrounds a “hippie” return to nature how truly urban Italian design thinking was during the period.
Keith Krumwiede’s Freedomland, an exhibition of architectural misfits, suburban follies, and developer nightmares, that just closed at the Princeton University School of Architecture Gallery, defies easy categorization. The pulse of the work is strong, its intention clear: to satirize the cringe-worthy packaging and wholesaling of a particular strain of the American dream of mass-produced, individualized suburban living by Toll Brothers and others through a series of reconfigured catalogue house plans.
Forget “home is where the heart is.” Home is where the art is—or so argues the latest show from the El Segundo Museum of Art (ESMoA). HOME isn’t your typical art exhibition, just as ESMoA isn’t your typical art museum. (In fact, ESMoA prefers the terms “experience” and “laboratory,” respectively. ) The experience, which runs through February 1, 2015, invites visitors to re-evaluate their personal definitions of art, the home, and—most especially—art in the home.
[Editor’s Note: The Venice Architecture Biennale is still on through November 23 and it’s still proving to be controversial. Professor Peter Lang shares his thoughts on Rem Koolhaas’ event here.]
A Tale about the Magician Koolhaas who plays Prospero, lives on an island in the Venetian Laguna, and brings a Tempest to the Venice Biennale.
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in’t.
—William Shakespeare, The Tempest, Act V, Scene I, ll. 203–206
(Aldous Huxley quoted this line from the Tempest for the title of his dystopian novel Brave New World published in 1931)
In choosing to take a different perspective on the 14th edition of the Architecture Biennale in Venice directed by Rem Koolhaas, I decided to skip the standard blow-by-blow critique, and instead confront what I believe is the greatest enigma behind this controversial event. Up till now, the majority of critics taking a look at this year’s exhibition find fault with Koolhaas’ method, not so much with his madness. But the key to the exhibition is not in its studied aloofness, but in its insubordination—Koolhaas is determined to shake up the Biennale institution by any means possible.