The San Francisco Academy of Sciences has okayed a small new dining pavilion designed by Mark Cavagnero, to sit adjacent to its Renzo Piano-design museum, reports the San Francisco Chronicle‘s John King. The 12-foot-tall, 1,450 square foot space will be located in a corner of the museum’s west garden, replacing an unused aviary.
The project is still in conceptual stages, but so far it looks as though it would be rectilinear, lightweight, and glassy, with a large cantilevered flat roof providing shade. Museum guests can bring food out to the pavilion, or just use the space for relaxation. The rather minimal construction should make a good counterpoint to Piano’s dynamic, undulating one. “When cultural facilities hire star architects to attract attention and set a new tone, the follow-through is as important as the first-year buzz,” pointed out King.
While you might not make a habit of visiting parking lots for the fun of it, if you haven’t been to SCI-Arc‘s parking lot lately, you’re missing out. Installations dot a big chunk of the concrete expanse, including Oyler Wu‘s billowing Storm Cloud installation, which was built for the school’s recent graduation; the steel frame of P-A-T-T-E-R-N-S‘s gigantic League of Shadows installation, which will be done by September, and the wooden frame of DALE, SCI-Arc and Caltech’s entry for the Solar Decathalon, which is being held this year at the Orange County Great Park.
The Storefront for Art and Architecture and the New Museum in New York City have announced the winners of the StreetFest Tenting Competition for their upcoming IDEAS CITY Festival, arriving Saturday in front of the New Museum on the Bowery. The international competition asked architects to re-imagine the typical street fair tent with a more compelling and sustainable form. Winner Davidson Rafailidis—lead by Georg Rafailidis and Stephanie Davidson of Buffalo—were chosen for their entry, MirrorMirror, which will premiere at 6:00pm on Saturday May 4th.
In just one short year the Folly competition, co-sponsored by the Architectural League of New York and Socrates Sculpture Park, has become vastly popular among members of the architecture and design community, receiving 40 percent more submissions than last year. This year a jury examined 150 innovative submissions but selected only one winning entry. The prize? The winner, with the help of a $5,000 grant, gets to see the proposed design come to life in the Socrates Sculpture Park. Toshiro Oki, Jen Wood, and Jared Diganci of Toshiro Oki Architects were selected as the winners of this year’s competition for their design called tree wood.
In June a full-block surface parking lot in downtown Flint, Mich. will house a ghostly, floating home — a monument to the ravages of the foreclosure crisis and a nod to the revitalization public art projects like this one hope to further in the one-time home of General Motors.
London-based Two Islands took first place in the inaugural Flat Lot Competition, which comes with a $25,000 prize, for their design, Mark’s House. The story of an imagined Flint resident named Mark Hamilton, whose family loses their home to foreclosure, Mark’s House takes the form of a Tudor-style house clad in reflective panels and set atop a mirrored pedestal. The structure can hold 1,500 gallons of water to be used for cooling mists for visitors to the structure’s canopy and event stage on hot summer days.
Norman Foster has hoisted a slender sheet of mirror-polished stainless steel above a plaza on the edge of Marseille’s historic harbor, creating a new pavilion that reflects the activity of the bustling public space overhead. Foster + Partners’ “Vieux Port” pavilion officially opened over the weekend in the French city. The pavilion roof measures 150 feet by 72 feet, tapering at its perimeter to create the illusion of impossible thinness and is is supported by eight thin stainless steel columns inset from the pavilion’s edge.
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The Boston Harbor Islands Pavilion roof channels rainwater for irrigation on the Rose Kennedy Greenway.
Jump on a ferry in Downtown Boston and in twenty minutes, you’ll arrive at the Boston Harbor Islands, an archipelago of 34 islands dotting Boston Harbor managed by the National Park Service. To entice city-dwellers to make the trip, Boston-based Utile Architecture + Planning has designed a composite steel and concrete pavilion with a digitally fabricated roof for the National Park Service and the Boston Harbor Island Alliance to provide travel information and history about the Islands and a shady respite atop the highway-capping Rose Kennedy Greenway.
Two thin overlapping concrete canopy slabs supported by delicate steel beams provide a sculptural shelter. Utile digitally designed the $4.2 million Boston Harbor Islands Pavilion using Rhino to respond to the surrounding cityscape and serve as a playful rainwater-harvesting system to irrigate the Greenway’s landscape.
(Editor’s Note: FXFOWLE Architect’s PR head, Karen Bookatz, offers a brief, Instagrammed account of architecture and design highlights at Art Basel Miami Beach 2012.)
Don’t get me wrong: I love art and I love attending art fairs. They provide one a unique opportunity to see what’s fresh and new in the art and design industries—or whatever trade is being rep’d—every few months. For me, however, a booth is a booth is a booth. Art fairs must continue to find new ways of further distinguishing themselves or otherwise run the risk of conventionality.
What Frieze did last May with SO-IL’s tent design (and to a lesser extent, Bade Stageberg and Cox’s environmental design effort for The Armory Show 2012) was a major step in the right direction. Likewise, custom installations and collaborative efforts, while public relations/marketing ventures more than anything else, have proven to be undeniably effective in creating buzz and increasing visibility for the respective firm, artist, or collaborative. (This is why I was personally so adamant about my own firm’s presence—with an architectural installation/lounge project at the Miami Project art fair—at this year’s Basel.)