In recent years, architects and fabricators in the field of facade design and construction have formed new collaborative relationships through the design assist model of contracting. Under design assist, the fabricator contributes their know-how throughout the design process, not just during building. A couple of factors have encouraged the shift to design assist. On the one hand, “the recent increase of building skin complexity has been a driver of this new way of working,” explained Enclos’ Luke Smith. “But I think budget and schedule demands have also played an important role.”
Next week, Smith will moderate a panel on design assist contracting, “Delivering Complexity,” at Facades+ LA. With panelists Bill Kreysler (Kreysler), Paul Martin (Zahner), and Kerenza Harris (Morphosis), Smith will explore several case studies of architect-fabricator collaborations, and will examine the benefits and challenges of these new alliances. (Smith is also leading a dialog workshop, “Material Explorations: The Resurgence of Wood,” on the second day of the workshop.)
What was the most popular architecture or design exhibition in 2013? If you guessed MoMA’s Le Corbusier spectacular or SFMOMA’s landmark Lebbeus Woods: Architect (coming to New York’s Drawing Center April 15) you’re close but off the mark. In fact the most popular architecture exhibition in the world, according to The Art Newspaper‘s 2013 Visitors Figures was MoMA’s Henri Labrouste exhibition that drew 438,680 viewers (4,100 a day) compared to the Le Corbusier show that had 405,000 visitors (4,010 a day).
Just weeks after architect Lebbeus Woods’ death at age 72, SFMOMA is getting the word out about a new exhibition of his work that will run from February 16th through June 2nd, 2013. The show, entitled Lebbeus Woods, Architect, will feature 75 pieces from the eccentric designer’s portfolio—most of them mutating forms in pencil— including Nine Reconstructed Boxes (1999) and High Houses (1996), which are currently in the SFMOMA collection. From SFMOMA’s exhibition description:
Acknowledging the parallels between society’s physical and psychological constructions, architect Lebbeus Woods (1940 – 2012) depicted a career-long narrative of how these constructions transform our being. Working mostly with pencil on paper, Woods created an oeuvre of complex worlds—at times abstract and at times explicit—that present shifts, cycles, and repetitions within the built environment. His timeless architecture is not in a particular style or in response to a singular moment in the field; rather, it offers an opportunity to consider how built forms are transformative for the individual and the collective, and how one person contributes to the development and mutation of the built world.
See more images from the museum’s impressive Woods’ collection below.
Naoya Hatakeyoma: Natural Stories
San Francisco Museum of Modern Art
151 Third Street
Through November 4
Naoya Hatakeyoma’s award winning photography contrasts the reciprocal impact of human industries on the natural world and that of natural forces on human activities. His photographs, ranging in topic from German coalmines to the underground Tokyo sewer systems, chronicle manmade industrial formations from their time of creation to their degeneration and ultimate decay, all captured in a seemingly objective yet sublime manner. Through this impartial method, devoid of speculation and sentiment, Hatakeyoma’s images garner the greatest impression on the viewer. Hatakeyoma was born in Rikuzentakata in Iwate Prefecture in 1958. His latest work, Rikuzentakata illustrates the devastation caused by the 2011 Tohoku earthquake and tsunami in his birthplace. In the first ever solo U.S museum exhibition, curated by Lisa J. Sutcliffe, SFMOMA showcases more than 100 photographs and 2 video installations spanning Hatakeyoma’s entire career.
San Francisco Museum of Modern Art
151 Third Street, San Francisco, CA
Through January 6, 2013
Blurring the distinction between conceptual art and theoretical architecture, San Francisco Museum of Modern Art investigates the conception and experience of space by using the notion of “field” as a reference. Curator Joseph Becker describes the pieces in the exhibition as “spatial experiments,” united by the use of architectural devices to describe a spatial condition. The term “field conditions” derives from the 1996 essay by architect Stan Allen in which he describes a shift from traditional architectural form toward an understanding of systems and networks, a “field” being described by the interconnections of discrete points that constitute the whole. Many works in the exhibition deploy a process of serializing and accumulating, describing spatial qualities through deformation (such as Conflict Space 3, 2006, by Lebbeus Woods, above).
High up. The New York Times‘ Edward Rothstein went out on a ledge for the paper today. The critic took on the glass boxes that protrude from the Willis Tower in Chicago known appropriately as the Ledge. The critic waxes poetic about the vulnerability of the city and the fully human sensations that occur when floating some 1,353 feet above the street. He also takes the opportunity to point out the redundancy of the Ledge’s cousin, the Grand Canyon Skywalk.
Tear Down. Christopher Hawthorne balked at SFMOMA‘s public relations campaign to portray the museum’s new Snøhetta-designed wing as a wallflower respecting its Mario Botta-designed neighbor. But as Hawthorne points out in the LA Times, the new building is anything but quiet. Rather it’s more a “chiseled behemoth.” Hawthorne finds the museum’s affront to its Botta as part of a larger trend in the American museum world where the tendency is to drop good, but alas, old architecture in lieu of ever newer names and trends. Read: Whitney, MoMA, Barnes, to name but a few.
Put a Lid on It. In a totally biased and unabashedly opinionated piece for City Watch, Jack Humphreville writes that a back room deal may have LA ratepayers of the Department of Water and Power footing the bill for a new twelve-acre park designed to cap the underground reservoir replacing the Elysian Reservoir. Humprhies argues that the $85 million park should fall under the auspices of the City and the Department of Recreation and Parks.
Manhattanhenge. Gothamist reminds us that tonight at 8:17PM the full sun will set in perfect alignment with east west axis of Manhattan’s street grid. Remember not to stare, mesmerized, for too long.
Tobias Wong, the so-called “bad boy” of design, has his first solo show at SFMOMA. The honor comes posthumously, as Wong died in 2010 at the age of 35. Henry Urbach, SFMOMA’s Helen Hilton Raiser Curator of Architecture and Design, developed the exhibit, which features over 30 works by the late artist/designer.
Wong’s designs, which he commonly referred to as “postinteresting” and “paraconceptual,” often played with the subversion of today’s consumer culture and the obsession with wealth and the toys that often accompany it, as well as post-9/11 American anxiety and its material manifestations.
On Wednesday, SFMOMA held a press preview of its new exhibit, “Calder to Warhol: Introducing the Fisher Collection,” which takes up the top two floors and features whole entire rooms of Calders, Ellsworth Kellys, Chuck Closes, Agnes Martins—a smorgasboard of modern masters, each a few steps from the next. Downstairs in the main lobby, however, there was the opportunity to get to know a different group of artists—the four candidates that are up for the job of designing the SFMOMA’s new extension. Read More
On Tuesday, SFMOMA will reveal the final contenders for the city’s most prestigious project of the moment, the extension of its 1995 Mario Botta building. But imagine an alternate universe, where an open competition would invite a broad range of concepts from established firms and fresh talent alike. This parallel world could be experienced a couple of weeks ago, during a final review for an architecture class at CCA. Read More