On View> Exploring Maggie’s Centres’ Architectural Approach to Cancer Care

East, On View
Friday, April 18, 2014
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(Courtesy Maggies' Centre)

Piers Gough’s Nottingham centre. (Courtesy Maggies’ Centre)

Maggie’s Centres: A Blueprint for Cancer Care
New York School of Interior Design, NYSID Gallery
161 East 69th Street, New York.
Gallery Hours: Tuesday – Saturday, 11am – 6pm
Through April 25, 2014

These are the requirements that were put to Richard Rogers, Zaha Hadid, Piers Gough, Steven Holl, Rem Koolhaas, Frank Gehry, and thus far eleven other architects when asked to design Maggie’s Centres, buildings in the U.K. where “free practical, emotional, and social support to people with cancer, their family and friends” are provided.

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Review> If/Then, the Musical, Follows the Life of an Urban Planner

Art, East, On View, Review
Monday, April 14, 2014
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Idina Menzel and the cast of If/Then. (Joan Marcus)

Idina Menzel and the cast of If/Then. (Joan Marcus)

If/Then
Richard Rogers Theater
226 West 46th Street, New York
Scheduled to play through October 12, 2014

THINK OF EACH PLAZA, PIER, AND PUBLIC PARK—
HOW MANY SIT THERE EMPTY, LONELY, DARK—

The Broadway musical If/Then starts in Madison Square Park with its unmistakable folding seats, tables, and umbrellas, a signature of Janette Sadik-Khan’s overhauling of public spaces during the Bloomberg administration. In this musical by Tom Kitt and Brian Yorkey (the team behind Next to Normal) city planner Elizabeth (Idina Menzel) returns to New York from Arizona where she’s just gotten out of a failed marriage—and urban sprawl.

Continue reading after the jump.

Review> 2014 Armory Art Week Improved With the Help of Architecture

Art, East, Review
Thursday, April 10, 2014
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Sheila Hicks, Pillar of Inquiry/Supple Column, 2013-14, left, (Courtesy Sikkema Jenkins & Co) and Zoe Leonard, Sketch for 945 Madison Avenue, 2014, right. (Courtesy Zoe Leonard)

Sheila Hicks, Pillar of Inquiry/Supple Column, 2013-14, left, (Courtesy Sikkema Jenkins & Co) and Zoe Leonard, Sketch for 945 Madison Avenue, 2014, right. (Courtesy Zoe Leonard)

With the plethora of contemporary art on view in New York during Armory Arts week, it has been instructive to note the contribution by architects to the design of these temporary exhibition spaces, and the use of interesting architectural spaces. The fairs are often held in structures originally used for other purposes — piers, parking facilities, drill halls — so the task has been to not only carve out space for display, but to move viewers (and buyers) with flexibility and ease and to provide an enticing environment. Fair organizers have turned to young architects for these interior layouts, or have chosen compelling venues.

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On View> Doug Wheeler’s Light Installation Shines at David Zwirner Gallery Through April 5

Art, East, Lighting, Newsletter, On View
Monday, March 31, 2014
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(Courtesy David Zwirner Gallery)

(Courtesy David Zwirner Gallery)

Doug Wheeler
David Zwirner Gallery
537 West 20th Street, New York
Entry limited to 6 people at a time
Reservations to view the exhibition are available, 212-517-8677
Through April 5, 2014

When you enter the immersive Doug Wheeler installation at David Zwirner Gallery, it’s like daybreak. A domed space with a flat apex meets the horizon with a hidden line of LEDs that shed light in a gradual, two-minute cycle in what the artist calls a “rotational horizon work.” The effect is like looking into a clear blue sky, that on closer inspection has subtle gradations that change as the earth revolves. The floor is the same color and is coped so you are slightly off balance as you advance and retreat towards this unreachable horizon.

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Elizabeth Duffy, Apartment 2B by Susan Morris

East, On View
Monday, March 24, 2014
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(Courtesy dm contemporary NYC)

(Courtesy dm contemporary NYC)

 

Elizabeth Duffy & Cheryl Yun: Apartment 2B
dm contemporary NYC
39 East 29th Street, 2nd Floor
New York
Ended March 15, 2014

On the 2nd floor of a luxury 34-story highrise between Madison & Park avenues designed by architect H. Thomas O’Hara is a gallery called dm contemporary NYC. Although the gallery is located in an apartment, it is usually a white-walled exhibition space without the trappings of a domicile, save for the kitchen island. Artists Elizabeth Duffy and Cheryl Yun decided to transform the space back into a domestic environment with a twist for her recent exhibition Apartment 2B.

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On View> MoMA Presents “Isa Genzken: Retrospective” Through March 10

Art, On View
Monday, March 3, 2014
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Disco Soon (Ground Zero), 2008. (Courtesy MoMA)

Disco Soon (Ground Zero), 2008. (Courtesy MoMA)

Isa Genzken: Retrospective
Museum of Modern Art
New York
Through March 10, 2014

In the home stretch before it closes on March 10, Isa Genzken: Retrospective at MoMA shows a sculptor whose work is infused with architecture from her sleek early works of lacquered wood in the engineered Hyperbolos and Ellipsoids series to rougher experiments in plaster, concrete, and steel which resemble architectural maquettes on pedestals including Bank (1985), Rosa Zimmer (Pink Room) (1987), Galerie (1987), Kleiner Pavilion (1989), and Fenster (Window) (1990).

Continue reading after the jump.

Review> 2014 Sundance Film Festival

International, Newsletter, Review
Wednesday, February 26, 2014
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“The future never existed, only the present.”—Paolo Soleri in Doug Aitken’s The Source

At the 2014 Sundance Film Festival last month, visitors were constantly reminded of architecture. The introductory bumper played before every single screened film featured a digitally-mapped projection on the facade of the Egyptian Theater, an art deco cinema on Park City, Utah‘s Main Street. Created by Klip Collective and filmed in July 2013, images of signature Sundance movie posters from the last 30 years flash by on vitrines, film titles cycle on the marquee, characters like Jay and Silent Bob step out from the walls, and much of the facade is divided into mini-screens. Architectural elements such as the columns, capitals, and entablature are outlined and patterned in colored lights.

Continue reading after the jump.

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Must See TV> PBS Explores the World’s Super Skyscrapers

Rendering of the super-tall Shanghai Tower.

Rendering of the super-tall Shanghai Tower. (Courtesy Gensler)

PBS’s four-part TV series, Super Skyscrapers, deals with uber-high buildings around the world. It is rare to follow the process of constructing a building, let alone a monster-sized one. Yet here, a special characteristic of each of the four skyscrapers is highlighted within the context of maximum height: One World Trade Center’s safety measures, Leadenhall’s prefabrication, One57′s high luxury, and Shanghai Tower’s vertical city aspirations.

Continue reading after the jump.

Jan Gehl Calls On Cities to Design For People, Not For Cars

East, Review, Transportation, Urbanism
Friday, February 7, 2014
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Jan Gehl. (Courtesy Center for Architecture)

Jan Gehl. (Courtesy Center for Architecture)

The Oculus book talk on the new book, How to Study Public Life, at the Center for Architecture with Jan Gehl and his co-author Birgitte Svarre was like seeing the documentary The Human Scale come to life—only with a sense of humor.

Gehl’s urban theories have gained a lot of traction, not least in New York City. Jeanette Sadik-Khan went to Gehl’s native Copenhagen two weeks into her job as commissioner of NYC’s Department of Transportation (along with fellow commissioner of City Planning, Amanda Burden) and experienced the city’s pedestrian-over-cars public plazas, rode bicycles on protected bike lanes, and absorbed the lessons of the city that is repeatedly named the most livable in the world.

Continue reading after the jump.

On View> T.J. Wilcox’s “Up in the Air” at the Whitney Through February 9

Art, East, On View
Friday, January 10, 2014
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T. J. Wilcox, still from In the Air, 2013. (Bill Orcutt / Courtesy Metro Pictures)

T. J. Wilcox, still from In the Air, 2013. (Bill Orcutt / Courtesy Metro Pictures)

Up in the Air
Whitney Museum of American Art
Through February 9, 2014

Circles and squares; past and present; inside and outside. These are some of the elements that combine architecture and the moving image in T.J. Wilcox’s Up in the Air, a contemporary cyclorama of his Union Square penthouse studio view installed in Marcel Breuer’s Whitney Museum building.

Continue reading after the jump.

Review> Rem Koolhaas Designs an Exhibition on the Architect Auguste Perret

International, Newsletter, On View
Wednesday, December 4, 2013
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Exhibition view. (Florian Kleinefenn)

Exhibition view. (Florian Kleinefenn)

Auguste Perret: Eight Masterpieces !/?
Through February 19, 2014

The exhibition, Auguste Perret: Eight Masterpieces !/?, is really about dualities: the subject of the exhibition, the architect Perret (1874-1954), an architectural innovator in reinforced concrete, and the exhibition’s designer Rem Koolhaas/OMA; and the historical perspective of Perret by the “scientific” curator, Joseph Abram, and the forward-looking interpretations by “artistic” curator, Koolhaas. This interplay is symbolized by the exclamation point/question mark at the end of the exhibition title.

Continue reading after the jump.

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On View> MoMA Explores Dante Ferretti’s Design for the Big Screen

East, On View
Monday, November 25, 2013
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MoMA's Titus Lobby, May 1939. (Robert Damora)

MoMA’s Titus Lobby, May 1939. (Robert Damora)

Dante Ferretti: Design and Construction for the Cinema
Museum of Modern Art
The Roy and Niuta Titus Galleries and the Film Lobby
Dante Ferretti: Designing for the Big Screen
The Roy and Niuta Titus Theaters
Through February 9, 2014

When you enter the Film Entrance to the Museum of Modern Art at 11 West 53rd Street, you are greeted by two large lions. No, you are not 11 blocks south at the New York Public LIbrary, nor are you in Venice, Italy. You are entering the world of Dante Ferretti, the 70-year old multi–Academy Award–winning art director of films, opera, exhibitions, and even two New York City restaurants, Salumeria Rosi (design inspired by a scene in Federico Fellini’s Satyricon). Large, muscular, physically confident objects dot the floor—the clock-face from Hugo (Martin Scorsese, 2011), Art Deco chandeliers from Salò, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975), and Arcimboldo figures comprised of vegetables, fruits and flowers (Milan World Expo, 2015). But these are actually lightweight, ephemeral objects made of fiberglass and not meant to last beyond the creation of the film or duration of the event. The clock and chandeliers were on the cusp of being tossed when curators Jytte Jensen and Ron Magliozzi salvaged them.

Continue reading after the jump.

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