While architects are often accused of wanting to be artists (albeit ones with wealthy clients) artists are also sometimes guilty of wanting to be architects. There are, of course, artists whose work crosses into architectural themes like James Casebere and Ernesto Neto to name only two but there are artists who want to actually build. Think of Donald Judd in Marfa, Ai Weiwei, Olafur Eliasson, and now Damien Hirst.
Diller, Scofidio + Renfro announced today that their reorganization of the Museum of Modern Art will include the replacement of Tod Williams and Billie Tsien’s former American Folk Art Museum at 45 West 53rd street. Liz Diller said in her briefing that DS+R hoped to save the Folk Art building and repurpose it into a usable exhibit space or a connecting bridge between the new Jean Nouvel tower (which will have three floors of MoMA galleries) and the older parts of MoMA. However, “saving” the structure with its misaligned floors (to MOMA existing galleries) would mean compromising the integrity of the Williams Tsien structure.
One can imagine the logic of DS+R’s decision, but Williams and Tsien are, like any architects, sad to see the demise of their 2001 building that Herbert Muschamp said “transcend(s) cultural categories even as it helps define them.”
The recently concluded Lisbon Triennale announced that it has selected Kenneth Frampton to receive its Lifetime Achievement Award for 2013. The award has previously been given to Vittorio Gregotti (2007) and Álvaro Siza Vieira (2010). This third Lisbon exhibition, Close, Closer, was dynamically curated and presented by Beatrice Galilee and is in some ways unimaginable without the critical thinking and architectural activism of someone like Frampton. It is also exciting to see someone so critical to architecture culture who is not primarily a builder be given an international award. He is the author of Modern Architecture and the Critical Present (1980), Studies in Tectonic Culture (1995), American Masterworks (1995), Le Corbusier (2001), Labour, Work & Architecture (2005), and an updated fourth edition of Modern Architecture: A Critical History (2007).
The journal Clog wants to slow things down. It believes that digital media has reduced the “lifespan of any single design or topic” to a nano second and that the deluge of content required to feed online platforms means that “excellent projects receive the same fleeting attention as mediocre ones.” In order to counter these trends, Clog focuses on its print journal with themed issues like Brutalism, The National Mall, Rendering, and next spring, Prisons (submissions due December 31, 2013).
Architects are probably the only people who like to see a construction site. We love to see building cranes, steel workers, and scaffolding—if only because it means architects are working and paying the rent. But for most urban dwellers these work places are “unsitely” disruptions to daily life and noisy irritations.
Now Montreal’s Design Bureau, in collaboration with the city’s downtown Ville-Marie borough and the Saint-Étienne Cité du Design (France), are launching an effort to correct this situation and asking architects for help. They will host a colloquium called “Unsitely! Leveraging Design to Improve Urban Construction Sites” on October 8-9, 2014. They are asking architects to submit proposals on how design can improve individual and collective experience, and the overall communication strategy of major worksites, or at least to contribute to reducing their negative impact on daily life.
Architects (and others) should submit cases studies that address these issues by Tuesday, December 17, 2013. For additional information, contact colloquium executive producer, Laetitia Wolff.
The Beverly Willis Architecture Foundation (BWAF), a non-profit dedicated to “changing the culture of the building industry, for women, through education and research,” just announced that after a national search it has chosen a new executive director: James T. Hanley, formerly the senior associate director of development at Barnard College. Hanley has undergraduate and advanced degrees in architecture along with an MBA and an MA in Art History and claims he will use his “skills in program development and financial management to broaden the role of the organization throughout the United States.”
Beverly Willis, the founder of BWAF, said that Hanley is “keenly aware of the issues encountered by women in the design industry” which will “enable BWAF to build on its prior successes and help women achieve their professional and personal goals through our programs and outreach.”
Under Hanley’s leadership, the organization is launching a number of new initiatives in 2014. These include the exploration of a program for women as emerging leaders and the impact of STEM (Science, Technology, Engineering, and Mathematics) as factors in success. Another new initiative is “Built by Women: New York City,” a focused collection within the Foundation’s Dynamic National Archive (DNA), which BWAF plans to use as a pilot for similar projects for cities around the country. Finally In 2014, it will complete its project entitled “Women of 20th-Century American Architecture,” to highlight the contributions of 50 outstanding women who significantly shaped the built environment in America.
When Andres Lepik was a curator at the Museum of Modern Art in New York, he organized and curated Small Scale, Big Change: New Architectures of Social Engagement (2011). It was a landmark show for MoMA and identified a developing design trend of socially engaged projects aimed not at “grand manifestos” but to ones committed to “radical pragmatism.” Now back in Germany, Lepik has curated an equally ground breaking exhibition on social design. The exhibit Afritecture: Building Social Change at the TU Munich Architecture Museum rightly focuses on the African content as the most exciting and creative place for todays architecture of social engagement.
Review> LOT-EK Designs the Exhibition, Erasmus Effect, On the Past and Future of Italian Architecture
The Erasmus Effect: Italian Architect’s Abroad
Through April 6, 2014
The architecture and urbanism of Italy has long been an inspiration to architects from other parts of the world. From the grand tours of Lord Burlington and Thomas Jefferson to the establishment of the American, French, and British Academies, Robert Venturi’s lessons learned from Rome, and the enormous influence of Manfredo Tafuri, Italy has been important to how we view architecture and livable cities. But now an exhibition, The Erasmus Effect: Italian Architect’s Abroad, opening today at Rome’s MAXXI Museum details how the world is enriched when Italian born and educated architects emigrate and find success abroad.
The Norton Museum of Art in Palm Beach, Florida has unveiled a new master plan including galleries and public spaces designed by architecture firm Foster + Partners, under the direction of Pritzker Prize-winning architect Lord Norman Foster. The new Foster design will upgrade the museums 6.3-acre, art deco–inspired campus and gardens first designed in 1941 by Marion Sims Wyeth.
It has long seemed that Philadelphia’s cultural community was destined to exist forever in New York’s shadow. Though it has had through its history great flourishes of home-grown creativity from Thomas Eakins and Frank Furness, great institutions like The Pennsylvania Academy of Fine Art and collections like the Barnes Foundation and the Annenberg. These were still not enough to overcome its “second city” status to its neighbor up the Jersey Turnpike.
But now Philadelphia seems to embracing its outsider status as an anti-New York where artists and can actually afford to live and start up collective galleries and exhibit spaces.
The West Coast architect Glen Small has now been largely forgotten, but from the 1960s through the 1980s he was at the center of architectural experimentation and ecological consciousness in California. His journey from an early founder of SCI-Arc and a pioneer of Califorinia environmentalism was documented in a biopic My Father, The Genius made by his talented film maker daughter Lucia Small.
Chipakata is small rural Zambian community with no local school so its children have to walk five miles to an overcrowded facility. But Joseph Mizzi, president of Sciame Construction, visited the village last year with New York City–based stylist and native-Zambian, Nchimunya Wulf. They both were inspired to start a non-profit to build a new school for the community. The duo launched the 14+ Foundation last June and after a fundraiser that garnered $350,000 for the organization to pit together a group of New York–based design professionals who are building a brand new facility in the heart of Chipakata.