Since the Brooklyn-Queens Expressway (BQE) was constructed nearly 70 years ago, the inelegant thruway has callously split apart neighborhoods, leaving beneath it deserted stretches, visually unappealing and often vulnerable to crime. DNA Info reported that Myrtle Avenue Brooklyn Partnership is trying to revive one such blighted area in the Wallabout district of Clinton Hill. The strip right at Steuben Street and Park Avenue, which has been a site for dumping illegal trash, could soon host a farmer’s market, public art, dog run, and live music. The partnership is proposing a range of uses and looking to collaborate with local businesses—such as the creators of the now defunct DeKalb Market—to help bring activities and services to the area.
The effort to revamp the inhospitable corridor beneath the BQE has been part of an ongoing endeavor that has involved a number of organizations, spearheaded by the Myrtle Avenue Revitalization Project (MARP). MARP launched a planning initiative in 2009 utilizing experimental art collective, raumlaborberlin’s Spacebuster, and partnering with local institution Pratt Institute’s Planning Department to hold mini-visioning workshops. Later MARP partnered with Architecture for Humanity New York (AFHNY) to work on a 2-year planning effort called “Under the BQE” that helped to engage the community and re-imagine new uses for the spaces in addition to creating a plan to improve pedestrian and traffic safety.
First the partnership needs some funding to jump start any changes to the space. They are currently hoping to receive a NYCDOT Public Plaza grant. A wining application will be selected by January 2014.
Robert Irwin’s “Scrim veil—Black rectangle—Natural light”
The Whitney Museum of American Art
945 Madison Avenue
New York, NY
Through September 1
It has been 36 years since Robert Irwin, now 84 years old, debuted his Scrim veil—Black rectangle—Natural light installation at the Whitney Museum of American Art. This summer, the legendary installation, designed specifically for the fourth floor of the Breuer building, returns to the museum. As the title suggests, Irwin’s minimalist installation is composed of three simple elements: a black line that runs along the length of the gallery walls, natural light that enters through the museum’s iconic trapezoidal window, and a white translucent polyester scrim hung from the ceiling that slices through the space. These elements divide the space into various geometric forms and create a disorienting experience. As visitors circle the gallery and daylight moves across the room, the perception of space is shown to be less definite than one might previously have imagined.
Non-profit ArtPlace America has awarded creative placemaking grants to 54 recipients who were selected from more than 1,200 applicants. Totaling $15.2 million, the grants will support art projects in 44 neighborhoods across the United States, as well as a statewide project in Connecticut. Grant amounts range from $33,000 to $750,000, with the average grant at approximately $280,000. The idea behind the grants is to assist in turning urban communities into more welcoming and prosperous places for present and future residents through art and design projects.
A yardstick is a straightedge with markings at regular intervals used to physically measure lengths in imperial units of up to a yard (three feet). It is also a standard for making a critical judgment. This measuring device was placed in once-forbidden zones of the World and Cold Wars that have since been abandoned, by Jane and Louise Wilson, the British fraternal twin artist duo who have a show on view at 303 Gallery.
Taking the podium at Pier 6 in Brooklyn Bridge Park, New York City Representative Nydia M. Velázquez introduced new legislation, called the “Waterfront of Tomorrow Act,” to protect and fortify New York City’s 538-miles of coastline. The bill would instruct the Army Corps of Engineers to come up with an in-depth plan to stimulate economic growth and job creation, update the ports, and implement flood protection measures. Sandwiched between Red Hook Container Terminal and One Brooklyn Bridge Park, a large residential development, the pier was an appropriate place for the Congresswoman to announce legislation that addresses the city’s needs to bolster its shipping industry while also taking steps to mitigate flooding and ensure the resiliency and sustainability of its residential neighborhoods, parkland, and businesses.
Barry Bergdoll is stepping down as Philip Johnson Chief Curator of Architecture and Design at the Museum of Modern Art, a position he has held since 2007. He will return to teaching at Columbia University and will take up an endowed chair in the Department of Art History and Archaeology. He will stay on part-time at MoMA to continue working on a major exhibition on Latin American architecture currently scheduled for 2015. He will also advise on the use and development of the Frank Lloyd Wright archive, which is jointly owned by Columbia and MoMA.
While at the Modern, Bergdoll has curated a wide variety of shows, addressing topics ranging from prefabricated housing to the Bauhaus to rising sea levels. His recent exhibitions have included a widely praised show on the french architect Henri LaBrouste, and Le Courbusier: An Atlas of Modern Landscapes (co-curated with Jean-Louis Cohen), which is currently on view.
Bergdoll’s tenure as chair has been marked both by a deepening of the historical and scholarly quality of the exhibitions and programming as well as greater engagement with social issues, such as affordable housing and climate change. In an email to AN, Bergdoll wrote, “I look forward to…continuing to be associated not only with the world’s oldest curatorial department of architecture and design, but I think its most vibrant and finest.”
MoMA will begin a search for his successor at the end of August.
In the wake of Hurricane Sandy, architects have been called to arms to both engage in the immediate recovery efforts and to come up with design solutions that will make New York City’s buildings more resilient and sustainable in the long-term. The latest in a flood of new Sandy-inspired design initiatives was launched yesterday by New York Restoration Project (NYRP), dubbed “EDGE/ucation Pavillion Design Competition,” asking a group of hand-picked, up-and-coming architecture firms to create a storm-resistant pavilion in Sherman Creek Park right on the Harlem River.
Originally named for its once thick forests and lush meadows, the former industrial neighborhood of Greenpoint, Brooklyn now has a real shortage of green space. The Brooklyn Paper reported that parkland will only grow scarcer with the pending closure of Sgt. William Dougherty Park, located on the corner of Cherry Street and Vandervoort Avenue, as soon as the state begins its four-year construction project to replace the Kosciuszko Bridge.
Greenpointers have expressed concern about the temporary loss of the park, and Assemblyman Joe Lentol has asked the lawmakers in Albany to allocate a portion of the funding reserved for the bridge construction to building a new park. One local resident has already scouted out a possible location at an empty five-acre parcel on Kingsland Avenue between Greenpoint and Norman avenues.
A woman sits alone and thinks to herself.
A painting converses with a room. The room talks back.
So says Barbara Bloom, whose installation of selections from the Jewish Museum’s collection, create a dialogue with architect C.P.H. Gilbert’s French Renaissance Warburg mansion—the building that houses the museum—real and imagined visitors, and the objects themselves. Architect Ken Saylor, who worked closely with Bloom on the spatialization and design of the exhibition, said, “we tried to ask ourselves ‘What does it mean to inhabit an exhibition?’ where things are simultaneously absent and present, masked and revealed, teased and assaulted, subject and context, museum and house.”
Inspired by the design of the Talmud, the central text of Rabbinic Judaism, where the original text is framed by annotated scholarly debates across generations, the exhibition is entitled As it were…So to speak. That suggests “what you are about to hear … Is not exactly what it appears to be.” The exhibition is a narrative but without beginning, middle, and end, which harmoniously surfs the practices of art, architecture, and design.
Parsons The New School for Design has named Brian McGrath as the new dean of the School of Constructed Environments, the university’s integrated school of architecture, interior design, lighting design, and product design, taking the place of interim dean David Lewis. Educated at Syracuse and Princeton, McGrath is the founder of the urban design consultancy, Urban-Interface, where he explores the role of architecture, design, ecology, and media in cities, and has been an associate professor of urban design at Parsons‘ School of Design Strategies.
“The School of Constructed Environments has a key role to play with respect to contributing research and practical applications of design to address the key issues of our time: rapid urbanization, globalization, social justice and climate change,” said McGrath in a statement. “We have taken an active role in recent post-Sandy discussions, and plan on expanding these efforts so that we can make a important contribution to future dialogues and debates on these topics.”