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.”
Frank Gehry’s design for the four-acre Dwight D. Eisenhower Memorial in Washington D.C. has sparked controversy for its departure from traditional memorial design around the National Mall from the president’s family and others, prompting a third-party design competition and calls for redesign from Congress. Now the beleaguered memorial is one step closer to reality as the U.S. Commission of Fine Arts (CFA) voted 3-to-1 this month to approve an updated design with additional changes to proposed woven-metal tapestries that have generated most of the public outcry.
Center for Architecture
536 Laguardia Place
New York, NY
Through October 26
Colombia: Transformed/Architecture=Politics, on view at the Center for Architecture through October 26, examines 11 recently built, socially-mindful developments designed by six leaders in contemporary Colombian architecture: Daniel Bonilla and Giancarlo Mazzanti from Bogotá, and Felipe Mesa, Juan Manuel Pelaez, Felipe Uribe and Orlando Garcia from Medellín. The projects in the show embody the change occurring in Latin America today and reveal themes of social inclusion in addition to inventive architectural forms and spaces.
Three developers vie for the commission to convert Philadelphia’s 72-year-old Family Court Building into a new luxury hotel. After issuing a request for qualifications last October, the Philadelphia Industrial Development Corp. (PIDC) has selected three development teams from a pool of applicants, which include Fairmont Hotels & Resorts with Logan Square Holdings, Klimpton Hotels with P&A Associates and the Peebles Corp., and Starwood Hotel & Resorts with Dranoff Properties and HRI Properties. According to the Philadelphia Inquirer, the city will bring officials together from different departments, from planning to historic preservation, to oversee the review process and choose a proposal. The PIDC anticipates that an agreement will be reached with the winning developer by end of the year. A new hotel will be a coup for the area around the Benjamin Franklin Parkway, which has seen an influx of activity and changes in the last few years.
The Van Alen Institute has announced three finalists for its competition Ground/Work, which called on emerging designers and architects to reimagine the institute’s New York storefront. In celebration of Van Alen’s 120th anniversary, the competition furthers the institute’s ambition to bring innovative architectural ideas into the public dialog by reframing the organization’s relation to the street.
Young designers were invited to consider the Van Alen’s shifting role within New York City through the redesign of its physical space, integrating all of its functions and creating a more visible and accessible presence on the ground floor of 30 West 22nd Street. From over 120 teams, representing more than 350 young designers up to ten years out of school, three finalists were selected: Collective-LOK, EFGH, and Of Possible Architectures.
In just a few years, visitors will stand atop an 80-foot-tall hill on Governors Island and enjoy sweeping vistas of New York Harbor, the Statue of Liberty, and the Manhattan skyline. Today Mayor Bloomberg broke ground on The Hills, a new 11-acre stretch of green space, that is part of Governors Island Park, and one feature of landscape architecture firm West 8’s expansive 30-acre Public Space Master Plan that was first unveiled in 2010.
Nearly 10 years after shining as the “crown jewel” in the Downtown Brooklyn Redevelopment Plan, Willoughby Square Park has a clear path to construction. The one-acre park, designed by Hargreaves Associates, will be a passive space offering a moment of calm just half a block from the bustling Fulton Street Mall, but there will be plenty of action beneath the surface, where a robotically controlled parking garage will arrange 700 cars in a very compact space.
Cut ‘n’ Paste: From Architectural Assemblage to Collage City
The Museum of Modern Art
11 West 53rd Street
New York, NY
Through December 1
Cut ‘n’ Paste: From Architectural Assemblage to Collage City, on view at The Museum of Modern Art from July 10 to December 1, examines the essential yet overlooked role of collage in architectural representation. The exhibition places Ludwig Mies van der Rohe’s early photomontages next to the cut-and-pasted experiments of artists, photographers, and graphic designers. Together, these pieces suggest an immersive “collage city,” originally conceived by Colin Rowe and Fred Koetter in the 1970s, that becomes animated through superimposing various elements.