After seven years of construction, during much of which visitors were sent on an underground detour, the Cleveland Museum of Art’s expansive atrium opened in late August.
The 39,000-square-foot Rafael Viñoly-designed atrium is essentially a massive skylight, which arcs from 55 to 66 feet in height across a space nearly as large as a football field. Planting beds complement the granite floor, anchoring an airy space that houses a second floor mezzanine and could seat upwards of 700 people for events.
Following the many interesting developments in Detroit these days, one gets a sense that the city’s post-industrial landscape is fertile ground for innovative design. A boutique hotel made of shipping containers seems to back up that trend.
Collision Works, as the project is called, touts the structural merits of shipping containers. “Shipping containers are considerably more durable than standard construction, can cost less, and most importantly are about 30 percent faster to build,” writes project founder Shel Kimen.
Grete Marks: When Modern Was Degenerate
Milwaukee Art Museum
700 North Art Museum Drive Milwaukee, WI
Through January 1
Grete Marks was born in Cologne in 1899 to an artistic Jewish family, and she enrolled in the ceramics program at the Bauhaus School in 1920. In 1923 she left the school to marry a young industrialist with whom she founded the Haël Factory for Artistic Ceramics to produce her designs. These works are composed of simple geometric shapes, glazed with striking colors and patterns in the style of Soviet Constructivist painters and showcasing the Bauhaus ideal of uniting industrial mass-production with Modernist aesthetics. Marks’ legacy as a potter was cut short by the Nazi party when in 1935 they declared her artwork “degenerate,” and her avant-garde pottery career ended with the onset of World War II. This will be the first American exhibition to explore Marks’ work and the circumstances that have prevented her name from entering the list of Bauhaus greats.
Bertrand Goldberg’s Prentice Hospital has become the cause célèbre for architectural preservationists from across Chicago and beyond, now garnering five more Pritzker-toting allies amid mounting pressure for demolition.
Robert Venturi, Tadao Ando, Jacques Herzog, Pierre de Meuron, and Eduardo Souto de Moura added their names to a letter sent to Mayor Rahm Emanuel last month from more than 60 architects, including Frank Gehry. Dan Coffey and Jack Hartray of Chicago, George Miller of New York City, Denise Scott Brown of Philadelphia, and Bjarke Ingels of Copenhagen also joined the chorus of designers calling on Chicago city officials to grant the iconic cloverleaf structure landmark status.
A rose by any other name may still smell as sweet, but what about a violet? Suburban Chicago’s Purple Hotel, rescued this Spring from dereliction and impending demolition, may change its name to complement its transformation under architects Koo and Associates. The firm solicited name suggestions via Facebook, looking for “something mid-century and fresh.” One early commenter declared, “Renaming the Purple Hotel will go over about as well as renaming the Sears Tower.”
In its ongoing march to reclaim downtown neighborhoods marred by blight and suburban exodus, Cincinnati this week added Pendleton to the Neighborhood Enhancement Program. The district is known for its art center, and was a natural choice for the program now in 14 areas of the city.
Like its neighbor to the west, Over-the-Rhine, Pendleton has struggled with crime. The “90-day blitz of city services” offered by NEP is designed to begin the process of long-term revitalization for the neighborhood by addressing that issue. Kennedy Heights saw a 16 percent drop in crime after it embarked on NEP earlier this year. The program will be reevaluated every 90 days, and again six months after completion.
Russian Posters – Rodchenko 120
Indiana University–Purdue University Indianapolis
Herron School of Art and Design Marsh Gallery
735 West New York Street, Indianapolis, IN
Through August 24
In recognition of the 120th anniversary of the birth of Alexander Rodchenko, Moscow Design Week organized a poster campaign honoring the Russian avant-garde artist, graphic designer, and photographer. Commissioning work from twenty prominent Russian poster artists, the campaign sought to create a dialogue between contemporary graphic designers and a master of the discipline. Sergei Serov, curator of the project, writes, “The posters are not only a tribute to the great artist, but a reflection on the historical destiny of graphic design.” The posters all bear Rodchenko’s influence in unique ways. Elements from some of his most notable designs are repurposed, utilizing Rodchenko’s own language of collage and geometric composition. These strict geometries inform Nikolai Shtok’s entry, above, where simple geometric forms are abstracted and composed as a Rodchenko-inspired typography.
When a bucolic cemetery in Minneapolis began to near capacity, its owners worried a large expansion might dampen the landscape’s pastoral charm.
Despite its comparatively large footprint, the 24,500-square-foot Garden Mausoleum in Minneapolis’ Lakewood Cemetery is in harmony with the existing mausoleum and chapel that it sits between, as if in meditation. The 141-year-old non-sectarian cemetery occupies 250 acres in the city’s Uptown neighborhood.