We already knew that DDG Partners could pull together a classy “product,” as they say in real estate parlance. But now the group has upped the ante by teaming with Yayoi Kusama, the 83-year-old Japanese show-stopping pop artist. Kusama’s blockbuster at the Whitney has already spilled over into cross-marketing at Louis Vuitton with her ubiquitous dots climbing up the facade of their 57th Street Store. Downtown the artist’s Yellow Trees will sprawl across protective netting on construction scaffolding at DDGs 345meatpacking, the group’s new 14th Street project which could rival their comparatively quiet 41 Bond Street project. 345 promises to make a much splashier entrance, but with a hand laid Danish Kulumba brick facade, it could be Bond Street’s equal in craftsmanship. The public won’t see the results until September 30th, when the Kusama curtain will fall and the Kulumba will be revealed.
Gazing at Chicago from the east, it’s impossible to ignore the city’s towering skyline. But the latest gem on the southwest shores of Lake Michigan won’t be made from glass and steel—it’s prairie grass and wetlands.
Northerly Island, a 91-acre peninsula that juts into Lake Michigan just south of the Loop, was promised a visionary makeover from Studio Gang and landscape architects JJR in 2010. Now the Chicago Park District and the U.S. Army Corps of Engineers are preparing to break ground this fall.
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How a boutique Brooklyn design-build collective strung up NeoCon’s first major installation.
Attendees of NeoCon in Chicago’s Merchandise Mart rode the escalators and ascended towards Wolf-Gordon‘s large crystalline canopy hanging overhead. Though NeoCon has come and gone, Wolf-Gordon has just begun using the tessellated, prismatic structure for an ad campaign that, for the company’s new Chief Creative Officer, Marybeth Shaw, signifies a renewed approach to design and a willingness to take risks. To announce Wolf-Gordon’s new face to the world, Shaw enlisted the help of advertising agency Karlssonwilker, who has created campaigns for Adobe, the New York Times Magazine, BMW, Vitra and MTV, among others, and The Guild, a Brooklyn-based design and build collective whose clients include Dior, Louis Vuitton, Nike, Hurley and Diane von Furstenberg. It’s a bit of an unexpected mix of talents, to be sure, but Shaw wanted to shake things up.
After developing a concept with Karlssonwilker that was inspired by Bruno Taut’s 1914 Glass Pavilion, Shaw turned to The Guild, where Creative Manager Graham Kelman translated her idea into a spiky, crystalline form onto which Wolf-Gordon’s fabrics, textiles and wall coverings could be displayed. Kelman’s first design had between 650-700 prismatic faces with an area far too small to show off the fabric, so Kelman decreased the amount of faces to around 250 while also increasing their individual size. “I increased the largest spike from three to six feet by using a sheet of material per spike side,” Kelman said. He was able to decrease “the total number of faces by two-thirds and still retain the aesthetic impact, volume and material” he wanted.
On any typical day, the pedestrianized Rua Luís de Camões in the small Portuguese town of Águeda is a charming place to experience the city, but this July, a cultural festival called AgitÁgueda (Stir Agueda) rolled out the green carpet, suspended hundreds of colorful umbrellas overhead, and invited residents to see the city in a whole new light.
In the middle of a lightly populated island in the middle of a French reservoir—the Ile de Vassivière—an eerie green glow rises from the crest of a hill at dusk, indicating that you’ve found OTRO, a phosphorescent skate park of sinuous bowls and tunnels. Designed by artist Koo Jeong-A, L’Escaut Architectures, and skateboard consultants Brusk and Barricade, the project is described as “skateable artwork” and located near a large chateau housing the International Center of Art and Landscape, a light house designed by Aldo Rossi, and a humanoid piece of land art only visible from high above.
There’s a scene in Edith Wharton’s 1913 novel Custom of the Country, where the wicked vixen Undine Spragg insists on speeding across the High Bridge in a “horseless carriage” before making her grand entrance at a party so as to rouge her cheeks with a cold snap of air whipping up from the Harlem River. The romantic fascination accorded the then-65-year-old bridge quietly slipped from New York’s consciousness as bigger engineering marvels usurped its quiet dignity.
Now approaching 165 years, renovations are about to get underway to finally restore the bridge to its former glory as a 1,200-foot-long pedestrian bridge, uniting neighborhoods of High Bridge and Washington Heights in the Bronx and Manhattan. New Yorkers for Parks stopped by the span Monday afternoon to document current conditions before construction is in full swing, giving us a hint of Undine’s views. Though controversial netting integrated into the design might mildly disrupt the vista, Monday’s photos show it the way it was, albeit slightly overgrown.
The National Building Museum‘s latest exhibit presents a new way to beat the summer heat—12 holes of mini-golf designed by prominent local architects, landscape architects, and developers. But if it’s windmills and castles you’re after, tee off elsewhere. While the course is a challenge, it offers an intriguing (and very engaging) look at Washington’s architectural history and future.
On Friday we revealed Francois Perrin’s precariously-situated house, a sleek stack of glass boxes embedded into the Hollywood Hills on a concrete base. Terrain aside, the project is stunning for its views of the city, for its glassy connection between indoor and outdoor space, and for its minimal lines. Perhaps even more amazing, though, is how the house was built in the first place, requiring crews to literally move mountains and dangle from cables off the side of a ravine. To reveal the process beneath the building, AN compiled a slideshow of the work in action.