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The artist’s first major U.S. commission lands at the Met
On Monday, the Metropolitan Museum of Art held a preview of the latest installation to take root in its Iris and B. Gerald Cantor Roof Garden. Designed by Tomás Saraceno, the installation is the largest of the artist’s Cloud Cities/Airport Cities series, and his first major commission in the United States. Under overcast skies and a sprinkling of rain, the installation’s first visitors—or at least those wearing rubber-soled shoes—clamored through its 16 interconnected modules. Some paused to sit or lie in the structure’s uppermost areas, while others were content to view the constellation of mirrored acrylic forms and nylon webs from the ground. The experience of boarding the structure is disorienting, and the piece gives visitors the impression that it would float away from the rooftop and over Central Park if not tethered to the Met by steel cables.
If all the world is a stage, according to Shakespeare, all the city is a kunsthalle in the eyes of the New York City Department of Transportation. Bogardus Plaza, a tiny pedestrian plaza carved out of a little-used block of Hudson Street in Lower Manhattan and named for architect James Bogardus, the inventor of the cast-iron building, just received a well-deserved facelift and has now been chosen to host a prototype art display case designed by Architecture Research Office (ARO).
The word “folly” is derived from the French folie, or “foolishness.” Also known as an “eyecatcher,” a folly was traditionally an extravagant, non-functional building, which was meant to enhance the landscape. Rooted in Romantic ideals of the picturesque, a folly often acted as an ornate small-scale intervention which transformed and visually dramatized the landscape around it. The winners of this year’s Folly Competition sponsored by The Architectural League of New York and Socrates Sculpture Park, competition winners Jerome Haferd and K. Brandt Knapp proposed a new interpretation of the folly, “Curtain.” Read More
Few university art museums have holdings that span from 3000-year old Chinese bronze vessels to bronze coins of the Roman emperor Marcus Aurelius, and from the blue-tiled gates of ancient Babylon to Blam, a red, white, and blue oil painting by Roy Lichtenstein. The collections of the Yale University Art Gallery, both deep and wide-ranging, offer up an impressive art-fueled time machine, and thanks to the Gallery’s current expansion project by Ennead, visitors will be able to travel more easily than ever across history and cultures.
AN was live blogging from the Megaprojects Conference at the McGraw Hill Conference Center on May 11. The conference/symposium, sponsored by Columbia University’s Center for Urban Real Estate, took a close look at a few of New York’s biggest real estate projects. The World Trade Center, Hudson Yards, and Times Square. London’s Docklands was also discussed.
The panel from Hudson Yards was the last up at today’s conference, though Related’s Stephen Ross, who sat on an earlier panel was no longer in the house. Oxford Properties’ Dean Shapiro estimated that the project would be completed over the course of two economic cycles. MTA’s real estate director Jeffrey Rosen once again echoed the Port Authority transit theme with “Our paramount concern is running the rail road.” Rosen said that flexibility needs to be a part of any plan, adding that the High Line was not even on the radar when Hudson Yards planning began. As a result the project’s anchor tenant was a luxury fashion company.“Who would’ve thought that this would become Meatpacking North,” he said.
Vishaan Chakrabarti who opened the conference with the statement, “Cities can cure many of the world’s ills” closed the session by explaining how and why. He said major private investment needed to be paired with greater public flexibility and more investment at the federal level. He added that a more nimble public process (that’s you, ULURP) needed to be figured out. “We’re taking too long to build these kind of projects,” he said. But then he zeroed in on the major plus of the megaprojects. “They can address the alarming rate of suburbanization,” he said. “The only way to mitigate that is far denser urbanization with transportation.”
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Research into flexible active skins opens up new BIPV possibilities
As building integrated photovoltaic (BIPV) technology becomes more advanced, architects are getting involved in how new systems affect not only a building’s performance, but also its appearance. “The photovoltaic industry was until now largely developed by engineers,” said Daniel Martín Ferrero, a Madrid-based architect researching solar design. “The architect must enter the industry to develop their integration into the urban scene.” Ferrero has launched a new company named The New Solar Architecture with a goal of bringing a higher level of design to solar energy-producing facades.
The largest development proposed in the history of downtown Seattle—an approximately 3 million square-foot headquarters for Amazon—may take eight years to complete. Project details presented at a recent downtown design review committee meeting revealed that Amazon’s glassy three block project, designed by NBBJ (designers of the recently-c0mpleted Gates Foundation, also in Seattle), will be built in three phases of two to four years.
Walking into the large, egg-like structure of the MoMA Ps1 Performance Dome, the German electronic band Kraftwerk’s song “Man-Machine” was the perfect accompaniment to the architecture. Their music represents the kind of progressive attitude towards materials (instruments) and aesthetics (sounds) that is captured perfectly in the temporary structure. A shiny, white, geodesic dome reminiscent of fellow early techno-fetishist Buckminster Fuller, the space features a super-high-fidelity sound system, 8 screens projecting various computer art, and not much else. It is the ideal pairing of minimalism and technology with Kraftwerk’s slick electronic melodies. Read More