Stanley Tigerman: Ceci n’est pas une rêverie
Madlener House, Graham Foundation
4 West Burton Place
Through May 19
Curated by Yale School of Architecture Professor Emmanuel Petit, Ceci n’est pas une rêverie (“This is not a dream”), is a retrospective that examines the architectural and conceptual work of Stanley Tigerman (top, 1966). Occupying three floors of the Graham Foundation’s Madlener House, the exhibition is arranged in relation to nine dominant themes recurring throughout Tigerman’s 50 career: Utopia, Allegory, Humor, Death, Division, (Dis)Order, Identity, Yaleiana, and Draft.
A variety of media, including models, photographs, and archival documents, offer a sampling of the architect’s output, and the exhibition includes one of Tigerman’s best-known pieces, The Titanic, 1978 (above), a collage that explicitly critiques the state of architecture in the late 1970s with S. R. Crown Hall sinking into Lake Michigan.
While most design students are starting the scramble for plum summer internships, Tina Uznanski can rest easy, knowing a desk with her name on it will be waiting at Gensler’s London office. Uzanski, an interior design student at the Pratt Institute, has received Gensler’s annual Brinkmann Scholarship, winning a paid summer internship at the Gensler office of her choice and a cash prize to be put toward her final year of study at Pratt. The award was established in 1999 as a memorial to interior designer and former Gensler partner Donald G. Brinkmann.
Uznanski won the competition with her clever concept for a renovation of her neighborhood library in Clinton Hill, Brooklyn, that creates a flexible room through “shifting stacks.” images after the jump
Luka Fineisen: Phase Transitions
531 West 36th St.
Through March 31
“Phase transition” refers to the transformation of a thermodynamic system from one state of matter to another. German artist Luka Fineisen explores these shifts by framing the moment of transformation from one condition to another; she sculpts dynamic systems, the final work of art being the system’s realization of potential. In this way, even sculptures that appear static, such as Bubbles (above, 2010), draw attention to the temporality of material—this is not plastic, but a material in search of its form. This will be Fineisen’s first solo exhibition in the United States.
AN is headed out to California for the third year running for one of our favorite architecture events: Palm Springs Modernism Week (February 16-26). Palm Springs–and its surrounding towns, spas and arid California landscape–is home to what the organizers call “desert modernism.” The city is an extraordinary gridded landscape of modern car-ported flat-roofed houses and dozens of iconic homes, shops, and landscapes. The 11-day celebration focuses every year on an outstanding example of residential modern architecture, and this year it will highlight Sunnylands, the A. Quincy Jones-designed mansion (interior by William Haines) for the Annenbergs in nearby Rancho Mirage. The estate is surrounded by an art garden, labyrinth, private nine-hole golf course (currently being restored), and a new visitors center designed by Frederick Fisher. Read More
Dan Flavin: Drawing
The Morgan Library & Museum
225 Madison Ave.
February 17 to July 1
The Morgan Library & Museum exhibits for the first time the drawings of Dan Flavin, ranging from early abstract expressionist watercolors to studies for installations to modern and classic works from his personal collection. While he is known for his fluorescent light installations, Flavin was an avid draftsman; he developed compositions, like In Honor of Harold Joachim, above, with ink and colored pencil on graph paper. Striking in their sparseness, his more representational sketches of landscapes, sailboats, and portraits have minimalist and calligraphic qualities that harken to the Japanese drawings in the artist’s personal collection. Two of Flavin’s major light installations are also installed in the gallery.
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Architects and fabricators discuss creating facades in the digital age
Yesterday The Architect’s Newspaper and the Ornamental Metal Institute of New York presented their first-ever educational conference at McGraw-Hill Auditorium in New York. More than 250 professionals and students attended the event, themed Metals in Construction, which addressed facade design in an age when skilled collaboration between architects, consultants, and fabricators can more than ever affect a building’s performance and longevity. The day began with a presentation by Bill Zahner, who spoke of his company’s forward-looking work with metal facades, then moved into discussions covering everything from new retrofit strategies to the latest projects from Zaha Hadid Architects with the firm’s director, Patrik Schumacher.
The day also included the official announcement of a new international alliance of academics, professional designers, hardware and software developers and digital fabricators. Born out of a regional organization known as Tex-Fab, the group will be called Digital Fabrication Alliance and offered a look at the kind of minds it will be bringing together at future events with a panel discussion with Phillip Anzalone, Anna Dyson, and Erik Verboon. Read on for AN‘s coverage of the day’s events:
Is drawing dead? That was the burning question (and title) of last weekend’s symposium at the Yale School of Architecture, which assessed the contemporary state of drawing through three days of lectures and panels, with pen-and-paper proponents from across the architectural spectrum. This convergence of many great drawers past and present coincided with the recently opened exhibition Massimo Scolari: The Representation of Architecture, a largely drawing-based show on view through May 4 in the School of Architecture Gallery.