Urban Visions: American Works on Paper, 1900-1950
Indianapolis Museum of Art
4000 Michigan Road
Through September 30
An upcoming exhibition at The Indianapolis Museum of Art’s Alliance Gallery will explore the ways in which artists dealt with the rise of industrial modernization and urbanity. In the first half of the 20th century, rapidly changing cities served as inspiration for new portrayals of human expression within these new environments. “The spectacle of metropolitan life” is presented through 25 works from IMA’s print collection, including lithographs, etchings, and engravings from well-known artists such as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. The exhibition will display the art alongside vintage construction photos from the Chicago and New York skyscraper boom, providing context for these early interpretations of the city. Pieces from lesser-known artist and architect Gerald Kenneth Geerlings, whose aquatinted technical drawings of the emerging cityscape highlight the juxtaposition of emotional romanticism and technological progress, will be on display at IMA for the first time since 1970.
Stirling Prize winner David Chipperfield will renovate of Mies van der Rohe’s Neue Nationalgalerie in Berlin, beating out more than 20 competing proposals. The museum, which houses the Prussian Cultural Heritage Foundation’s modern art collection, has not undergone any major renovation since it was completed in 1968.
The Venice Biennale is staged in an enormous old Arsenal building and in an urban park a few blocks away that houses 30 national pavilions. The first of these pavilions opened in 1907 and several were designed by famous architects like Josef Hoffmann (Austria), BBPR (Canada), Alvar Aalto (Finland), and Sverre Fehn (Nordic). The United States pavilion was designed by William Adams Delano. There have been very few buildings built in the garden since James Sterling designed the biennial book store in 1991, but just behind the U.S. pavilion the Australians are building a new exhibition space designed by Denton Corker Marshall. The Australian architects describe the pavilion as a simple structure or “a white box contained within a black box.” The pavilion will open in 2015 for the 56th art biennale and its $6 million price tag will be paid for with private funds.
While it is more restrained than many of the high designed garages currently popping up in Miami, the new garage at New York Botanical Gardens, designed by Ennead‘s Suzan Rodriguez with Desman Associates, marks a distinct departure for bland lots frequently found around New York. The garage opened to the public last Friday and promises to sport a vertical garden on all four sides once the plantings catch on to and climb up the Greenscreen wire trellis. The trellis wire rests between ‘V’ shaped vertical columns that derive inspiration from tree-limbs. But one can also detect a modernist influence, perhaps Pier Luigi Nervi‘s George Washington Bridge Bus Terminal? The effort goes a bit beyond the call of greening duty, as its not actually located in the the gardens. It sits on a former industrial site across the street and over the bridge of the MTA’s North Harlem local line.
Breaking Ground: Chinese American Architects in Los Angeles (1945–1980)
The Chinese American Museum
425 North Los Angeles St., Los Angeles
Through June 3
As part of the Pacific Standard Time initiative, the Chinese American Museum presents Breaking Ground to showcase the pioneering contributions made by four Southern California–based Chinese American architects. These architects, Eugene K. Choy, Gilbert Leong, Helen Liu Fong, and Gin Wong, all made contributions to the development of postwar California architecture, from Choy and Leong’s playful Chinatown Modernism to Wong’s radical masterplan for LAX and Fong’s development of the Googie style (think neon signage and cantilevered boomerang-shaped roofs). Original and reproduced photographs, blueprints, renderings, and drawings of works by the architects are on display, including original photographs by architectural photographer Julius Shulman (above, The Choy House).
Rumors have been circulating that Paul Goldberger was leaving his prized perch as architecture critic at the New Yorker. It appears he’s been given a golden parachute from Condé Nast in the form of a contributing editor title at Vanity Fair, where he will cover architecture and design. AN has obtained an undated press release from that magazine confirming the move. “This is an appointment that thrills me profoundly,” Graydon Carter, editor in chief of Vanity Fair, said in a statement. “Paul is about as gifted a commentator on architecture, urban planning, and design as anyone you’re going to find these days—in other words, he’s just a brilliant writer.”
The Woolworth Building just a few short blocks from Zuccotti Park—the spiritual home of the Ocuppy movement—was itself bathed in radical red last night to celebrate the iconic “red” work of Barbara Krueger and Bernard Tschumi. The two celebrated figures were being honored by the Storefront for Art and Architecture at their annual Spring fundraiser.
Coca-Cola has big plans for an Olympic Park pavilion for London’s 2012 sporting extravaganza. London-based architects Pernilla & Asif have created the “Coca-Cola Beatbox,” a spiraling structure clad in red and white panels that appear to be suspended in frozen animation. It’s not only an intriguing structure but an interactive musical instrument. The experimental architecture works with cutting edge sound technology, encouraging people to interact and “play the pavilion.”
Inspired by sounds of the Olympic games—the plunge of an archer’s arrow into a target, athlete’s quickened heartbeats, squeaking sneakers—the Beatbox will be imbedded with sound-bites created by Grammy Award-winning producer Mark Ronson that allow visitors to remix their own mashed-up productions.
In the interest of getting students to build physical things, three years ago, USC introduced Top Fuel, a week-long design-build workshop accompanied by lectures, exhibitions, and panels. This year’s workshop, “Filters Funnels Flows,” wrapped up earlier this week. It focused on pneumatic (aka inflatable) structures, teaching students about the “inseparable relation between form and performance of pneumatic systems.” Indeed, produce the wrong form here (or material, or structure) and the piece doesn’t inflate. Students also explored lighting, temperature, and other environmental issues.