Wendy Evans Joseph and Chris Cooper
Re-Envisioning the South Street Seaport Museum
Thursday, May 10, 6:30 p.m.
South Street Seaport Museum
12 Fulton St.
Following extensive renovation, the South Street Seaport Museum reopened its doors in January under the auspices of the Museum of the City of New York. With 16 galleries, a site-specific sculptural installation, and a new shop, the museum is now a modern and vibrant cultural center in the historic Schermerhorn Row. The architects behind this renovation, Wendy Evans Joseph and Chris Cooper of Cooper Joseph Studio, will discuss their approach in modernizing these historic structures and the process of realizing their vision. Read More
The twelfth Serpentine Gallery Pavilion in London is nothing without the first eleven. The collaborators responsible for the wonderfully intricate Beijing National Stadium (aka the Bird’s Nest) in 2008—Swiss architects Herzog & de Meuron and Chinese artist Ai Weiwei—have designed a temporary pavilion inspired by the archaeology of previous structures by Peter Zumthor, Jean Nouvel, and Zaha Hadid, among others.
What makes the performing arts so thrilling is also what makes them so elusive—they are, by nature, ephemeral. Any documentation of a performance is only a pale reflection of what it’s like to be there in the moment. So when performance artist Marina Abramovic began to contemplate what her own legacy would be, she thought beyond biographies, retrospectives, or monuments and instead began to develop a method of generating the kind of experiences she valued, one that would allow her kind of performances to continue long after the artist was no longer present.
Starting in late 2014, “long duration” (six hours plus) performance pieces as well as facilities intended to initiate the public into performance art will be housed in the Marina Abramovic Institute for the Preservation of Performance Art (MAI) in Hudson, New York. The institute will occupy an old 20,000 square-foot theater that was purchased by Abramovic in 2007 and whose interior is being redesigned by Shohei Shigematsu and Rem Koolhaas of OMA.
With investment in American cities on the rise, mixed-use development is all the buzz, but architect Deborah Berke says we must be careful not to leave industry out of the mix. “We need to sway mixed-use back to the direction of a real mix. We’ve gone to all residential,” she said. Berke and critic Noah Biklen just finished teaching an architectural studio at Yale on boutique urban manufacturing, where students explored bringing a bourbon distillery to downtown Louisville, Kentucky.
If Foreign Office Architects’ first project, the huge Yokohama International Port Terminal in Japan, was the vast scale of rolling dunes, the Museum of Contemporary Art Cleveland—begun when the firm was still known as FOA and carried to completion by Farshid Moussavi Architecture—is compact as a cube. And size has made all the difference in keeping on track through the economic downturn with the $27.2 million building poised for opening in October.
While cameras allowing real-time viewing of work on downtown LA’s Broad museum have been in place since construction began last fall, the scenery is finally getting more interesting. The structure’s parking garage is now complete and construction permits were recently approved for the museum itself, according to LA Downtown News.
We heard rumblings, but now it’s official—a 400-room, 50-story high Holiday Inn will be joining the ranks of downtown hotels at 99 Washington Street near the World Trade Center. It will be the world’s tallest Holiday Inn and the go-to architect for New York hotels, Gene Kaufman of Gwathmey Siegel Kaufman & Associates Architects, will be doing the honors. Kaufman’s other high-profile hotel projects, the Chelsea Hotel renovation and the new Hyatt near Union Square, seem to be moving full steam ahead, despite legal wrangling at the Chelsea. The Holiday Inn will likely open to guests by the end of this year.
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New climate-responsive architecture research makes structure the machine
A new project commissioned by the Centre Pompidou for its permanent collection explores responsive architecture based on the behavior of material during climate changes. Designed by architect Achim Menges in collaboration with Steffen Reichert, “HygroScope: Meteorosensitive Morphology” appears at first glance to be a wooden model suspended within a glass case. But when the humidity level within the case rises, the system begins to breathe, ventilating the moisture-saturated air without any sensory equipment or electricity.