Terence Riley has been selected to head the Shenzhen & Hong Kong Biennale of Urbanism\Architecture. After leaving his post as chief curator of architecture and design at MoMA, Riley set out to revamp the Miami Art Museum. Key to his tenure in Miami was a drive to move the museum into a new $100 million building designed by Herzog & de Meuron. But with economic downturn, the project stalled and Riley resigned in October of 2009.
The new appointment makes him the first non-Chinese curator to head the five-year-old event. The program, which will be announced next year, focuses on the unique character of Hong Kong, Shenzhen and on young cities in particular. As Shenzhen’s extraordinary growth has taken it from a fishing village to a major metropolis in only the past 50 years, it’s a natural fit for the event.
“The full program is still being developed, but our idea is to create a paradigm that considers the cyclical growth pattern of urban cities such as Shenzhen, where cities create architecture, architecture creates cities, and how the process continues without end,” Riley said in a statment. “At a time when sustainability is imperative, the idea of describing an open process that takes into account its own renewal and constant evolution is essential.”
Richard Neutra’s VDL House in Silver Lake has been fitted with a new rooftop installation called Fort da Sampler, by Mexico City-based artist Santiago Borja. The project is centered around a temporary textile loom literally made out of the famous house’s horizontal rooftop steel beams. Now THAT’s a new use for architecture… On the loom the artist, along with the help of a crafstwoman from Chiapas, created a woolen artwork fitted with colorful, Myan-inspired symbols. The project is the first art installation at the home, and curator Sarah Lorenzen says she hopes there are more to follow. She also shares the news that the first of three phases of renovation at the house—centered on the roof and the adjacent garden unit— has been completed pro bono by LA firm Marmol Radziner. This includes new parapets, new plaster, repaired trellises, a partially waterproofed and resealed roof, new planters and landscaping, and the transfer of all plumbing to the inside of the building. Future phases will include site drainage, a new roof deck, more waterproofing, repaired windows, and refinished interiors.
One of the most sought after awards for emerging architecture firms was announced today. MoMA PS1 selected finalists for the 2011 Young Architects Program. The plum prize is an opportunity to design the garden space for MoMA PS1 in Long Island City, Queens. For the next three months the firms will finalize their designs and the winner will be announced in February. Past winners have included Hernan Diaz Alonso, MOS Architects, OBRA, So-Il and Work AC. This year’s firms include three from Brooklyn, one from Boston and a Brit. From Brooklyn the firms are FormlessFinder, Interboro Partners and Matter Architecture Practice. MASS Design Group comes from Boston and IJP Corporation Architects are based in London. See work from the other finalists after the jump.
Peter Cook–the real one from England, not the Hampton socialite architect impersonator–was in town last week and showed us some of the work from his firm Crab. Sir Peter was here to appear on a panel at Pratt Institute for the new book by Yael Reisner with Fleur Watson, Architecture and Beauty: Conversations with Architects About a Troubled Relationship. Cook and fellow beauticians including Will Alsop, Gaetano Pesce, Lebbeus Woods, KOL/MAC, and Hernan Diaz Alonso all took the subject head-on, and proved they think about aesthetics and form up front in the design process, though they seldom will admit to it. They did nothing to dispel Reisner’s thesis that even though, since the advent of modernism, only principles of rationalism are allowed to be used in explaining the building arts, architecture is still primarily a formal practice in the spirit of Einstein, who said that for him “visual imagery occurred first and words followed.” Read More
Aging is a universal theme. ANCHISES, a new performance premiering at the Abrons Arts Center in New York tonight, explores that amid a striking set from design firm Harrison Atelier (HAt), who are also billed as co-collaborators with choreographer Jonah Bokaer. Central to this latest version of the Greek myth is Anchises’ struggle to salvage memories from the burning city of Troy. This is reflected in the set design, where, according to HAt’s website, “the set creates an environment that scripts the dance.” Blocks, representing both the old and new city, are a central part of this multi-generational performance, and a recent New York Times review championed their use of medical tubing to subtly hint at the struggle of growing old.
Is NYC’s next architectural adventure shaped like a pyramid? Maybe, if one of the groups competing for usage space in Brooklyn’s historic Tobacco Warehouse has its way. The recently stabilized structure is currently under the purview of the powers-that-be at the new Brooklyn Bridge Park, which sees the Warehouse as “most compelling public spaces” in the city’s quest to spruce up the Brooklyn waterfront.
It might not be, according to Driven Apart, a new report from CEOs for Cities. Apparently, the Urban Mobility Report– the nation’s popular source for data about commuting–is “riddled with conceptual problems, data limitations, and methodological errors that render its city-to-city congestion rankings almost meaningless.” And it’s also biased against more compact cities whose residents have shorter commuting distances. Read More
Haters of kitsch rejoice! No longer will visitors to the New Museum be greeted by Ugo Rondinone’s glowing, rainbow affirmation. Hell, Yes! has been replaced as part of the museum’s ongoing Façade Sculpture Program. In its place, Rose II, a far subtler work by German artist Isa Genzken. Growing from the first tier of SANAA’s ethereal Bowery building, the sculpture, a 28-foot tall rose, was created in 1993 and reprised in 2007. Read More
On the corner of Washington and Charles streets in Greenwich Village, a modular home has been plopped down in a vacant parking lot. It may seem an unlikely sight—or site for that matter—but what distinguishes this home from most of its tony neighbors is its eye-catching price tag: $35,000. Read More