In Provo, Utah, a new temple is rising, literally, on the site of a disaster. When a devastating fire ripped through the 112-year-old tabernacle in 2010, destroying its wooden interiors and steeples, community members mourned the loss of their historic house of worship. But with the building’s 7-million-pound stone shell still standing, a new plan was devised to transform its remains into a temple. Now the building’s skin, reinforced by shotcrete and steel beams, has been “lifted” 40 feet off the ground on steel and concrete piles.
While it certainly won’t be as terrifying as a Godzilla or King Kong tearing through city streets, what you might call Kitty Kong will be pawing through a model of an imagined ideal city at the Flux Factory in Long Island City, Queens, beginning Saturday. Developed by a team of children, artists, and city planners, the Flux Factory’s Kitty City project is an intergenerational experiment in collaborative urbanism, designed to teach kids the way cities get built, encourage democratic decision making, and challenge the opacity of urban planning processes.
MammaFotogramma designed a plywood and high-performance mesh composite that is scored on a CNC mill to facilitate textile-like movement.
WoodSkin is a flexible wood surfacing material developed by interdisciplinary design studio MammaFotogramma. The concept is an exploration of movement developed for Autoprogettazione 2.0, an open-source design competition from 2012 that originated in the firm’s work in stop motion animation. “We’re still in animation production, but what we do is all about movement,” said studio founder Giulio Masotti. MammaFotogramma’s current work includes architecture and design projects as well as a lab that evolved naturally as projects came in, where collaborators develop new techniques for hybridized exploration. “Project after project, we saw we were applying movement everywhere, not because it was a need but because it’s how we work and what we explore,” said Masotti.
Later in 2012, after the competition, the composite wood material was first fabricated as an interior finish for the lobby of Allez Up, an indoor rock-climbing facility in Montreal. “When we figured out what we wanted to do, we knew we needed something different,” said Masotti. “We needed a system, not just a project solution.” The goal was to design a visually appealing material that could be used in a static way with the possibility for movement. Read More
Sean Kelly Gallery
Through June 22
There is a renewed interest in the west of Soviet modern architecture from the Cold War and its strong and determined sculptural form. Much of the work was barely known in the west—at least in this country—and has come as a revelation to scholars and critics. A recent exhibition Soviet Modernism 1955-1991 at the Architekturzentrum in Vienna and a fascinating exhibit Cold War Cool Digital at Pratt Institute featured Soviet designed pre-fabricated and globally distributed Cold War Era housing systems. Both of these exhibits featured the ambitious and determined socialist realism that one would expect from work of this period, but now an exhibition, Irreversible, at the Sean Kelly Gallery by the Havana- and Madrid-based group Los Carpinteros features work that expresses what it felt like to be the receiver of these Soviet-inspired architectural and sculptural forms and their realist messages.
Creative Time’s annual spring benefit at the defunct Domino Sugar factory in Brooklyn received lots of press coverage for its glittering guests, including honoree Julian Schnabel. But GalleristNY was one of the few to flag the fly on the soup: Across the street from the entrance, protestors in hazmat suits handed out “invitations” blasting the controversial company hired by Two Trees—the developer with big plans for Domino—to oversee asbestos abatement. So…that wasn’t powdered sugar on the chocolate soufflé?
There has been no official confirmation, but we’ve heard from several people involved with the show that Thom Mayne and his firm Morphosis are now leading the show, not curator Christopher Mount. Participants confirm that emails are now coming from Morphosis, not MOCA, while the show’s assistant curator Johanna Vandemoortele last week sent out an email that she had already departed from MOCA. Mount was not available for comment, but Mayne’s spokesperson Legier Stahl noted: “It is a collective, community effort. We are just helping to facilitate.” Rumor has it that Mayne is considering adding more participants, including Wes Jones, John Enright, Hitoshi Abe, and Qingyun. Stay tuned as the saga continues.
Brooklyn-based Garrison Architects, a firm well-known for its sustainable modular buildings, and American Manufactured Structures and Services, have collaborated on the design of a prefabricated disaster relief housing prototype, which will be displayed in Downtown Brooklyn this summer, as part of an effort to help rebuild post-Hurricane Sandy with a focus on sustainability. The three-story, three-unit modular test structure will be situated next to the Office of Emergency Management (OEM) on Cadman Plaza.
The ground floor will be a handicap-accessible 480-square-foot one-bedroom unit, and the upper two floors will consist of two separate 822-square-foot three-bedroom apartments. The preassembled and pre-furnished units will be 12-feet wide by 40-feet long. Once shipped to the site, they simply need to be clipped together and connected to utilities. They also feature balconies that help lower solar-heat gain, provide larger windows, and supply more habitable space.
At the beginning of the 19th century, the city of Edmonton was considered one of Canada’s most important rail hubs. For over two decades the trains that once made Edmonton a prominent center of economic activity have ceased to run along those tracks, and the historic freight yard has remained vacant.
Over the years a prominent old overpass connecting 97th Street to Edmonton’s downtown rail yards has morphed into a poorly finished, unattractive concrete pedestrian walkway and bicycle path. This weekend designers Chelsea Boos, Carmen Douville, and Erin Ross, will begin working on a project to revitalize the historic landmark. According to the Edmonton Journal the artists, with the help of a group of volunteers, will bring the bridge back to life by planting 25 circular raised beds filled with vibrant flowers, indigenous plants, and edible crops from which visitors can actually pick fruit from.
With gay marriage rippling across the country and even the Boy Scouts opening their doors to gays, it’s hard to believe that during Liberace’s lifetime, coming out was career suicide. The mystery is how anyone, particularly his adoring blue-haired female fans, could have ever thought otherwise. His flamboyant, over-the-top more –is-better excess in décor and fashion, both on stage and off, screams “queen” louder than his proficient, versatile piano playing. “The Impossible Dream” indeed.
“I call this palatial kitsch” says Michael Douglas playing Liberace, known as Lee, to Matt Damon’s Scott Thorson, his soon to be paramour in HBO’s Behind the Candelabra. This is shortly after Scott enters the Las Vegas spread where he asks the friend who’s brought him: “Is this a palace?” which prompts the reply “Lee thinks he’s King Ludwig II.” Scott: “ Who’s he?” “The Liberace of Bavaria.” (Ludwig [1845-1886], also gay, commissioned extravagant palaces, patronized composer Richard Wagner, and was deposed as “mad.”)