Exhibition design is never straightforward, but that is especially true within the highly unconventional architecture of Frank Lloyd Wright’s Guggenheim Museum. Hanging a painting in a traditional “box” gallery can be literally straightforward, whereas every exhibition at the Guggenheim is the reinvention of one of the world’s most distinctive and iconic buildings. The building mandates site-specific exhibition design—partition walls, pedestals, vitrines, and benches are custom-fabricated for every show. At the same time, these qualities of the building present an opportunity for truly memorable, unique installations. Design happens simultaneously on a micro and macro scale—creating display solutions for individual works of art while producing an overall context and flow that engages the curatorial vision for the exhibition. This is why the museum’s stellar in-house exhibition designers all have an architecture background. They have developed intimate relationships with every angle and curve of the quarter-mile ramp and sloping walls.
Japanese architect, teacher, and theorist Arata Isozaki (born 23 July, 1931) helped bring Japanese influence to some of the most prestigious buildings of the 20th century, and continues to work at the highest level today. Initially working in a distinctive form of modernism, Isozaki developed his own thoughts and theories on architecture into a complex style that invokes pure shape and space as much as it evokes post-modern ideas. Highly adaptable and socially concerned, his work has been acclaimed for being sensitive to context while still making statements of its own.
The world of architecture is small. So small in fact, that Rem Koolhaas has been credited with the creation of over forty practices worldwide, led by the likes of Zaha Hadid and Bjarke Ingels. Dubbed “Baby Rems” by Metropolis Magazine, this Koolhaas effect is hardly an isolated pattern, with manifestations far beyond the walls of OMA. The phenomenon has dominated the world of architecture, assisted by the prevalence and increasing necessity of internships for burgeoning architects.
In a recent article for Curbed, Patrick Sisson dug into the storied history of internships to uncover some unexpected connections between the world's most prolific architects. With the help of Sisson's list, we've compiled a record of the humble beginnings of the household names of architecture. Where did Frank Gehry get his start? Find out after the break.
The Telegraph reports that a new inflatable concert hall dubbed “Ark Nova," created by the British sculptor Anish Kapoor and Japanese architect Arata Isozaki, is to tour the region of northern Japan that was most affected by the 2011 Tsunami. The hall, which will host world-class concerts, events and workshops, has a single skin membrane that can be easily inflated or deflated as well as seating constructed from local, tsunami-damaged cedar. The opening will take place this week in the coastal town of Matsushima. Learn more about the hall here.
Designed by Arata Isozaki and Andrea Maffei, the Citylife Tower represents the future business and shopping district of CityLife in Milan (a subsidiary company of the Generali Group and in which Allianz has a shareholding), which is progressing quickly. By 2015 it will reach a height of 207 meters, with 50 floors of offices, and will be the tallest skyscraper in Italy. The foundation bed, which has just been built, is formed of a continuous block of concrete covering a total of 4,260 cubic meters and required 42 hours of continuous work. More images and architects’ description after the break.
Arata Isozaki and Anish Kapoor have joined forces to create a mobile concert hall that will travel across the devastated region of Higashi Nihon, brining a promise of hope to those still suffering from the earthquake of March 2011. Using music as the means to bring an uplifting message, Ark Nova will provide seating for approximately 700 spectators to watch interdisciplinary artistic projects, musical ensembles and multimedia exhibitions. The hall will serve not only as a platform for performances but also as a place to meet and find creative inspiration; thus, make a lasting contribution toward returning normalcy to the region.
More about the project, including a video clip, after the break.
If you are a regular ArchDaily reader you know that we have been providing ongoing coverage of Eli Broad’s Broad Museum in Los Angeles. Nearly 120,000 sqf and $130 million dollars, invitations were given to six top architects to submit designs for the new museum. Rem Koolhaas, Herzog and de Meuron, Christian de Portzamparc, Ryue Nishizawa and Kazuyo Sejima, Diller Scofidio + Renfro and Foreign Office Architects competed and in August we informed you that Diller Scofidio + Renfro garnered the commission.
Today, the design for the Broad Museum has been released. Situated adjacent to Frank Gehry’s Walt Disney Concert Hall and Arata Isozaki’s Museum of Contemporary Art, the museum has become a key part of the Grand Avenue redevelopment project that has been losing steam.