What is the relationship between art and architecture? What makes a great space for art? How do buildings inform what and how we see? Leading architects will be in conversation with museum directors, gallerists and artists to discuss major international projects and the role of architecture in shaping the cultural landscape.
Update: We've added a 360 rendering of "Lumen" to the post, after the break (courtesy Jenny Sabin)!
Jenny Sabin Studio’s “Lumen,” winner of the Museum of Modern Art’s 2017 Young Architects Program, has made its debut in the MoMA PS1 Courtyard in New York City, where it will play host to the 20th season of Warm Up, MoMA PS1’s pioneering outdoor music series. Constructed from more than 1,000,000 yards of “digitally knitted and robotically woven fiber,” this year’s structure features 250 hanging tubular structures designed to capture and display the ever-changing color of sunlight over the course of the day.
MoMA Completes First Phase of Renovations, Reveals Designs for Extension by Diller Scofidio + Renfro and Gensler
At this morning’s press event, The Museum of Modern Art in New York (MoMA) unveiled the completed renovations to the east end of its museum campus, while also revealing for the first time the full design of their multi-year expansion project designed by Diller Scofidio + Renfro in collaboration with Gensler.
With the completion of the east wing renovation, which began in February 2016, the museum has created two spacious third-floor galleries by reconfiguring 15,000 square feet of space, allowing for better flexibility in installing the collection and temporary exhibitions.
When Philip Johnson curated the Museum of Modern Arts’ (MoMA) 1932 “International Exhibition of Modern Architecture,” he did so with the explicit intention of defining the International Style. As a guest curator at the same institution in 1988 alongside Mark Wigley (now Dean Emeritus of the Columbia GSAPP), Johnson took the opposite approach: rather than present architecture derived from a rigidly uniform set of design principles, he gathered a collection of work by architects whose similar (but not identical) approaches had yielded similar results. The designers he selected—Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and the firm Coop Himmelblau (led by Wolf Prix)—would prove to be some of the most influential architects of the late 20th Century to the present day.[1,2]
Lumen by Jenny Sabin Studio has been named the winner of The Museum of Modern Art and MoMA PS1’s annual Young Architects Program. Opening on June 27 in the MoMA PS1 courtyard, this year’s construction is an immersive design that evolves over the course of a day, providing a cooling respite from the midday sun and a responsive glowing light after sundown. Drawn from among five finalists, Jenny Sabin Studio’s Lumen will serve as a temporary urban landscape for the 20th season of Warm Up, MoMA PS1’s pioneering outdoor music series. Lumen will remain on view through the summer.
Now in its 18th edition, the Young Architects Program at The Museum of Modern Art and MoMA PS1 has offered emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling.
For the first event of our 2017 panel season "Displacements" the AIA-NY Global Dialogues Committee explores how designers are responding to the global refugee crisis through analysis, advocacy, documentation, and design.
The Museum of Modern Art in New York (MoMA) has released an online archive of over 3,500 of the museum’s past exhibitions from its founding in 1929 to today. Free and available to the public, the database contains photographs, press releases, checklists, catalogues and lists of featured artists.
The archive contains 660 entries tagged under “architecture” and includes some of architectural history’s greatest exhibitions: the Modern Architecture International Exhibition by Philip Johnson and Henry-Russell Hitchcock in 1932; Herbert Bayer’s exhibition Bauhaus 1919-1928 in 1938; Thresholds/O.M.A. at MoMA: Rem Koolhaas and the Place of Public Architecture in 1994; and, most recently, A Japanese Constellation: Toyo Ito, SANAA, and Beyond, which wrapped up its run this past July.
Today, the Museum of Modern Art in New York announced a major retrospective of Frank Lloyd Wright's work to be displayed in 2017, commemorating 150 years since the architect's birth. Opening next June, the exhibition will feature approximately 450 works spanning Wright’s career including architectural drawings, models, building fragments, films, television broadcasts, print media, furniture, tableware, textiles, paintings, photographs, and scrapbooks, along with several works that have rarely or never been shown publicly.
The Museum of Modern Art (MoMA) in New York has acquired all 16 films produced by directors Ila Bêka and Louise Lemoine. Their films, collectively titled “Living Architectures,” focus on the unseen inhabitants of famous buildings –housekeepers, window washers, concierges and more – fighting the long standing stereotype that architectural criticism is the sole domain of the intellectual elite. The collection, which is less than 10 years old, has remained in the spotlight for its contemporary commentary on architecture.
A Japanese Constellation: Toyo Ito, SANAA, and Beyond focuses on the work of architects and designers orbiting Pritzker Prize winners Toyo Ito and SANAA. MoMA’s first presentation dedicated solely to Japanese practitioners, the exhibition spotlights a small cluster of contemporary Japanese architects working within the larger field, exploring their formal inventiveness and close professional relationships to frame a radical model of practice in the 21st century.
Mexico City-based Escobedo Soliz Studio has been named the winner of MoMA and MoMA PS1's annual Young Architects Program (YAP) in New York - now in its 17th edition. Selected over four other finalists, the winning project, Weaving the Courtyard is “neither an object nor a sculpture standing in the courtyard, but a series of simple, powerful actions that generate new and different atmospheres," says the architect. It will serve as a "temporary urban landscape" for the 2016 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
"Weaving the Courtyard is a site-specific architectural intervention using the courtyard’s concrete walls to generate both sky and landscape, with embankments in which platforms of soil and water suggest the appearance of a unique topography," says MoMA.
MoMA P.S.1 has announced five finalists to compete in the 2016 Young Architects Program (YAP). Now in it’s 16th edition, the competition will challenge a group of emerging architects to design a temporary installation within the walls of the P.S.1 courtyard for MoMA’s annual summer “Warm-Up” series.
The 2016 shortlist includes First Office / Andrew Atwood + Anna Neimark (Los Angeles, CA); ESCOBEDO + SOLIZ / Lazbent Pavel Escobedo Amaral + Andres Soliz Paz (Mexico City, Mexico); ULTRAMODERNE / Yasmin Vobis + Aaron Forrest (Providence, RI); COBALT OFFICE / Andrew Colopy and Robert Booth (Houston, TX); and Frida Escobedo (Anzures, Mexico). The winners will be announced in early 2016.
The Museum of Modern Art (MoMA) has appointed Sean Anderson as the new Associate Curator in the Department of Architecture and Design. Under the direction of Chief Curator Martino Stierli, Anderson will be responsible for "overseeing MoMA's Issues in Contemporary Architecture exhibition series, assisting in curatorial supervision of the Young Architects Program (YAP) both at MoMA PS1 and with international partners, and serving as the primary liaison to architecture communities both locally in New York as well as globally." His appointment is now effective.
In It’s A Wonderful Life the film’s protagonist George Bailey, facing a crisis of faith, is visited by his guardian angel, and shown an alternate reality where he doesn’t exist. The experience gives meaning to George’s life, showing him his own importance to others. With the increasing scale of design competitions these days, architectural “could-have-beens” are piling up in record numbers, and just as George Bailey's sense of self was restored by seeing his alternate reality, hypothesizing about alternative outcomes in architecture is a chance to reflect on our current architectural moment.
Today marks the one-year-anniversary of the opening of Phase 3 of the High Line. While New Yorkers and urbanists the world over have lauded the success of this industrial-utility-turned-urban-oasis, the park and the slew of other urban improvements it has inspired almost happened very differently. Although we have come to know and love the High Line of Diller Scofidio + Renfro and James Corner Field Operations, in the original ideas competition four finalists were chosen and the alternatives show stark contrasts in how things might have shaped up.
On this key date for one of the most crucial designs of this generation, we decided to look back at some of the most important competitions of the last century to see how things might have been different.
There is perhaps no better display of modern architecture’s historical victory than Jacque Tati’s film Playtime. In it, a futuristic Paris has left-for-dead the grand boulevards of Haussmann, in favor of endless grids of International Style offices. The old city is reduced to longing reflections of Sacré-Cœur and the Eiffel Tower in the glass of these shiny new monoliths. But the irony central to the film is that this construction is created through mere surface treatments, and as the narrative unfolds, cheap mass-production withers in a world where the veneer has triumphed over craftsmanship and polish. In short, Modernism hasn’t always been all it's cracked up to be.
In the Museum of Modern Art’s new exhibition, "Endless House: Intersections of Art and Architecture," the simplicities of mass-market modern homes are abolished by artists and architects who, in examples from the 1940s to the present, have chosen to use the dwelling as a platform for universal messages and as an arena for architectural experimentation. In the same way that photography freed painting from the terrestrial concerns of realism, the simplicity of modernism liberated artists and architects to subvert extant conventions of buildings.
After a sale of the Frank Lloyd Wright Archives in 2013, Frank Lloyd Wright's model of The San Francisco Call Building, originally residing at Taliesin and later, Hillside Home School, was moved to the Museum of Modern Art (MoMA). The Organic Architecture and Design Archives, Inc. (OAD) believes that this model - a striking 8-foot tall replica built originally for the 1940 MoMA Exhibition - was "an integral part of the design of Taliesin."
After serving as curator for the past three years at the Museum of Modern Art (MoMA) in New York, Portuguese architect Pedro Gadanho will be leaving his position to become the first artist director of the new Museum of Art, Architecture and Technology (MAAT) in Lisbon. Scheduled to open in the fall of 2016, the new MAAT museum will be responsible for the EDP Foundation's cultural program.
"Pedro Gadanho’s profile and international experience are essential to our ambitions for MAAT, making it a distinctive space of contemporary culture in Portugal", says António Mexia, CEO of EDP. Pedro Gadanho adds that "MAAT will be a cultural institution of the quality and breadth seen in major European cities, offering an exciting contemporary program at the intersection of art, architecture and technology."
MoMA's Barry Bergdoll On "The Politics And Poetics Of Developmentalism" In Latin American Architecture
On display until July 19th, MoMA's exhibition "Latin America in Construction: Architecture 1955-1980" is an attempt to bring the architecture of this global region, and this time period, to a greater audience after decades of neglect by the architectural establishment. Curated by Barry Bergdoll, the exhibition effectively follows on from MoMA's last engagement with the topic of Latin American architecture, way back in 1955 with Henry-Russell Hitchcock's exhibition "Latin American Architecture Since 1945." In an intriguing interview, Bergdoll sits down with Metropolis Magazine to talk about why he is revisiting the topic after so many years (or, indeed, why MoMA took so long to do so), and explains his ambitions to elevate the featured works and to frame Latin America itself as "not simply as a place where the pupils of Le Corbusier went to build, but a place of origins of ideas." Read the full interview here.