Jean Nouvel's long-awaited 53 West 53rd Street, also known as the Tower Verre or the MoMA Tower, may finally be ready to move ahead with construction after the project's developer Hines purchased $85.3 million worth of air rights from its neighbors MoMA and the St Thomas Episcopal Church and arranged the $860 million construction loan required for the project.
Originally proposed in 2007, the design has been plagued by problems, including significant delays due to the financial crisis and a difficult approval process which resulted in the building's height being slashed from 1,250 feet to its current planned height of 1,050 feet. However, according to a statement from Hines groundbreaking on the project is now "imminent."
What influence do art and space have on the contemporary architectural design process? MoMA's most recent exhibition on architecture and designConceptions of Space strives to answer this question. Themed under the umbrella of spatial relations, Curator Pedro Gadanho ruminates on the subject in a broad and philosophical sense. The exhibition delves into the topic using an interdisciplinary approach, incorporating research from French philosopher Michel Foucault on the subject of the expanded field. The exhibition aims to explore the relationship between the development of space and its deep-seated roots in the creative arts.
Martino Stierli, a Swiss architecture and art history professor interested in "how architecture is represented in the media and intersects with art," has been named Barry Bergdoll's successor as the chief curator of architecture and design at the Museum of Modern Art (MoMA).
Acting as the centerpiece for MoMA's Warm Up music festival on Saturdays throughout the Summer, the temporary structure will provide shade, seating and water until September 7th. Read on after the break for more on the design.
Focusing on recent acquisitions in MoMA’s Department of Architecture and Design, Conceptions of Space addresses how contemporary architects continue to embrace spatial creation as a fundamental focus of their work. The exhibition reveals how, beyond formal traits and functional needs, the conception and articulation of architectural space still defines architecture as an artistic endeavor, and a response to wider cultural issues.
The Museum of Modern Art and MoMA PS1 has announced a partnership with the National Museum of Modern and Contemporary Art (MMCA) in Seoul that has expanded the international Young Architects Program (YAP) to South Korea. Just as YAP presents opportunities for emerging architects to design and build temporary installations in New York, Chile, Rome and Istanbul, YAP Korea will offer the MMCA’s outdoor Museum Plaza as the summer installation site.
Already, a winner has been chosen from 26 submissions to serve as the inaugural YAPKorea installation. With completion planned for July 8, winning team Moon Ji Bang (Threshold) is amidst the final preparations for mystical, mythology-inspired installation that will transcend visitors from the daily hustle into a cloud-like landscape of air balloon structures.
What appears here is not strictly a battle between an institution that wants to reflect the spirit of the time vs a building that is inherently specific to its place. It represents a lost design opportunity. What if the American Folk Art Museum had been considered an untouchable civic space in the city of New York, much like the The Museum of Pre-Columbian Art is for the city for Santiago? Then a whole new strategy for adaptive reuse would have emerged.
Wouldn't it be nice to save a little cold for when it’s hot (and maybe a little warmth for when it’s cold)? This was the premise of LAMAS’s MoMA PS1 runner-up proposal, Underberg. Underberg is an urban iceberg. Though it isn't a native New Yorker, it has adapted to its new home in New York City and its crevasses take on the form of the avenues and streets of the gridiron.
"It all starts on local farms with waste corn stalks," says Sam Harrington of Ecovative, who will help build this year’s winning entry for the MoMA PS1 Young Architect’s Program. Hy-Fi, designed by the New York-based firm The Living, will be made of bricks that are entirely organic and ultimately, compostable. A good chunk of that material is corn stalks, stained clay-red with an organic dye from Shabd Simon-Alexander and Audrey Louisere . The rest is mycelium—mushroom roots to you and me—that will hold the corn stalks together as they cohere into a molded shape. The technology, developed by Ecovative in 2007, has so far been used as a packaging material. "But we love the chance to try something bold, and that’s what PS1 is all about," Harrington says.
Read more about the bricks behind Hy-Fi after the break
“We will take the facade down, piece by piece, and we will store it,” Glenn D. Lowry, the director of the Museum of Modern Art, said in an interview. “We have made no decision about what happens subsequently, other than the fact that we’ll have it and it will be preserved.”
Frank Lloyd Wright—perhaps the most influential American architect of the 20th century—was deeply ambivalent about cities. For decades, Wright was seen as the prophet of America's post-World War II suburban sprawl, yet the cities he imagined were also carefully planned, and very different from the disorganized landscapes that were often developed instead. Paradoxically, Wright was also a lifelong prophet of the race for height (think skyscrapers) that played, and continues to play, out around the world.
The presentation was part of a larger event, "A Conversation on the Museum of Modern Art’s Plan for Expansion," presented by The Architectural League, the Municipal Art Society, and the American Institute of Architects New York Chapter. After Lowry and Diller reiterated their case, a panel of experts - including the editor of Architectural Record, Cathleen McGuigan, and critic Nicolai Ouroussoff - gave their opinions on the subject (some panelists spousing particularly anti-MoMA sentiments). ArchDaily was there to catch the conversation; read on after the break for the highlights.
Hawthorne asks some great, insightful questions: from whether or not architecture should be considered ephemeral to whether or not idiosyncratic architecture is more vulnerable to change. Diller responds with some fascinating points, claiming that if DS+R's ICA museum in Boston faced demolition, she'd understand because of the possibility that "at a certain point [a building] takes on another identity." But perhaps the most poignant response is the one that she gives regarding the maelstrom of negative criticism surrounding the demolition of the Folk Art Museum, saying, "We would be on the same side if we didn’t know all the details that we know." To learn more about those "details," read on for excerpts from the interview...
The flurry of criticism that erupted when MoMA announced its plans to demolish the American Folk Art Museum (in its new plans for expansion, designed by Diller Scofidio + Renfro) has yet to settle. After the break, we offer a more complete round-up of the critics' reactions - including Paul Goldberger's of Vanity Fair, Michael Kimmelman's for The New York Times, and more...
Hehas made his debut in the MAXXI piazza. As the winner of the Young Architects Program (YAP) in Rome, Turin-based studio Bam! Bottega di Architettura metropolitan has transformed the concrete facade of the Zaha Hadid-designed museum into a visual spectacular with the installation of a yellow, translucent and aerostatic prism.