As part of a new exhibition at the National Building Museum in Washington D.C., twelve dollhouses tracing the history of British domesticity have been lent by London's Victoria & Albert Museum of Childhood. The show—Small Stories: At Home in a Dollhouse—spans 300 years and presents a miniature-sized, up-close-and-personal view of developments in architecture and design – from lavish country mansions, to an urban high-rise.
As part of a new exhibition at the National Building Museum in Washington D.C., a group of 24 American architects, designers and architects have been commissioned to create "dream homes" in the format of the contemporary dollhouse. Part of Small Stories: At Home in a Dollhouse, in which twelve historical dollhouses spanning the past 300 years from London's Victoria & Albert Museum of Childhood are being presented in the United States for the first time, these 21st Century interpretations intend to showcase a "diverse array of perspectives, demonstrating the limitless creativity of building in miniature."
Video: President Obama Inaugurates the Smithsonian National Museum of African American History and Culture
“What we can see of this building, the towering glass, the artistry of the metalwork, is surely a sight to behold.”
These were the words spoken by President Barack Obama as he inaugurated the most recent addition to the National Mall in Washington D.C., the Smithsonian National Museum of African American History and Culture, this past weekend. The opening ceremonies featured musical performances and celebrations, as well as a look at the museum’s place in American history.
“This national museum helps to tell a richer and fuller story of who we are,” said Obama. “It helps us better understand the lives, yes, of the president but also the slave, the industrialist but also the porter, the keeper of the status quo but also the activist seeking to overthrow that status quo.”
A century since the founding of the National Memorial Association and the start of a campaign by African-American war veterans for a monument of African American culture, the National Museum of African American History and Culture will finally be opened on September 24th. The Museum took $540 million and four years to build, resulting in a striking, and refreshingly unorthodox, architectural construction on Washington DC’s National Mall. The Freelon Adjaye Bond/SmithGroup JJR team, led by Ghanaian-British architect David Adjaye, defiantly broke the white-marble-Corinthian-column convention, opting instead for a bronze-coated aluminum façade bound to provoke a reaction from the critics.
Frank Gehry's Eisenhower Memorial One Step Closer to Realization After Finally Receiving Family Support
After years of steadfast disapproval of the proposed design for the Dwight D. Eisenhower Memorial in Washington, D.C., the Eisenhower family has finally voiced their support for the Frank Gehry designed park and monument – once a few more minor changes are made.
The 15-year-long process has already seen a multitude of design tweaks and revisions, but it appeared to have been decisively green-lit last summer following final approval by the National Capital Planning Commission (NCPC). In the past year, however, the project has once again stalled, as the Eisenhower Memorial Commission has struggled to find private donors following the withdrawal of congressional funding for the project in 2013.
Studio Gang has been selected to design next year’s installation of the Summer Block Party at the National Building Museum in Washington, D.C. The temporary exhibition will be the latest in the Museum’s annual series, after this year’s ICEBERGS by James Corner Field Operations, and previous installations like Snarkitecture’s The BEACH in 2015, and Bjarke Ingels Group’s BIG Maze in 2014.
It’s rare for an architect to have the opportunity to design a building in which symbolism and form are as important as function, if not more so. But this was the task given to David Adjaye when he won the commission to design the National Museum of African American History and Culture (NMAAHC), which, when it opens in September, will be the final Smithsonian institution to take its place on the National Mall in Washington, D.C. Adjaye, whose work is marked for its extreme sensitivity to context, found himself challenged in ways he had never been before. On the occasion of the completion of Adjaye’s Eugene McDermott Award residency at MIT, Metropolis editor Vanessa Quirk spoke with the architect about the new institution, its symbolic significance, and the blurry boundary between monument and museum.
LEGO® has unveiled the newest kit in their Architecture series: The U.S. Capitol Building in Washington, D.C. Originally designed by architect William Thornton in 1793, the building has gone through several iterations, including the addition of its iconic white, cast-iron, neoclassical dome in 1866. The 1,032 piece LEGO® set portrays the building in its current form, with its “striking white, columned façade with its famous steps and lawns.” The kit also features a removable dome, which, when lifted off, reveals “a detailed interior depicting the famous National Statuary Hall, complete with columns, statues and tiled floor.”
Gallery: David Adjaye's National Museum of African American History and Culture Photographed by Paul Clemence
Photographer Paul Clemence of ARCHI-PHOTO has shared with us images of Adjaye Associates' nearly-completed Smithsonian National Museum of African American History and Culture. The building draws inspiration from the nearby Washington Monument, mirroring the 17-degree angle of its capstone in the museum’s tiered corona. Adjaye has described the building’s ornamental bronze lattice as “a historical reference to African American craftsmanship.” The skin can also be modulated to control the transparency and amount of sunlight reaching the interior spaces. The building will open to the public on September 24, 2016.
Continue on for Clemence’s full photoset.
ODA New York has released plans for “West Half,” a mixed-use development for the Capitol Riverfront neighborhood of Washington, D.C., that will offer residents views into baseball games at the adjacent Nationals Park. The 11-story building will also feature two floors of retail space and community amenities as it becomes a new visual complement to the neighboring cultural landmark.
Through Raise/Raze, the firm reused plastic balls from Snarkitecture’s “The Beach” at the National Building Museum to create an installation in DC’s Dupont Underground, a contemporary arts and culture space repurposed from an abandoned trolley station. Raise/Raze opened on April 30, and closed on June 1.
Located at the Socrates Sculpture Park in Queens, New York, Sticks is a multi-purpose pavilion space made of standard dimension lumber and accented with scrap wood found on-site. The pavilion opened on July 9, and will close December 31.
This year’s installment of the National Building Museum’s Summer Block Party Series, James Corner Field Operations’ ICEBERGS, is now open to the public. On display until September 5th, ICEBERGS takes the form of a shimmering, underwater world of glacial ice fields located in the museum’s expansive Great Hall to provide the public with an escape from the hot Washington, D.C. summer.
Building on the popularity of Snarkitecture's popular BEACH last year and BIG's massive Labyrinth in 2014, the National Building Museum's 2016 Summer Block Party installation has returned this year with "ICEBERGS," designed by James Corner Field Operations. ICEBERGS is an interactive underwater environment of glacial ice spanning the museum's Great Hall, and invites in the public to escape the hot Washington D.C. summer by exploring climbable bergs, ice chutes, caves, grottos and more.
Take a look at this time lapse video to see how the project came together.
REX has released designs for 2050 M Street, an office building in Washington DC’s Golden Triangle Business District. The 41,800 square meter (450,000 square foot) building evolves and merges two existing typologies in the US Capitol: heavy masonry or concrete buildings, with high relief facades and punched windows – in styles ranging from Beaux Arts to Neoclassical, Art Deco and Brutalist – or modern structures with taut glass envelopes, many with applied decorative treatments. To reconcile these two competing strategies, 2050 M Street provides hyper-transparent, floor to ceiling glass, without view-impeding mullions. From the exterior, the panels appear scooped or concave, establishing that an all-glass building can also have a high-relief facade befitting of the nation’s capitol.
Hou de Sousa (Nancy Hou and Josh de Sousa) have recently won two competitions for temporary installations in Washington DC and New York, both using salvaged materials. The first, Raise/Raze, is the winning proposal for DC’s Dupont Underground, an abandoned trolley station repurposed as a contemporary arts and culture space. The project reuses the balls from Snarkitecture’s “The Beach” installation at the National Building Museum for a new environment-generating initiative, which opens on April 30.
As winners of the 2016 Folly Competition held by the Architectural League of New York, Hou de Sousa will also soon build a pavilion in Socrates Sculpture Park, in Queens. A simple wooden canopy, the structure is a multi-purpose space made of standard dimensional lumber, but has been accentuated with shingles of scrap wood found on-site. Known as Sticks, the pavilion will open to the public on July 9.
Two conceptual plans designed by OMA have been unveiled for the redevelopment of Washington DC's 190-acre Robert F. Kennedy (RFK) Stadium-Armory Campus site. Released by Events DC, the official convention and sports authority for the District of Columbia, the phased design concepts aim to "leverage the District's waterfront, provide neighborhood serving amenities and connect the current site with increased and sustainable green space, flexible recreational fields and natural access to pedestrian-friendly paths."
Last week, the World War I Centennial Commission announced architect Joseph Weishaar and sculptor Sabin Howard as the winners of the WWI Memorial Competition held to redesign Washington, DC’s Pershing Park for the 100th anniversary of the conflict. For Weishaar, a 25-year-old project architect at Chicago firm Brininstool + Lynch, the key to the design was to integrate elements of both a park and a memorial into a cohesive whole; his design, "The Weight of Sacrifice," incorporates a raised lawn surrounded on three sides by memorial walls with sculptures designed by Howard. ArchDaily was given the opportunity to sit down with Weishaar to learn more about his winning memorial design, his response to the park’s critique, and what the future could hold for the young architect.
After announcing five finalists in August of 2015, the World War I Centennial Commission has announced the winner of its National World War I Memorial competition: The Weight of Sacrifice by 25-year-old architect Joe Weishaar and sculptor Sabin Howard. The design focuses on the sacrificial cost of war through relief sculpture, quotations of soldiers, and a freestanding sculpture. Visitors are guided through the memorial’s changing elevations by quotation walls that describe the war from the point of view of generals, politicians, and soldiers.