Sculptor and jewelry designer, Cydney Ross explores the architectural passage of time through unconventional ceramics and mixed media. By over-firing, freezing, and thawing her materials, she simulates the swaying, slumping, and even collapsing of structure.
Artist David Louf, aka Mr. June, has earned a reputation for creating striking urban art, most recently using three-dimensional murals that play off architectural elements. As Colossal reports, within the last year Mr. June's geometric abstractions have become increasingly architectural as they aim to challenge viewer’s perceptions. Producing work since 1985, Mr. June recently completed a 130-foot diameter dome in North Carolina and a 3D mural for Urban Nation in Berlin.
In a world of 3D, HD, 4K, and CGI, architectural representation in the film, television, and gaming industries are becoming ever-more realistic, ever-more dazzling, and ever-more expensive. But strip away the special effects, and the beautifully-crafted architectural forms of fictional worlds such as Game of Thrones, Harry Potter, and Marvel are no less impressive.
To demonstrate this, Angie’s List has produced a set of elemental, greyscale, pen-and-paper illustrations of some of the entertainment industry’s most iconic fictional worlds, celebrating style, form, materiality, and shadow. From the sleek futurism of Star Wars and Marvel to the vernacular fortresses of Game of Thrones and Skyrim, the “Fictional Architecture” series captures the finer details of our favorite fictional universes.
In 1924 writer André Breton penned the Surrealist Manifesto, which called to destabilize the divides between dreams and reality, between objectivity and subjectivity. For many architects who had been—and continue to be—interested in the fundamental role of the built environment, Breton’s surrealist thinking provided a rich resource to examine the role architecture plays in forming reality. Since then, from Salvador Dali and Frederick Kiesler to Frank Gehry, Surrealism has profoundly shaped architecture in the 20th century.
The late British architect Will Alsop was noted for his exuberant and irreverent attitude that took material form in his expressive, painterly portfolio of educational, civic, and residential works. At the ripe age of 23, he was awarded second place in the 1971 Centre Georges Pompidou. From there, he went on to work for the ever humorous Cedric Price before establishing his practice with John Lyall, and eventually many others, in the early 1980s. With a career spanning almost fifty years, here are ten iconic works from an architect who never missed an opportunity to play.
This article was originally published by Metropolis Magazine as "How a Small Mexico City Exhibition Fueled a Debate About Preservation and Power."
It’s a slate-gray day in Mexico City’s Colonia Narvarte neighborhood and mounting gusts signal imminent rain. Centro SCOP, a sprawling bureaucratic complex, rises sharply against this bleak backdrop. The building is a masterful, if not intimidating, example of Mexican Modernism, an H-shaped assemblage of muscular concrete volumes designed by architect Carlos Lazo, covered in an acre-and-a-half of vibrant mosaic murals.
At its peak, the building accommodated more than 3,000 workers for the Secretariat of Communications and Transportation (SCT). Today, save a security guard in its gatehouse, it is empty.
In their latest video from the Time-Space-Existence series, PLANE—SITE features acclaimed conceptual artist Lawrence Weiner and his ideas regarding the relationship between people and material objects, language as a gesture, and making art accessible to the public. Lawrence Weiner is known for his typographical art applied onto elements of the built environment, and he describes how architecture itself can become an alternative space to present art.
It is rare to find artists who can instigate critical reflection on architecture by combining references such as 'The Red Wall' (La Muralla Roja) by Ricardo Boffil, with the complex illustrations of Giovanni Battista Piranesi and pop culture icons. But Tishk Barzanji, a London artist, is one who does.
Through his digital illustrations, he explores elements of modern architecture from a filtered view by using references that create a dreamlike and surreal universe, producing compositions that express an austere and somewhat disturbing atmosphere.
In 1961, the architect Louis I. Kahn was commissioned by the Fine Arts Foundation to design and develop a large arts complex in central Fort Wayne, Indiana. The ambitious Fine Art Center, now known as the Arts United Center, would cater to the community of 180,000 by providing space for an orchestra, theatre, school, gallery, and much more. As a Lincoln Center in miniature, the developers had hoped to update and upgrade the city through new civic architecture. However, due to budget constraints, only a fraction of the overall scheme was completed. It is one of Kahn’s lesser-known projects that spanned over a decade, and his only building in the Midwest.
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Art, in general, is produced to be seen or experienced by another, an interlocutor, who, in turn, establishes various relationships with the work. However, this does not appear to be the case with the Bataan Chapel, built by the Swiss artist Not Vital in the Philippines.
Punished by constant winds, the work rises on a hill in rural Bagac, a town of just under 30,000 inhabitants located about 50 kilometers west of Manilla. The remote location of the installation makes it difficult to access and makes the journey a task that takes on the air of pilgrimage—part of its grace lies precisely in its inaccessibility.
Throughout the spring and summer of 2018, seventeen US cities will host “Hip Hop Architecture Camps,” an initiative founded by the Urban Arts Collective seeking to address the lack of diversity in America’s architectural community. As reported by CNET, the architecture camps will be sponsored by Autodesk, makers of the architectural software AutoCAD.
Hip Hop Architecture Camps are geared towards students between the ages of 10 and 17, introducing students to architecture and urban planning by analyzing the structure and rhythm of rap music. By demonstrating a connection between music and architecture, the organizers hope to ignite a design flair in young students, helping to create a future where local communities have a stronger input into how urban areas are shaped or altered.
Carlo Ratti Associati (CRA) has unveiled Scribit, a “writing robot” which draws images and text on any wall surface, turning office, living, and bathroom walls into a blank canvas for artistic expression. Using in-built engines, Scribit can draw, cancel, and re-draw new content an infinite number of times, allowing users to print different images, messages, or feeds every day.
Scribit is always connected to the internet, allowing users to download, upload or source any online content. Operating in real time, Scribit immediately reproduces any data sent to it by the user, be it a restaurant posting the day’s menu, a financial firm posting stock market updates in its lobby, or an art enthusiast projecting their own content on the living room wall.
Other Architects and Retallack Thompson designed a site-specific installation in the sculpture garden at the National Gallery of Victoria in Melbourne for their inaugural NGV Triennial; an exhibition of international, contemporary art and design. Their concept? An "anti-pavilion."
In the 1920s, Dutch-born artist Piet Mondrian began painting his iconic black grids populated with shifting planes of primary colors. By moving beyond references to the world around him, his simplified language of lines and rectangles known as Neo Plasticism explored the dynamics of movement through color and form alone. Though his red, yellow and blue color-blocked canvases were important elements of the De Stijl movement in the early 1900s, almost a century later Mondrian’s abstractions still inspire architects across the globe.
But, what is it about these spatial explorations that have captivated artists and designers for so long?
Even in the age of instant information, museums enthrall us. Lining the tourist guidebooks of cities across the world, art museums are a must-see destination for visitors and locals alike. However, as our methods of communication and archiving change, driven by science and innovation, historic institutions such as art museums must keep up.
In cities around the world, art museums are redefining themselves to respond to the contemporary, experimental demands of the 21st-century. In Buenos Aires, the architecture of art museums showcases a diverse catalog of form, materiality and atmosphere, blending the instant, flexible demands of the modern age with a historic role of archiving some of humanity's most evocative works.
Below, we paint a picture of Buenos Aires' diverse art museums, showcasing the changing nature of exhibition architecture in one of the world’s most energetic cities.
