UK-based artist Alex Chinneck has unveiled his latest architectural installation, transforming the walls of a soon-to-be-demolished 1960s office building on the former Kent Wool Growers site in Ashford, England. “Open to the Public” features an eight-meter-high double zip running down the side of the building, revealing the forlorn interior.
The double zip descending the short elevation is joined by a long single zip running the full length of the building, peeling back the walls and windows in a move inspired by the area’s history of textiles and fabric.
https://www.archdaily.com/899434/artist-alex-chinneck-unzips-derelict-1960s-office-building-to-create-mind-bending-illusionNiall Patrick Walsh
As part of the summer art festival hosted by the city of Vejle and the Veijle Art Museum, the five-tonne model was towed into the fjord and sunk to sit as a half-submerged testament to a once visionary future.
It was an early morning in Chelsea, and men in suits were standing around the street, ushering in guests into a dark, 12,000 square-foot exhibition space at the XI gallery. Inside, the room was lit by a centerpiece installation of the New York City skyline, sprawling upwards towards the ceiling with its reflection. Bjarke Ingels was going to unveil new plans for The XI (‘The Eleventh’), a pair of twisting towers set between 17th and 18th Streets and 10th and 11th Avenue. Es Devlin, a British artist who has stage-designed for Beyoncé and Katy Perry, was tapped by HFZ Capital Group to create three installations to present the project.
In the gallery, Bjarke Ingels's work is seen through a sculptural map of Manhattan constructed within a 30-foot wide concave hemisphere (Egg); a pair of illuminated towers gently rotating upon shimmering water (Dance); and a 360-degree film strip of Ingels and his sketches scrolling across a horseshoe-shaped room (Paper, Stone, Glass, Water).
“Evolution in constant motion,” Es Devlin told reporters as she gestured towards the curves of the dancing towers.
Bjarke laughed. “I’ll bring it down to pragmatism.”
The dazzling color scheme is produced by the separation of light waves by their varying degrees of refraction, embodying the lively spirit of the Coachella festival. Through this manipulation of the physical properties of light, Spectra is capable of producing over 16 million colors.
https://www.archdaily.com/892652/newsubstances-coachella-pavilion-takes-visitors-on-a-journey-of-light-and-colorNiall Patrick Walsh
The Italian artist has established a reputation for wire mesh sculptures, having been named by Forbes as one of the 30 most influential European artists. The Etherea sculpture represents the artist’s investigation into architecture as a tool for contemplation, a “dedicated space where the sky and clouds are narrated through the language of classical architecture.”
Adjaye Associates has unveiled images of its proposed reconceptualization of the protective façade of an electrical switching station into an engaging “Art Wall” in Newark, New Jersey. The 30-foot-high walls of the Fairmount Heights switching station will be transformed into a canvas for original works of 14 local and international artists, exploring themes of youth, education, and community, while a canopied passageway will house a market, art installations, and gathering space.
A vibrant pavilion has arrived to grace the boardwalks of California’s Santa Barbara waterfront. The pavilion entitled Runaway has been designed by SPORTS, an architecture and design collaboration of Greg Corso and Molly Hunker, recently selected as one of the Architectural League of New York’s emerging young practices for 2017. Blending a bright, colorful character with functional modernity, Runaway was installed on the Waterfront of Santa Barbara in March 2017, one of several locations the pavilion will travel to throughout the year.
Few sounds in this world are quite as satisfying as that of fresh rainwater falling on a tin roof. However, this soothing sensation is just one element of the Cloud House, a unique, interactive rainwater-harvesting system created by designer Matthew Mazzotta in Springfield, Missouri. From the comfort of a wooden rocking chair, the user is immersed in a rural farm experience, offering passers-by a moment to slow down, enjoy fresh edible plants and, as promised, bask in the sound of rain striking a tin roof.
London-based architecture collective Assemble is set to transform an outdoor courtyard at A/D/O in Brooklyn into a ‘model factory’ to explore utopian ideals of work. The Turner Prize-winning architects will use their first site-specific installation in the U.S. entitled ‘A Factory As It Might Be’ to depict a vision of how society should build and function using abundant, malleable materials.
The art installation, Salt - Microcosm of Life[Style] is currently exhibiting at 2015 Bi-city Biennale of Urbanism\Architecture (Hong Kong Edition). Stanley Pun and Rina Ko are recent graduates from London and Hong Kong and the work is a reflection of what ability do we have to influence the way we want to live - by changing our perspectives - and in turn, how it could shape our future city.
In an industrial section of Marseille, tents climb up a factory wall like a canvas creeper, housing urban campers and the local homeless alike. A-KAMP47, Stephane Malka's newest installation, subtly critiques the French state's promise for universal housing as well as makes an architectural commentary - Malka cites Le Corbusier's Unite D'Habitation as inspiration. Metropolis Magazine's Samuel Medina takes an in-depth look at the project in "Hiding in Plain Sight."
Across the globe, architecture programs are cutting resources and raising fees in an effort to stay afloat. Meanwhile, architecture students feel powerless to demand more - to demand quality, to protest fees, to suggest how curricula could better serve them for the future (a poignant concern in this troubled economy, where even a competitive degree doesn't guarantee post-grad employment any more).
In this Catch-22 of a situation, what can students do? Well, as any good architect-in-training, they can use their craft to form a solution.
Which is exactly what, on the 9th of April, 20 architecture undergrads from the University of Sydney did.
More on the University of Sydney students' architectural protest, after the break...