The Metropolitan Museum of Art in New York City has selected Kulapat Yantrasast and wHY Architecture to renovate its Michael C. Rockefeller wing. With arts produced in Africa, Oceania and the Americas, the 40,000-square-foot wing is located on the southern side of the Fifth Avenue museum. The $70 million project aim is showcase the collection of arts and artifacts from sub-Saharan Africa, the Pacific Islands, and the Americas.
As part of its 50th anniversary celebrations, the Asian Art Museum of San Francisco has announced major renovation and expansion plans by wHY Architecture. The practice is expected to design a new 12,000-square-foot exhibition pavilion, reconfigure the Museum’s existing galleries, and modernize its education and public programming spaces. Work will begin in 2017.
"The new pavilion will underscore San Francisco’s cultural diversity, create one of the nation’s premier exhibition spaces dedicated to Asian art, and increase the number of special exhibitions on view for visitors," says the Museum.
Following the recent trend of luxury pre-fabricated structures like Muji’s recent three huts, Robbie Antonio’s “Revolution Pre-Crafted” is a collection of pre-fabricated pavilions by 30 top designers and architects, including Zaha Hadid, Sou Fujimoto, Daniel Libeskind and Gluckman Tang. Some have already been built, being exhibited at Design Miami, while others are planned for the future.
With recent advancements in building technology, Revolution Pre-Crafted hopes to democratize the design of pre-fab structures, offering a line of products that incorporate the distinct spatial and social brands of the designers. See a selection of the Revolution Precraft line after the break.
As the first month of 2016 draws to a close, we decided to tap into our network and ask an esteemed group of architects, critics, theorists and educators to tell us what they are looking forward to this year in architecture.
What are you looking forward to in architecture this year?
"You cannot bullshit with concrete." - Kulapat Yantrasast
Kulapat Yantrasast is the latest to be featured on NOWNESS' In Residence series. Set within Yantrasast's home in Venice Beach, the Thai architect and founder of wHY shares his thoughts on how to create meaningful architecture, from the "process of making" to designing with a "sense of play" and how the building can form an "engaging" relationship with its user.
Last month we spoke with Kulapat Yantrasast, Co-Founder and Creative Director of the LA-based design firm wHY. On the heels of the opening of Harvard Art Museums - for which Yantrasast collaborated on the designs of the exhibition spaces - we wanted to learn more about his approach to designing the galleries for Harvard. “One of the things that I'm super sensitive about is the identify of the experience. Harvard, in particular, is a university museum. So first and foremost it's a place for students and faculty to spend time looking at things closely. Because of that, we want to make sure that a group of 15 people can sit or stand around an art object and could really have a discussion,” Yantrasast explained.
wHY has carried out a wide range of museum and gallery projects, including the Grand Rapids Art Museum, the Royal/T project and the renovation of the galleries at the Art Institute of Chicago. Read the full interview with Yantrasast below to learn more about the challenges of gallery design and how technology is affecting museums exhibitions.
Museo Nazionale dell’Ebraismo Italiano e della Shoah / Studio Arco, -Scape, Michael Gruber & Kulapat Yantrasast
The collaboration of Studio Arco -scape architects with Michael Gruber and Kulapat Yantrasast shared with us their project, Museo Nazionale dell’Ebraismo Italiano e della Shoah, for an international competition open to the European community. Upon believing that a museum is an object for the city, the MEIS is a Memorial, as well as a place where one can experience the presence of Jewish culture in Italy. At the same time, it is a symbol: the symbol of the city, of an historically involved territory, but also a testimony of common cultural roots, becoming a monument recognized by any citizen and religious community. More images and architects’ description after the break.