The Museum of Modern Art (MoMA) has announced an October 2019 opening date of its Diller Scofidio + Renfro / Gensler-designed extension, which will offer 40,000 square feet of gallery space for the iconic institution in Midtown Manhattan. The expansion features two key additions, with the Marie-Josée and Henry Kravis Studio creating a double-height space for live and experimental programming, and the Paula and James Crown Platform offering experimental, creative pace to explore ideas, questions, and processes that arise from MoMA’s collection.
With the exhibition soon coming to an end, Martino Stierli (Chief Curator of Architecture and Design at MoMA) and Vladimir Kulic (Guest Curator and Architecture Historian) have presented a 7-minute-long video guiding viewers through the highlights of the exhibition.
https://www.archdaily.com/908777/an-expert-guide-through-momas-toward-a-concrete-utopia-architecture-in-yugoslavia-1948-nil-1980Niall Patrick Walsh
Architect Elizabeth Diller of firm Diller Scofidio + Renfro has once again been named one of TIME’s most influential people in 2018. TIME Magazine’s annual ‘Time 100’ List recognizes the achievement of artists, leaders, activists, entrepreneurs, and athletes who are exemplary in their fields. Diller has been named to the category of “Titans,” along with Roger Federer, Oprah Winfrey, Jeff Bezos, Elon Musk and Kevin Durant. This is Diller’s second time on the list but the first time being honored as a "Titan."
Other honorees this year include Shinzo Abe, Justin Trudeau, Xi Jinping and Jimmy Kimmel.
The Museum of Modern Art will explore the architecture of the former Yugoslavia with Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, the first major US exhibition to study the remarkable body of work that sparked international interest during the 45 years of the country’s existence. The exhibition will include more than 400 drawings, models, photographs, and film reels culled from an array of municipal archives, family-held collections, and museums across the region, introducing the exceptional built work of socialist Yugoslavia’s leading architects to an international audience for the first time.
With the completion of the east wing renovation, which began in February 2016, the museum has created two spacious third-floor galleries by reconfiguring 15,000 square feet of space, allowing for better flexibility in installing the collection and temporary exhibitions.
When Philip Johnson curated the Museum of Modern Arts’ (MoMA) 1932 “International Exhibition of Modern Architecture,” he did so with the explicit intention of defining the International Style. As a guest curator at the same institution in 1988 alongside Mark Wigley (now Dean Emeritus of the Columbia GSAPP), Johnson took the opposite approach: rather than present architecture derived from a rigidly uniform set of design principles, he gathered a collection of work by architects whose similar (but not identical) approaches had yielded similar results. The designers he selected—Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and the firm Coop Himmelblau (led by Wolf Prix)—would prove to be some of the most influential architects of the late 20th Century to the present day.[1,2]
Now in it’s 17th year, the competition was founded to offer emerging architectural talent the opportunity to design a temporary, outdoor installation within the walls of the P.S.1 courtyard for MoMA’s annual summer “Warm-Up” series. Architects are challenged to develop creative designs that provide shade, seating and water, while working within guidelines that address environmental issues, including sustainability and recycling.
Mexico City-based Escobedo Soliz Studio has been named the winner of MoMA and MoMA PS1's annual Young Architects Program (YAP) in New York - now in its 17th edition. Selected over four other finalists, the winning project, Weaving the Courtyard is “neither an object nor a sculpture standing in the courtyard, but a series of simple, powerful actions that generate new and different atmospheres," says the architect. It will serve as a "temporary urban landscape" for the 2016 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
"Weaving the Courtyard is a site-specific architectural intervention using the courtyard’s concrete walls to generate both sky and landscape, with embankments in which platforms of soil and water suggest the appearance of a unique topography," says MoMA.
In the mid-1980s, after literature had long been held hostage by postmodernist irony and cynicism, a new wave of authors called for an end to negativity, promoting a "new sincerity" for fiction. Gaining momentum into the 1990s, the movement reached a pinnacle in 1993 when, in his essay E Unibus Pluram: Television and U.S. Fiction, pop-culture seer David Foster Wallace, a proponent of this "new sincerity," made the following call to action: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles... These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.'"
Architecture, ever in debt to the styles and ideas of other art forms, could learn a thing or two now from the resuscitation of American fiction at the turn of the millennium. It too is enduring an identity crisis, mired by pessimism and uncertainty - a reality made painfully clear this past January when a New York Times Op-Ed by Steven Bingler and Martin C. Pedersen, How to Rebuild Architecture, divided camps and made the design world fume. In the editorial, the authors spoke vehemently of an architectural profession that has become mired by egos and been disconnected from public needs. Things quickly got ugly, critics wrestled with critics and subsequently the public got involved. What no one seemed to take into account is that this type of hounding is at the core of the problem. In its current landscape the discipline has struggled with its past, been deferential to its present, and wrestled with the uncertainty of its future. In a moment when we have become addicted to despondency, can anyone win?
The winners of the 2015 Leading Culture Destinations Awards have been announced at a ceremony in London. The Awards recognize the success of “museums, art organizations, and cultural destinations from around the world [that] are investing in iconic architecture, cross-sector collaborations, [and] audacious programming […] to diversify the experiences offered to visitors and establish their global reputations.”
There is perhaps no better display of modern architecture’s historical victory than Jacque Tati’s film Playtime. In it, a futuristic Paris has left-for-dead the grand boulevards of Haussmann, in favor of endless grids of International Style offices. The old city is reduced to longing reflections of Sacré-Cœur and the Eiffel Tower in the glass of these shiny new monoliths. But the irony central to the film is that this construction is created through mere surface treatments, and as the narrative unfolds, cheap mass-production withers in a world where the veneer has triumphed over craftsmanship and polish. In short, Modernism hasn’t always been all it's cracked up to be.
In the Museum of Modern Art’s new exhibition, "Endless House: Intersections of Art and Architecture," the simplicities of mass-market modern homes are abolished by artists and architects who, in examples from the 1940s to the present, have chosen to use the dwelling as a platform for universal messages and as an arena for architectural experimentation. In the same way that photography freed painting from the terrestrial concerns of realism, the simplicity of modernism liberated artists and architects to subvert extant conventions of buildings.
The Museum of Modern Art in Warsaw has announced that Thomas Phifer and Partners will be designing their new gallery space, after winning a competition against eleven other selected practices. The new museum, the largest cultural project in recent Polish history, will also house the TR Warsawa Theatre. The proposal consists of two separate buildings housing the theater and museum, joined by a common forum that will serve both as entrance and public multi-use space.
The entrance to the Museum of Modern Art is tucked beneath a demure facade of granite and glass in Midtown Manhattan. Its clean, regular planes mark Yoshio Taniguchi's 2004 addition to the MoMA's sequence of facades, which he preserved as a record of its form. Taniguchi's contribution sits beside the 1984 residential tower by Cesar Pelli and Associates, followed by Philip Goodwin and Edward Durell Stone’s original 1939 building, then Philip Johnson’s 1964 addition. Taniguchi was hired in 1997 to expand the Museum’s space and synthesize its disparate elements. His elegant, minimal solution presents a contemporary face for the MoMA while adhering to its Modernist roots.