The School of Architecture at Mississippi State University is hosting an exhibit of the work of renowned African American Architect Philip Freelon as part of a celebration of Black History Month. The exhibition is located in the Charlotte and Richard McNeel Architecture Gallery in the Giles Hall School of Architecture on the campus of Mississippi State University. This partnership with the Mississippi State University African American Studies Program will also host an opening reception on Wednesday, February 5, 2020 at 12:00 pm in Giles Hall, located at 899 Collegeview Street, Mississippi State, MS 39762. The reception and exhibit are free
Philip Freelon: The Latest Architecture and News
This article, originally titled "DC’s Museum Of African American History Is The City’s Greenest," was originally published on Lance Hosey's Huffington Post blog. It is part of a four-part series about the Smithsonian National Museum of African American History and Culture.
Fifteen years ago, when I worked on the design of a high-performance museum, the concept was considered so unusual that the media questioned the very idea. The US Green Building Council (USGBC) had only very recently introduced its Leadership in Energy and Environmental Design (LEED) rating system, so much of the public wasn’t familiar with the concept. Over the following decade, it became more and more popular in every building type, including museums. A watershed year was 2008. The Water + Life Museums in Hemet, CA, became the first LEED Platinum museum, quickly followed by the California Academy of Science, which has been called “the world’s greenest museum.” The same year, the Grand Rapids Art Museum became the first LEED-certified art museum. By 2016, International Museum Day could highlight ten LEED-certified museums in the US alone.
Now the Smithsonian has completed its first LEED Gold project, the National Museum of African American History and Culture (NMAAHC). (The Silver-rated National Museum of the American Indian [NMAI] was the first Smithsonian project to become a certified green building, although it wasn’t designed to this standard and didn’t achieve it until seven years after opening in 2004.) By many measures, the NMAAHC is easily the greenest museum in Washington.
This article, originally titled "The Space of Resistance," was originally published on Lance Hosey's Huffington Post blog. It is part of a four-part series about the Smithsonian National Museum of African American History and Culture.
The city can be a powerful form of political myth, and Washington, DC, is the premier example.
Political myths dramatize historical events for ideological purposes, in order to strengthen the authority of the status quo. For example, America’s Founding Fathers often are portrayed as motivated only by a virtuous desire for universal freedom and equality, a simplistic depiction that ignores the complex socioeconomic forces behind the Revolution. The National Mall, its buildings, and its monuments, are America’s foundation myth writ large in stone and space. Manfredo Tafuri called the image of the District of Columbia “a timeless, indisputable, completely ‘positive’ Olympus” whose creation “presupposed great optimism and was thoroughly opposed to any polemical doubt.”
In this sense, the city as political myth is ripe for protest, and the National Mall has been the site of many of the most important protests in American history. Most often, these events consist only of people gathering for demonstration. Sometimes, however, they involve building.
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.
There has been much debate, speculation and excitement among architectural enthusiasts about who is on the shortlist to design the Barack Obama Presidential Center in Chicago. After spending an afternoon viewing “Making Place: The Architecture of David Adjaye,” now on at the Art Institute of Chicago, I’m more convinced than ever that Adjaye is the right person for the job.
Update: The Chicago Tribune's architecture critic Blair Kamin has now reported that 140 architects from 60 cities have expressed their interest in designing the Barack Obama Presidential Center in Chicago by submitting qualifications. Of these, 99 are based in the United States, although names have not been released. The below article, originally published on September 1st, lists 11 architects that Kamin was able to confirm had been invited to submit qualifications by the Barack Obama Foundation.
Last week, it was reported that the Barack Obama Foundation was searching globally for an architect to design Obama's Presidential Library and Museum (officially known as the Barack Obama Presidential Center). With the list of invited candidates for Obama's Presidential Center still a closely-guarded secret, though, the Chicago Tribune's architecture critic Blair Kamin has turned investigator, uncovering a list of 11 firms among the "fifty or more" which are believed to have been invited. Kamin states that the 11 firms he has confirmed to be in the running are "A) Of high caliber; B) Represent a broad geographic and aesthetic spectrum; and C) Include the established firms one would expect to be invited."