Situ Studio’s reOrder, a new project under construction at the Brooklyn Museum, looks like Alice in Wonderland, wandering among surreal spaces not quite of this world. The folding cloth and underlying structure of hoop skirts actually provided inspiration for the installation, Situ Studio partner Bradley Samuels tells me.
Production outfit The Third & The Seventh has made a movie that allows us to experience architecture better than ever before, showing iconic buildings in multiple perspectives simultaneously and suffusing them with soft, unearthly light. Viewers would be excused for thinking that these clips were shot on a real camera, but the really amazing part? It’s all three-dimensional computer rendering, created by hand. Incredible.
Call it the anti-condo: Dutch artist and architect Joep van Lieshout’s Atelier van Lieshout is offering up their first house for sale, and this inhabitable work of art is not your average villa. Draped with an intestinal blob-tunnel, Lieshout’s one of a kind Utrecht building is available for a cool one million euros, but it’s not for the faint of heart (or eye).
In a New York magazine article, Justin Davidson calls for the Whitney’s Breuer building to be turned into an architecture museum, a space devoted to exposing a side of the practice that we don’t normally see. Davidson points out New York’s lack of an institution to educate the public about architecture. But is that what the Breuer is meant for? As the Whitney moves downtown, we’re faced with different possibilities for the iconic building. Could an architecture museum take the place of a huge contemporary art museum in the architectural icon?
Frank Gehry spoke with New Yorker architecture critic Paul Goldberger at 92Y on October 13. Check out this video for the highlights of their conversation, including some inside info on Gehry’s new New York City Beekman Tower.
Al-Jazeera reports that the once vibrant center of Jewish life in Beirut, Lebanon, and the city’s largest and oldest surving synagogue, Magen Abraham is being restored by private donations, including from local Muslims.
You’ve heard of the White Cube. No, not that London gallery, the idea: that art thrives best in a blank white box, removed from any context and given its own domain of pure space to dominate as the work and the artist see fit. Well, Sperone Westwater’s new gallery space on the Lower East Side, an attenuated tower on the same stretch that hosts the New Museum, stakes a claim for the white castle instead of the white cube. Designed by Norman Foster, this gallery is as much a power play for the LES as for Sperone Westwater. The space, currently showcasing a Bruce Nauman solo exhibition, is like Chelsea minimalism gone mannerist, clean low-key gallery spaces turned into a show-offy art fortress.
The great dynastic rulers of history have always called upon the best architects of their time to design their monuments and capital cities. iMagnate Steve Jobs is no different: Apple will work with British starchitect Norman Foster to design the company’s new campus in Cupertino, California, rumored to be named “Apple City.”
In the Guardian, Sam Leith writes an essay on the online multiplayer role-playing game (MMORPG) World of Warcraft, comparing the free experience of wandering through the game’s created universe to “a medieval cathedral, and a magnificent one: it is the Chartres of the video-game world.” Video games are often compared to narrative movies, controlled trips through a written plots. But Leith turns that on its head, suggesting instead that games are better characterized by the slow structural growth of a building.
When the topic turns to Park51, the “Ground Zero Mosque”/Islamic community center that’s been so omnipresent in the news lately, aesthetics may be the last thing that comes to mind. The building has become an icon for its political significance rather than its great accomplishments or offenses of architecture. Yet aesthetics are actually at the heart of the Park51 issue. Aisha Ghani writes that the building’s faux-contemporary varnish actually serves to downplay the fact that it remains a vehicle of Muslim religion, “sanitizing” Islam. For Park51, how does architecture serve to represent ideology?
The Joyce Theater is going to be a lonely Lower Manhattan performance tenant, with vacancies in the building if there are any performing arts organizations hunting for posh new downtown neighbors.
In a statement made earlier this week, New York State Assembly Speaker Sheldon Silver, alongside Mayor Bloomberg and Governor Patterson, announced a federal funding allocation of $100 million for a much-touted and much-delayed performing arts center at Ground Zero designed by Frank Gehry’s firm.
Silver said that “this $100 million commitment clearly paves the way for this long-promised performing arts center,” and that it “will be a cultural jewel for Lower Manhattan.”
Daniel Libeskind, until recently, was one of the high-end architect’s of choice for war museums and somber memorials. Jagged, clean-faced metal-clad shapes torn by sharp little windows characterized a style that took trauma and produced memorial. The style was similar to Frank Gehry, but no curves to suggest the wry, playful smile of decadence at work — something I always see just beyond the magnificent and smooth sheet steel smiles of Gehry’s structures. And no 90 degree angles, either; everything is crooked, everything is asymmetrical, everything is torqued into the misshapen fragments that we piece together in turmoil to remember the parts of the past that are not pleasant. A friend who lives in Las Vegas said of the mall Libeskind designed for Las Vegas’s CityCenter: “I can never figure out how to walk around that building.”