Depository of News

Architecture & Design

MAD Designs Floating Kindergarten above Traditional Chinese Courtyard

MAD Architects, led by Ma Yansong, unveiled its design for “Courtyard Kindergarten” in Beijing. MAD has proposed a dynamic floating roof that surrounds the historic “siheyuan” courtyard that dates back to 1725. MAD’s scheme inserts a new building th
Architecture & Design

MAD Designs Floating Kindergarten above Traditional Chinese Courtyard

MAD Architects, led by Ma Yansong, unveiled its design for “Courtyard Kindergarten” in Beijing. MAD has proposed a dynamic floating roof that surrounds the historic “siheyuan” courtyard that dates back to 1725. MAD’s scheme inserts a new building that protects the existing buildings in the courtyard, as well as forms a multi-layered urban narrative, where old and new co-exist.According to MAD’s principal, Ma Yansong: “There is a saying in old Beijing when children are naughty: ‘if you go three days without being punished, the roof will cave in.’”MAD envisions “the rooftop of the ‘Courtyard Kindergarten’ as a place full of magic — a playful escape for children that is a symbol of freedom and endless imagination.”Designed as a daily education space for 400 children between the ages of 2-5 years, the kindergarten features an open-concept layout with teaching space, library, small theater, and gymnasium. The openness of the space offers a free and inclusive atmosphere. Situated adjacent to the old courtyard, the new learning space opens toward the historic buildings, providing children alternating views between old and new, and deepening their understanding of time and dimension. “In turn, the new building also has been realized to respect three ancient trees on the site. It envelopes them in a way that while preserving their presence, also echoes the existing courtyard space, bringing the outdoors in, and flooding the interior with natural sunlight,” writes MAD.“My ideal kindergarten is not a theme park, or a place of shelter. It should be objective and real, but go beyond reality and provide some space for the unknown and imagination,” says Ma Yansong.The “Courtyard Kindergarten” brings together a modern building from the ‘90s, and a traditional courtyard from 400 years ago. According to MAD, the openness and richness of the design will allow children to have an objective and true comprehension of the environment. It offers them an understanding of history and place, and the preservation of nature, bringing inclusiveness between the old and new design — one that adds value to the community.The “Courtyard Kindergarten” is expected to be completed and functioning in the autumn of 2019.Click on the slideshow for a sneak peek at the project.  https://www.blouinartinfo.com/              Founder: Louise Blouin

Zaha Hadid Gallery: Pop-up Exhibition, New York City

Zaha Hadid Gallery is presenting a pop-up exhibition in its new space at 514 West 28th Street, New York through December 2018.The exhibition features a curated selection of works including architectural models of 520 W 28th and a series of six “Silver Model
Architecture & Design

Zaha Hadid Gallery: Pop-up Exhibition, New York City

Zaha Hadid Gallery is presenting a pop-up exhibition in its new space at 514 West 28th Street, New York through December 2018.The exhibition features a curated selection of works including architectural models of 520 W 28th and a series of six “Silver Models” representing eight key projects. Originally conceived by Hadid for the 2005 “Silver Paintings” exhibition at the ROVE Gallery, London, these abstract sculptural forms retain the essence of the formal language of the buildings.The pop-up showcases several of Zaha Hadid Design’s latest collaborations including the Striation rug from the new RE/Form collection for Royal Thai and the AVIA chandeliers for Slamp. The chandeliers comprise of 50 intricately layered elements that create a dynamic play of light. Another highlight is the Lapella chair, which reinterprets Hans J. Wegner’s iconic 1963 lounge chair using contemporary stone tooling and carbon fibre composites in a patented new manufacturing process.The pop-up underlines the studio’s collaborative, research-led methodology where furniture and product designs are inter-related at an architectural scale with their research and experimentation of new materials and manufacturing technologies, according to the gallery.“Zaha Hadid explored formal concepts at all scales: from city masterplans and skyscrapers to furniture pieces, product designs, and jewelry. Collaborating with the world’s most renowned furniture-makers and fashion houses, she established Zaha Hadid Design in 2006; each piece inspired by ZHA’s work. Zaha Hadid Design continues this legacy — creating innovative collections informed by ZHA’s architecture and inventive methodologies,” states the gallery.“My product designs and architecture have always been connected. Some of our earliest projects were designs for products and interiors. These design pieces are very important to me and my team. They inspire our creativity by providing an opportunity to express our ideas through different scales and through different media; an essential part of our on-going design investigation,” Zaha Hadid explained during her 2006 retrospective exhibition at the Guggenheim Museum, New York.Zaha Hadid Gallery’s pop-up exhibition runs through December, 2018 at 514 West 28th Street, New York, NY 10001.For more information, visit: https://zaha-hadid-design.com/galleryClick on the slideshow for a sneak peek at the exhibition.   https://www.blouinartinfo.com/              Founder: Louise Blouin

Herzog & de Meuron to Redesign Titlis Summit Station in Swiss Alps

Basel-based architects Herzog & de Meuron recently unveiled the design for Titlis 3020 project in Swiss Alps.One of Switzerland’s most renowned international tourist attractions, the Swiss mountain Titlis, stands at 3000 meters above sea level. As the o
Architecture & Design

Herzog & de Meuron to Redesign Titlis Summit Station in Swiss Alps

Basel-based architects Herzog & de Meuron recently unveiled the design for Titlis 3020 project in Swiss Alps.One of Switzerland’s most renowned international tourist attractions, the Swiss mountain Titlis, stands at 3000 meters above sea level. As the original summit station, which was built in 1967, no longer fulfills current and future requirements, a new construction has been proposed.The master plan includes the new construction of the summit station, the redevelopment and extension of an old beam antenna tower, and an upgrade of the underground tunnel.“Many mountains and glaciers in Switzerland, no matter how high or remote, offer panoramic views, cable car stations, Alpine huts, restaurants, and accommodations. In Switzerland, every square inch of the country is accessible by car or train, by gondola, or bicycle — anywhere and everywhere, in city, and countryside. As a rule, however, our beautiful high-altitude outdoor locations have been fitted with purely functional buildings for the transport and catering of visitors. Rarely do they display any architectural ambitions, with the exception of hotels, for the most part of reasonable height, which were built in the days of an emerging tourist industry near the villages down in the valleys,” states the website of Herzog & de Meuron.“Our project on the Titlis belongs to a new generation of Alpine architecture that aims to do justice to the breathtaking landscape by ensuring a corresponding architectural experience of the kind now familiar to us in our cities. The Titlis project articulates an unstoppable process that is transforming Switzerland into a complex and differentiated overall urban landscape. There is no city in Switzerland without landscape but neither is there any landscape without urban life,” add Herzog & de Meuron.   https://www.blouinartinfo.com/              Founder: Louise Blouin

‘Look Out’ by Anne Marie Laureys at Jason Jacques Gallery, New York

There is a wholeness in the tension that holds her sculptures together, which lies in the blurring of the interior and exterior boundaries.Jason Jacques Gallery is showcasing new work by Anne Marie Laureys, a Belgian artist based in Russeignies. Titled “Loo
Architecture & Design

‘Look Out’ by Anne Marie Laureys at Jason Jacques Gallery, New York

There is a wholeness in the tension that holds her sculptures together, which lies in the blurring of the interior and exterior boundaries.Jason Jacques Gallery is showcasing new work by Anne Marie Laureys, a Belgian artist based in Russeignies. Titled “Look Out,” this is the artist’s first solo exhibition in the United States.According to a press note on the Gallery website, “Over the course of her lengthy career, Laureys' vision of what constitutes a vessel— and wherein lies its potential— has been refined into an effervescent series of forms reminiscent of gently-gaping heart valves, clouds, sand dunes, and rippling waves fashioned of paper-thin stoneware.”“The current iteration of her critically acclaimed work arose from the desire to maintain the clay’s tactility and the exciting potential of the medium, in tandem with satisfying a need to test its limitations,” states the gallery.There is a wholeness in the tension that holds her sculptures together, which lies in the blurring of the interior and exterior boundaries; thus the cloud-like solids approach the form of the vessel not only as a frame or container for void but as void itself. That is not to say that these pieces are empty, for Laureys conceives of her vessels as “metaphors for feelings.”The artist says that she likes her ceramics to have a sense of excitement and freshness, and they must be tactile. Making is exploring the physical law of the material, clay, in order to give form at the sensual engagement she has with. It is a celebration of a tense moment of meeting to create spacious, fine, delicate forms that reveal the speed, fluency and the ultra plasticity of clay. Into her thrown and altered forms, she tries to put an extremely personal sensibility that goes hand in hand with the tension and flexibility of a wet pot.She aims to develop a great variety of senses, to show the results of a very physical and palpable human gesture which is mysterious like the sexual experience.Anne Marie Laureys’ life-long love for clay began during her studies at the Luca School of Art in Ghent, Belgium. Since her first experience working with the material, she has not gone a day without it and considers throwing pottery to be her personal language of communication with the medium.Her work has been exhibited at the Icheon Biennale in South Korea, in Taiwan (Yingge), Japan (Mino), China (Shanghai), and more recently in the United Kingdom, Switzerland, France and at Florida’s Boca Raton Museum of Art for the exhibition Regarding George Ohr: Contemporary Ceramics in the Spirit of the Mad Potter (2017-18). The exhibition is on view through December 11, 2018 at Jason Jacques Gallery, 29 East 73rd Street, New York, NY 10021, USA.For more information, visit: http://www.jasonjacques.com/Click on the slideshow for a sneak peek at the exhibition.  https://www.blouinartinfo.com/              Founder: Louise Blouin

‘Seats of Power’ at The Vitra Design Museum

The ongoing exhibition “Seats of Power” at The Vitra Design Museum, Weil am Rhein, explores the history of chairs in light of their association with expressions of status and power.In earlier times, chairs were reserved for rulers and the upper echelons o
Architecture & Design

‘Seats of Power’ at The Vitra Design Museum

The ongoing exhibition “Seats of Power” at The Vitra Design Museum, Weil am Rhein, explores the history of chairs in light of their association with expressions of status and power.In earlier times, chairs were reserved for rulers and the upper echelons of society. Chairs came to be used by wider parts of the population only after the rise of the bourgeois citizenry in modern times, especially with the advent of industrial furniture production in the nineteenth century which made chairs affordable.   Through some 20 objects from the museum’s holdings, “Seats of Power” illustrates how approaches to political, social, and economic power continue to find expression in the seating furniture. “A cultural history of modern seating emerges: from authoritarian, patriarchal principles to egalitarian, participatory values; from the backroom chambers of politics and finance to democratic parliaments and designers who aim to bring about a redistribution of power with new seating designs,” writes the museum.  One of the oldest artefacts on display highlighting the association between seating furniture and the traditional conceptions of political and religious power is the Chaise de Garde, commissioned by Napoleon Bonaparte for the renovation of Laeken Castle near Brussels. Created by the Belgian court cabinetmaker Jean-Joseph Chapuis around 1802, the chair draws on seating types from ancient Rome. A recent example includes the Papal throne designed for Pope John Paul II’s visit to Zagreb in 1994. The straight, high backrest and stiffly formal seating posture prescribed by the throne’s shape remain symbols of traditional power even today, as per the museum.The exhibition traces how the process of democratization in Western countries impacted seating designs and sitting postures, reflecting values such as flexibility, transparency, and equal rights. John F. Kennedy and Richard Nixon sat on the Hans J. Wegner’s chair “JH501” (1949/50) during their legendary televised debate in 1960. The modern, understated design of “JH501” represented the ideals of a more modest, grassroots political style.Dutch designer Hella Jongerius’ “East River Chair” (2013/14) for the UN Headquarters in New York, took this notion a step further with its colorful upholstery fabric, low back, and integrated armrests conveying a sense of openness and plurality.Beyond the political realm, the expression of power and status in seating furniture has also been subject to the continuous evolution of social values, according to the museum. Rocking chairs and other leisure furnishings came into fashion in the nineteenth century. In the twentieth century, expansive comfort was seen as an expression of influence and authority. Examples include Ludwig Mies van der Rohe’s Barcelona Chair for the elegant German Pavilion at the 1929 International Exposition in Barcelona, Charles and Ray Eames’s “Lounge Chair” (1943–56), and Arne Jacobsen’s “Egg Chair” (1957/58).  Enzo Mari’s unpretentious DIY chair, a part of his Autoprogettazione’ series (1974), gave new meaning to the expression of power — self empowerment. The group CUCULA has offered work and social opportunities to refugees by enabling them to serially build these chairs in its Berlin workshop.The exhibition is on view through February 17, 2019, at the Vitra Design Museum, Vitra Schaudepot Charles-Eames-Strasse 2 79576, Weil am Rhein, Germany.For more information, visit: https://www.design-museum.de/Click on the slideshow for a sneak peek at the exhibition.  http://www.blouinartinfo.com/                                                              Founder: Louise Blouin 

‘Home Futures’ at the Design Museum, London

The Design Museum, London, in partnership with IKEA Museum Almhult, presents “Home Futures,” through March 24, 2019.“Home Futures” explores the radical domestic visions of the 20th century and asks: what happened to the future? Visitors get a thought-
Architecture & Design

‘Home Futures’ at the Design Museum, London

The Design Museum, London, in partnership with IKEA Museum Almhult, presents “Home Futures,” through March 24, 2019.“Home Futures” explores the radical domestic visions of the 20th century and asks: what happened to the future? Visitors get a thought-provoking view of yesterday’s tomorrow through some rare works such as the original furniture from the Smithsons’ House of the Future (1956), original footage from the General Motors Kitchen of Tomorrow (1956), Home Environment by Ettore Sottsass (1972), and an original model of Total Furnishing Unit by Joe Colombo (1972).The exhibition presents more than 150 objects and experiences through six themes — ‘living smart,’ ‘living on the move,’ ‘living autonomously,’ ‘living with less,’ ‘living with others,’ and ‘domestic arcadia.’‘Living smart’ pairs the modernist ideal of the ‘home as machine’ with the contemporary vision of the ‘smart home.’ The display includes original works by the illustrator Heath Robinson, depicting comic household contraptions, and the model of Villa Arpel from Jacques Tati’s film “Mon Oncle” juxtaposed with a range of smart home devices and experiences.‘Living on the move’ brings together the 20th century visions of a fluid, nomadic way of life with contemporary examples of the sharing economy. Featured works in this section include collages by Superstudio, illustrations by Archigram, and a life-size prototype of Home Environment by Ettore Sottsass along with a provocative film by Beka & Lemoine called “Selling Dreams,” which explores one man’s life spent in hotel rooms.Enzo Mari’s “Autoprogettazione” (1974) highlights the theme of ‘living autonomously,’ which explores self-reliant, environmentally responsible — and often anti-consumerist — models of domestic life. Mari’s “Autoprogettazione” is a design guide to assembling furniture from basic materials using just a hammer and nails, which is paralleled with contemporary Open Source design.‘Living with less’ focuses on fully fitted home units and micro-living solutions conceived in the 20th century to address housing shortages. The theme is explored through drawings and a model of Joe Colombo’s Total Furnishing Unit (1972), along with contemporary examples including Gary Chang’s Hong Kong Transformer apartment (a micro apartment with shifting walls), work by world-renowned design office Industrial Facility, and a newly commissioned study of minimal dwellings by the architect Pier Vittorio Aureli.Through Sergei Eisenstein’s sketches for the Glass House, Ugo La Pietra’s Telematic House, Dunne & Raby’s Electro-Draught Excluder, Jurgen Bey’s Linen Cupboard House, and Superflux’s film “Uninvited Guests,” the theme ‘living with others’ explores the way in which we negotiate privacy in the home, and the impact of media on domestic behaviour.Domestic Arcadia questions the functionalist approach to the home by exploring an alternative vision that sees it as a place of organic forms that evoke the natural landscape. Furniture and interiors from the Italian Radical Design movement by Pietro Derossi, Michele de Lucchi, and Gaetano Pesce are compared with contemporary design by the Bouroullec brothers among others, as stated by the Design Museum.After being on display in London, the exhibition will travel to the IKEA Museum in Almhult, Sweden in Spring 2019.The exhibition is on view through March 24, 2019, at the Design Museum, 224 - 238, Kensington High Street, London, W8 6AGFor more details, visit: https://designmuseum.org/Click on the slideshow for a sneak peek at the exhibition.http://www.blouinartinfo.com/                                                              Founder: Louise Blouin 

Snøhetta’s Calgary Central Library Opens to the Public

Calgary Central Library, designed by Snohetta, has opened its doors to the public. The Central Library is the city’s largest public investment since the 1988 Olympics, signalling the city’s focus on the creation and innovation of knowledge and culture.Sit
Architecture & Design

Snøhetta’s Calgary Central Library Opens to the Public

Calgary Central Library, designed by Snohetta, has opened its doors to the public. The Central Library is the city’s largest public investment since the 1988 Olympics, signalling the city’s focus on the creation and innovation of knowledge and culture.Situated between Downtown Calgary and the East Village, the library reconnects these two neighborhoods. “The building is sited within a complex urban condition, where a fully operational Light Rail Transit line crosses the site from above to below ground on a curved half-moon path, dividing Downtown and East Village. In response, the design terraces over the transit line, lifting the main entry to the heart of the site. Doubling as a portal and a bridge, the entry plaza heals the previously-split seam between the two neighborhoods and re-establishes visual and pedestrian connections across the site,” states the website of Snohetta.Snohetta and DIALOG won the international design competition organized by Calgary Public Library and Calgary Municipal Land Corporation in 2013 to select the architecture and landscape architecture team to realize the Central Library.The Library, which was handed over to Calgary Public Library in September 2018, opened to the public on November 1. The new Central Library joins Studio Bell, the Arts Commons, and the Glenbow Museum as part of a burgeoning cultural campus in downtown Calgary and the East Village.“Calgary Public Library is one of the largest library systems in North America, where more than half of its residents are active cardholders, and accordingly, the new main branch was created for and inspired by its diverse inhabitants,” Snohetta writes.Click on the slideshow for a sneak peek at the library.http://www.blouinartinfo.com                                   Founder: Louise Blouin  

“Dialogues” by Friedman Benda at The Salon Art + Design 2018, New York

Friedman Benda is showcasing “Dialogues,” bringing three emerging voices in context with the groundbreaking Italian architect and designer — Ettore Sottsass (1917-2007) at The Salon Art + Design 2018.“Focusing on three radically different approaches a
Architecture & Design

“Dialogues” by Friedman Benda at The Salon Art + Design 2018, New York

Friedman Benda is showcasing “Dialogues,” bringing three emerging voices in context with the groundbreaking Italian architect and designer — Ettore Sottsass (1917-2007) at The Salon Art + Design 2018.“Focusing on three radically different approaches and practices, this exhibit brings focus to the breadth of each designer’s expression, while contextualizing Sottsass’ enduring legacy that informs generations of young designers and artists from across the globe,” says the gallery.“Dialogues” is debuting ambitious new works by the American designer Misha Kahn, who lists Sottsass’ “willingness to swim upstream against conventional taste,” as an enduring legacy.Like Sottsass, Kahn demonstrates how a functional object can contain personality, energy and spirit. The presentation includes a site-specific floor made by Kahn.Misha Kahn was born in Duluth, Minnesota, in 1989. He graduated from the Rhode Island School of Design in 2011 and was awarded a Fulbright Fellowship at the Bezalel Academy of Art and Design in Tel Aviv the following year.In 2008, Misha's work was included in “20 under 20” at the Walker Art Center, Minneapolis, MN.  His concrete Heyerdahl lamps were among the works in Bjarne Melgaard’s 2013 installation at the Whitney Biennial, and his work was exhibited in 2014 at “NYC Makers: MAD Biennial” at the Museum of Art and Design, New York. Misha Kahn lives and works in Brooklyn.With his background as a chef and foundry metal worker, British artist Jonathan Trayte brings together a wide range of influences into his objects.“I grew up in the 80’s between South Africa and Yorkshire, spending a lot of my childhood in the bush. I had no idea who Sottsass was, but his striking and experimental work permeated through popular culture. His cross-disciplinary approach to design and architecture is an inspiration,” says Trayte.Trayte’s floor lamp, “Velvet Straight-Neck,” and vanity table, “Pink Mondi with Bomba Lamp,” offer a fresh take on Sottsass’ eye-catching hues and distilled, archetypal forms.Jonathan Trayte was born in 1980 in Huddersfield, UK. Trayte received a BFA from University of the Creative Arts Canterbury in 2004 and a postgraduate degree in Fine Art from Royal Academy Schools in 2010. Trayte’s work has been included in numerous international exhibitions.“Trayte’s approach to making sculpture and installation is informed by our global language of consumption and the manipulation of consumer decision-making. Using a wide range of materials, methods and processes, his work reinterprets modern consumer behavior and explores the psychology of desire through surface, material, light and color. The work is a coming together of natural forms and saccharine colors,” the gallery adds.Switzerland-based designer Ini Archibong is debuting a glass chandelier, “Vernus,” his first collaboration with the gallery.Archibong states, “Sottsass’ refined forms made me realize, not to fear exposing my inner complexities for the sake of delivering what is expected from me. To be willing to reinvent myself, and to make design with a sense of sensuality.” “Dialogues” is showcasing through November 12, 2018 at Booth B1, The Salon Art + Design 2018, Park Avenue Armory, New York, USA.For details, visit: http://www.friedmanbenda.com/Click on the slideshow for a sneak peek at the collection.http://www.blouinartinfo.com/                                               Founder: Louise Blouin 

Twenty First Gallery’s “Golden Eye” at The Salon Art + Design 2018, New York

Twenty First Gallery is featuring “Golden Eye,” a curation of contemporary works spotlighting the power of gold at The Salon Art + Design, Booth D13, through November 12, 2018, in New York City.This marks the second time Twenty First Gallery has been invi
Architecture & Design

Twenty First Gallery’s “Golden Eye” at The Salon Art + Design 2018, New York

Twenty First Gallery is featuring “Golden Eye,” a curation of contemporary works spotlighting the power of gold at The Salon Art + Design, Booth D13, through November 12, 2018, in New York City.This marks the second time Twenty First Gallery has been invited to showcase their works at the event that features the world’s finest international galleries exhibiting historical, modern and contemporary furniture, groundbreaking design and late 19th through 21st century art.The selection of European contemporary decorative arts will include works by designers such as Mattia Bonetti, Hubert Le Gall, Emmanuel Babled, Maurice Marty and Erwan Boulloud.According to the gallery, the life of Mattia Bonetti stands as a testament to the vast creative potential of ambiguity, uncertainty, paradox, and duality — and absolute refusal to be one thing when it is possible to embody a multitude of possibilities simultaneously.His work exemplifies a certain strand of postmodernism that is both practical and theoretical; it embodies a philosophy of instability and witty subterfuge — a celebration of the principal of both/and rather than either/or and the quality in which everything, even identity, stays fluid.“Hubert Le Gall’s work is a bold combination of sophisticated and playful. Inspired by the likes of Salvador Dali, Jean Cocteau, the Surrealists and Max Ernst, Le Gall introduces humor and beauty into every day life. Self-taught as an artist and sculptor before delving into design, Le Gall uses classic materials to create pieces that inspire laughter and enchantment, while being meticulously crafted,” says the gallery.Emmanuel Babled creates products in collaboration with the highest Italian craftsmen, mixing ancient knowledge with cutting-edge technology, allowing sophisticated production processes. The Italian technical heritage is being explored and revisited in order to propose new unexpected results.“Maurice Marty’s skills cover the gamut of interior, surface and object works: he is a sculptor, a designer, an architect, a painter and interior designer. His influences and ideas come from everywhere, but his style is fiercely modern and recognizable,” the gallery adds.Working with an equally vast range of materials, he has exhibited his pieces and sculptures widely, designed the interiors of Paris nightclubs, hotels and high-end fashion stores, and is an unparalleled craftsman.Graduating from the Ecole Boulle in 1995, Erwan Boulloud gained unique know-how which he first put at disposal of different creators, then in the layout of the collections of great museums such as the Louvre, the CNAM or the Museum of Natural History.In 2003, Erwan opened his own workshop in Paris, then in Pantin. This is where he started creating, working on material as a prelude: metal, wood, concrete, glass; mineral or vegetable; raw, burnt or polished, decorticated, and reconstituted, and by doing so he seeks to reveal profundity. “Golden Eye” is showcasing through November 12, 2018 at Booth D13, The Salon Art + Design 2018, Park Avenue Armory, New York, USA.For details, visit: https://www.21stgallery.com/Click on the slideshow for a sneak peek at the collection.http://www.blouinartinfo.com/                                               Founder: Louise Blouin 

Priveekollektie Contemporary Art | Design Collection at The Salon Art + Design 2018

Priveekollektie Contemporary Art | Design is participating for the fifth time at Salon NY 2018, which takes place at Park Avenue Armory through November 12.The participating artists include: Dominic Harris, Richard Hutten, Reinier Bosch, Kranen / Gille, Salus
Architecture & Design

Priveekollektie Contemporary Art | Design Collection at The Salon Art + Design 2018

Priveekollektie Contemporary Art | Design is participating for the fifth time at Salon NY 2018, which takes place at Park Avenue Armory through November 12.The participating artists include: Dominic Harris, Richard Hutten, Reinier Bosch, Kranen / Gille, Salustiano, Alex Chinneck, Carolina Wilcke, Vincenzo Marciglia, Peter Macapia, and Barberini & Gunnell.Dominic Harris is an artist who uses technology to construct highly personal interpretations of the natural phenomena which surround us.Carolina Wilcke (1980 Leiden, The Netherlands) is fascinated by the interface between function and decoration. Art is functional, it can make you happy, or serve as a decor for a room. On the other hand, appliances and utensils can also be used as art. In “Tafelgenoten,” a series of tableware, these two qualities come together and complement each other.Since opening his own studio in Rotterdam in 1991, designer Richard Hutten has paid strict heed to his own rule: “No sign of design.” His furniture and objects — many of them multi-functional — are typically monochromatic and elegant in geometry: an office set in which the chair is cut from the desk, or a child’s drinking cup with comically oversized handles that resemble “Dumbo” ears.Peter Macapia is an artist, architect and scholar. He is the founder of labDORA, an internationally recognized architectural research and design studio, and Peter Macapia Studio. Both of which he started after he earned his Ph.D. from Columbia University where he was awarded the Presidential Fellowship.Reinier Bosch incorporates a broad swath of materials and influences in his objects, which playfully and honestly engage the materials and their many associations and forms. Common items in his work include cardboard, glass, Plexiglas, and sheet metal, which was one of the first materials that inspired him while spending time at his father’s boatyard.Kranen / Gille are inspired by abandoned places, industrialization, factory and craftsmanship processes that are constantly renewing themselves in order to express their feeling towards functionality.Uniting the disciplines of art, architecture, theater and engineering, the work of British sculpture Alex Chinneck is monumental in ambition and impact, producing contextually responsive interventions that animate the place in which they stand.The architectural designer duo Barberini & Gunnel consists of Italian Francesco Barberini (Cesena, 1978) and half-Austrian, half-English Nina Alexandra Gunnell (Marbella, 1976).The Salon Art + Design welcomes the world’s finest international galleries exhibiting historical, modern and contemporary furniture, groundbreaking design and late 19th through 21st century art. Visitors will find classic designs by the great international 20th century masters, as well as creative works by today’s most innovative young artists.From classic and abstract antiquities to Art Nouveau, Deco, Mid Century Modern and the 1970s, 1980s and 1990s, culminating in the latest work of emerging masters, The Salon showcases global material for every taste.Priveekollektie Contemporary Art | Design is showcasing through November 12, 2018 at Booth A22, The Salon Art + Design 2018, Park Avenue Armory, New York, USA.For details, visit: https://www.priveekollektie.art/Click on the slideshow for a sneak peek at the collection.         http://www.blouinartinfo.com/                                                               Founder: Louise Blouin 

London’s V&A East Project by Diller Scofidio + Renfro and O’Donnell + Tuomey

The V&A has unveiled plans for two new sites in Queen Elizabeth Olympic Park — a brand-new museum designed by Dublin-based architects O’Donnell + Tuomey at Stratford Waterfront, and a new collection and research center by Diller Scofidio + Renfro at H
Architecture & Design

London’s V&A East Project by Diller Scofidio + Renfro and O’Donnell + Tuomey

The V&A has unveiled plans for two new sites in Queen Elizabeth Olympic Park — a brand-new museum designed by Dublin-based architects O’Donnell + Tuomey at Stratford Waterfront, and a new collection and research center by Diller Scofidio + Renfro at Here East.Expected to open in 2023, the V&A East project aims to revolutionize how the museum’s collection of art, design, and performance is accessed, explored, and experienced. The project is part of the East Bank, the £1.1bn powerhouse of culture, education, innovation, and growth taking shape in the park as part of the Olympic legacy.Here East is a reimagination of a museum store, which will serve as the new collection and research center. The design for the center is being led by New York-based practice Diller Scofidio + Renfro (supported by Austin-Smith:Lord). A recent announcement from V&A revealed that Frank Lloyd Wright’s 1930s office for Edgar J. Kaufmann — a unique and complete 20th-century plywood interior — and a 15th-century marquetry ceiling from the now-destroyed Altamira Palace near Toledo in Spain, will be resurrected within the center as a real architectural element above a new public space for displays and events.The center, as per V&A, will demonstrate how and why objects are collected, how they are cared for, conserved, researched and displayed, and how they help make sense of our past, present, and future. The center will house 250,000 objects along with 917 archives spanning the breadth of the V&A’s collection from fashion, textiles, furniture, theater and performance, to painting, sculpture, ceramics, glass, design, architecture, and digital.The museum will house two galleries showcasing the full range of the V&A’s collections. A program of major exhibitions will sit alongside new commissions, installations, and interdisciplinary collaborations and projects, as per V&A.“A pioneering partnership with the Smithsonian Institution will deliver an innovative exhibition program and a jointly-curated gallery at the Waterfront, bridging art, design, science and the humanities, and deploying the collections of two world-renowned cultural institutions to reflect issues and themes that resonate with contemporary society,” V&A says.  V&A Deputy Director and COO Tim Reeve says, “V&A East is timely and ambitious. It will — for the first time — illuminate the entire lifecycle of museum practice in a transformational experience for visitors.”Situated within the vibrant creative hub of east London, V&A East will provide “a 360-degree view of the V&A, and illuminate the breadth of its work in ways that have not been realized before,” V&A says.http://www.blouinartinfo.com/                        Founder: Louise Blouin 

Jean Nouvel's National Museum of Qatar to Open in March 2019

Qatar Museums, the government organization overseeing the development of cultural institutions announced that the Jean Nouvel–designed National Museum of Qatar will open to the public on March 28, 2019.Jean Nouvel's new 40,000-square-metre building incorpor
Architecture & Design

Jean Nouvel's National Museum of Qatar to Open in March 2019

Qatar Museums, the government organization overseeing the development of cultural institutions announced that the Jean Nouvel–designed National Museum of Qatar will open to the public on March 28, 2019.Jean Nouvel's new 40,000-square-metre building incorporates the restored historic Palace of the son of the founder of modern Qatar, Sheikh Abdullah bin Jassim Al Thani (1880–1957) while seamlessly integrating innovative artworks commissioned from Qatari and international artists, rare and precious objects, documentary materials, and interactive learning opportunities, reports Qatar Tribune.The National Museum of Qatar will be organized in three 'chapters' — Beginnings, Life in Qatar, and Building the Nation -— presented in eleven galleries. The visitor's chronological journey, which extends through more than 2.7 km of experiences, starts in the geological period long before the peninsula was inhabited by humans and continues to the present day.The route passes through a succession of impressive, remarkably shaped volumes until it reaches its culmination in the very heart of Qatari national identity, the thoroughly restored Palace of Sheikh Abdullah.Artworks commissioned for National Museum of Qatar include a piece by Qatari artist Ali Hassan at the ground-floor public entrance, a work by Qatari artist and arts patron Sheikh Hassan bin Mohammed bin Ali al Thani at the entrance to the galleries, and a sculpture by Iraqi artist Ahmed al Bahrani in the outdoor space known as the Howsh or caravanserai.The museum will be the house of commissioned artworks which will include a monumental installation by French artist Jean-Michel Othoniel comprising 114 individual fountains set within the lagoon, with their streams designed to evoke the fluid forms of Arabic calligraphy, and a sculpture by the Syrian artist Simone Fattal, Gates of the Sea, which evokes the petroglyphs found in Qatar at Al Jassasiya.«Qatar is an ancient land, rich in the traditions of the desert and the sea, but also a land that hosted many past civilizations. While it has modernized its infrastructure, it has still remained true to the core cultural values of our times,» Qatar Tribune quotes Qatar Museums Chairperson HE Sheikha al Mayassa bint Hamad bin Khalifa al Thani.«To fuse these contrasting stories, I needed a symbolic element. Eventually, I remembered the phenomenon of the desert rose: crystalline forms like miniature architectural events that emerge from the ground through the work of wind, salt, water, and sand,» says Jean Nouvel.http://www.blouinartinfo.com/                              Founder: Louise Blouin 

ammann//gallery Collection at The Salon Art + Design 2018, New York

ammann//gallery has announced its fifth participation at the New York’s The Salon Art + Design 2018.The gallery will showcase works from its exceptional program featuring Ron Arad, Helene Binet, Studio Nucleo, Satyendra Pakhale, Rolf Sachs, Joel Escalona an
Architecture & Design

ammann//gallery Collection at The Salon Art + Design 2018, New York

ammann//gallery has announced its fifth participation at the New York’s The Salon Art + Design 2018.The gallery will showcase works from its exceptional program featuring Ron Arad, Helene Binet, Studio Nucleo, Satyendra Pakhale, Rolf Sachs, Joel Escalona and Abel Zavala.The work of Studio Nucleo lives in the intersection between art and design, function and sculpture. Its series “Souvenirs from the Last Century” and “Wood Fossils” upcycle physical memories into new forms, reclaiming discarded wooden materials from different eras and fossilizing them with a transparent body of resin. The furniture is both ancient and contemporary, revived and restored into a new life.At The Salon, the studio is showcasing unique pieces from some of its iconic collections. The “ONYX” stools are the new iteration of the showstoppers “Stone Fossils.” New “Presenze sculptural glass vases” are decorative ethereal objects floating through space, playing with the concepts of presence and absence, lightness and weight, challenging the laws of gravity.Nucleo’s more recent sculptural and artistic body of work, “Boolean Dog Head,” is being exhibited for the first time in the United States. The series explores the concept and use of boolean data, computer-aided design operations of subtraction, intersection, and union in the creation and construction of classical sculptures.“ammann//gallery explores the intersection between art and architecture through the masterful photographs of Helene Binet, recipient of the prestigious Julius Shulman Award, who transforms complex architectural masterpieces into breathtaking photographic compositions made of light and shadow,” states the gallery press release.The gallery is exhibiting for the first time in New York an homage to the urban photographies of American photographer Berenice Abbott.“Designer Satyendra Pakhale skillfully evolved a humanistic design language by blending ancient materials and techniques from his native India with state-of-the-art technology. His acclaimed Bell Metal Collection, made of bronze, metal sheet and copper alloy, reflects on the impact of technology on the artisan process. Produced using lost wax methods and metal casting, old and new materials and technology are mixed to create furniture and decorative pieces that appeal to all the senses and evoke history,” the gallery adds.Conceptual artist Rolf Sachs is showcasing “The Camera in Motion” series that showcase his experience of traveling on the Bernina Express through the Swiss Alps, a journey deeply engraved on the artist’s life.According to the gallery, Mexican ceramist Abel Zavala’s sculptural work is inspired by living fossils, organisms that have been present on earth for millions of years that are both witnesses and intrinsic components of the evolution of life. His “Larvae porcelain wall sculptures” showcase the artist flawless technique and mastery of the material.The gallery also premieres in the United States the new Balance ceramic collection by Mexican designer Joel Escalona, sculptural table pieces challenging the laws of equilibrium.ammann//gallery is showcasing through November 12, 2018 at Booth A8, The Salon Art + Design 2018, Park Avenue Armory, New York, USA.For details, visit: http://ammann-gallery.com/                  Click on the slideshow for a sneak peek at the collection.http://www.blouinartinfo.com/              Founder: Louise Blouin 

The Salon Art + Design Returns to Park Avenue Armory

Considered as New York’s most prestigious art and design fair, The Salon Art + Design returns for its seventh edition. It brings together historical, modern and contemporary furniture, groundbreaking design and late 19th through 21st-century art at Park Ave
Architecture & Design

The Salon Art + Design Returns to Park Avenue Armory

Considered as New York’s most prestigious art and design fair, The Salon Art + Design returns for its seventh edition. It brings together historical, modern and contemporary furniture, groundbreaking design and late 19th through 21st-century art at Park Avenue Armory. Produced by Sanford Smith + Associates, this year’s edition features 57 galleries representing 11 countries, including 30 international galleries.Almost half of the participating galleries hail from U.S. and the remaining are from Belgium, France, Germany, Italy, Monaco, the Netherlands, South Africa, Spain, Sweden, and the United Kingdom. The array of exhibits include classic designs by international 20th century masters, as well as works by contemporary artists, classic and abstract antiquities to Art Nouveau, Deco, Mid Century Modern and the 1970’s, 80’s and 90’s culminating in the latest work of emerging masters.The debut participants include Carolle Thibaut-Pomerantz (France), Chahan Gallery (France), Donzella (U.S.), Galerie de la Beraudiere (Belgium), Galerie Hervouet (France), Glass Past (U.S.), Heller Gallery (U.S.), Mouvements Modernes (France), Phoenix Ancient Art (Switzerland/U.S.), Southern Guild (South Africa), Dansk Mobelkunst (Denmark), and The Future Perfect (U.S.).Executive Director Jill Bokor says: “As The Salon’s success is predicated on the quality of its galleries and the material they exhibit, we are proud to announce this outstanding lineup of exceptional exhibitors.”“Few fairs today include the range of both fine and decorative arts found at The Salon. Recognizing the desire of collectors and interior designers to create environments rather than simply amass objects, the Salon exhibitors are chosen for their precise and creative way of presenting material that both predicts and reflects trends in the international culture of living. Ultimately, The Salon is curated on the premise that collectors and designers insist on a vibrant, uncommon array of styles, materials, and periods as long as the quality is impeccable,” she adds.“This year The Salon boasts a special installation with Callidus Guild - a New York City-based atelier – joining as the first ever applied arts partner. Helmed by artist Yolande Batteau, the studio will present a site-specific installation with gallery partner Jeff Lincoln Art + Design. The exhibition will be in Park Avenue Armory's historic Library Room, designed by 19th-century American designer Louis Comfort Tiffany. Additionally, Lalique, the renowned French crystal company, will present new works in a very livable installation in The Parlor. Charles Burnand of London will create an elegant collectors’ lounge featuring mid-century pieces along with their own contemporary design,” a press communique issued by the event’s organizers states.The Salon Art + Design runs from November 8-12, 2018, at Park Avenue Armory 643 Park Avenue, New York, NY 10065For more information, visit: https://www.thesalonny.com/Click on the slideshow for a sneak peek at the fair. http://www.blouinartinfo.com                       Founder: Louise Blouin 

Zaha Hadid Architects’ First Exhibition in Latin America Transported to Mexico in a Suitcase

Zaha Hadid Architects is presenting “KnitCandela,” as part of its first exhibition in Latin America at the Museo Universitario Arte Contemporaneo (MUAC) in Mexico City.KnitCandela is an experimental structure — a thin, sinuous concrete shell built on ul
Architecture & Design

Zaha Hadid Architects’ First Exhibition in Latin America Transported to Mexico in a Suitcase

Zaha Hadid Architects is presenting “KnitCandela,” as part of its first exhibition in Latin America at the Museo Universitario Arte Contemporaneo (MUAC) in Mexico City.KnitCandela is an experimental structure — a thin, sinuous concrete shell built on ultra-lightweight knitted formwork — that pays homage to the Spanish-Mexican architect and engineer Felix Candela. It was carried to Mexico from Switzerland in a suitcase.KnitCandela reimagines Candela’s inventive concrete shell structures through the introduction of new computational design methods and innovative KnitCrete formwork technology, according to ZHA.“The dynamic geometry of KnitCandela’s shell is inspired by the fluid forms of the colorful traditional dress of Jalisco, Mexico. While the structure’s local builders nicknamed the project 'sarape' (a striped scarf that originated in Mexico), KnitCandela’s form references his acclaimed restaurant at Xochimilco; a concept he further developed in several of his subsequent projects,” writes ZHA in a press release.KnitCandela has been designed and constructed by multiple teams in Europe and Mexico, harnessing the collective expertise in computational design, engineering, and fabrication.“While Candela relied on combining hyperbolic paraboloid surfaces (“hypars”) to produce reusable formworks leading to a reduction of construction waste, KnitCrete allows for the realization of a much wider range of anticlastic geometries. With this cable-net and fabric formwork system, expressive, freeform concrete surfaces can now be constructed efficiently, without the need for complex moulds. KnitCandela’s thin, double-curved concrete shell with a surface area of almost 50 sq.m. and weighing more than 5 tonnes, was applied on a KnitCrete formwork of only 55 kg. The knitted fabric of the formwork system was carried to Mexico from Switzerland in a suitcase,” writes ZHA.“The 50 sq.m. of textile shuttering of KnitCandela's formwork is comprised of four long strips ranging from 15 m to 26 m in length. Each of the four strips is a seamless, double-layered textile produced as a single piece. Two layers of textile fulfil different tasks. The visible inside is an aesthetic surface that displays a colourful pattern and reveals traces of the supporting cable-net falsework system. The exterior surface fulfils technical requirements by including features for inserting, guiding and controlling the position of additional formwork elements,” describes ZHA.The exhibition is on view through March 3, 2019, at Museo Universitario Arte Contemporaneo (MUAC), Insurgentes Sur 3000 Centro Cultural Universitario, Delegacion Coyoacan, C.P. 04510 Ciudad de MexicoFor more information, visit: https://muac.unam.mx/Click on the slideshow for a sneak peek at the installation. http://www.blouinartinfo.com                       Founder: Louise Blouin 

Jill Bokor of The Salon Art + Design on What Makes the Seven-Year-Old Fair “Fluid”

The Salon Art + Design, whose seventh edition gets underway in New York on November 8 and runs through November 12 on the Upper East Side, couldn’t have had a more appropriate location than the Park Avenue Armory. The building, completed in 1881, is known f
Architecture & Design

Jill Bokor of The Salon Art + Design on What Makes the Seven-Year-Old Fair “Fluid”

The Salon Art + Design, whose seventh edition gets underway in New York on November 8 and runs through November 12 on the Upper East Side, couldn’t have had a more appropriate location than the Park Avenue Armory. The building, completed in 1881, is known for its period interiors that are still intact. It provides a perfect backdrop to a fair such as The Salon, which prides itself in presenting a tightly curated annual fair, featuring a mix of fine and decorative arts — from Old Masters to Contemporary stars, from decorative arts of the ancient worlds to modern design.Jill Bokor, head of the Salon, spoke to BLOUINARTINFO on the fair's upcoming edition.As the fair enters its 7th edition, how will you sum up the journey so far? Has the fair achieved the kind of stability it may have sought in its initial years? And how do you see it progressing to future editions from here?The Salon has matured in ways we could not have foreseen seven years ago. Because we collaborated with the SNA (Syndicate National des Antiquaires) in our first few years, The Salon was very French influenced. While it was distinguished and elegant, it was also somewhat limited, as all the European exhibitors were required to be members of the Syndicat. The real change started in year No. 3 after separating from the Syndicat, and we began to include Contemporary design.I don’t think stability is the most desirable way to describe the fair. While I’m happy to note that 21 of our original exhibitors are still participating (three others do The Salon in alternating years), I prefer to think that we’re fluid — ever-changing with a core of continuity.What are the most exciting trends in the field of design these days that the fair would hope to capture in its upcoming edition? This year I’m seeing many works of architectural geometry, conceived in unconventional ways. At David Gill there’s an incredible console by Daniel Liesbeskind in titanium, spare and slotted. In the same booth is another console by Sebastian Brajovic, all angles folding over themselves with a literal twist!The furniture of Juan and Paloma Garrido also uses sharp angles and shiny surfaces with great purity of form. From Galerie kreo, there’s a Gino Sarfatti chandelier hung from an angular frame descending into circles of color.Mouvements Modernes will showcase a mirror by Elizabeth Garouste that is concave and filled with intersecting squares, triangles and rhomboids giving pause for lots of reflection.Pairing of fine art and design is something that is unique to The Salon, with not many fairs doing it the way you do. In order to limit itself and not spread out with all the possibilities that the two fields offer, does the fair consciously impose certain themes, or any other limiting factors? Is there a number that you hope not to cross while selecting exhibitors?To take the last question first, we have 57 exhibitors in 55 booths. We don’t want to become bigger than that. Too many fairs in the Armory have 70+ dealers, many with rabbit warren-like booths. The Salon has always sought exhibitors who show fine material, but the difference is that we encourage participants to create an environment rather than a selection of objects.It’s been consistently true that the booths with a home-like feel, showing the possibility of design and art residing harmoniously, do much better than the ones who only display objects. So while we don’t consciously impose a theme, it’s sort of a mantra when we’re considering new exhibitors that we hope they’ll create an immersive experience.What are the regions of the world that have most exciting work going on in the field of design currently? Are there some non-traditional regions that are showing promise in terms of creativity, materials used, themes explored, etc.?We’re thrilled to be showing for the first time Contemporary African art and design as presented by Southern Guild. The work is breathtaking and unexpected. Here is a ceramic piece by Andile Dyalvane, a ceramicist who comes from QoboQobo, a small village in the Eastern Cape province of South Africa.Certainly, of interest too, is Brazilian design. The known makers are represented at The Salon, but we’d love to bring a Brazilian design gallery to the fair.How do historical decorative art objects compare with the Contemporary ones? Is there still a proclivity for historical pieces over Contemporary ones? Or is that not a factor at all? I think that “antique” has become an undesirable word, though the concept of having work that is not Contemporary is not anathema. The sea change I’ve noticed is that in the ’80s and ’90s, people collected horizontally — American 18th-century Furniture, or Silver, or Flemish Old Masters, for example. Today’s collectors may well have Gio Ponti, Borsani, Sarfatti, Prouve, Royere and/or Wright in their homes, but you can bet it will be mixed with the best of Contemporary design. Frank Lloyd Wright, of whose work we have an entire booth this year, could look amazing with a colorful Calder (of which we’ll have two).Finally, what used to be called collecting with a capital C has morphed into the consideration that pieces from many countries and periods create a more interesting way to live. And by the way, the “brown wood furniture” which is dismissed by many, is still being made, but it’s different in form and sensibility.Do you think it’s possible to build a great art and design collection like some of the well-known art collections? What kind of cross-collecting knowledge should one have to build one? Absolutely! It’s happening more and more. The great collections are varied and thoughtful, but not contrived. The art and design create spaces in which you really want to spend time — not just view. The top collections are subtle; they don’t scream “design,” they invite.I don’t know that cross-collecting knowledge per se is important. After all, most of these pieces aren’t bought cerebrally, but sensorily. That having been said, of course you’d want to learn all you could about anything that you collected irrespective of what it’s going to live with. If mid-century Murano glass appeals to you, why not pair it with this very graphic 2018 cabinet by Martino Gamper? It’s important to know about the genre, the material, the designer. Look at everything until you hone in on the piece or genre you keep coming back to. Talk to the gallerist. If s/he’s living, talk to the designer. And then finish off the room with a gorgeous monochromatic Fontana Concetto Spaziale!Are there any plans to branch out The Salon to other design hot spots in the form of other annual fairs?We’ve been asked to take the fair to other markets, but I wouldn’t want to replicate The Salon. It would be more interesting to take very edited versions — maybe showing 12-15 galleries — of the fair and create mini-Salons that could also incorporate local talent. It comes up a lot.This article appears in the November edition of BlouinShop magazine.http://www.blouinartinfo.com/Founder: Louise Blouin  

Benthem Crouwel Architects Unveils “Recycled and Recyclable” Design for University of Amsterdam’s New Science Faculty

Benthem Crouwel Architects, along with building consultants Strackee, will be designing a new faculty building, LAB 942, for the University of Amsterdam’s Faculty of Science (FNWI). Located on Amsterdam Science Park, the nearly 14.000 m2 new multifunctiona
Architecture & Design

Benthem Crouwel Architects Unveils “Recycled and Recyclable” Design for University of Amsterdam’s New Science Faculty

Benthem Crouwel Architects, along with building consultants Strackee, will be designing a new faculty building, LAB 942, for the University of Amsterdam’s Faculty of Science (FNWI). Located on Amsterdam Science Park, the nearly 14.000 m2 new multifunctional building will house the Informatics Institute, the Institute for Logic, Language and Computation, and the Innovation Center for Artificial Intelligence.Benthem Crouwel Architects envisions LAB 942 as “a lively lab for research, development, and co-creation, in the center of campus and society.” The Amsterdam-based firm has proposed a sustainable, circular, smart, and flexible vision that will offer the most optimal work and study environment for staff and students.“The goal is to make LAB 942 an energy neutral building; highly sustainable thanks to a minimal use of materials and by avoiding pollution as much as possible. The building consists of a modular framework and a circular main construction made out of recycled and recyclable material. The construction is easy to disassemble, making the building very flexible in its daily use, but also future proof and easy to adapt to changing demands and developments. Lots of greenery inside the building and natural ventilation ensure that this is not just sustainable, but also a very healthy building that provides its users with a comfortable indoor climate,” states Benthem Crouwel Architects.The design aims to make the creativity and groundbreaking developments in Information Sciences and Artificial Intelligence visible and accessible. The facade, featuring a light grid structure, filled with materials like wood, glass, steel, and 3D printed textures, gives the building an open look and feel. In the transparent plinth, the visualization, robotica, and game labs will be in plain sight for passers-by, according to Benthem Crouwel Architects.“Inside, a high and airy atrium flows diagonally through the entire building. Irregular mezzanines, connecting bridges, and a variety of ‘landscapes’ with workspaces create a structure that is clear and coherent, but also energetic and inspiring. The division into three separate zones that are easy to recognize (from quiet concentration areas to spaces that focus on connection, and discovery) ensures optimal synergy between the various disciplines,” states Benthem Crouwel Architects.Click on the slideshow for a sneak peek at the project.http://www.blouinartinfo.com/                       Founder: Louise Blouin 

‘Torre Reforma’ Wins the International Highrise Award 2018

Office building “Torre Reforma” in Mexico-City has won the 2018 International Highrise Award given by the Deutsches Architekturmuseum (DAM).“Torre Reforma” in Mexico City/Mexico won the prize, worth EUR 50,000, for the world’s most innovative high r
Architecture & Design

‘Torre Reforma’ Wins the International Highrise Award 2018

Office building “Torre Reforma” in Mexico-City has won the 2018 International Highrise Award given by the Deutsches Architekturmuseum (DAM).“Torre Reforma” in Mexico City/Mexico won the prize, worth EUR 50,000, for the world’s most innovative high rise. Architect L. Benjamin Romano received the prize statuette and the prize money at the awards ceremony held in Frankfurt’s Paulskirche.The International Highrise Award — one of the world’s most important architectural prizes for tall buildings — is presented every two years to the project that best exemplifies the criteria of future-oriented design, functionality, innovative building technology, integration into urban development schemes, sustainability, and cost-effectiveness.The IHA prize was awarded by Dr. Ina Hartwig, the City of Frankfurt Deputy Mayor for Culture, Dr. Matthias Danne, Member of the Management Board responsible Finance, Treasury and the Property business division at DekaBank and Peter Cachola Schmal, Director of the Deutsches Architekurmuseum (DAM).The director of Deutsches Architekturmuseum (DAM), Peter Cachola Schmal, was also impressed by the architect’s business model: “Benjamin Romano shows us that a single architect can redefine the standards of building and construction in his field and in his city. First he won investors over, who bought the plot, then he developed the scheme, invented a massive structure that defied common curtain walls and got his structural designers to follow this lead. And then he built it. We are astonished that such a holistic approach is possible today and are stunned by the awesome result. He proved to us that this approach can really be a gamechanger in certain countries.”“This award is especially valuable because it comes from my peers — architects, engineers, developers — who can appreciate not only a building on itself, but the inherent financial, structural, environmental, and normative challenges. I believe that the best architecture is the one that finds the answer to these challenges. The one that emanates from needs, context, and reality, and not only from someone’s imagination or aesthetic taste,” comments L. Benjamin Romano, Architect “Torre Reforma.”From over 1000 highrises that were commissioned worldwide over the last two years, Deutsches Architekturmuseum (DAM) nominated 36 outstanding buildings from 15 different countries.An international jury of experts consisting of architects, structural engineers, and real estate specialists selected the final five for the shortlist.The jury this year included Sean Anderson, Knut Stockhusen, Horst R. Muth, Peter Cachola Schmal, Jette Cathrin Hopp, Kai-Uwe Bergmann, Dr. Ina Hartwig, Prof. Ulrike Lauber, and Thomas Schmengler.http://www.blouinartinfo.com/                                                              Founder: Louise Blouin                             

The World’s Tallest Statue Unveiled in India

India has unveiled the world’s tallest statue — The Statue of Unity, which stands at the height of 182 meters (597 ft) in the western state of Gujarat.The bronze clad statue of Sardar Vallabhbhai Patel was unveiled on October 31, marking the 143rd birth a
Architecture & Design

The World’s Tallest Statue Unveiled in India

India has unveiled the world’s tallest statue — The Statue of Unity, which stands at the height of 182 meters (597 ft) in the western state of Gujarat.The bronze clad statue of Sardar Vallabhbhai Patel was unveiled on October 31, marking the 143rd birth anniversary of India’s independence leader. Known as the “Iron Man of India,” Sardar Patel played a leading role in integrating over 500 princely states into a united, independent India. He served as the first Home Minister and Deputy Prime Minister of the country. The memorial, according to the Prime Minister Narendra Modi, stands as “a symbol of India’s integrity and resolve.”  The Statue of Unity surpasses the Spring Temple Buddha, which was previously the tallest in the world at 128 meters. The structure is almost twice as tall as New York’s Statue of Liberty.Conceptualized by Indian sculptor Ram V. Sutar, the design and construction involved a multi-firm consortium including Michael Graves Architecture & Design and Turner Construction, the names behind Burj Khalifa, the tallest building in the world. The statue’s main structural support of twin concrete cores is surrounded with steel scaffolding that acts as a support system for the series of cast bronze panels that form the statue’s outermost surface.Jairam Panch, Turner’s vice president and managing director for India, said: “In a symbolic act to represent the unified nation, iron was gathered from across India and then melted and utilized in the project.”Talking about the magnitude of the statue, Jairam Panch: “For the exterior of the statue, workers pieced together 553 macro bronze panels comprising approximately 6,000 micro panels. The final bronze panel was installed on October 11, 2018.” He continued: “The choice of bronze cladding epitomizes the dignity and enduring values attributed to this important statesman, and the bronze will go through a natural aging process to develop a rich green patina over time.”According to Turner Construction, the memorial has been conceived as a naturalistic and historically accurate representation of Sardar Patel assuming a walking pose. Built on Sadhu Island in the Narmada River, the statue rises above a geometric star-shaped platform. An exhibition hall at the statue’s base provides accounts of the life and accomplishments of Sardar Patel and the history of modern India. A 200-person viewing gallery at 153 meters, near the chest of the statue, provides panoramic views of the surrounding countryside.Located around 200 km from the city of Ahmedabad in Gujarat, the memorial with its surroundings spans more than 20,000 square meters. The statue is encompassed by a 12 sq km artificial lake. The steel and bronze structure weighs about 67,000 tons, and has been built to withstand earthquakes and heavy winds. The exterior is created from around 12,000 bronze panels weighing almost 1,850 tons. More than 2,000 workers along with several hundred migrant labourers from China have constructed the structure, which has been built at the cost of Rs 29.9 billion (£330m; $430m).http://www.blouinartinfo.com/                                                                      Founder: Louise Blouin 

Daniel Libeskind’s MO Museum Opens in Vilnius, Lithuania

The MO Museum in Vilnius, Lithuania, conceived as a cultural “gateway” and inspired by the historic gates of the city of Vilnius, has opened its doors to the public. The museum has been designed by Daniel Libeskind. Referencing the local architecture bot
Architecture & Design

Daniel Libeskind’s MO Museum Opens in Vilnius, Lithuania

The MO Museum in Vilnius, Lithuania, conceived as a cultural “gateway” and inspired by the historic gates of the city of Vilnius, has opened its doors to the public. The museum has been designed by Daniel Libeskind. Referencing the local architecture both in form and materials, the institution stands as an expression of Vilnius past and present.“Having designed many large-scale museums around the world, it was thrilling to design an intimate and iconic museum for a great collection of contemporary art,” said architect Daniel Libeskind. “As someone who has a true appreciation for the history and beauty of Vilnius, I believe the building and its architecture will become a wonderful place to enjoy art and the spirit of the city.”"One of the reasons I am drawn to Studio Libeskind’s work is that it is both iconic and democratic,” said Museum Founder and Collector, Viktoras Butkus. “The MO Museum is the largest private museum in Lithuania, so it is important to me that museum expresses openness and reflects the ethos of the collection as well as the institution. The generous public spaces throughout the design play a vital role in communicating these ideas,” added Butkus.The museum’s collection of nearly 5,000 works includes never seen before works of Lithuanian artists from 1950 to today. The museum opened with the inaugural exhibition, “All Art Is About Us.” “The MO Modern Art Museum is a cultural milestone for the city of Vilnius and Lithuania as a whole. This new world-class institution will showcase local art and will explore its links with the global art scene,” said Director of the Museum, Milda Ivanauskiene. “These never before seen works of art created behind the Iron Curtain will finally have a venue and international audience,” added Ivanauskiene.Studio Daniel Libeskind was established by Daniel and his partner Nina Libeskind in Berlin, Germany, in 1989 after they won the competition to build the Jewish Museum Berlin. In February 2003, Studio Daniel Libeskind moved its headquarters from Berlin to New York City when Daniel Libeskind was selected as the master planner for the World Trade Center redevelopment. The studio is headquartered in New York City.Click on the slideshow for a sneak peek at the museum.http://www.blouinartinfo.com              Founder: Louise Blouin 

Actual Facts

Popular Reports

Contacts | Privacy Policy | Terms of Use
Twitter Facebook Google +