Displaying items by tag: designed

In 2010, New York’s Solomon R. Guggenheim Museum embarked on a six-year project with the luxury automobile brand BMW. The BMW Guggenheim Lab was to include three 5,000 square feet pop-up structures that would travel in consecutive cycles to one location in the U.S., one in Europe and another in Asia. The architect-designed pieces were to remain in each location for 3 months, accompanied by Guggenheim curators who would helm programs for leaders in the fields of architecture, art, science, design, technology and education in an effort to curb issues relating to urban living.

The project’s first lab opened in Manhattan’s East Village in 2011 and attracted over 54,000 visitors. The project transformed a gritty, empty lot into a handsome community center designed by the Tokyo-based architecture firm, Atelier Bow-Wow. The Lab, which was the first and last for the project, traveled to Berlin and Mumbai following its stint in NYC.

BMW officials assured the public that the company will continue to be a global partner of the Guggenheim and that they are still considering future collaborations. The lab project, which was slated to last through 2016, was supposedly reconsidered due to “strategic shifts within the company” at BMW. The exhibition Participatory City: 100 Urban Trends from the BMW Guggenheim Lab will prematurely wrap up the project. The show will be presented at the Guggenheim Museum in New York from October 11, 2013 through January 5, 2014.

The Corning Museum of Glass in Corning, NY has revealed the final design of its North Wing expansion, which is expected to open to the public in late 2014. The addition was designed by New York-based architecture firm Thomas Phifer and Partners and will add 26,000-square-feet to the museum. The project will create a new gallery for contemporary glass art and a 500-seat glassmaking demonstration venue in Steuben Glass’ former factory ventilator building, which is next door to the museum.

The contemporary art gallery will be in the minimalist style and feature large exterior glass panels that will allow sunlight to flood into the galleries, which will include massive curvilinear concrete walls. A state-of-the art light-filtering system will be used to adjust the natural sunlight to create ideal lighting for viewing the art. The new gallery will be the largest space dedicated to the presentation of contemporary glass art in the world.    

The Corning Museum of Glass, which opened in 1951, is the world’s leading art museum dedicated to the presentation, display and interpretation of glass and glassmaking. Since its inception, the museum has made a point of incorporating glass into its architecture. Karol Wright, the executive director of the museum, said, ‘Thomas Phifer’s design for the North Wing gallery marks a dramatic new chapter in the rich history of modern and contemporary glass architecture on our campus.” The project, which will cost $64 million to bring to completion, is being full-funded by the museum’s major benefactor, Corning Incorporated.

The nonprofit Architectural League of New York is the latest party asking the Museum of Modern Art to reconsider their decision to raze the former home of the American Folk Art Museum. The organization wrote an open letter signed by members of its board of directors to MoMA on Monday, April 22, 2013. Prominent architects such as Richard Meier, Thom Mayne, Steven Holl, Hugh Hardy, and Robert A.M. Stern voiced their support against the demolition of the building, which was designed by notable New York-based architects Tod Williams and Billie Tsien.

The monumental building, which features a sculptural bronze façade, was erected twelve years ago on West 53^rd Street by the American Folk Art Museum. After the institution fell into financial turmoil, the building was sold to MoMA and the Folk Art Museum moved to a smaller location. Now, as plans for an expansion gain steam, MoMA has announced their decision to level the building. Officials justified the ruling by claiming that the Folk Art Museum’s former home didn’t mesh with MoMA’s sleek glass façade and that structure’s location was logistically problematic as it is slightly set back from MoMA’s main building.

The decision to demolish the structure, which has quickly become a Midtown landmark, has been met with a wall of opposition. Last week, a New Haven, CT resident, Robert Bundy, launched a petition against MoMA’s decision and garnered over 2,000 signatures in a matter of days.

As it stands, MoMA expects to begin renovations in 2014 by which time the Folk Art Museum’s former home will be destroyed.

After news spread that New York’s Museum of Modern Art planned to tear down the former home of the American Folk Art Museum on West 53^rd Street in Manhattan, opponents launched a petition asking MoMA officials to reconsider the decision.

The petition was launched by New Haven, CT resident, Robert Bundy, and has accrued over 2,000 signatures. In a letter written to MoMA’s director, Glenn D. Lowry, and the museum’s chief architecture curator, Barry Bergdoll, Bundy asks that MoMA preserve the building rather than raze it, which he claims would be an architectural loss for the city of New York.

The building in debate was designed by notable New York-based architects Tod Williams and Billie Tsien to house the Folk Art Museum. The project was completed in 2001 but after falling into financial turmoil, the Folk Art Museum decided to sell the building to MoMA and move to a smaller location.

The decision to level the structure, which features a sculptural bronze façade, is part of MoMA’s overarching expansion plans. Officials claim that the former Folk Art Museum building doesn’t mesh well with MoMA’s neighboring sleek, glass façade. The Folk Art building is also set back slightly from MoMA making expansion logistics more complicated.

In Bundy’s letter he writes, “We ask that the Museum of Modern Art reconsider its position and save the former American Folk Art Museum. The destruction of the building will result in MoMA no longer being regarded as a protector and promoter of the arts.” The petition can be found on change.org’s website.

The Louvre’s new outpost in Abu Dhabi, which is slated to open in 2015, has assembled the 130 paintings, miniatures, sculptures, and other artworks that will form its permanent collection. Museum officials allowed reporters a sneak peek of the works including paintings by Pablo Picasso (1881-1973), Rene Magritte (1898-1967), Édouard Manet (1832-1883), and Paul Gauguin (1848-1903). The entire collection will be on view from April 22 to July 20, 2013 as part of the exhibition The Birth of a Museum at a gallery on the island of Saadiyat, close to where construction for the new museum is currently underway.

Louvre Abu Dhabi’s collection is comprised of numerous works from private collections, many of which have never been on public view before. Highlights from the museum’s holdings include Picasso’s gouache, ink, and collage work on paper Portrait of a Lady (1928); Gauguin’s Children Wrestling (1888); and Paul Klee’s (1879-1940) Oriental Bliss (1938).

The Louvre’s new venue, which was designed by the French architect Jean Nouvel, is the museum’s first branch outside of France. The venture is expected to bring the Louvre and its French partner museums approximately $1.31 million over 30 years. The Louvre also has an offshoot location in the northern city of Lens.

A rare and early reclining armchair designed by American architect Frank Lloyd Wright (1867-1959) is currently on view at the Currier Museum in Manchester, NH. A pioneer of modern architecture, Wright designed the chair between 1902 and 1903 and it features the minimal aesthetic and linear design that he is best known for. The chair was originally designed for his prairie style Francis W. Little House in Peoria, IL but he used different variations of the chair over the course of the next decade, including in his own studio in Chicago’s Oak Park.  

The presentation of the chair coincides with the reopening of the Currier’s Isadore J. and Lucille Zimmerman House (1950), which Wright designed. Along with the exterior, Wright devised the House’s interiors, furniture, gardens, and even its mailbox. The Zimmermans left the house to the Currier in 1988 and it opened for public tours in 1990. Besides being able to view a Wright masterpiece, visitors are offered a glimpse of the Zimmermans’ personal collection of modern art, pottery, and sculpture. The Zimmerman House is the only Wright home open to the public in New England. It was listed in the National Register of Historic Places in 1979.

Tours of the Zimmerman House are offered ten times a week and require a reservation.

A house built in 1952 by Frank Lloyd Wright for his son, David, has spent months on the brink of demolition. Fortunately, an anonymous buyer has purchased the Phoenix, Arizona home, ensuring its preservation.

The buyer paid $2.387 million for the house, which overlooks the picturesque Camelback Mountains. The former owners, Steve Sells and John Hoffman of the Arizona-based development company, 8081 Meridian, continued to raise the price of the house after purchasing the property for $1.8 million this past June.

The Frank Lloyd Wright Building Conservancy, an organization devoted to preserving the seminal architect’s legacy, facilitated the recent sale. After hearing that the former owners planned to level the house and split the lot to build new homes, the conservancy petitioned the city with the help of other organizations, asking that the house be granted landmark status. While three local government bodies approved the proposal, the City Council, which would be the deciding vote, repeatedly postponed their decision.

One of Wright’s most significant later works, the house in Phoenix features a coiled design similar to the one Wright employed for the Guggenheim Museum in New York. For years ago, Wright’s granddaughters decided to sell the house to a buyer they thought would preserve it. However, the house was sold again in June to 8081 Meridian putting it in danger of demolition.

While the house is in need of approximately $300,000 worth of restoration, the conservancy is helping to establish a nonprofit organization that will maintain and operate the house as well as oversee the renovation. The new owner plans to acquire landmark status for the house so that it can be made available for educational purposes on a limited basis.

Yale University Art Gallery will celebrate the completion of a multi-year, multi-million dollar renovation and expansion on December 12. The project cost $135 million and increased exhibition space by about one-third. The museum, which is located in New Haven, CT, now boasts nearly 70,000 square feet and includes a gallery devoted to African, Asian, and Pre-Columbian art that was designed by Louis Kahn in 1953, the Old Yale Art Gallery, which features ancient, European, and contemporary art, and the 1866 Street Hall. The project joined all three buildings to create one cohesive institution.

Besides the physical expansion, the Yale University Art Gallery has significantly increased its collection’s holdings. The museum acquired 1,100 new works including African terra-cotta figures, Greco-Roman coins, medals from the American Revolution, and marble portraits of Marcus Aurelius and Plato over 1,700 years old.

The expansion and renovation were designed and led by Duncan Hazard and Richard Olcott, partners in New York’s Ennead Architects. The project took 14 years to complete and outfitted the museum with new areas for exhibitions and object study and increased access to the Gallery’s comprehensive collections.

The Smithsonian’s plan to build an inflatable pavilion that will bubble out of the Hirshhorn Museum may be put on hold. Announced by Richard Koshalek, the museum’s director, in 2009, costs for the project have tripled from $5 million to $15.5 million over time. If the project comes to fruition, it won’t be completed until 2014. The structure, designed by the architectural firm Diller Scolfidio + Renfro was originally slated to open at the end of this year.

Smithsonian Undersecretary, Richard Kurin, says half of the funds needed for construction have been raised. However, the project won’t move forward without full funding.