This week, the Museum of Modern Art officially launches a new series of exhibitions entitled Architecture Now. According to MoMA, “The first iteration of the series, New York, New Publics, will explore the ways in which New York City–based practices have been actively expanding the relationship of metropolitan architecture to different publics through 12 recently completed projects.”
The exhibition will showcase public-facing work, such as parks, community gardens, and pools, by Adjaye Associates, Agency—Agency and Chris Woebken, CO Adaptive, James Corner Field Operations, Kinfolk Foundation, nArchitects, New Affiliates and Samuel Stewart-Halevy, Olalekan Jeyifous, Only If, PetersonRich Office, SO – IL, and SWA/Balsley and Weiss/Manfredi.
"Is a museum defined by its collection? Or by its architecture? In The Art Museum in Modern Times, Charles Saumarez Smith suggests it is both and still something more". Lauren McQuistion, an architectural designer and Ph.D. Candidate in the Constructed Environment at the University of Virginia School of Architecture discusses in her Architect's Newspaper piece, Saumarez's book, exploring the notion of a modern museum.
Reconstructions: Architecture and Blackness in America. Image Courtesy of The Museum of Modern Art, Robert Gerhardt
The Museum of Modern Art has launched Reconstructions: Architecture and Blackness in America, the fourth installment of the Issues in Contemporary Architecture series. Investigating the intersections of architecture, Blackness and anti–Black racism in the American context, the exhibition and accompanying publication examine contemporary architecture in the context of how systemic racism has fostered violent histories of discrimination and injustice in the United States.
For its 2021 edition, the Venice Biennale appointed the chief curator of the High Line’s art program in New York, Cecilia Alemani as artistic director. Alemani will become the first Italian woman to organize the festival, running in Italy starting May of next year.
MoMA PS1 has announced that the Young Architects Program will be placed on a one-year hiatus. MoMA PS1, formerly P.S.1 Contemporary Art Center, is one of the oldest and largest nonprofit arts centers in the United States devoted to contemporary art. The Young Architects Program founded by MoMA and MoMA PS1 was made to offer emerging architectural talent the opportunity to design a temporary, outdoor installation in New York.
The complete Museum of Modern Art expansion by Diller Scofidio + Renfro and Gensler is set to open in New York. The expansion adds more than 40,000 square feet of gallery spaces for exhibiting art. Launched in 2014, the first phase of renovations on the east end was completed in 2017, and the second phase of expansion on the west end is now complete and ready to open to the public.
Expected to be completed by 2022, The Museum of Modern Art Warsaw and the TR Warszawa Theatre will put in place a new art hub for Warsaw, Poland. The two new cultural entities will add a modern vibe to the rich heritage of the city. Designed by the New York-based studio Thomas Phifer and Partners, the new center of the arts will occupy a 22-acre site.
"Hórama Rama" by Pedro & Juana (Ana Paula Ruiz Galindo & Mecky Reuss) has been inaugurated as part of The Museum of Modern Art and MoMAPS1’s 20th annual Young Architects Program. This year’s architectural installation is an immersive junglescape set within a large-scale cyclorama that sits atop MoMAPS1’s courtyard walls. Selected from among five finalists, Hórama Rama will be on view through the summer, serving as a temporary built environment for MoMAPS1’s pioneering outdoor music series Warm Up.
The Museum of Modern Art (MoMA) has announced an October 2019 opening date of its Diller Scofidio + Renfro / Gensler-designed extension, which will offer 40,000 square feet of gallery space for the iconic institution in Midtown Manhattan. The expansion features two key additions, with the Marie-Josée and Henry Kravis Studio creating a double-height space for live and experimental programming, and the Paula and James Crown Platform offering experimental, creative pace to explore ideas, questions, and processes that arise from MoMA’s collection.
Videos
Miodrag Živković, Monument to the Battle of Sutjeska, 1965-71, Tjentište, Bosnia and Herzegovina. View of the western exposure. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, New York, 2017.
With the exhibition soon coming to an end, Martino Stierli (Chief Curator of Architecture and Design at MoMA) and Vladimir Kulic (Guest Curator and Architecture Historian) have presented a 7-minute-long video guiding viewers through the highlights of the exhibition.
https://www.archdaily.com/908777/an-expert-guide-through-momas-toward-a-concrete-utopia-architecture-in-yugoslavia-1948-nil-1980Niall Patrick Walsh
Hide & Seek by Dream The Combine for The Museum of Modern Art and MoMA PS1’s Young Architects Program 2018, on view at MoMA PS1 from June 28 to September 3, 2018. Image courtesy MoMA PS1. Photo by Pablo Enriquez.
The Museum of Modern Art (MoMA) has opened its exhibition of the Young Architects Program 2018 at its MoMA PS1 location in Long Island City, New York. Now in its 19th edition, the Young Architects Program offers emerging talent in the architectural world the opportunity to “design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation that provides shade, seating, and water.”
Architect Elizabeth Diller of firm Diller Scofidio + Renfro has once again been named one of TIME’s most influential people in 2018. TIME Magazine’s annual ‘Time 100’ List recognizes the achievement of artists, leaders, activists, entrepreneurs, and athletes who are exemplary in their fields. Diller has been named to the category of “Titans,” along with Roger Federer, Oprah Winfrey, Jeff Bezos, Elon Musk and Kevin Durant. This is Diller’s second time on the list but the first time being honored as a "Titan."
Other honorees this year include Shinzo Abe, Justin Trudeau, Xi Jinping and Jimmy Kimmel.
Miodrag Živković, Monument to the Battle of Sutjeska, 1965-71, Tjentište, Bosnia and Herzegovina. View of the western exposure. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, New York, 2017.
The Museum of Modern Art will explore the architecture of the former Yugoslavia with Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, the first major US exhibition to study the remarkable body of work that sparked international interest during the 45 years of the country’s existence. The exhibition will include more than 400 drawings, models, photographs, and film reels culled from an array of municipal archives, family-held collections, and museums across the region, introducing the exceptional built work of socialist Yugoslavia’s leading architects to an international audience for the first time.
At this morning’s press event, The Museum of Modern Art in New York (MoMA) unveiled the completed renovations to the east end of its museum campus, while also revealing for the first time the full design of their multi-year expansion project designed by Diller Scofidio + Renfro in collaboration with Gensler.
With the completion of the east wing renovation, which began in February 2016, the museum has created two spacious third-floor galleries by reconfiguring 15,000 square feet of space, allowing for better flexibility in installing the collection and temporary exhibitions.
View into the exhibition (1988). Photographer unknown. Image via MoMA
When Philip Johnson curated the Museum of Modern Arts’ (MoMA) 1932 “International Exhibition of Modern Architecture,” he did so with the explicit intention of defining the International Style. As a guest curator at the same institution in 1988 alongside Mark Wigley (now Dean Emeritus of the Columbia GSAPP), Johnson took the opposite approach: rather than present architecture derived from a rigidly uniform set of design principles, he gathered a collection of work by architects whose similar (but not identical) approaches had yielded similar results. The designers he selected—Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and the firm Coop Himmelblau (led by Wolf Prix)—would prove to be some of the most influential architects of the late 20th Century to the present day.[1,2]
Now in it’s 17th year, the competition was founded to offer emerging architectural talent the opportunity to design a temporary, outdoor installation within the walls of the P.S.1 courtyard for MoMA’s annual summer “Warm-Up” series. Architects are challenged to develop creative designs that provide shade, seating and water, while working within guidelines that address environmental issues, including sustainability and recycling.
Mexico City-based Escobedo Soliz Studio has been named the winner of MoMA and MoMA PS1's annual Young Architects Program (YAP) in New York - now in its 17th edition. Selected over four other finalists, the winning project, Weaving the Courtyard is “neither an object nor a sculpture standing in the courtyard, but a series of simple, powerful actions that generate new and different atmospheres," says the architect. It will serve as a "temporary urban landscape" for the 2016 Warm Up summer music series in MoMA PS1’s outdoor courtyard.
"Weaving the Courtyard is a site-specific architectural intervention using the courtyard’s concrete walls to generate both sky and landscape, with embankments in which platforms of soil and water suggest the appearance of a unique topography," says MoMA.
In the mid-1980s, after literature had long been held hostage by postmodernist irony and cynicism, a new wave of authors called for an end to negativity, promoting a "new sincerity" for fiction. Gaining momentum into the 1990s, the movement reached a pinnacle in 1993 when, in his essay E Unibus Pluram: Television and U.S. Fiction, pop-culture seer David Foster Wallace, a proponent of this "new sincerity," made the following call to action: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles... These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.'"
Architecture, ever in debt to the styles and ideas of other art forms, could learn a thing or two now from the resuscitation of American fiction at the turn of the millennium. It too is enduring an identity crisis, mired by pessimism and uncertainty - a reality made painfully clear this past January when a New York Times Op-Ed by Steven Bingler and Martin C. Pedersen, How to Rebuild Architecture, divided camps and made the design world fume. In the editorial, the authors spoke vehemently of an architectural profession that has become mired by egos and been disconnected from public needs. Things quickly got ugly, critics wrestled with critics and subsequently the public got involved. What no one seemed to take into account is that this type of hounding is at the core of the problem. In its current landscape the discipline has struggled with its past, been deferential to its present, and wrestled with the uncertainty of its future. In a moment when we have become addicted to despondency, can anyone win?
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