The Czech artist discusses her installation “The Architecture of Sleep” at the Frieze Art Fair. Performers precariously snooze in artist Eva Kotátková's installation The Architecture of Sleep at the Frieze New York art fair last weekend. The annual Frieze New York art fair took place last weekend, and as usual, conditions inside the quarter-mile-long tent that houses the event felt a bit overstimulating. Inside the brightly lit belly of the temporary structure, a snaking white form designed by Brooklyn firm SO–IL, visitors bounced among 190 booths where dealers presented work in eye-catching installations arranged to command maximum attention from collectors.
Istallation view of Binet's work on view in Ammann//Gallery's booth at Collective 2. The second edition of the Collective design fair takes place this weekend in Manhattan. This year, the fair—founded by architect Steven Learner—has set up shop in the atrium at the McKim, Mead & White-designed Farley Post Office in Manhattan and added 19 additional galleries to its roster. One of the newcomers, German dealer Gabrielle Ammann, is offering work by Zaha Hadid, Wolfs + Jung, Satyendra Pakhalé, and several others—including an impressive table by Studio Nucleo—but among the highlights of her booth are 10 prints by architectural photographer
Theaster Gates will present the 10th annual Lewis Mumford Lecture at The City College of New York on May 1. Theaster Gates is a performance artist, potter, object maker, educator, urban planner, and innovator, and he has become a catalyst for renewal on Chicago’s South Side by putting his background to use in a unique way. His Dorchester Projects transformed abandoned houses into small cultural centers. He partnered with the University of Chicago, where he is a lecturer in the Department of Visual Arts, to create the Arts Incubator for artists-in-residence in a neglected building. And he’s now working on
In July 2012, Dominique Perrault Architecture won a competition to transform France's biggest post office into a mixed-use municipal and commercial facility. The Poste Centrale du Louvre (Central Post Office of the Louvre) in Paris was built between 1880 and 1888. For French architect Dominique Perrault, 2014 is off to an impressive start. Last month, he inaugurated two new projects—DC Tower 1 in Vienna and a Grand Theater for the small town of Albi in southern France. At the same time that his Paris-based firm is designing tall buildings and large developments throughout Europe and Asia, he’s taken on several
The artist Iván Navarro takes an anachronistic piece of New York’s skyline and turns it into one of his perception-confounding, selfie-ready installations. They are as much a symbol of New York City as the Empire State and Chrysler Buildings, but far more humble. The wooden water towers that dot the city’s rooflines seem like relics from an older era, and yet they still provide water to thousands of buildings, doing their job well enough that centuries of technological advances have failed to render them entirely obsolete. For his exhibition This Land Is Your Land, Chilean-born, Brooklyn-based artist Iván Navarro planted
Worlds of Cityvision will be on view at the WUHO Gallery in Los Angeles through March 23, 2014. The exhibition features urban proposals submitted to international ideas competitions launched by independent architecture lab Cityvision, as well as the lab's own projects. Cityvision team members, left to right: Sebastian Di Guardo, Vanessa Todaro, Joshua Mackley, Boris Prosperini, Ilja Burchard, and Francesco Lipari. The timelessness of Rome—the Eternal City—can be problematic for young architects attempting to break free of its design conservatism. Cityvision, an independent architecture lab based in Rome, offers an outlet by sponsoring competitions, publishing a magazine, and hosting lectures
Photo courtesy The Skyscraper Museum Rafael Viñoly discussed the design of 432 Park Avenue in the context of his high-rise work during a February 24 lecture hosted by The Skyscraper Museum. For Rafael Viñoly, running large offices in London and New York sometimes means putting out fires. Last summer, 20 Fenchurch Street, a Viñoly-designed skyscraper in the City of London, nicknamed the Walkie-Talkie, was blamed for incinerating a car—after its concave glass surface concentrated too much sunlight onto a parked Jaguar. The tabloids had a field day. Meanwhile, in New York, he may be best known for designing 432 Park
Image courtesy Van Alen Institute A rendering for the redesign of the Van Alen Institute's storefront by Collective-LOK (Jon Lott, William O’Brien Jr., and Michael Kubo). In 2008, after holding several positions in design publishing and communications in both Rotterdam and New York, David van der Leer shifted gears, becoming the first member of the Guggenheim Museum’s architecture and urban studies–focused curatorial team. At the Guggenheim, van der Leer steered the museum on a course of public outreach on city-related issues, including the BMW Guggenheim Lab, the recently concluded project in which experts and residents in New York, Berlin, and
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