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.
It’s typical for a public institution to announce a big building project with fanfare. But when the same project is dropped, the institution may invoke its right to remain silent.
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
Diamond Table During the recent season finale of the NBC sitcom "Parks and Recreation," the show’s resident curmudgeon-slash-woodworker, Ron Swanson, while rushing to finish a handmade chair before an important deadline, smashes his intricate design. “It was too perfect,” he explains. “People will think it was made by a machine.” It’s a sentiment that pops into mind when touring Joris Laarman’s new exhibition Bits and Crafts (through June 14) at Friedman Benda gallery in Manhattan. The show features the results of Laarman’s experiments at the crossroads of technology and design. By using the latest in 3D printing, like the MX3D
Image courtesy Reclaim NYC Appearing at the third iteration of Reclaim NYC, from May 15-20, Space Trash is a room-scale interactive installation by Brooklyn-based design firm The Principals. Using myoelectric sensors, visitors can control the shape of the room by clenching their muscles, turning the space into a bionic architecture. Proceeds from the sale of concrete coaster sets inspired by the installation will support the National MS Society. From May 17-20, the International Contemporary Furniture Fair comes to New York to serve as the stateside launchpad of the design world’s newest developments. For industry diehards, roving the showroom floors of
A show at New York’s Storefront for Art and Architecture asks the architecture world to petition its political leaders. Dear Mayors (and All Other Inhabitants of Cities),Last week, the Storefront for Art and Architecture in New York City opened an exhibition called Letters to the Mayor. It consists of 50 letters to mayors of various cities by an invited group of architects, critics and curators. It’s not much to look at—just some notes typed on white paper and pinned to the wall—but it aggregates and articulates important points about contemporary architecture and urban development. The letters hang opposite wallpaper designed
Photo by Sean Hemmerle, via Graham Foundation Paul Rudolph's three-story Orange County Government Center in Goshen, New York, completed in 1970, has 87 roofs. The long-running saga over Paul Rudolph’s Orange County Government Center—which officials have been threatening to demolish for more than a decade—took perhaps its strangest turn last week: Gene Kaufman, an architect best known for designing colorful towers for national hotel chains on the West Side of Manhattan, offered to buy the building. At a meeting of the County Legislature on May 1, Kaufman offered to purchase the Rudolph building, which has been closed since 2011, and
Designed to be the greenest commercial building in the world, the six-story structure is outperforming its energy goals with an integrated design and motivated tenants. The Bullitt Center used 75 percent less energy than a new building that meets Seattle’s rigorous energy code. The designers of Seattle’s Bullitt Center have overachieved. The Miller Hull Partnership, co-founded by the late Robert Hull, set out to demonstrate that a six-story office building could generate all of the energy it needs, but after one year of operation, it is sending a sizable energy surplus to the local power grid, according to data released
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