https://www.architecturalrecord.com/rss/1989-art-and-architecture en-us The famed artist was known for his monumental, but intimate, weathering steel sculptures.  

]]> http://www.architecturalrecord.com/articles/16816 Wed, 27 Mar 2024 18:09:27 -0400 https://www.architecturalrecord.com/articles/16816-tribute-richard-serra-1938-2024 It’s rare that an artist, or an architect, manages to group their affinities into a body of work so that each piece or design contains their combined fascinations.

]]> 140827-newsmaker-david-hutchinson.asp Wed, 27 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/3218-newsmaker-david-hutchinson David Hutchinson Hutchinson's Animal / Angel // Savior / Predator (2014), a sculpture made of fabric, archival binder's board, wood, acrylic, and glue.   Image © David Hutchinson David Hutchinson David Hutchinson, JG on Rembrandt #1 (2000), paint marker on paper   Image © David Hutchinson David Hutchinson A Dazzling Pimp Carved From an Archangel (2003)   Image © David Hutchinson David Hutchinson Miracle of the Rose (2004)   Image © David Hutchinson David Hutchinson Balcony (2000)   Image © David Hutchinson David Hutchinson JG on Rembrandt 2 (2000)   Image © David Hutchinson David Hutchinson JG NY Times Obit 8Xs (2014)   Image © David Hutchinson David Hutchinson Photo courtesy The Lionheart Gallery This past spring, the sculptor Richard Serra was honored with the President's Medal from the venerable Architectural League of New York, which cited his evolution as an artist from the “concerns of matter and materiality to more spatial preoccupations.” 

]]> 1408.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/11202-but-is-it-art Annabelle Selldorf was an obvious choice to renovate the venerated museum of the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, home to a stellar collection of European and American paintings.

]]> 1408-the-museum-clark-art-institute-selldorf-architects-with-gensler.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/7522-the-museum-clark-art-institute The Museum, Clark Art Institute Selldorf Architects renovated and restored the white Vermont-marble classical-style museum designed by Daniel D. Perry in 1955. It will still house the permanent collection, although the entrance has been moved from the east side to the west, where Tadao Ando has added a new glass pavilion overlooking the reflecting pool and the visitor center.   Photo © James Ewing The Museum, Clark Art Institute Inside the museum, Selldorf devised a color palette of soft, muted shades for the various galleries.   Photo © James Ewing The Museum, Clark Art Institute The rich colors of the paintings in the gallery where Renoir reigns are set off by tinted walls. The existing oak floors have been stained a slightly darker shade. Selldorf cleaned the laylight and updated it with safety film. Above it and the attic space, the architect replaced the original composite translucent material on the roof with a new version of the same product.   Photo © James Ewing The Museum, Clark Art Institute Image courtesy Selldorf Architects with Gensler The Museum, Clark Art Institute Image courtesy Selldorf Architects with Gensler Last month the Clark completed a $145 million campus expansion on its 140-acre site in the Berkshire mountains of Massachsetts. Included is a new visitor center by Tadao Ando Architect & Associates and a renovation of the existing museum by Selldorf Architects.

]]> 1408-visitor-center-clark-art-institute-tadao-ando.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/7523-visitor-center-clark-art-institute Vision Center Tadao Ando’s visitor center seems to float on a reflecting pool to the west of the original museum building. According to the master plan, the center forms the new entrance to the Clark campus on the north, removed from the existing buildings on the east. In Ando’s scheme, red granite walls cut diagonally through rectilinear volumes to frame views and define edges of the outdoor spaces.   Photo © James Ewing Vision Center Tadao Ando’s visitor center seems to float on a reflecting pool to the west of the original museum building. According to the master plan, the center forms the new entrance to the Clark campus on the north, removed from the existing buildings on the east. In Ando’s scheme, red granite walls cut diagonally through rectilinear volumes to frame views and define edges of the outdoor spaces.   Photo © James Ewing Vision Center Red granite walls define the new entrance on the north side of the campus and Tadao Ando’s visitor center.   Photo © James Ewing Vision Center From a portion of the terrace off the lobby on the south side, visitors look into a sunken court that admits light to a café and the lobby downstairs. Along the south-facing glass wall, Ando placed freestanding reinforced-concrete walls with large openings to frame the view of the pool and the landscape.   Photo © James Ewing Vision Center Ando designed the crisp, smooth planes to contrast strikingly with the rolling hills of the Berkshires landscape yet direct the gaze up to them. As visitors enter the ground-floor lobby of the steel-framed-and-reinforced-concrete structure, they find that an open stair leads to a lower level.   Photo © James Ewing vis Ando deployed freestanding concrete walls, shallow pools, and glass planes with a masterful syncopation reminiscent of Mies van der Rohe.   Photo © James Ewing Vision Center The shallow pool, a void, functions as the center of Ando’s choreography of stone, concrete, and glass on the south elevation, revealed in layers from the entrance lobby.   Photo © James Ewing Vision Center Within the visitor center, a multipurpose space features the exhibition Cast for Eternity: Ancient Ritual Bronzes from the Shanghai Museum, open until September 21. The Clark asked Annabelle Selldorf, the architect for the renovation of the museum next door, to design the installation. Her elegantly proportioned glass vitrines and translucent enclosing screens create a well-mannered setting that defers graciously to Ando’s architecture.   Photo © James Ewing Vision Center Within the visitor center, a multipurpose space features the exhibition Cast for Eternity: Ancient Ritual Bronzes from the Shanghai Museum, open until September 21. The Clark asked Annabelle Selldorf, the architect for the renovation of the museum next door, to design the installation. Her elegantly proportioned glass vitrines and translucent enclosing screens create a well-mannered setting that defers graciously to Ando’s architecture.   Photo © James Ewing Vision Center Image courtesy Tadao Ando Architect & Associates with Gensler Vision Center Image courtesy Tadao Ando Architect & Associates with Gensler Visitor Center, Clark Art Institute Image courtesy Tadao Ando Architect & Associates with Gensler Visitor Center, Clark Art Institute Image courtesy Tadao Ando Architect & Associates with Gensler Visitor Center, Clark Art Institute Image courtesy Tadao Ando Architect & Associates with Gensler 1408-aspen-art-museum-shigeru-ban-architects.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/7517-aspen-art-museum-by-shigeru-ban-architects Aspen Art Museum A lattice screen made from a wood-covered mixture of paper and resin wraps the street-facing elevations of the Aspen Art Museum.   Photo © Michael Moran Aspen Art Museum Shigeru Ban Architects chose its brown color to evoke the bricks found on nearby buildings in downtown Aspen. On the sidewalk in front of the building, in a parklike 'commons' area, are two wavy wooden benches.   Photo © Michael Moran Aspen Art Museum The architect used his signature paper tubes in ground-floor walls, benches, and two ceilings.   Photo © Michael Moran Aspen Art Museum The architect used his signature paper tubes in ground-floor walls, benches, and two ceilings.   Photo © Michael Moran Aspen Art Museum A grand stair is split between the interior and the exterior of the building, running along both sides of a glass curtain wall. It climbs three stories from the sidewalk up to a roof terrace.   Photo © Michael Moran Aspen Art Museum Supported by steel posts, a ceiling space frame is made from timber members designed to connect without the aid of metal joints. It covers a small caf' and part of a roof deck with striking views of the surrounding mountains.   Photo © Michael Moran Aspen Art Museum Two 42-foot sliding doors allow the caf' and the roof terrace to be combined into a large indoor-outdoor area.   Photo © Michael Moran Aspen Art Museum The museum's six white-box galleries not only lack columns, but light switches and sensors are all located in the ceilings and floors for uninterrupted art viewing. An exhibition of full-scale disaster-relief projects by Shigeru Ban runs through October 5.   Photo © Michael Moran Aspen Art Museum The exhibition David Hammons Yves Klein / Yves Klein David Hammons runs through November 30.   Photo © Michael Moran Aspen Art Museum The exhibition David Hammons Yves Klein / Yves Klein David Hammons runs through November 30.   Photo © Michael Moran Aspen Art Museum Axonometric projection.   Image courtesy Shigeru Ban Architects Aspen Art Museum Image courtesy Shigeru Ban Architects Aspen Art Museum Image courtesy Shigeru Ban Architects Aspen Art Museum Image courtesy Shigeru Ban Architects Aspen Art Museum Image courtesy Shigeru Ban Architects Aspen Art Museum Image courtesy Shigeru Ban Architects Aspen Art Museum Image courtesy Shigeru Ban Architects Delfina Entrecanales is an unusual cultural philanthropist, her Delfina Foundation in London is an unusual place, and the architectural concept underlying it was born of an unusual international collaboration.

]]> 1408-delfina-foundation-studio-octopi-and-shahira-fahmy-architects.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/7518-delfina-foundation Delfina Foundation A courtyard off the public gallery in the basement features artist Gayle Chong Kwan's WASTESCAPE, made of used and new plastic food packaging.   Photo © Julien Lanoo Delfina Foundation Its administrative offices are located behind a sliding door (at right) and next to the shared library (at left) on the second floor. Glass panels help to create a sense of connection between the various floors.   Photo © Julien Lanoo Delfina Foundation The foundation purchased two identical townhouses and combined them.   Photo © Julien Lanoo Delfina Foundation Image courtesy Studio Octopi and Shahira Fahmy Architects Delfina Foundation Image courtesy Studio Octopi and Shahira Fahmy Architects Delfina Foundation Image courtesy Studio Octopi and Shahira Fahmy Architects Delfina Foundation Image courtesy Studio Octopi and Shahira Fahmy Architects A Spanish architect converts a historic building in upstate New York into an outpost for a Manhattan art dealer.

]]> 1408-jack-shainman-gallery-the-school-antonio-jimenez-torrecillas.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/7519-the-school-by-antonio-jim%C3%A9nez-torrecillas Jack Shainman Gallery The three-level Colonial Revival building was originally completed in 1929.   Photo © James Ewing Jack Shainman Gallery Architect Antonio Jiménez Torrecillas restored the Martin van Buren School’s entry but updated the lighting and finishes to convey its new role as an art space. (Here, a recent work by the artist Nick Cave greets visitors.)   Photo © James Ewing Jack Shainman Gallery A former classroom is now used to display work by artists represented by Jack Shainman, including (from left to right) Hank Willis Thomas, Michael Snow, and Carrie Mae Weems. For this and other second-floor galleries, Antonio Jiménez Torrecillas designed a simple lighting scheme that combines warm daylight from The School’s existing windows with cool artificial light from vertical pairs of fluorescents. A scrim set about 2 feet in front of the windows diffuses light from both sources, blending them to form an even color temperature.   Photo © James Ewing Jack Shainman Gallery On the second floor, one of The School’s unfinished spaces shows a 2008 Soundsuit by Nick Cave.   Photo © James Ewing Jack Shainman Gallery On the ground floor, a series of narrow hallways wrapping The School’s main gallery volume double as exhibition spaces, currently showing a selection of Cave’s Soundsuits.   Photo © James Ewing Jack Shainman Gallery Also on the second floor, the architect took out masonry walls in the former principal’s office suite—transferring their structural loads to a newly added steel beam in the ceiling—in order to open up the space and display larger work, such as Cave’s 2014 installation Property.   Photo © James Ewing Jack Shainman Gallery As visitors make their way through the hallway galleries and down to the newly excavated basement level, they find themselves in a low-ceilinged space below the entry.There, lighting set behind plexi sheets casts a glow on Nick Cave’s simply titled assemblage Sculpture (2013).   Photo © James Ewing Jack Shainman Gallery Turning to the right, this moment of compression opens into the main gallery, with its 24-foot ceilings. In the current show, a phalanx of Nick Cave’s Soundsuits stands in front of what was the proscenium of the school’s theater.   Photo © James Ewing Jack Shainman Gallery Image courtesy Antonio Jiménez Torrecillas Jack Shainman Gallery Image courtesy Antonio Jiménez Torrecillas Jack Shainman Gallery Image courtesy Antonio Jiménez Torrecillas Jack Shainman Gallery Image courtesy Antonio Jiménez Torrecillas goncharj@bnpmedia.com (Joann Gonchar, FAIA) The artist toiling in solitude has long been a romantic ideal. But it rarely holds in reality, especially for those who work at the civic scale, making pieces that straddle the blurry boundary between art and architecture. These artists rarely work alone, typically relying on a host of collaborators to realize their visions, including studio assistants, fabricators, and even city officials.

]]> 1408-the-engineering-of-art.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/6721-the-engineering-of-art The Engineering of Art Janet Echelman's 745-foot-long sculpture, installed for about two weeks in March outside the Vancouver Convention Centre, is the largest prestressed rope structure in the world, according to engineers at Arup. It consists of a structural net of polyethylene rope and a draped net of polyester twine.   Photo © Ema Peter The Engineering of Art Among the analyses that engineers performed were iterative studies of the stresses in the structural net (left)'with the goal of achieving a uniform distribution'and explorations of the deformations of the draped net from wind.   Image courtesy Arup The Engineering of Art Among the analyses that engineers performed were iterative studies of the stresses in the structural net'with the goal of achieving a uniform distribution'and explorations of the deformations of the draped net (left) from wind.   Image courtesy Arup The Engineering of Art Unnumbered Sparks is made of almost 1 million feet of braided fibers held together by 8,600 machine- and hand-tied knots. It ripples and undulates in the wind and appears lighter than air, even though it weighs about 3,200 pounds.   Photo © Ema Peter The Engineering of Art Conceived as a performance venue that would tour the region of Japan devastated by the 2011 Tohoku earthquake and tsunami, Ark Nova was first deployed last fall in Matsushima (left). The inflatable 500-seat hall, designed by Anish Kapoor and Arata Isozaki, is enclosed by 22,000 square feet of PVC-coated polyester.   Photo © Iwan Baan The Engineering of Art The normally opaque eggplant-colored membrane becomes nearly translucent when light shines through it. The welded seams between sections of the skin are revealed on the interior during the day (left) and on the outside at night, when Ark Nova is illuminated from within.   Photo © Iwan Baan The Engineering of Art The normally opaque eggplant-colored membrane becomes nearly translucent when light shines through it. The welded seams between sections of the skin are revealed on the interior during the day and on the outside at night, when Ark Nova is illuminated from within (left).   Photo © Iwan Baan The Engineering of Art Ball-Nogues Studios' installation for the Los Angeles International Airport extends 95 feet below a skylight to just 13 feet above the floor.   Photo © Joshua White The Engineering of Art The almost 6,000-pound sculpture is made of thousands of stainless-steel bead chains suspended from six cables that in turn are hung from the skylight's structural members.   Photo courtesy Ball-Nogues The Engineering of Art The colorful chains overlap in space, creating moiré patterns that shift depending on the quality of light coming through the skylight and the vantage point of the viewer.   Image © Joshua White The Engineering of Art Engineers from Buro Happold created a finite-element-analysis model of Air Garden. An axonometric view created from this model, reveals the amount and complexity of the data that was analyzed. Among the studies that the engineers performed for Ball-Nogues was an examination of the forces acting on the bead chains (left). Stress increases near the supports, since the uppermost sections of the bead chains must carry the weight of those below.   Image courtesy Buro Happold The Engineering of Art Engineers from Buro Happold created a finite-element-analysis model of Air Garden. An axonometric view (left) created from this model, reveals the amount and complexity of the data that was analyzed. Among the studies that the engineers performed for Ball-Nogues was an examination of the forces acting on the bead chains. Stress increases near the supports, since the uppermost sections of the bead chains must carry the weight of those below.   Image courtesy Buro Happold Alex Schweder practices what he calls “performance architecture,” installation and event-based work that explores how people comprehend the built environment and how that perception shapes their bodies, social relationships, and desires. 

]]> 1408-something-borrowed-alex-schweder.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5877-alex-schweder Alex Schweder Alex Schweder and Ward Shelley, In Orbit, 2014   Photo courtesy Double Cyclops Alex Schweder The Hotel Rehearsal, 2013.   Photo © Cristobal Palma Alex Schweder Alex Schweder's 2011 work, OK Boyfriend, a set of instructions for a client showing how to live in her loft differently.   Photo © Alex Schweder Alex Schweder Wall to Wall, Floor to Ceiling at the Tel Aviv Museum of Art, which ran from February 15 through July 26, 2014.   Photo © Alex-Schweder Allyson Vieira builds monuments—but she uses unexpectedly humble material. Take her 2013–14 exhibition The Plural Present. There, the New York–based artist filled a gallery with Classical ruins: The City Wall, 2013, delimited the space with a colonnade that framed Beauty, Mirth, and Abundance, 2013, three figures striking acontrapposto that echoes the famed Greek statue of the three graces at the Metropolitan Museum of Art. 

]]> 1408-something-borrowed-allyson-vieira.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5878-allyson-vieira Allyson Vieira 2013'14 exhibition The Plural Present   Photo courtesy Daniel Perez; Swiss Institute, New York Allyson Vieira Installation view of Allyson Vieira's 2013 exhibition, The Plural Present, at the Swiss Institute in New York.   Photo courtesy Courtesy Swiss Institute, New York / Daniel Perez Allyson Vieira Beauty, Mirth, and Abundance, 2013.   Photo courtesy Kunsthalle Basel / Laurel Gitlen, New York Allyson Vieira Clad (Beauty, Mirth, and Abundance III), 2013.   Photo courtesy Kunsthalle Basel / Laurel Gitlen, New York Allyson Vieira Clad (Beauty, Mirth, and Abundance III), 2013.   Photo courtesy Kunsthalle Basel / Laurel Gitlen, New York Allyson Vieira For a pair of 2013 works in her Weight Bearing series, the artist sawed stacks of gypsum board into jagged figures and then raised a steel I-beam onto the top of each pair.   Photo © Cathy Carver, courtesy Laurel Gitlen, New York Allyson Vieira Installation view of Allyson Vieira's 2013 exhibition, Cort'ge, at Laurel Gitlen in New York.   Photo courtesy Cathy Carver; Laurel Gitlen, New York Andreas Angelidakis is not sure why millions of people are obsessed with cat videos. “It’s a curious thing, what captures people’s attention,” he says. “Architecture is a lot slower than that kind of exchange of images.” 

]]> 1408-something-borrowed-andreas-angelidakis.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5879-andreas-angelidakis Andreas Angelidakis Hand House, 2010   Photo courtesy Andreas Angelidakis Andreas Angelidakis Bone Domino, 2014   Photo courtesy Andreas Angelidakis Andreas Angelidakis Installation view of Andreas Angelidakis: Every End is A Beginning at the National Museum of Contemporary Art in Athens, on view through September 7, 2014.   Photo courtesy Andreas Angelidakis Andreas Angelidakis Installation view of Andreas Angelidakis: Every End is A Beginning at the National Museum of Contemporary Art in Athens, on view through September 7, 2014.   Photo courtesy Andreas Angelidakis Andreas Angelidakis Cloud House, 2005.   Photo courtesy Andreas Angelidakis Andreas Angelidakis Troll, 2005.   Photo courtesy Andreas Angelidakis Andreas Angelidakis Domesticated Mountain House, 2005.   Photo courtesy Andreas Angelidakis Andreas Angelidakis Crash Pad, 2014, installation at the 8th Berlin Biennial on view through August 3, 2014.   Photo courtesy Andreas Angelidakis Andreas Angelidakis Crash Pad, 2014, installation at the 8th Berlin Biennial on view through August 3, 2014.   Photo courtesy Andreas Angelidakis For Andrés Jaque’s Office for Political Innovation, architecture is the social as well as physical infrastructure of society. Founded in 2003 by Jaque, the Madrid-based practice has employed a mix of architects, engineers, sociologists, interactive multimedia designers, and even anthropologists and marketing consultants in its various projects. 

]]> 1408-something-borrowed-andres-jaque.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5880-andr%C3%A9s-jaque Andrés Jaque IKEA Disobedients, 2011   Courtesy Andr's Jaque/Office for Political Innovation Andrés Jaque IKEA Disobedients, 2011   Courtesy Andr's Jaque/Office for Political Innovation Andrés Jaque Plasencia Clergy House (2009)   Courtesy Miguel de Guzm'n Andrés Jaque Plasencia Clergy House (2009)   Courtesy Miguel de Guzm'n Andrés Jaque PHANTOM. Mies as Rendered Society (2012)   Courtesy Andr's Jaque/Office for Political Innovation Andrés Jaque House in Never Never Land (2009)   Courtesy Miguel de Guzm'n Andrés Jaque House in Never Never Land (2009)   Courtesy Miguel de Guzm'n Andrés Jaque Sweet Parliament Home (2011)   Courtesy Andr's Jaque/Office for Political Innovation Andrés Jaque Sweet Parliament Home (2011)   Courtesy Andr's Jaque/Office for Political Innovation Halsey Rodman constructed Gradually/We Became Aware/Of a Hum in the Room over a couple of weeks this spring, in Joshua Tree, California. 

]]> 1408-something-borrowed-halsey-rodman.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5881-halsey-rodman Halsey Rodman Joshua Tree, California Gradually/We Became Aware/Of a Hum in the Room, 2014   Photo © John Pearson Halsey Rodman Joshua Tree, California Gradually/We Became Aware/Of a Hum in the Room, 2014   Photo © John Pearson Halsey Rodman Joshua Tree, California Gradually/We Became Aware/Of a Hum in the Room, 2014   Photo © John Pearson Halsey Rodman Joshua Tree, California Gradually/We Became Aware/Of a Hum in the Room, 2014   Photo © John Pearson Halsey Rodman Joshua Tree, California Gradually/We Became Aware/Of a Hum in the Room, 2014   Photo © John Pearson Halsey Rodman Joshua Tree, California Gradually/We Became Aware/Of a Hum in the Room, 2014   Photo © John Pearson Katrín Sigurdardóttir was born in Reykjavik and moved to the United States in 1988 to attend the San Francisco Art Institute. The artist now splits her time between studios in Long Island City, New York, and Iceland. As it is in her life, a kind of diasporic mobility is a key theme in Sigurdardóttir’s work. 

]]> 1408-something-borrowed-katrin-sigurdardottir.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5882-katr%C3%ADn-sigurdard%C3%B3ttir Katrín Sigurdardóttir Foundation is a fragment of an imaginary pavilion, but also a distinct place in and of itself.   Photo: © Orsenigo Chemollo, courtesy of the artist and the Icelandic Art Center Katrín Sigurdardóttir Foundation was conceived to travel, beginning as the Icelandic Pavilion at the Venice Biennale in 2013 and installed in the Palazzo Zenobio, where it intersected with the walls of an historic laundry.   Photo © Ron Amstutz, courtesy Katrín Sigurdardóttir Katrín Sigurdardóttir Foundation, 2013-2014   Photo © Orsenigo Chemollo, courtesy of the artist and the Icelandic Art Center Katrín Sigurdardóttir Foundation, 2013-2014   Photo © Petur Thomsen. Courtesy of the Artist and the Reykjavik Art Museum. Katrín Sigurdardóttir Foundation, 2013-2014   Photo © Ron Amstutz, courtesy of the artist Philip Beesley takes the same core idea as the point of departure both for his architecture and his otherworldly installations: the shared experience of public space. “How architecture makes a place fundamentally,” says Beesley, “and the collective experience of dwelling, encounter, and sharing stands at the core of both practices.”

]]> 1408-something-borrowed-philip-beesley.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5883-philip-beesley Phillip Beesley Composed of light plastics such as acrylic and polymer, along with glass and electronic systems, the sculptures from his Ephiphyte series feature reactive electronic sensors that make parts of the installation twitch when visitors draw near.   Photo © PBAI Phillip Beesley Small flasks he calls 'proto-cells' contain various chemical reactions'most notably, substances that capture carbon dioxide from the air.   Photo © PBAI Phillip Beesley Niagara Credit Union Exterior   Photo © PBAI Phillip Beesley Niagara Credit Union Interior   Photo © PBAI Rob Fischer, whose background is in sculpture, has been building domestic structures since college and often moves them from one remote rural landscape to another, exploring the seemingly opposing ideas of protection and adventure. 

]]> 1408-something-borrowed-rob-fischer.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5884-rob-fischer Rob Fischer Mirrored House (Disappearing House) in the Woods   Photo © Rob Fischer Rob Fischer Good Weather (Glass House)   Photo © Adam Reich, courtesy of the artist and Derek Eller Gallery Rob Fischer Good Weather (Glass House)   Photo © Adam Reich, courtesy of the artist and Derek Eller Gallery Rob Fischer This summer, Fischer is working on a project similar to Good Weather, for Omi International Arts Center in Ghent, New York, a residency program for visual artists, writers, musicians, and dancers. It will be installed on footings in the middle of pond at Omi and will be used by artists for short stays of a night or two. 'We will probably install this winter when the pond is frozen and we can get out to set helical piles through the ice. The pond is in the middle of the sculpture park and is mostly hidden by marsh and woods, so it feels quite secluded,' says Fischer.   Photo © Rob Fischer Rob Fischer The Classical Elements (House Made of Cessna, Trailer House, Greenhouse, Boat)   Photo © Rob Fischer Rob Fischer Mirrored House on Water, 1999   Photo © Rob Fischer Rob Fischer Fischer spends summers at a house and studio in Minnesota, where he designed the trusses shown here (he started them at the same time as Glass House). 'I love being able to spend the summer here working on sculpture on a scale I really can't do in New York,' writes Fischer.   Photo © Rob Fischer Sarah Oppenheimer studied painting at Yale, where she received her M.F.A. in 1999, but, over the last decade, architecture has been her canvas and medium. Oppenheimer manipulates existing architectural spaces, distorting our perception of an interior’s geometry and programmatic logic. 

]]> 1408-something-borrowed-sarah-oppenheimer.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5885-sarah-oppenheimer Sarah Oppenheimer Kunsthaus Baselland, Muttenz, Switzerland 33-D, 2014   Photo © Serge Hasenb'ehler Sarah Oppenheimer Kunsthaus Baselland, Muttenz, Switzerland 33-D, 2014   Photo © Serge Hasenb'ehler Sarah Oppenheimer Kunsthaus Baselland, Muttenz, Switzerland 33-D, 2014   Photo © Serge Hasenb'ehler Sarah Oppenheimer Kunsthaus Baselland, Muttenz, Switzerland 33-D, 2014   Photo © Serge Hasenb'ehler Sarah Oppenheimer Kunsthaus Baselland, Muttenz, Switzerland 33-D, 2014   Photo © Serge Hasenb'ehler Snarkitecture, the name that artist Daniel Arsham and designer Alex Mustonen have given their nearly 10-year-old design collaboration, cuts two ways. On the one hand, it references the fictional creature in Lewis Carroll’s nonsense poem “The Hunting of the Snark”; on the other, it invokes the arch tone of Internet writing.

]]> 1408-something-borrowed-snarkitecture.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5886-snarkitecture Snarkitecture The White Room, 2013.   Photo courtesy Snarkitecture / Noah Kalina Snarkitecture The White Room, 2013.   Photo courtesy Snarkitecture / Noah Kalina Snarkitecture The White Room, 2013.   Photo courtesy Snarkitecture / Noah Kalina Snarkitecture Installation view of Snarkitecture, Dig, 2011, at the Storefront for Art and Architecture in New York.   Photo courtesy Storefront for Art and Architecture Snarkitecture Installation view of Snarkitecture, Dig, 2011, at the Storefront for Art and Architecture in New York.   Photo courtesy Snarkitecture Snarkitecture Installation view of Snarkitecture, Dig, 2011, at the Storefront for Art and Architecture in New York.   Photo courtesy Snarkitecture Snarkitecture Installation view of Snarkitecture, Dig, 2011, at the Storefront for Art and Architecture in New York.   Photo courtesy Storefront for Art and Architecture Snarkitecture Installation view of Snarkitecture, Dig, 2011, at the Storefront for Art and Architecture in New York.   Photo courtesy Snarkitecture Snarkitecture Installation view of Snarkitecture, Drift, 2012, at Design Miami.   Photo courtesy Snarkitecture / Markus Haugg Snarkitecture Installation view of Snarkitecture, Drift, 2012, at Design Miami.   Photo courtesy Snarkitecture / Markus Haugg Snarkitecture Installation view of Snarkitecture, Drift, 2012, at Design Miami.   Photo courtesy Snarkitecture / Markus Haugg Snarkitecture Installation view of Snarkitecture, Drift, 2012, at Design Miami.   Photo courtesy Snarkitecture / Markus Haugg Snarkitecture Installation for MADE in S'o Paulo, 2013.   Photo courtesy Snarkitecture Snarkitecture Installation for MADE in S'o Paulo, 2013.   Photo courtesy Snarkitecture Snarkitecture Installation for MADE in S'o Paulo, 2013.   Photo courtesy Snarkitecture Snarkitecture iPhone pillow made from cast white gypsum cement.   Photo courtesy Snarkitecture Snarkitecture iPhone pillow made from cast white gypsum cement.   Photo courtesy Snarkitecture Snarkitecture iPhone pillow made from cast white gypsum cement.   Photo courtesy Snarkitecture For decades, Dan Graham has created pavilions that play with viewers’ perceptions of space. His Hedge Two-Way Mirror Walkabout, 2014, a collaboration with the Swiss landscape architect Günther Vogt, is installed on the roof of New York’s Metropolitan Museum of Art through November 2.

]]> 1408-art-architecture-discipline-problem.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5874-discipline-problem <em>Unbuilt 5'Magn's Th. S Bl'ndal Residence, S'lvellir 18, 1925' Architect: Einar Erlendsson</em>, 2012, Katr'n Sigurdard'ttir constructed a model of a planned but never realized residence in Reykjav Discipline ProblemUnbuilt 5'Magn's Th. S Bl'ndal Residence, S'lvellir 18, 1925' Architect: Einar Erlendsson, 2012, Katr'n Sigurdard'ttir constructed a model of a planned but never realized residence in Reykjavik, set fire to it outside her New York studio, and then reconstructed the burnt pieces. The work is part of the Icelandic artist's ongoing Unbuilt Residences series.Photo courtesy of the Artist and Meessen De Clercq, Bruxelles For decades, Dan Graham has created pavilions that play with viewers&#8217; perceptions of space. His <em>Hedge Two-Way Mirror Walkabout</em>, 2014, a collaboration with the Swiss landscape architect Discipline ProblemFor decades, Dan Graham has created pavilions that play with viewers’ perceptions of space. His Hedge Two-Way Mirror Walkabout, 2014, a collaboration with the Swiss landscape architect Günther Vogt, is installed on the roof of New York’s Metropolitan Museum of Art through November 2. Photo © Hyla Skopitz, courtesy The Metropolitan Museum of Art Kara Walker&rsquo;s <em>My Complement, My Enemy, My Oppressor, My Love, 2007</em>, was installed at the Walker Art Center in Minneapolis. Discipline ProblemKara Walker’s My Complement, My Enemy, My Oppressor, My Love, 2007, was installed at the Walker Art Center in Minneapolis.Photo © Dave Sweeney, courtesy Walker Art Center Robert Smithson created P<em>artially Buried Woodshed</em>, 1970 by piling earth onto a shed on the grounds of Kent State University in Ohio until its structure gave way. Discipline ProblemRobert Smithson created Partially Buried Woodshed, 1970 by piling earth onto a shed on the grounds of Kent State University in Ohio until its structure gave way.Photo © Estate of Robert Smithson/licensed by Vaga, New York, courtesy James Cohan Gallery, New York/Shanghai Rachel Whiteread's <em>House</em>, 1993, presented a ghostly cast of the inside of a demolished London home on a block razed for redevelopment. Discipline ProblemRachel Whiteread's House, 1993, presented a ghostly cast of the inside of a demolished London home on a block razed for redevelopment.Photo © John Davies, courtesy Artangel A new art museum by Frank Gehry, the Fondation Louis Vuitton in the Bois de Boulogne in Paris, will open this October.

]]> 1408-frank-gehry.asp Sat, 16 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5876-crossover-artist Architects and artists alike have long idolized Gordon Matta-Clark for his aggressive transformations of existing buildings. From slicing a suburban home in half (Splitting, 1974) to carving a cone out of 17th-century French apartments (Conical Intersect, 1975), Matta-Clark pioneered the manipulation of found architecture to create complex perceptual and social effects.

]]> 1408-beyond-gordon-matta-clark.asp Fri, 08 Aug 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/5875-beyond-gordon-matta-clark Pomona College Michael Asher's 1970 installation at Pomona College   Photo © Kenneth M. Bernstein Pomona College For Storefront Plaza at Machine Project—a gallery, event, and educational space in Los Angeles—Nate Page relocated the windows and reinstalled them 20 feet back into the main gallery space.   Photo © Emily Lacy Pomona College Machine Project, Los Angeles   Photo © Emily Lacy Pomona College For Veil, Japanese artist Fujiko Nakaya envelops Phillip Johnson's Glass House in fog for 10-15 minutes every hour (through November 30, 2014).   Photo © Richard Barnes, 2014, courtesy The Glass House The Metropolitan Museum of Art has been collecting architecture and design since 1870, when it was given a Roman sarcophagus. More recent acquisitions include a stairway from the Chicago Stock Exchange Building, by Louis Sullivan, and an entire living room by Frank Lloyd Wright. 

]]> 140728-newsmaker-beatrice-galilee.asp Mon, 28 Jul 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/3203-newsmaker-beatrice-galilee Museum curators tend to stay behind the scenes, especially when high-profile artists are involved. But the Whitney Museum of American Art’s Jeff Koons: A Retrospective, which runs through October 19, has been so lavishly praised that its curator, Scott Rothkopf, couldn’t stay out of the spotlight if he tried.

]]> 140718-newsmaker-scott-rothkopf.asp Fri, 18 Jul 2014 12:00:00 -0400 https://www.architecturalrecord.com/articles/3198-newsmaker-scott-rothkopf