Archive for the ‘Architecture’ Category

Cy Twombly’s Ceiling at the Musée du Louvre, Paris

Friday, August 6th, 2010
View of the The Louvre's ceiling by Cy Twombly

View of the The Louvre's Ceiling by Cy Twombly Photo: Christophe Ena

Giotto's star-ceiling in the Cappella Scrovegni, Padua.

Giotto's star-ceiling in the Cappella Scrovegni, Padua.

Cy Twombly’s newly commissioned ceiling at the Louvre in Paris is monumental in scale, and covers more than 350 square meters. It was painted with the assistance of several artists and apprentices in a warehouse outside Paris before being affixed like wallpaper to the ceiling of the Salle des Bronzes. Looking up one sees an immense blue sky, painted with spheres and white insets inscribed with the names of leading Greek sculptors from the 4th century: Cephisodotus, Lysippus, Myron, Phidias, Polyclitus, Praxiteles and Scopas. The round shapes appear like shields, planets, or coins, while the blue background evokes either the sky or the sea.

Cy Twombly is the third contemporary artist invited to install a permanent work at the Louvre. He follows in the footsteps of a long lineage of artists including Le Brun, Delacroix, Ingres that have been honored in this tradition.  In the 20th century, the invitation has been extended to Georges Braque, (who has painted a ceiling with black birds against a starry midnight-blue sky ) and more recently to François Morellet, and in 2007 to Anselm Kiefer.

Though Twombly is American born, he has been living in Italy since 1959, and this work not only evokes the spirit of the Mediterranean, but also the colors of Chinese prints, and the lapis lazuli paint used by Italian Renaissance artist Giotto – who the artist says he has also been inspired by.

By Kiša Lala

Sleepover at the new Serpentine Pavilion

Saturday, July 24th, 2010
Serpentine Gallery Pavilion 2010 Designed by Jean Nouvel

Serpentine Gallery Pavilion 2010 Designed by Jean Nouvel© Ateliers Jean Nouvel Photo: Philippe Ruault

The Serpentine Gallery in London’s Hyde Park is having a slumber party right at the heels of their annual summer party, which took place around their 10th and latest eye-catching Pavilion, designed by the French architect Jean Nouvel.

Nouvel’s scarlet Pavilion set the scene for the darlings of the British art set attending. Ron Arad, Antony Gormley, Gavin Turk, Dinos ChapmanSir Peter Blake, Grace Jones, Tracey Emin and model Lily Cole were among the guests invited to play ping-pong and tennis with champion players and have their heartbeats recorded by French artist Christian Boltanski’s installation The Heart Archive. Also on view in the permanent galleries inside was the summer show of new inkjet prints by Wolfgang Tillmans.

July 8 2010 Summer Party at Serpentine Gallery, London, England. L to R: Dinos Chapman and Keith Tyson, Sir Peter Blake and Chrissie Blake, Tracey Emin. Photo: Nick Harvey

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Anish Kapoor Part of Permanent Collection at Maxxi

Wednesday, July 7th, 2010

By Helen Shih

Anish Kapoor, "Widow" (courtesy of Anish Kapoor Studio)

Rome is the home of classical art and architecture such as the Coliseum, St. Peter’s Basilica, and the Sistine Chapel, but its art scene is changing as the city attempts to modernize itself. Several years ago, Richard Meier updated the Roman architectural landscape with the Ara Pacis Museum. The structure was built over an existing building that houses the Ara Pacis Augustae, a sacrificial altar dating to 9 B.C.

Rome’s latest venture, the Maxxi, or the National Museum of the XXI Century Arts, is the city’s first national museum of contemporary art. No relics lie in Maxxi, where Zaha Hadid’s flowing lights and staircases wind through the space ensconced in concrete. The debut collection includes work from artists such as Gilbert and George, William Kentridge, and Gerhard Richter. Not to be missed is Anish Kapoor’s 2004 sculpture “Widow,” a 15 meter long black tube consisting of PVC coasted polyester fabric that flares out like a horn. (more…)

Whitney Museum of American Art Opens Satellite Museum

Thursday, June 24th, 2010

Image courtesy of Renzo Piano Building Workship in collaboration with Cooper, Robertson & Partners

The High Line is about to get a new neighbor. Nestled next to the southern entrance of the park at Gansevoort and Washington streets, the Whitney’s Downtown Building Project takes root. The expansive building boasts 50,000 square feet of indoor gallery space and 13,000 square feet of rooftop exhibition space. The uptown location by comparison, has 32,000 square feet of gallery space. Designed by Pritzer-Prize winner Renzo Piano, the downtown building joins a growing list of powerhouse structures built along Manhattan’s far west side. Other developments include the IAC building by Frank Gehry, luxury high-rise apartments by Richard Meier, and a 23-story tower by Jean Nouvel.

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Inside SPREAD: Moses Mabhida Stadium in Durban, South Africa

Monday, June 7th, 2010

Photo: Roy Zipstein for SPREAD|Artculture magazine

Avid football fans around the world eagerly await the opening of the FIFA World Cup on June 11th, 2010, less than three days away. South Africa plays the host country of the 19th World Cup tournament, having beaten nations such as Morocco and Egypt in the bidding process. Five new stadiums were built to accommodate the 32 teams that will compete. Of the five new stadiums, the Moses Mabhida Stadium in Durban has the largest capacity at 70,000 spectators.

Roy Zipstein traveled to the port city to capture the magnitude of the multi-use stadium. The soaring arch runs 350m long and and 106m high above the pitch. Symbolically, the arch represents a divided nation becoming united. The design was also inspired by the South African flag. Construction began in 2007 and was completed November, 2009, lead by the consulting German architectural firm von Gerkan, Marg and Partners (gmp). The Ibhola Lethu Consortium (ILC) was responsible for the design and project management of the stadium. Schlaic, Bergermann und Partner (sbp) served as conceptual structural engineers. 32 South African architectural firms were also enlisted.

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François Pinault’s passions revealed at the Punta Della Dogana

Wednesday, February 3rd, 2010
By Kiša Lala
Franois Pinault with the architect Tadao Ando on the Grand canal

François Pinault with the architect Tadao Ando on the Grand Canal. Photo: Graziano Arici

At the entrance to the city of Venice, parting the waters between the Giudecca and the Grand Canal like a ship’s prow, is the Dogana di Mare, the Sea Custom House from 1677. The Dogana was the port of entry policing the lucrative trade from the Silk Road of exotic cargo from the Orient and a beacon of medieval power, like the Lighthouse of ancient Alexandria. Long neglected, this crumbling decaying watchtower reclaimed attention when it was sought by the Guggenheim Foundation,which with Zaha Hadid as architect, coveted its premises to host its own collection. But in the end, Venice favoured François Pinault’s plans, who, having dropped the Île Seguin project on the Seine, was looking for a second home for his private collections, already installed in the Palazzo Grassi across the canal. (more…)

E(ART)H

Thursday, January 21st, 2010
By Kiša Lala
Antony Gormley, Amazonian Field, 1992, Terracotta, Courtesy of the artist and White Cube, London

Antony Gormley, Amazonian Field, 1992, Terracotta, Courtesy of the artist and White Cube, London

One way to combat the unusual winter cold in London, while griping about climate change, is to curl up under a handmade rug and a hot water thermos in the portico of the Royal Academy of Arts at 6 Burlington Gardens, where Sketch has opened a pop-up café to coincide with the exhibition Earth: Art of a Changing World funded by GSK Contemporary. Above me – while I nibble oysters and sip champagne, seated on recycled cardboard chairs -  is CO2morrow, an LED-lit, virus-like installation clinging to the façade of the building, showing the fluctuating levels of CO2 in the atmosphere. The display (by Lutyens and Marianantoni) is fed by data from external monitoring systems, and inspired by the idea of a zeolite, a scrubber molecule that “scrubs” CO2 from pollutants, which may be yet another engineered hope for our future.

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Tronic Studios: Architecture’s New Heavy-Hitter on the Block

Tuesday, December 22nd, 2009

By JRS

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Tronic Studio co-founders, Vivian Rosenthal and Jesse Seppi, bring architecture off the paper and onto the screen

Vivian Rosenthal and Jesse Seppi met almost ten years ago in Columbia University’s Graduate School of Architecture. As Vivian puts it, it was a unique time in the history architecture. The dean of the college at the time was Bernard Tschumi, who was really pushing what he called “paperless studios.” “You think of an architect or an architecture student,” Rosenthal explains, “and you think of a drafting board and a pencil. But the dean was really pushing for studios where everything was done on the computer. ”

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Anish Kapoor’s Giants

Tuesday, November 24th, 2009

By Kiša Lala

Marsyas, 2002 © Anish Kapoor

Marsyas, 2002 © Anish Kapoor

Over the past decade, Anish Kapoor’s projects have been growing gargantuan in scale, challenging the viewer to engage with the work on an architectural level. Kapoor has collaborated with Future Systems on the Neapolitan Subway, and has an ongoing relationship with the structural engineer, Cecil Balmond, who has worked with him in the past on Marsyas, a sculpture built for the Turbine Hall at the Tate Modern. In January I visited the private estate of a collector in New Zealand where the excavation of a mountain was underway to conform to the scale of the artist’s monumental vision—a tubular red skin that would bridge both sides of the mountain. As an evolution of Marsyas, the sculpture played with the idea of void and absence, that whose essence is shaped by the object around it. The dualities of light and dark, inside and outside, are a motif in the artist’s work. Skin, which separates our internal and external worlds and is a part of both, is in play in the story of Marsyas who, as a musician, dared to challenge the god Apollo to a contest, and was flayed alive for his arrogance when he lost. Looking at the work, the sculpture’s taut red membrane appears to act as the conduit for pain and pleasure, a measure of our sensitivity to the world, the blood-rich darkness within us, made inside out.

Temenos © Anish Kapoor

Temenos © Anish Kapoor

When I visited his studio in London later in March, the artist had been conceptualizing another project with Balmond, Temenos, which is a 110m long tube of steel wire, much like a nylon stocking stretched between two rings. At a cost of £2.7 million, it is the first of five works planned as the Tees Valley Giants, an arts project to be completed over the next decade in Middlesbrough, UK, and one of the largest in the world. Temenos is the Greek word for a space apart, a sanctuary of the gods.

Mr. Kapoor’s studio is a world unto itself, spanning three consecutive buildings in Camberwell, and teeming with assistants busy on various stages of creation from construction to finish. In the first hall I watched assistants machine-cut plastics and Styrofoam, which are later scaled and cast into metal. In the second, Kapoor was experimenting with cement being excreted by a mechanical mixer into intestinal strips that formed dung-like mounds on the floor. At the end of the room, on tables, were maquettes and a tiny scale model of the gallery in the Royal Academy of Arts, which would house his Shooting into the Corner exhibition (now on view in London). Looking down into the Lilliputian model of the gallery then, I could see more waxy, red gunk being spewed and splattered with violence against the room’s opposite wall. Finally, the last warehouse was a hall of mirrors, where finished, jewel-like metallic shields hung austerely, warping or shearing the sound of my voice and the scale of my body as I passed them by. (more…)