CONCEPTIONS OF SPACE: RECENT ACQUISITIONS IN CONTEMPORARY ARCHITECTURE
THE MUSEUM OF MODERN ART NEW YORK
CURATED BY PEDRO GADANHO
July 4, 2014 - October 19, 2014
CONCEPTIONS OF SPACE: RECENT ACQUISITIONS IN CONTEMPORARY
ARCHITECTURE
THE MUSEUM OF MODERN ART NEW YORK
July 4, 2014 - October 19, 2014
Curated by Pedro Gadanho
The Robert Menschel Architecture and Design Gallery, Third Floor
Focusing on recent acquisitions in MoMA’s Department of
Architecture and Design, Conceptions of Space addresses how
contemporary architects continue to embrace spatial creation as a fundamental
focus of their work. The exhibition reveals how, beyond formal traits and
functional needs, the conception and articulation of architectural space still
defines architecture as an artistic endeavor, and a response to wider cultural
issues. In the early and mid-20th century, the concept of space was critical in
defining the modern movement in architecture. Notions of architectural space
related to the coherence between the interior and exterior of buildings emerged
as a new feature. Counteracting previous understandings of architecture as a
progression of styles, space became a privileged quest of architectural
practice. In time, however, space was actively reclaimed by artists,
geographers, sociologists, and others as their domain of intervention and
reflection. As proposed by French philosopher Michel Foucault, ours is the
epoch of space, an expanded field imbued with complex meanings.
Twenty international projects by architects and artists, in
large-scale models, drawings, photographs, videos, and even a room-sized
installation, survey how architecture addresses this expanded field. Spatial
conceptions in the exhibition range from “assemblage” and “envelope” space, to
“fictional” and “performative” space. Participants offer a global panorama of
architectural practice today, from acclaimed architects such as Herzog & de
Meuron, Álvaro Siza, and Kengo Kuma, to
young, emergent practices such as Pezo von Ellrichshausen, Chile;
Ryue Nishizawa, Japan; Ensamble Studio, Spain; and the New York-based SO-IL and
MOS Architects.
The exhibition is organized by Pedro Gadanho, Curator, with Phoebe
Springstubb, Curatorial Assistant, Department of Architecture and Design, MoMA.
http://www.moma.org/visit/calendar/exhibitions/1485
All the exhibition information of Conception of Space at MoMA had
taken by Museum of Modern Art Press Room.You may visit MoMA's Architectural department past exhibitions news of Japanese Constellation curated by Pedro Gadanho, Cut 'n' Paste from Architectural Assemblage to Collage City curated by Pedro Gadanho and Le Corbusier: Atlas of Modern Landscape to click below links.
http://mymagicalattic.blogspot.com.tr/2016/04/a-japanese-constellation-toyo-ito-sanaa.html
http://mymagicalattic.blogspot.com.tr/2013/08/cut-n-paste-from-architectural.html
http://mymagicalattic.blogspot.com.tr/2013/09/le-corbusier-atlas-of-modern-landscapes.html
SOCIAL SPACE
In contrast to the natural world, cities and buildings
inherently reflect the concerns and ideas of the human beings who create them.
They can be conceived according to abstract principles—such as geometric street
grids—or in response to social needs and interactions. Architecture in the
twentieth century shifted between these two tendencies. Early modernists sought
to express social and political ideals through design, but this eventually led
to the repetitive application of the basic principles of so-called rational
architecture. More recently, architects and artists alike have exploredin novel
ways how architecture reflects social relationships.
The works in this section offer architectural perspectives
and ideas that have historically been given little attention. The drawings of
the Slovenian artist Marjetica Potrcˇ explore how spatial resources are
distributed in urban settings. The Chilean photographer Cristobal Palma shows a
classic building by the Brazilian architect Lina Bo Bardi from a perspective that
evokes the socioeconomic inequality prevalent in Brazilian society. Depicting
Herzog & de Meuron’s National Stadium, in Beijing, the Dutch photographer
Iwan Baan highlights the presence of those who built and those who come to use
the structure. By showing buildings from perspectives other than those intended
by the architects—whose renderings and photographs tend to put their designs in
as favorable a light as possible—these visions also embody new understandings
of how architecture can be represented in the Museum’s collection.
IWAN BAAN (Dutch,
Born 1975)
HERZOG & DE
MEURON, BASEL (est. 1978)
National Stadium,
Beijing, China 2008
Digital C-print - 36
× 54" (91.4 × 137.2 cm)
Gift of Elise Jaffe
+ Jeffrey Brown
IWAN BAAN (Dutch,
Born 1975)
HERZOG & DE
MEURON, BASEL (Est. 1978)
National Stadium,
Beijing, China 2008
Digital C-print - 36
× 54" (91.4 × 137.2 cm)
Gift of the Artist
MARJETICA POTRC
(Slovenian, Born
1953)
Struggle for Spatial
Justice – 2005/2007
Ink and Marker on
Paper
10 3/4 × 8 1/4"
(27.3 × 21 cm)
Gift of Constance R.
Caplan
MARJETICA POTRC
(Slovenian, Born 1953)
Struggle for Spatial Justice – 2005/2007
Ink and Marker on Paper
10 3/4 × 8 1/4" (27.3 × 21 cm)
Gift of Constance R. Caplan
MARJETICA POTRC
(Slovenian, Born 1953)
Struggle for Spatial Justice – 2005/2007
Ink and Marker on Paper
10 3/4 × 8 1/4" (27.3 × 21 cm)
Gift of Constance R. Caplan
CRISTOBAL PALMA
(British, Born 1974)
LINA BO BARDI (Brazilian,
Born Italy. 1914–1992)
Untitled (Lina Bo
Bardi's SESC Pompéia, São Paulo, 1977–86) - 2008
Giclée print - 29
15/16 × 22 13/16" (76 × 58 cm)
Gift of Andre Singer
LIVING SPACE
Domestic space typically embodies relatively
conservative assumptions about human life and its architectural requirements.
People see their homes as domains immune to social transformation. Yet, as much
as the modern dwelling has been thoroughly standarized, domestic space provides
ideal opportunities for architectural experi-mentation. While private houses
are often used to assert social standing, they have also served to express new
ways of life and test innovative approaches to architecture.
The works on view here reveal how housing types
continue to be reinvented in response to the changing demands of modern households
and society at large. The Los Angeles architect Michael Maltzan, for example,
transforms the traditional patio villa by way of an unusual geometry, a loop of
interconnected spaces with a voyeuristic play of interior and exterior views. A
design by the Chilean firm Pezo von Ellrichshausen reimagines the connection of
living and working spaces within a small, single-dwelling tower. Finally, the
Japanese architect Ryue Nishizawa explodes the traditional notion of a private
dwelling by distributing five apartments throughout a collection of individual
buildings. Even the functional rooms of a single apartment, such as the kitchen
and the bathroom, are in different buildings and are accessed by way of outdoor
gardens.
MICHAEL MALTZAN
(American, Born 1959)
Pittman Dowell Residence, La Crescenta, California - 2009
RYUE NISHIZAWA
(Japanese, Born 1966)
Garden and House, Tokyo, Japan - 2011
CRISTOBAL PALMA (British, Born 1974)
PEZO VON ELLRICHSHAUSEN (Est. 2002)
Cien House, Concepción, Chile – 2009/2011
CRISTOBAL PALMA
(British, Born 1974)
PEZO VON
ELLRICHSHAUSEN (Est. 2002)
Cien House,
Concepción, Chile – 2009/2011
Giclée print - 29
7/8 × 21 1/4" (75.9 × 54 cm)
Image: 26 3/4 × 18
1/16" (67.9 × 45.9 cm)
Fund for the
Twenty-First Century
CRISTOBAL PALMA
(British, Born 1974)
PEZO VON
ELLRICHSHAUSEN (Est. 2002)
Cien House,
Concepción, Chile – 2009/2011
Giclée print- 29 7/8
× 25 5/16" (75.9 × 64.3 cm)
Image: 26 3/4 × 22
7/16" (67.9 × 57 cm)
Fund for the
Twenty-First Century
SPACE ON STEROIDS
Pioneering contemporary designs often combine
references to historic buildings with groundbreaking spatial experiments. As
with
the nineteenth-century avant-gardes who coined
the slogan “art for art’s sake”—a demand that the value of art not be thought
to depend on any non-artistic aim, such as moral improvement—architects often
seek to create new and vital experiences of space in ways unrelated to a
building’s everyday functions. Even if diverse practical needs must be met,
space and its interaction with architecture’s existing repertoire of forms and
spatial possibilities can be the main focus of the design process.
Two designs featuring bold—and very
different—spatial conceptions are on view here. Porto Alegre’s Iberê Camargo
Foundation, by the Portuguese architect Álvaro Siza, is represented by a series
of sketches illustrating how space is configured through a tentative design
process in which references to buildings by Frank Lloyd Wright and Lina Bo
Bardi merge into an entirely fresh, site-specific structure. In Paolo Soleri’s
Dam–Botanical Center, we see one of many examples in which modern architecture
has played with vigorous organic forms, generating spaces that evoke nature’s
own creations.
PAOLO SOLERI
(American, Born
Italy, 1919–2013)
Dam–Research Center
Project - c.1960
Plan and section -
Colored Pencil on Print
24 3/4 x 36
3/8" (62.9 x 92.4 cm)
Gift of the
Architect
PAOLO SOLERI
(American, Born
Italy, 1919–2013)
Dam–Botanical Center
Project - c.1960
Perspective - Print
and Pencil on Paper
36 1/4 x 24
3/4" (92.1 x 62.9 cm)
Gift of the
Architect
ÁLVARO SIZA
(Portuguese, Born 1933)
Iberê Camargo Museum, Porto Alegre, Brazil – 1998/2008
All Ibere Camargo Museum's Photographs Had Taken by Fernando Guerra
ÁLVARO SIZA
(Portuguese, Born 1933)
Iberê Camargo Museum, Porto Alegre, Brazil – 1998/2008
Plan and Perspective Sketches
Pencil on paper - 11 11/16 x 16 9/16" (29.7 x 42 cm)
Gift of Jorge Gerdau Johannpeter
ENVELOPE SPACE
The prevalence of height restrictions,
skyscraper setbacks, and other building regulations in modern cities has made
the zoning envelope—an imaginary boundary governing the size and shape of what
can legally be built on a given lot—essential to deciding what form a building
will take. In cities such as New York, sunlight angles, floor-area ratios, and
the volumes of adjacent buildings became tools with which to sculpt
architectural space. In such cases, a building’s outer limit, rather than the
functions of its interior, is the guiding principle of design. Invisible as it
may be, the envelope organizes the creation of architectural space and has
become a theme in its own right.
The LVMH Tower, by the French architect
Christian de Portzamparc, continues a long tradition of New York architecture
that creatively maximizes a building’s volume. The project’s study models
reveal the centrality of the building’s zoning envelope to Portzamparc’s design
process. In the New York firm SO – IL’s recent Kukje Art Center, in Seoul, the
envelope is a poetic device, a veil that both hides and draws attention to the
functional volumes protruding from an otherwise simple white cube.
CHRISTIAN DE
PORTZAMPARC
(French, Born 1944)
Louis Vuitton Tower, New
York, NY – 1994/1999
CHRISTIAN DE
PORTZAMPARC
(French, Born 1944)
LVMH Tower, New
York, NY
Site model – 1994/1999
Site model – 1994/1999
Paper and Cardboard
16 1/8 x 17 5/16 x 9
13/16" (41 x 44 x 25 cm)
Gift of the
Architect
FLORIAN IDENBURG
(Dutch, Born 1975)
JING LIU (Chinese,
Born 1980)
Kukje Art Center,
Seoul, Korea - 2012
All the Kukje Art
Center's Photographs Had Taken by Iwan Baan
THE MUSEUM OF MODERN ART NEW YORK
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MUSEUM OF MODERN ART NEW YORK
Founded in 1929 as an educational institution, The Museum of Modern
Art is dedicated to being the foremost museum of modern art in the world.
Through the leadership of its Trustees and staff, The Museum of
Modern Art manifests this commitment by establishing, preserving, and
documenting a collection of the highest order that reflects the vitality,
complexity and unfolding patterns of modern and contemporary art; by presenting
exhibitions and educational programs of unparalleled significance; by
sustaining a library, archives, and conservation laboratory that are recognized
as international centers of research; and by supporting scholarship and
publications of preeminent intellectual merit.
Central to The Museum of Modern Art’s mission is the encouragement
of an ever-deeper understanding and enjoyment of modern and contemporary art by
the diverse local, national, and international audiences that it serves. You
may read more about MoMA’s entire information to click below link.
THE MUSEUM OF MODERN ART'S DIRECTOR
GLENN D. LOWRY
THE MUSEUM OF MODERN ART'S DIRECTOR
GLENN D. LOWRY
THE MUSEUM OF MODERN ART NEW YORK'S DIRECTOR
GLENN D. LOWRY
SPACES OF ASSEMBLAGE
Like numerous modern artists, many architects
have adopted a creative strategy known as assemblage—that is, the grouping of
found or unrelated objects. These architects design by juxtaposing different
volumes, forms, and other spatial elements, as well as by repurposing
preexisting construction components. Materials and objects originally intended
for other uses are thus made the focus of an unusual kind of architectural
composition.
The designs in this section reveal some of the
manifold implica-tions of assemblage in the making of architectural space. In
the Hemeroscopium House, by Madrid’s Ensamble Studio, materials normally used
in large-scale infrastructure projects are repurposed as structural components
for a daring domestic space. The Japanesearchitect Kengo Kuma uses standard
wooden elements and traditional joinery techniques to enlarge an ancient
Japanese toy called cidori (a system of interlocking sticks that can
form a rigid structure without fasteners or adhesives) to the scale of a
building. The New York firm LOT-EK is known for its reuse of industrial
materials; the work shown here is a school made of shipping containers.
ANTÓN GARCIA-ABRIL (Spanish, Born 1969)
JAVIER CUESTA RODRÍGUEZ-TORICES (Spanish, born 1973)
DÉBORA MESA (Spanish, Born 1981)
Hemeroscopium House, Madrid, Spain - 2005
ANTÓN GARCIA-ABRIL
(Spanish, Born 1969)
JAVIER CUESTA
RODRÍGUEZ-TORICES (Spanish, Born 1973)
DÉBORA MESA
(Spanish, Born 1981)
Hemeroscopium House,
Madrid, Spain - 2005
Ink on Paper -
Sheet: 5 7/8 × 8 1/4" (14.9 × 21 cm)
Gift of the
Architects
ADA TOLLA (Italian,
Born 1964)
GIUSEPPE LIGNANO
(Italian, Born 1963)
APAP OpenSchool,
Anyang, Korea - 2010
Cardboard and
Acrylic - 7 1/2 x 15 x 20" (19.1 x 38.1 x 50.8 cm)
Gift of The
Contemporary Arts Council of The Museum of Modern Art
ADA TOLLA (Italian,
Born 1964)
GIUSEPPE LIGNANO
(Italian, Born 1963)
APAP OpenSchool,
Anyang, Korea - 2010
Presentation Panel/
Model Case
Laser-Cut Cardboard
with Inkjet Print and Enamel Paint
open: 60 1/2 x 123
1/4" (153.7 x 313.1 cm)
Gift of The
Contemporary Arts Council of The Museum of Modern Art
KENGO KUMA
(Japanese, Born 1954)
GC Prostho Museum Research Center, Kasugai, Aichi, Japan - 2010
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KENGO KUMA
(Japanese, Born 1954)
GC Prostho Museum
Research Center, Kasugai, Aichi, Japan - 2010
Wood, Paper,
Acrylic, Paint, and Styrofoam
20 1/2 × 51 3/4 × 32
3/8" (52.1 × 131.4 × 82.2 cm)
Gift of the
Architect
FICTIONAL SPACE
While architects respond to tangible problems
and demands, they also conceive spaces out of pure imagination, often making up
stories that help their ideas unfold. Such stories might suggest a particular
arrangement of structures or an intended use for a building. Conversely, a
succession of different architectural spaces might suggest a narrative. From Le
Corbusier’s “architectural promenades”—spaces designed to create a cinematic
effect as one traverses them—to more deliberately fictional approaches to
design, the invention of architectural space often mirrors film or literature
in its attempts to make an imagined world real.
The recent acquisitions presented here
exemplify distinct uses of fiction as a design tool by contemporary architects.
The urban proposals from the 1970s by the Swiss architect Daniel Grataloup echo
science fiction and futuristic scenarios inspired by the technology of their
time. The American architect Douglas Darden has designed a house for an
imaginary person inspired by literature and by his own biography. More
recently, the New York firm MOS Architects has made a series of videos
presenting their first built project in light of dialogues about architecture
between fictional characters.
DANIEL GRATALOUP
(Swiss, Born 1937)
Urban Proposal with
Multi Thin-Shell Capsules,
Project - 1970-1996 / Exterior perspective
Watercolor, Colored
Pencil and Felt-Tipped Marker
11 7/8 x 16
5/8" (30.2 x 42.2 cm)
Gift of the
Architect
DANIEL GRATALOUP
(Swiss, Born 1937)
Urban Proposal with Multi Thin-Shell Capsules,
Project - 1970-1996 / Exterior perspective
Watercolor, Colored Pencil and Felt-Tipped Marker
11 7/8 x 16 5/8" (30.2 x 42.2 cm)
Gift of the Architect
DANIEL GRATALOUP
(Swiss, Born 1937)
Urban Proposal with
Multi Thin-Shell Capsules, Project - 1970
Aerial perspective -
Pencil and Ink on Vellum
11 5/8 x 16
1/2" (29.5 x 41.9 cm)
Gift of the
Architect
DANIEL GRATALOUP
(Swiss, Born 1937)
Urban Proposal with Multi Thin-Shell Capsules,
Project - 1970-1996 / Exterior perspective
Watercolor, Colored Pencil and Felt-Tipped Marker
11 7/8 x 16 5/8" (30.2 x 42.2 cm)
Gift of the Architect
DOUGLAS DARDEN
(American, 1951–1996)
Oxygen House Project
– 1988 / Elevation Study
Pencil, Colored
Pencil, and Cut-and-Pasted Tracing
Paper on Tracing
Paper
29 x 34 1/2"
(73.7 x 87.6 cm)
Gift of Allison
Collins
DOUGLAS DARDEN
(American, 1951–1996)
Oxygen House Project - 1988
Section - Pencil and Colored Pencil on Tracing Paper
30 1/2 x 31 1/2" (77.5 x 80 cm)
Gift of Allison Collins
DOUGLAS DARDEN
(American, 1951–1996)
Oxygen House Project 1988
Elevation, Section, Plan and Detail Sketches
Pencil and Colored Pencil on Tracing Paper
26 1/2 x 21 1/2" (67.3 x 54.6 cm)
Gift of Allison Collins
HILARY SAMPLE
(American, Born 1971)
MICHAEL MEREDITH
(American, Born 1971)
The Romance of
Systems, Museum of Outdoor Arts Element House,
Las Vegas, New Mexico, 2010 / 2008–2013
Digital Video
(Color, Sound) - 9 min., 23 Sec.
Gift of the
Architects
PERFORMATIVE SPACE
Architectural spaces
become what they are only because of how people use them, making architecture
inherently performative. Architects became interested in this aspect of manmade
space in the 1960s and 1970s—after performance artists began inviting audiences
to participate in their artworks—and are now emphasizing it in new ways. By
turning users into active participants in determining the significance and even
the physical form of built structures, these recent proposals suggest ways in
which space can be defined in a collective, ad hoc manner, rather than simply
by the decision of a designer.The works in this section cross the boundaries
between architecture, installation art, and props for performance. Jimenez
Lai’s White Elephant is, as he puts it, “a building inside a building,” a piece
of “super-furniture” that, according to need or mood, can be rotated to create
different configurations of the space inside it. For the Shenzhen–Hong Kong
Biennale, in China, the French architect and artist Didier Faustino
appropriated an existing billboard in Shenzhen and invited people to use a pair
of swings hung from its frame, thus creating an opportunity to see the
surrounding city from a fresh perspective.
DIDIER FAUSTINO
(French, Born
Portugal, 1968)
Double Happiness
- 2009
Photograph of the
Installation at the Shenzhen-Hong Kong
Bi-City Biennale of
Urbanism and Architecture
Photograph on Baryta
Paper
29 1/2 x 22
1/16" (74.9 x 56 cm)
Architecture &
Design Purchase Fund
JIMENEZ LAI
(Taiwanese-Canadian,
Born 1979)
White Elephant
(Privately Soft) - 2011
Aluminum, Rubber,
Sandblasted Polycarbonate, Fabric, Cowhide,
Polyfill Batting -
144 x 147 x 90" (365.8 x 373.4 x 228.6 cm)
Gift of the
Architect
SMALL
CONVERSATION BETWEEN PEDRO GADANHO & GÜL KILIÇ ON SEPTEMBER 11, 2014
GK: We
are living global world. Cultural diversities are getting close each others. Could
these behaviors make easier on architectural work or not?
PG: I
welcome cultural diversity, and see it as an advantage, both in terms of
enriching our lives and feeding a creative response from architects and
designers. In this sense, Conceptions of Space precisely reveals how architects
in different contexts produce different responses to spatial needs, and one
perspective can no longer be considered superior to others.
GK:
People almost reach most event and information from there house or anywhere. Do
this changing finish educational inequality between people all over the world?
PG:
Access to information does not mean that people are acquiring a more profound
knowledge. In the end, people still need the information to be organized or
presented in some hierarchical form.
It much
depends on an individual cultural baggage what he or she can make out of the
information that is available out there.
In this
sense, exhibitions at a context like MoMA, for example, do have to respond to
publics with different levels of previous knowledge about its subjects. An
exhibition like Conceptions of Space has to address both a specialist public
and an audience that doesn't know much about architecture culture, and it has
to do it with respect for both. It has to be simultaneously relevant for the
discipline of architecture, and be pedagogical towards to those who don't know
that discipline in depth. If you attain a balance in this respect, you will be
certainly contributing to reduce a certain, inevitable cultural inequality.
GK:
Would you mind if you sent me article which is consist of these details and
more you would like to add this conversation please?
PG:
There is no article about the exhibition, but here is the introduction that is
in the gallery space:
Conceptions
of Space: Recent Acquisitions in Contemporary Architecture
In the
early twentieth century, many architects saw the development of new types of
space as the contribution they could make to the social transformations in
progress at the time. Indeed, the reinvention of architectural and urban space
drove the development of modernist architecture more than ideas about form or
style. In the late 1960s, however, the belief that these spaces played a
determining role in molding society began to fade. Architects, artists,
sociologists, and ordinary citizens became interested in the complex ways that
architectural space both shapes and is shaped by everyday actions, political
intentions, and other forces at work in society.
This
exhibition of recent acquisitions by The Museum of Modern Art’s Department of
Architecture and Design explores how new and ever more complex conceptions of
space influence contemporary architecture. Twenty projects from around the
world demonstrate the different kinds of space that make up the buildings and
cities of today, from domestic space to social space to spaces inspired by, or
meant to evoke, fictional characters and situations. Presenting the work of
both acclaimed and up-and-coming architects and artists, the exhibition offers
a survey of how architectural space is conceived, represented, and discussed in
the present day.
