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January 31 - November 28, 2004. Curator and Exhibition Designer: Alan Z. Aiches
Preparator and Exhibition Designer: MaryJane Valade
Graphics Designer: Nancy van Meter. The Museum gratefully acknowledges the extraordinary cooperation of Gil Garcetti, the Ironworkers of America, the office of Frank O. Gehry & Associates, M. A. Mortenson Company, Paris Photo, Los Angeles, and others in the preparation of this exhibition.
The new Walt Disney Concert Hall in Los Angeles has opened to great acclaim. This exhibition of 100 black-and-white photographs taken by Gil Garcetti is drawn from two recently published books featuring images of the building: Iron: Erecting the Walt Disney Concert Hall and Frozen Music, a series of panoramic photographs taken after its completion. Both celebrate the remarkable achievements of the ironworkers who assembled the steel frame and the finish ironworkers who applied the stainless steel skin to the building.
In summer 2001, Garcetti drove past the Walt Disney Concert Hall construction site and was so taken by the acrobatics of the ironworkers that he returned the next day to capture what he saw. He recorded the dangerous work they performed, with the assistance of large construction cranes, as they choreographed and coaxed thousands of tons of s
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June 19, 2004 - January 23, 2005.
Concrete is easily taken for granted, or even disparaged, as the banal surface of streets, sidewalks, and other utilitarian elements of infrastructure. This common and apparently mundane material also, however, makes possible structures of extraordinary beauty and creativity. Concrete has been the indispensable medium for numerous architects and engineers who have eagerly explored its sculptural and expressive possibilities. Indeed, reinforced concrete is the quintessential material of the Modern Movement in architecture - its strength and flexibility have allowed unprecedented experimentation with forms, surfaces, and structural frames.
Today, many innovative architects are using concrete in new and often surprising ways, creating buildings that defy the stereotypes of the material. Liquid Stone: New Architecture in Concrete will survey cutting-edge architecture in which the use of concrete is an essential aspect of the design. The exhibition will demonstrate that architects are using concrete to achieve incredibly varied - sometimes even diametrically opposite - aesthetic objectives. It will also include hands-on components explaining the technologies that make these various design strategies possible. The exhibition will conclude with a
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design by Tihany Design
Vernon Swayback & Partners
photos by Paul Warchol
text by Matteo Vercelloni
After September 11th, in America fear of flying has generated a demand for safer and more exclusive flights, far from the large hubs occupied by traditional routes and therefore organised according to new modes in smaller airports, with possibility to access in absolute privacy, where spaces and services of a higher level than those of a city airport can be found.
A new type of airport has then emerged; a sort of mixture between the atmosphere of a ?design? hotel and a private airport, very much widespread in the United Stated, but generally speaking meagre and austere, without any attention for the architectural image and its internal spaces, generally used by amateurs? clubs and 'week-end pilots'.
This new privately owned American airport, exclusive and rich in comforts, with a seducing architecture, just like the inner spaces it encompasses, where a traveller on a limousine can reach directly the stairs of his/her jet (private or leased) or be welcomed in the lobby by friendly and careful, elegant and well-mannered staff, as in one of the best Hotels of the new millennium, seems to be one of the most interesting new types in the whole country.
Here, a travellin
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architectonic project by Hugh Hardy
interior architecture by Stamberg Aferiat Architecture
photos by Paul Warchol
text by Matteo Vercelloni
The scheme of this house refers back to the typical design of a Palladian villa - despite the difference in time, style and scales - with a protruding central body and two lateral symmetric sheds that stretch out into the landscape, thus delimiting the inhabited area.
For a holiday home of the end of the 1960s, Hugh Hardy reinterpreted this original scheme and associated the central body - the two-storey house equipped with a platform for sun-tanning on the roof - with two lateral and symmetrical lower constructions connected to it by suspended foot-bridges which are not really attractive.
Entirely covered with vertical wood planks, according to the typical American building tradition, with no ornaments whatsoever and a roof with sloping pitches, this house looks like an ensemble of different volumes based on a fa硤e composition characterised by alternating simple figures: portholes in different sizes, window panes in different lengths conceived either as large horizontal openings or as thin vertical slots.
Everything looks so asymmetrical and unexpected, if compared to the reference planimetry. The two lateral buildings
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design by Daniel Libeskind
photos by Jan Bitter
and London Metropolitan University
text by Mark Fletcher
Daniel Libeskind's latest project is a centre for graduate students for the Metropolitan University on a busy main road in north London. The result is at once new and contemporary, as you would expect from Libeskind, and at the same time remarkably harmonious with the surrounding landscape. As the architect expresses it, ?it was designed to be a burst of energy on an otherwise very real street of London?.
His challenge was to design and build a civic building on a tough road in a constrained site within a modest budget of ?3 million. And yet it had to be something exciting and imaginative that created spaces that fuse internal and external space. He took Orion, the northern constellation, as his inspiration.
A guiding light and a unique icon for the university and its students, the building is made up of three intersecting volumes clad in reflective steel panels: one connects with the existing university building behind, one gestures towards the nearby underground station and a more regular form connects with the road itself. It has the architect?s signature windows -geometric cuts that provide accentuated natural light- and avoids refined and decadent materials,
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