Category Archives: ARCHITECTURE

NOVELTY AND DESIGN

What is the relationship between novelty and innovation?

“Our understanding of what constitutes good design evolves constantly. In the last fifty years design has developed from being a tool to sell new things, to making new things in more effective ways, to imagining new systems and ways of addressing new realities. But, is novelty a fundamental aspect of good design?”*

Join independent design curator Maria Cristina Didero, OMA partner Ippolito Pestellini Laparelli, and Alice Rawsthorn—author of Hello_World and Design as an Attitude—for a Miartalks conversation, moderated by creative director Tony Chambers.

ON NOVELTY*

Sunday, April 7, from 1:30 pm to 2:30 pm.

MIART

FIERA INTERNAZIONALE D’ARTE MODERNA E CONTEMPORANEA

Fiera Milano City

Viale Lodovico Scarampo, Milan.

From top: Cooking SectionsWhat Is Above Is What Is Below, 2018, installation view, Manifesta 12, Palermo, co-organized and directed by Ippolito Pestellini Laparelli, image courtesy Manifesta 12, photograph by Wolfgang Träger; Rawsthorne book cover image courtesy JRP|Ringier; Cristina Celestino, The Happy Room collection for Fendi, curated by Maria Cristina Didero, photograph courtesy Fendi.

FRANCOIS PERRIN

We are very sorry to hear that the architect, artist, and curator Francois Perrin died this morning.

Perrin was born in Paris, worked in Los Angeles at his studio Air Architecture, and will be greatly missed.

From top: Francois Perrin; Francois Perrin, Air Houses: Design for a New Climate, at the Garfield Park Conservatory, a project for the 2017 Chicago Architecture Biennial, photograph by Steve Hall, courtesy the Chicago Architecture Biennial; Perrin’s design for a guesthouse in Brentwood, Los Angeles; the PAS House, designed by Perrin and skater Gil Lebon Delapointe for Pierre Andre Senizergues.

MARCEL BREUER — BUILDING GLOBAL INSTITUTIONS

In conjunction with the recent essay collection MARCEL BREUER: BUILDING GLOBAL INSTITUTIONS, join the book’s editors Barry Bergdoll and Jonathan Massey, along with two of its contributors—Lucia Allais and Guy Nordenson—for a talk and roundtable discussion about Breuer’s practice.

MARCEL BREUER—BUILDING GLOBAL INSTITUTIONS

Monday, March 4, at 6 pm.

Princeton University School of Architecture

Betts Auditorium

McCosh Walk, Princeton.

Also see Hal Foster’s forthcoming Positive Barbarism: Brutal Aesthetics in the Postwar Period (Princeton University Press).

From top: The old Whitney Museum of American Art (now Met Breuer)—designed by Marcel Breuer with his partner Hamilton P. Smith—in 1966, the year it opened, photograph © Photo Ezra Stoller/Esto; portrait of Breuer, circa 1949, photograph © Homer Page, Bauhaus archives, Berlin; Begrisch Hall—designed by Breuer (with Smith and Robert Gatje) and completed in 1961—was part of NYU’s University Heights campus in the Bronx, until it was sold to CUNY, photograph © Ben Schnall, Marcel Breuer Papers, Archives of American Art, Washington, D.C.

ARAKAWA AND MADELINE GINS — ETERNAL GRADIENT

The art, architecture, writing, urbanism, and scientific research of artist Arakawa and poet-painter-philosopher Madeline Gins are on view in ETERNAL GRADIENT, which “traces the emergence of architecture as a wellspring of creativity and theoretical exploration” in their work.*

Over forty drawings and extensive archival materials represent nearly half a century of collaboration. The Reversible Destiny Foundation was founded in 2010 by the late artists and continues to promote their work and philosophy in the areas of art, architecture. and writing.

ARAKAWA and MADELINE GINS—ETERNAL GRADIENT*

Through April 27.

Graham Foundation

Madlener House

4 West Burton Place, Chicago.

From top: Arakawa and Madeline Gins, Study for ‘Critical Holder, 1990, acrylic, graphite, and colored pencil on paper; Arakawa and Madeline Gins, Screen-Valve, 1985-87, graphite and acrylic on paper; portrait of Arakawa and Gins, 2000, courtesy Dimitris Yeros; Arakawa and Madeline Gins, Screen-Valve, 1985-87, graphite and acrylic on paper; Arakawa and Madeline Gins, Drawing for ‘Container of Perceiving,’ 1984, acrylic, watercolor, and graphite on paper. Photographs by Nicholas Knight, images © 2018 Estate of Madeline Gins, reproduced with permission of the Estate of Madeline Gins.

TUTTO GIO PONTI

The MAD exhibition TUTTO PONTI—the first French retrospective of Gio Ponti’s œuvre—lives up to its name by including over 400 examples of the seminal designer’s work in architecture, furniture, and interior design.

In addition, the show looks at Ponti’s writing and publishing projects for Domus, where he was editor-in-chief from 1928 to 1941 and 1948 to 1979.

Ponti—whose career spanned nearly six decades—is strongly identified with the city of Milan, and many of the show’s pieces have never been seen outside of Italy.

TUTTO PONTI—

GIO PONTI—ARCHI-DESIGNER

Through May 5.

Musée des Arts Décoratifs

107 rue de Rivoli, 1st, Paris.

From top: Parco dei Principi Hotel, Sorrento, 1960, © Gio Ponti Archives; fresco Scala del Sapere, created by Ponti, Palazzo del Bo, University of Padua, image © Tom MannionGio Ponti, drawings presented at industrial design exhibition at the 11th Milan Triennial, 1957, ink on paper, © Gio Ponti ArchivesPonti’s family apartment, Casa Laporte, Milan, 1936, © Gio Ponti Archivesliving room at Villa Planchart, Caracas, designed by Ponti, 1953-57, © Antoine Baralhé Caracas, Anala and Armando Planchart Foundation; Domus 88 (April 1935), courtesy of Domus; Ponti’s letter with drawing to his daughter Lisa, © Gio Ponti Archives.