The exhibition investigated the complex pathways between architecture and its representations through an examination of the practice of model making. It explored the ephemeral registers of architectural production, revealing the model itself as a site of collaboration, negotiation, and speculation—not unlike the full-scale building that it anticipated.
Arthur Ross Architecture Gallery, 2018
Curators: Tiffany Lambert, Irene Sunwoo, Jennifer Gray
The exhibition examined a pivotal exploratory period in the prolific collaboration between artist Arakawa (1936-2010) and poet and philosopher Madeline Gins (1941-2014). It featured 40 original drawings—many exhibited for the first time—as well as archival material and writings, uncovering a little-known body of visionary work that anticipated the artists’ subsequent commitment to architecture and their realization of various “sites of reversible destiny.”
Review of two concurrent exhibitions on view at Friedman Benda, for PIN–UP Magazine.
No. 9—An Exhibition by Frida Escobedo
A commissioned sculptural installation and exhibition by architect Frida Escobedo (Mexico City), No. 9 explored the history of La Ruta de la Amistad (“Route of Friendship”) in Mexico City, a monumental public sculpture project that was launched as part of the cultural program for the 1968 Olympics.
Research support: Archive Arquitecto Pedro Ramírez Vázquez, Patronato Ruta de la Amistad
A review of the first monograph on the American designer Ward Bennett (edited by Elizabeth Beer, Brian Janusiak, with an essay by Pilar Viladas) and a short essay on South Korea’s Jeju Loveland sculpture park, for PIN–UP 23, Fall Winter 2017/18.
PIN–UP Magazine, 2017-18.
Pull Up a Chair
Cover story for TANK Magazine's 2016 Summer Reader Issue: Salone del Mobile reviewed by Tiffany Lambert. Photography by Paolo Barbi.
"The Salone del Mobile – the Milanese bellwether among what has become, over the years, a global circuit of design-minded fairs, trade shows, and biennials – is both a showcase and a social hub, overturning the conventional separation of work, leisure and artistic display..."
100 Years of Prefab
Design at Large presents large-scale works of historical and contemporary design led by guest curators. The 2015 program was presented in a 2000 square meter space designed by the architects Herzog & de Meuron. From the exhibition catalogue, 100 Years of Prefab: From Utilitarian To Collectible Objets d’Art:
“The history of architecture encompasses, besides the actual structures that architects produce, the shifting intellectual perspectives from which their works are viewed. Even the most lauded architects from the past are not immune to the distortions and clarifications that time imposes. Certainly Jean Prouvé, who now looms as a titan of modern prefabrication, has been vulnerable to the supposition that the prefab promise went unfulfilled; his homes meant for quick assembly and affordability, genius as they are, never quite reached the scale of mass production they had been conceived for. Yet today they are celebrated, even collected, for their innovation and humanism (they were designed, in part, by an immense necessity for housing following two World Wars). Now they have planted new roots in places as far reaching as a Paris loft to the campus at the Vitra Design Museum to an upstate New York property, and have been converted into everything from bathhouses to libraries. They represent the ultimate luxury item; a space of your own to drop anywhere you desire. This renewed interest in Prouvé’s projects poses an interesting challenge: Just how diversely can the concept of prefab be interpreted?
As this exhibition cherry-picks through the history of prefabrication, we discover its transformative arc, which, over the last 100 years, has constantly reinvented itself. The mobility, practicality, and modularity of the VW Camper Van espoused an aesthetic and countercultural revolution. Shigeru Ban masters sustainability while giving new form and structural purpose to the humble sheet of paper. The IKEA Foundation’s low-cost, rapidly deployable Better Shelter reminds us that prefabrication continues to be critical in the discourse of humanitarianism. Atelier Van Lieshout’s dwelling harks back to utopian avant-garde experiments such as Archigram’s Plug-In City (1962–64), but with a bit more hedonism.
Casting a glance back at the last ten decades of modular precedents to today’s progeny of prefab serves as a reminder that the concept embraces timeless values like sustainability, efficiency, mobility, modularity, and flexibility. Prefab may have had brushes with the prejudiced, but the genre — at once dynamic, investigative, and perpetually regenerating — remains a relentless engine for fantasy and has even become an indefatigable icon along the way.”
Floors are designed to be walked upon, and as a result are frequently ignored or disregarded. But beneath our busy feet lies a fundamental architectural feature that often distills the essence of a place. In the case of Milan, it’s the so-called seminato, or “sown floor,” also known as terrazzo alla veneziana. As the name implies, its origins lie in the Veneto region, but few cities in Italy boast more impressive examples than Milan. From Renaissance palazzi to contemporary temples of retail or travel, these composite floors poured from cement and chips of granite, glass, marble, or quartz are everywhere. PIN–UP asked the photographer Delfino Sisto Legnani to zoom in on a few highlights.