September 25, 2014

CONCEPTION OF SPACE AT THE MUSEUM OF MODERN ART NEW YORK




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
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




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.

http://press.moma.org/about/






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








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.