[Dubbed “The Shed”,] The 18,500 square metre venue has six storeys and can “accommodate the broadest range of performance, visual art, music, and multi-disciplinary work”. A cultural centre will be encased in a 34m-high outer shell that can slide on rails to double the ground space. The building includes two large-scale column-free galleries comprising 2,320 square metres of museum-quality space, a 500-seat theater and event and rehearsal spaces. [Completion is due] in 2019. — globalconstructionreview.com
The South Sea Pearl Eco-Island development is funded by HNA Group and will include houses, hotels, a cruise ship port, yacht harbour, spa and theme park. [...]
The jury said the “singular and clear” design would “create a beautiful, iconic form rising naturally out the landscape, recalling the volcanic caldera of the area, and shape the island into a continuous structure that would be an extremely efficient compaction of resort, retail, and housing." — globalconstructionreview.com
It is not the first time, though, that a design like this has been pitched for the university. However inadvertently, the DS+R design resembles another proposal for the campus—a draft project that was eventually revised. While the resemblance between two draft renderings is hardly consequential, this one comes as a surprise, given the nature of the projects and the history between the firms. — City Lab
This fall, the Jewish Museum will present what it’s billing as the first United States exhibition devoted to the work of Pierre Chareau, a French Modernist who for decades fell out of the mainstream history of art and architecture [...]
Chareau (1883-1950) was a prolific designer and art collector in France, and best known for his Maison de Verre (“Glass House”), a landmark building in Paris created in 1928 in collaboration with the Dutch architect Bernard Bijvoet... — the New York Times
The exhibition, entitled "Pierre Chareau: Modern Architecture and Design", is the third exhibition in a trilogy of design exhibitions, following surveys of the work of Isaac Mizrahi and Roberto Burle Marx.The French architect and designer also had an impressive collection of art, which will be on...
Although the renderings and Twitter pics of Diller Scofidio +Renfro's Berkeley Art Museum and Pacific Film Archive produced a heated response on Archinect, evaluating the museum from a programmatic standpoint makes it appear as less of a "giant TV on the sidewalk" and more a clever fusion of needs...
Gone is the “Art Bay,” with a glass garage-like door that would have allowed visitors to enter galleries straight from the street.
Gone, too, is the fourth-floor “Gray Box,” with acoustic absorption panels through which passers-by could have peered up at performance art in progress.
And there will be no new public entrance to the sculpture garden on 54th Street.
The Museum of Modern Art has eliminated these polarizing elements of its sweeping redesign, museum officials said on Tuesday... — the New York Times
MoMA officials also released more information on the construction, slated to begin in February with total costs estimated between $390 million and $400 million.The Diller, Scofidio + Renfro-led renovation is the second major redesign for the influential museum in recent memory. Just over ten years...
Commissioned to convert an abandoned printing plant into a university art museum, Diller Scofidio + Renfro took inspiration from fresh fruit. The architects left the original building intact, stretching a sleek skin around it, split open at the front. The new Berkeley Art Museum will open next week with an exhibition that historically contextualizes Diller Scofidio + Renfro’s design process, and provides a formidable storehouse of ideas for future architecture. — forbes.com
But overall the Broad is a disappointment, and the ways in which it fails are more than a little concerning. Its incoherence, its poor urbanism and its unoriginality suggest that the transition from critics to makers may have DS + R stumped...The Broad’s failures of urban design are its biggest and most disappointing surprise. — Art in America
The elements of the Broad that have been most closely scrutinized or most often reworked, in fact, are the most uneven. It is only in the relative shadows — in the peripheral or easily overlooked spaces, or in the rooms added or enlarged late in the design process — that the architecture of the museum really comes to life. — latimes.com
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