New York 08_

New York 08_

_The New Museum

235 Bowery,New York, NY 10002

www.newmuseum.org

Hours: Wed-Sat: 12-6 pm/ Mon -Tue: closed/Free Thursday Evenings (from 7 pm to 9 pm).

Architect: Kazuyo Sejima + Ryue Nishizawa/SANAA. 2007

  

The New Museum, designed by Tokyo-based architects Kazuyo Sejima and Ryue Nishizawa/SANAA with Gensler, New York, serving as Executive Architect, is a seven-story, structure located at 235 Bowery between Stanton and Rivington Streets, at the origin of Prince Street in New York City. The first art museum ever constructed from the ground up in downtown Manhattan, the New Museum opened to the public on December 1, 2007, coinciding with the institution’s 30th anniversary.

The New Museum building is a home for contemporary art and an incubator for new ideas, as well as an architectural contribution to New York’s urban landscape. Sejima and Nishizawa, who received the commission in 2002, have described the building as their response to the history and powerful personalities of both the New Museum and its storied site. “The Bowery was very gritty when we first visited it,” they have said. “We were a bit shocked, but we were also impressed that a contemporary art museum wanted to be there.”

“In the end, the Bowery and the New Museum have a lot in common. Both have a history of being very accepting, open, embracing of every idiosyncrasy in an unprejudiced manner. When we learned about the history of the New Museum we were flabbergasted by its attitude, which is very political, fearless, and very tough. The New Museum is a combination of elegant and urban. We were determined to make a building that felt like that.” 

Amidst a cluster of relatively small and midsized buildings of varying types and uses, the New Museum rises 174 feet above street level. As visitors approach the Bowery or from the west along Prince Street, they encounter the building as a dramatic stack of seven rectangular boxes. This distinctive form derives directly from the architects’ defining solution to fundamental challenges of the site: A dense and ambitious program, including the need for open, flexible gallery spaces of different heights and atmospheres, had to be accommodated within a tight zoning envelope on a footprint of seventy-one feet wide and 112 feet deep. 

In order to address these conditions without creating a monolithic, dark, and airless building, SANAA assigned key programmatic elements to a series of levels (the seven boxes), stacked those boxes according to the anticipated needs and circulation patterns of building users, then drew the different levels away from the vertebrae of the building core laterally to the north, south, east, or west. The shifted-box approach yields a variety of open, fluid internal spaces that are different heights at every level, with different characteristics but all column-free.

The New Museum is clad in a seamless, anodized expanded aluminium mesh chosen by SANAA to emphasize the volumes of the boxes while dressing the whole of the building with a delicate, filmy, softly shimmering skin. With windows just visible behind this porous scrim-like surface, the building appears as a single, coherent, and even heroic form that is nevertheless mutable, dynamic, and animated by the changing light of day—an appropriate visual metaphor for the openness of the New Museum and the ever-changing nature of contemporary art.

“A museum for contemporary art should be neutral in the character of its gallery spaces, in order to create the widest palette for the art itself,“ SANAA has stated. “With the galleries in this building, we tried to play with dimensions and the way daylight falls in the spaces. This allows the visitor to experience art in slightly different conditions on different visits, at different times of the day, in different spaces, without impeding the qualities of the art.”

In the galleries, the steel of the architecture is exposed. The diagonal structural beams of the exterior, rendered white with their spray-on fireproofing material, intumescent paint, appear at interludes. “We want the building to show what it is,” SANAA has stated. “This openness is consistent with the openness of the New Museum and the honesty of the everyday businesses along the Bowery.” The structural steel makes frequent appearances throughout the building.

Reflecting upon the completed building, five years from initial conception to completion, SANAA comments: “The new building is both part of SANAA and the New Museum. In the time that we have been together, both have changed very much. In some ways we are both bigger, more relaxed, but still always hoping to explore and find new things. The New Museum is intriguing because it is always asking questions and we hope that it continues to do so. Our building is an attempt to express the New Museum’s adventurousness and freedom.”

1F_Lobby,caffe and shop/ 2F_ Eugenio Lopez Galleries/ 3F_Maja Hoffmann/Luma Foundation Galleries/ 4F_Dakis and Lietta Joannou Galleries/ 5F_Pauline and Constantine Karpidas Education Centre/ 6F_staff offices, kitchen, restrooms, and meeting spaces / 7F_The Toby Devan Lewis Sky Room/ 8F_mechanical support / -1F_Theatre

Texto de www.newmuseum.org, imágenes de www.dezeen.com

New York 07_

New York 07_

_ Solomon R. Guggenheim Museum

1071 Fifth Avenue (at 89th Street), NY 10128-0173

www.guggenheim.org

Hours: Sun–Wed 10 am–5:45 pm/Fri 10 am–5:45 pm/Sat 10 am–7:45 pm

Architect: Frank Lloyd Wright, 1959

El museo Guggenheim de Nueva York es el primero de los museos creados por la Fundación Solomon R. Guggenheim, dedicada al arte moderno. Fue fundado en 1937 en Upper East Side, NY. Es el más conocido de todos los museos de la fundación, y muchas veces es llamado simple mente »El Guggenheim«.

Al comienzo fue llamado Museo de pintura no-objetiva, y fue fundado para exhibir arte vanguardista de artistas modernos tempranos como Kandinsky y Mondrian.

En 1959 se mudó al lugar donde se encuentra ahora (la esquina de la calle 89 y la 5ª Avenida, frente a Central Park), cuando se completó el edificio di­señado por el arquitecto Frank Lloyd Wright.

Interior del museo

Solomon no sabía a quien elegir como arquitecto para el museo, por lo que pidió a la baronesa Hilla von Rebay que escogiera a alguien. Ella eligió a Wright por que era el arquitecto más famoso del momento.

El edificio en sí mismo se convirtió en una obra de arte. Desde la calle, el edificio parece una cinta blanca enrollada en forma cilíndrica, levemente más ancha en la cima que abajo. Internamente, las galerías forman una espiral. Así, el visitante ve las obras mientras camina por la rampa helicoidal, como un paseo.

En 1992 el edificio fue complementado adosándole una torre rectangular, más alta que la espiral original. Esta modifi­cación del di seño original de Wright generó una fuerte controversia.

El edificio de Wright ha sido víctima de algunas críticas hechas por artistas que sienten que el edificio ensombrece las obras allí expuestas y que es dificultoso colgar apropiada mente las pinturas.

Texto de wikipedia e imágenes de aquí y allá

New York 06_

New York 06_

_Whitney Museum

945 MADISON AVENUEAT 75TH STREET,NY 10021, UPPER EAST SIDE
www.WHITNEY.ORG

Hours: WED-THU 11AM-6PM/FRI 1-9PM/SAT-SUN 11AM-6PM_ PAY WHAT YOU WISH FRI 6PM-9PM

Architect: Marcel Breuer 1966

The Whitney Museum houses one of the world's foremost collections of twentieth-century American art. It owes its striking granite presence at the southeast corner of Madison Avenue and 75th Street to the Hungarian-born, Bauhaus-trained architect Marcel Breuer (1902-1981). To design a third home for the Museum—which had gradually migrated northward from its original location on West 8th Street to West 54th Street—Breuer worked with Hamilton Smith, creating a strong modernist statement in a neighborhood of traditional limestone, brownstone, and brick row houses and postwar apartment buildings. Considered somber, heavy, and even brutal at the time of its completion in 1966 ("an inverted Babylonian ziggurat," according to one critic), Breuer's building is now recognized as daring, strong, and innovative. It has come to be recognized as one of New York City’s most notable buildings and identified with the Whitney Museum's approach to art.

Foto ASH

Fotos de sitios varios y texto de www.mimoa.eu

New York 05_

New York 05_

_Tribeca Issey Miyake

119 Hudson Street Tel. 212 226 0100
www.tribecaisseymiyake.com

Architect: Frank Gehry

Shop Until You're Blown Away is the message of the new Tribeca Issey Miyake shop designed by Frank O. Gehry and his former protégé, Gordon Kipping of Manhattan-based GTECTS. The designs of the eternally experimental Japanese couturier have always carried a whiff of chaos: the shoulderless shoulders, the strange silhouettes, the never-before-seen fabrics, the glaring absence of buttons and seams.

And when the new shop was still a gleam in Miyake's eye, he made a studio visit to Gehry in Los Angeles and walked away with a vision of a Gehry "tornado" whipping through space, transforming everything in its path. Of course, Miyake, like so much of the architecture world, wasn't immune to Bilbao Fever.
"The Tornado" is now the name of the 25-foot-high titanium column-like structure which dominates the Hudson Street shop. It's pure Gehry -- and yet if you squint you'd swear you're looking at a classic pleated Miyake dress (fitted on Nike of Samothrace). Extending from a shaft emerging from the cellar floor to a turbulent sprawl engulfing the ceiling of the ground floor, the Tornado does energize the whole room, both engaging and provoking the shopper.
It's not for the faint-hearted, but what Gehry or Mikaye design is? "I think Issey and I may be after the same thing in our work," Gehry says. "We're both trying to express movement and play around with new materials that haven't been used before."

Texto de www.artnet.com.

New York 04_

New York 04_

_Prada Store Soho

575 Broadway,Soho, NY 10012

www.prada.com

Architect: OMA-Rem Koolhaas

Las grandes firmas de lujo se han convertido en promotoras de tendencias arquitectónicas gracias a la evolución de la cultura del consumo. La relación entre comercio y cultura o entre arte y moda es cada vez más estrecha y las fronteras entre estos conceptos parece que se desdibujan. Los diseñadores buscan imágenes de marca en un contexto marcado por la homogeneidad y la globalización. La moda adquiere nuevos matices y sus creadores luchan por hacerse con su particular arquitecto. Es el caso de la italiana Miuccia Prada, que ha contratado al holandés Rem Koolhaas –reciente premio Pritzker de arquitectura- para convertir el antiguo Guggenheim Soho en una tienda en la zona sur de Manhattan que combina la alta tecnología con el marketing, el diseño y la imagen.

Ubicada en el numero 575 de Broadway Avenue y compartiendo la planta baja y el subsuelo de la sede que Arata Isozaki remodeló para el Guggenheim (ya no existente), nace la tienda de Prada, que pretende imitar a museos o bibliotecas y sueña con convertirse en una plaza pública.

El arquitecto holandés ha creado una tienda dominada por una gran ola de madera que conecta la planta baja con el sótano. Una grada, elaborada con la misma tonalidad de la madera, sirve a Prada para mostrar zapatos y maletas de día, ya que por la noche este espacio se convierte en una especie de teatro y acoge a los espectadores que acuden al local para disfrutar de espectáculos culturales totalmente gratuitos. La diseñadora italiana, que cuenta con más de un centenar de tiendas en todo el mundo, proyecta también exhibir películas de cine independiente en este local futurista..

Cámaras en lugar de espejos: ¿una provocación?

En un extremo de la tienda, destaca un gran ascensor circular de vidrio transparente que conduce al sótano, donde la ropa se desliza a través de unas guías. Y para hacerse una idea de cómo le sentarían a uno las piezas que allí se exhiben sin necesidad de probárselas, unas pantallas se encargan de mostrar la ropa vestida por modelos. Sin embargo, vale la pena entrar en los probadores, donde una cámara se encarga de que el cliente se vea de cara y, al mismo tiempo, vea proyectada la imagen de su espalda filmada por la cámara. Los vestidores, una clara muestra del carácter desenfadado del arquitecto holandés, no tienen cortinas sino que con oprimir un botón, sus paredes se vuelven opacas o transparentes. El lujo de Koolhaas y Muccia Prada es pues sutil y provocador.

En las pantallas de cristal líquido del local que cuelgan de los percheros se puede ver la la película ‘Desierto rojo’ de Antonioni, un film lleno de chimeneas industriales y plagado de contaminación. Desde la calle, destaca el mural con una inmensa fotografía a color, así como las torres suspendidas, con maniquíes y ropa colgada debajo que hace pensar al transeúnte que se encuentra frente a una tienda singular, por lo que no duda en entrar y darse un paseo por este vanguardista espacio que marca una revolución en el campo de la moda a través de la alta tecnología.

Los exquisitos complementos de la firma, como billeteros o cinturones, están estratégicamente situados en el centro de dos mesas que están a la vista desde cualquier punto de la tienda. La iluminación es otro de los aspectos que ha sido estudiado a la perfección para lograr que el local sea acogedor y el cliente se sienta cómodo rodeado de prendas de una calidad y un diseño excelentes en un entorno que invita a comprar

PD: Fundamental bajar a la planta -1 para ver los catálogos interactivos proyectados, los asientos de un gel deformable con el calor y el peso y los probadores de vidrios transparentes que se abren pisando un botón y una vez dentro, pisando otro botón se convierten en espejo.

Fotos de aquí y de allá, y el texto  de www.neomoda.com

New York 03_

New York 03_

_PS1-MOMA QUEENS

22-25 Jackson Ave at the intersection of 46th Ave,Long Island City, NY 11101

Hours: 12 - 6 p.m., Thursday through Monday. Closed on Tuesdays and Wednesdays.

http://ps1.org/

P.S.1 Contemporary Art Center is one of the oldest and largest non-profit contemporary art institutions in the United States. An exhibition space rather than a collecting institution, P.S.1 devotes its energy and resources to displaying the most experimental art in the world. A catalyst and an advocate for new ideas, discourses, and trends in contemporary art, P.S.1 actively pursues emerging artists, new genres, and adventurous new work by recognized artists in an effort to support innovation in contemporary art. P.S.1 achieves this mission by presenting its diverse program to a broad audience in a unique and welcoming environment in which visitors can discover and explore the work of contemporary artists. P.S.1 presents over 50 exhibitions each year, including artists’ retrospectives, site-specific installations, historical surveys, arts from across the United States and the world, and a full schedule of music and performance programming. 

P.S.1 was founded in 1971 by Alanna Heiss as the Institute for Art and Urban Resources Inc., an organization devoted to organizing exhibitions in underutilized and abandoned spaces across New York City. In 1976, P.S.1 opened its first major exhibition in its permanent location in Long Island City, Queens, with the seminal Rooms exhibition. An invitation for artists to transform the building’s unique spaces, Rooms established the P.S.1 tradition of transforming the building’s spaces into site-specific art that continues today with long-term installations by James Turrell, Keith Sonnier, Richard Serra, Lawrence Weiner, and others. 

For the next twenty years, the building was used as studio, performance, and exhibition spaces, in support of artists from around the world. After a building-wide renovation, P.S.1 reopened in 1997, confirming its position as the leading contemporary art center in New York. True to the building’s history and form, the renovation preserved much of the original architecture as well as most of its unique classroom-sized galleries. 

In 2000, P.S.1 became an affiliate of the Museum of Modern Art to extend the reach of both institutions, and combine P.S.1’s contemporary mission with MoMA’s strength as one of the greatest collecting museums of modern art. 

A true artistic laboratory, P.S.1 aspires to maintain its diverse and innovative activities to continue to bring contemporary art to international audiences.

Imagenes y texto de http://ps1.org/

New York 02_

New York 02_

_Cooper Union

41 Cooper Square,NY
www.cooper.edu

Architect: Morphosis

A new classroom, laboratory, and studio facility designed by Thom Mayne of Morphosis Architecture and Gruzen Samton was completed in Summer 2009, replacing the aging Hewitt Academic Building at 41 Cooper Square. In contrast to the Foundation Building, the so-named "New Academic Building" is of modern, environmentally "green" design, housing nine above-ground floors and two basements. The structure features unconventional architectural features, including a full-height Grand Atrium, prevalent interior windows, a four-story linear central staircase, and upper-level skyways, which reflect the design intention of inspiring, socially interactive space for students and faculty. In addition, the building's design allows for up to 75% natural lighting, further reducing energy costs. Other "green" features in the design include servo-controlled external wall panels, which can be swiveled open or closed individually in order to regulate interior light and temperature, as well as motorized drapes on all exterior windows. The New Academic Building is the first academic and laboratory structure in New York City to meet Platinum-level LEED standards for energy efficiency.The building was funded largely by alumni donations, materialized in nameplates and other textual recognition throughout the building.

Main Atrium and Grand Staircase of the New Academic Building

Primarily designed to house The Cooper Union's School of Engineering and School of Art, the new building's first eight above-ground floors are populated by classrooms, small engineering laboratories, study lounges, art studio space, and faculty offices. The ninth, top floor is dedicated completely to School of Art studio and classroom space in addition to the art studio spaces located throughout the building. The lowest basement level consists almost completely of the school's large machine shops and design laboratories, as well as much of the HVAC and supply infrastructure. The building's first basement level houses primarily the Frederick P. Rose Auditorium, a 300-capacity lecture hall and event space designed as a smaller, more modern alternative to the Great Hall. In addition, the first basement's Menschel Conference Room provides a high-profile space for meetings and classes, and features a high-definition videoconferencing system linked to two other similar spaces in the upper floors of the building.

Connecting the first four floors of the New Academic Building is the linear Grand Staircase, which is used both for transportation and as a recreational space for students. Higher floors are connected by floating interior skyways, in addition to two standard corner staircases and three passenger elevators. At the peak of the Grand Staircase is the Ware & Drucker Student Lounge, which houses a small cafeteria service for students as well as a relaxed, naturally lit study location.

Textos de www.cooper.edu e imágenes de sitios  web varios y las 6 últimas de ArchDaily