The Vanguard Issue Ian Griffiths Giorgio Guidotti Paula Scher Jenny E

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ISSUE architecture 51 interiors design fashion THE VANGUARD ISSUE IAN GRIFFITHS GIORGIO GUIDOTTI PAULA SCHER JENNY E. SABIN ANDEE HESS THOMAS INGENLATH JEAN PAUL GAULTIER TOLU COKER TADAO ANDO RENZO PIANO + MORE 24 52 56 O XX N 5 1 : THE VANGUARD ISSUE 6. HELLO INTEL DESIGN DNA 10. MASTHEAD 19. FIRST LOOK 37. BODY OF WORK 12. CONTRIBUTORS Jean Paul Gaultier releases Avant-garde sophistication, nature-inspired wallpaper, classics that meet the moment, Bellevue Art Museum honors and a highly elegant form of architect Steven Holl, creative feminism make Max Mara agency Layer designs a speaker a singular force in fashion— with Bang & Olufsen, and more. decade after decade. 30. OBJECTS OF DESIRE 46. ON THE RISE Sit back, relax, and enjoy the best Nigerian-British designer of what’s new in seating. Tolu Coker explores identity, community, and lived experience through fashion, film, and rich visual narratives. 8 GRAY INTEL BODY TALK Conventional Western beauty standards bore Belgian costume designer Jennifer Defays, so she’s spent the past two decades creating ensembles that accentuate and morph the body in unexpected ways. On April 23, Defays will present her newest work at Brussels’s TicTac Art Centre in MUTE, an exhibition that highlights her use of costume to explore societal stigmas and oppressions. Featuring haunting cotton masks with FIRST LOOK protruding artificial cheekbones and her provocative Window Dress series—designed like targets, with circular openings at the pelvis, the works denote prostitution and the patriarchy’s narrow gaze on the female figure—MUTE is a layered multisen- sory experience that explores the stifling of self-expression, incorporating recorded shouts and cries as well as text by writer Natalia Dusfraise. “My definition of costume is a crafted work on the human body,” Defays tells GRAY. “It’s like a sculpture, and it opens a lot of possibilities.” —Claire Butwinick California-based architect Scott Mitchell’s landmark 18th-century farmhouse to the monumental HOUSE residences are characterized both by what they Malibu estate seen in Tom Ford’s 2016 film BEAUTIFUL renounce (excessive opulence) and what they embrace Nocturnal Animals. The book includes a foreword (purity of form and space). Informed by Japanese by architectural critic Paul Goldberger and minimalism and Shinto aesthetics, Mitchell’s works contributions from longtime friend Calvin Klein. are fusions of rich organic materials, sculptural “I am most happy with the way that the book concrete, and seamless connections to the natural conveys, through the voices of contributors and landscape. This May, Rizzoli debuts the book friends, the emotional impact of what I aspire to Scott Mitchell Houses, a charting of the architect’s create in my work,” Mitchell tells GRAY. —CB design trajectory from a modern interpretation of an LAETITIA BICA; COURTESY SCOTT MITCHELL STUDIO 24 GRAY.

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Renzo Piano Designs a Reverent Addition to Louis Kahn's Kimbell
SEEMING INEVITABILITY: renzo piano designs a reverent addition to louis kahn’s kimbell 6 spring INEVITABILITY: Lef: Aerial view from northwest. Above: Piano Pavilion from east, 2014. Photos: Michel Denancé. by ronnie self Louis Kahn’s and Renzo Piano’s buildings for the Kimbell Art Museum in Fort Worth are mature projects realized by septuagenarian architects. They show a certain wis- dom that may come with age. As a practitioner, Louis Kahn is generally considered a late bloomer. His most respected works came relative- ly late in his career, and the Kimbell, which opened a year and a half before his death, is among his very best. Many of Kahn’s insights came through reﬂection in parallel to practice, and his pursuits to reconcile modern architec- ture with traditions of the past were realized within his own, individual designs. spring 7 Piano (along with Richard Rogers and Gianfranco Franchini) won the competition for the Centre Pompidou in Paris as a young architect piano’s main task was to respond appropriately only in his mid-30s. Piano sees himself as a “builder” and his insights come largely through experience. Aside from the more famboyant Cen- to kahn’s building, which he achieved through tre in the French capital, Piano was entrusted relatively early in his career with highly sensitive projects in such places as Malta, Rhodes, alignments in plan and elevation ... and Pompeii. He made studies for interventions to Palladio’s basilica in Vicenza. More recently he has been called upon to design additions to modern architectural monuments such as Marcel Breuer’s Whitney Mu- seum of American Art in New York and Le Corbusier’s chapel of Notre Dame du Haut in Ronchamp.
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Tadao Ando Kenneth Frampton
Tadao Ando Kenneth Frampton Author Frampton, Kenneth Date 1991 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701983, 0810960982 Exhibition URL www.moma.org/calendar/exhibitions/348 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art W&: 353 Ut-v : Wmasmamam<h sipi '.'M Archive MoMA 1596 o Q < o < Q < H Kenneth Frampton THE MUSEUM OF MODERN ART - NEW YORK The exhibition and catalogue are part of the Gerald D. Hines Interests Architecture Program at The Museum of Modern Art, New York. Distributed by Harry N. Abrams, Inc., New York c(;\tg Published on the occasion of the exhibition Tadao Ando A r October 3-December 31, 1991 organized by Stuart Wrede, Director tfotfA Department of Architecture and Design 15% The Museum of Modern Art The exhibition and catalogue are part of the Gerald D. Hines Interests Architecture Program at The Museum of Modern Art, New York. This exhibition is also sponsored by Yoshida Kogyo K.K. Copyright © 1991 by The Museum of Modern Art, New York All rights reserved Library of Congress Catalog Card Number 91-61418 Certain illustrations are covered by claims to copyright noted in the Photograph Credits. ISBN 0-87070-198-3 (MoMA) ISBN 0-8109-6098-2 (Abrams) Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Harriet Schoenholz Bee Designed by Tomoko Kawakami Miho Production by Marc Sapir Typeset by TGA Communications Inc., N.Y.
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Haute Concrete with His First Building in New York, the Architect Tadao Ando Takes the Material to New Heights
Haute Concrete With his first building in New York, the architect Tadao Ando takes the material to new heights. BIANCA BOSKER APRIL 2017 ISSUE 4 hile architects once worker ash a cigarette into the considered concrete a 1 concrete mixture for one of Ando’s Wbuilding’s underwear— buildings, he reportedly slugged an essential but hidden layer— the man. Tadao Ando’s 1 1 structures display Over the course of his nearly their concrete with pride. There’s a 50-year career, Ando has helped story (which Ando’s team declined transform the gritty, gray material to confirm) that’s used to illustrate often associated with driveways how seriously Ando takes the and median strips into an artistic material: When the architect, a medium. “Every architect I know former boxer, saw a construction who wants to do something in 2 3 concrete always refers to him as the ideal in concrete design,” says Reg Hough, a concrete consultant who has for decades worked closely with top architects, including Ando, I. M. Pei, and Richard Meier. Having left his mark on cities from Tokyo to Fort Worth to Milan, Ando is now overseeing construction of a seven-unit, concrete-and- glass condominium building, 152 Elizabeth 2 3 , his first stand- depressions 4. 4 (It’s even possible so, nine inspectors oversee most alone structure in New York City. to buy premade paneling that pours to ensure that every protocol Ando is hardly the first knocks off the Ando look.) When is followed. The crew has lugged architect to embrace concrete; 152 Elizabeth is completed later in heaters, because concrete is he cites the brutalist architect this year, its apartments will feature hypersensitive to temperature Le Corbusier, an earlier concrete Ando’s concrete both inside and shifts.
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Concrete Resistance: Ando in the context of critical regionalism Xianghua Wu 48-341: History of Architectural Theory Professor Kai Gutschow 10 May 2006 Critical regionalism was first introduced as an architectural concept in the early 1980s in essays by Alexander Tzonis, Liane Lefaivre and, subsequently, Kenneth Frampton. In his writings, Frampton mentions and celebrates Tadao Ando as a critical regionalist, and uses the approach as a paradigm to discuss Ando’s architecture. 1 Yet despite the label, Ando has neither used the terms “critical regionalism” to talk about his work, nor raised any objection over the label. It is also important to note that Tadao Ando is not mentioned in Frampton’s original article on critical regionalism, “Towards a Critical Regionalism.” 2 Thus, is “critical regionalist” an appropriate term to describe Ando’s architecture? Catherine Slessor posits an alternative label, “concrete regionalist,” to describe Ando’s poetic adaptation of concrete to the local context, thus playing down the “critical” aspect of his approach. 3 Is “concrete regionalist” a more accurate description of Ando’s work? This paper shall demonstrate that while Ando’s architecture does display some characteristics of critical regionalism, he is not strictly “critical regionalist” if we are to follow its definition as described by Tzonis, Liane, and Frampton. This paper will start by providing background on the evolution of critical regionalism, examining arguments of how Ando’s approach is “critical regionalist,” and finally demonstrating the inadequacy of the label by breaking down these arguments. The concept of regionalism is nothing new; Vitruvius discussed regional variations in architecture in his ten books, and the Romantics propounded picturesque regionalism during the nineteenth and early twentieth centuries.
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Dynamic Balance: Bringing Traditional Japanese Architecture to the 21st Century A thesis submitted to: The Division of Research and Advanced Studies of the University of Cincinnati In partial fulfi llment of the requirements for the degree of: Masters of Architecture in the school of Architecture and Interior Design of the College of Design, Art, Architecture and Planning May 25, 2008 by: Lee Warren Dunfi eld Bachelor of Science in Architecture, May 2005 Washington University in St. Louis Committee Chairs: Elizabeth Riorden, Tom Bible Abstract In much contemporary architecture today there exists a disconnect between humans and nature, between humans and a regional, cultural identity. Beginning with the Modernist movement of the early 20th Century, many architects have turned away from reliance on nearby resources and building methods suited to their particular environment and towards the material and technological variety made possible by modern manufacturing and transportation. While the reproduction of buildings of the past would be anachronistic and counter-productive, many older styles, such as Japanese traditional architecture, a focus of this thesis, can offer design techniques to help contemporary buildings refocus on nature and on their specifi c local environment. This project uses these techniques from traditional Japanese architecture to design a contemporary, ecologically-sensitive building in the United States based on unique conditions within the urban landscape and shows that older traditional architecture is relevant to the 21st Century.
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Bataku K.Pdf
UNCOVERING THE ROLE OF SILENCE IN A CONVERGENCE OF “THE SUBLIME” AND “THE BEAUTIFUL”: A COMPARISON BETWEEN MINIMALIST ARCHITECTURE AND SCULPTURAL ART By KRISTEL BATAKU A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURAL STUDIES UNIVERSITY OF FLORIDA 2019 ©2019 Kristel Bataku To my mentors, friends, students and my family. ACKNOWLEDGMENTS I would like to thank my family for all their hard work to pave the way for me to get a quality education and for their enduring love and support throughout it. I am eternally grateful for Professor Nina Hofer’s time, patience, and immeasurable wisdom. I could not have done it without your devotion and compassion. I would like to thank Professor Jason Alread for being an excellent mentor in his pedagogical understandings and for providing great clarity in complex concepts. To Professor Martin Gundersen, I am appreciative of the space and time he has offered me in his classroom. Additionally, I would like to thank Sheryl McIntosh who has helped me immensely in each step of this process. To Jamie Lindsey, I hold deep gratitude for providing me moral support and complex discourse. Finally, I would like to acknowledge all the faculty, peers, and students who have been part of this experience – you have given me so much. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .........................................................................................................
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