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The New Philadelphia Story: Culture and Collaboration

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The New Philadelphia Story: Culture and Collaboration d e s i g n destination d e s i g n destination CLiCK AND Go phia Museum of art, as well as a new large-scale one of the galleries inside the civic space in front of City Hall, Dilworth Park, being ry ry Barnes Foundation’s new building. lle designed by nationally prominent Philadelphia firms a g The new Barnes Foundation r kieran Timberlake and Olin. it is a telling sign that the le building on Benjamin Franklin x City of Philadelphia has a department called “arts, E Culture, and the Creative Economy.” Parkway, designed by Tod Williams and Billie Tsien, opened The city has long been home to some of the coun- in 2012. 2012 W try’s most distinguished design galleries—among on i Vertical Wave by Susan Woods, T them Moderne, Wexler, snyderman-Works, and The New a Calderwood—which have both promoted and pros- known as Aswoon, 2014, in bent poplar plywood is on view at ound dhu pered from the region’s rich legacy of design and a s F Wexler Gallery. Philadelphia ne craft. a lively food scene drawing on regional Penn- hdeeb sylvania and Mid-atlantic specialties is buoyed by The Philadelphia museum of the innovative design work from some of the city’s Art’s Perelman building houses Story: up-and-coming architectural and landscape firms. the departments of modern and contemporary design, costume PTMC Ba PTMC © Bar and there are hidden treasures. Philadelphia’s g g r r numerous buildings once devoted to industry and and textiles, and prints, drawings, fo fo Culture and and photographs. manufacturing offer opportunities for adaptive re- hoto photo use, and the opportunities are being scooped up. Bahdeebadhu’s Warren muller y P N Collaboration a Notes adam kamens, a glassblower and manufac- created a massive lighting fixture dm turer turned custom crafter turned gallery owner: of scrap metal and large found Kenned . Wi By BETH DUNLOP . objects for the Prospector Theater r g “For a large city, Philadelphia still feels small. There in ridgefield, Connecticut. PHiLadelphia Has a long History of fine crafts- manship and venerable arts institutions. it is a city (2) M (and region) that historically has been home to some ris of america’s foremost studio furniture designers and OU architects. it is a determinedly historic city with a ’s Bay T Bay ’s E strong architectural preservation sensibility and is so k enmeshed in its centuries of heritage that when Phila- W delphians say “pre-war” they mean not a twentieth- Ha century conflict but ther evolutionary War. photo against this powerful historic backdrop, Philadel- LE phia has emerged as a vibrant center for contempo- Eag rary design, craft, architecture, and art. in part because N of the city’s many art and design-oriented colleges and y/Da TH universities, Philadelphia has a wealth of local talent, r wo s enriched by what statisticians are noting as a surge of LE in-migration of younger residents, drawn by the city’s location and affordability. “Much of the growth that i have seen comes from the energy and enthusiasm of Mr. Bigg a young population that has moved into Philadelphia’s sHOP neighborhoods, infusing them with new creative ideas E ag and ‘can do’ attitudes,” says independent curator Ei- NT leen Tognini, a lifelong Philadelphian. “Like-minded s Vi communities seem to grow quickly and with an infec- ect j B tious pace”—new businesses, art collectives, design O ND studios, co-op work spaces, and other maker and a T r “doer environments.” a There is, of course, a well-entrenched cultural community. The city is hard at work on a series of what architect, author, and design critic Lisa roberts calls “rich urban design initiatives,” among them, a linear park connecting Center City to the Philadel- 60 m o d e r n F A L L 2 0 1 4 F A L L 2 0 1 4 m o d e r n 61 d e s i g n destination are still many great untapped businesses and re- led by associate curator sources dotted around the city. in our neighborhood Elisabeth agro, is an- alone we have nearly three hundred manufacturers other touchstone for the within one square mile. This affords us the ability to city’s cultural offerings. design and experiment with techniques and materi- The third-largest art als outside our core expertise. in addition, we have mu­­seum in the United access to incredible materials and age-old practices states, PMa’s 227,000- as a result of our proximity to the amish and the plus works of art are Mennonite communities that are both amazing spread throughout the craftsmen and excited to take on new challenges.” original building (opened The annual fall event called DesignPhiladelphia in 1928) and the 1927 is a cornerstone here, helping not art deco ruth and only to celebrate what the festival’s raymond g. Perelman founding director Hilary jay calls the Building (acquired by “huge abundance of talent” in the the museum in 1999), which showcases the collec- city but also to build a sense of com- tions of modern and contemporary design; photogra- (2) O munity around it. DesignPhiladel- phy, prints, and drawings; and costumes and textiles. i phia observes its tenth anniversary in October a landmark exhibition of photographs by from October 9 to 17 with a sched- Paul strand opens, followed in November by a retro- Stud ay ay ule of workshops, demonstrations, spective exhibition honoring the swiss design firm Vi- L exhibitions, tours, lectures, and tra. The museum recently announced a major expan- symposiums. “The range is huge,” sion project by the Los angeles-based Frank gehry. (2) C eum jay says. Even shake shack spon- Museums flank the broad landscaped Benjamin s U sors an annual design competition; Franklin Parkway, including the Pennsylvania acad- M last year’s for a bike rack was won emy of the Fine arts and the rodin Museum, and now nd a by an eco-friendly “bike corral” from the Barnes Foundation in its new home designed by Philly-based shift_Design. Tod Williams and Billie Tsien. The long, bitter contro- hop rks a particular focus of Design- versy about moving the museum from its original Paul O W C Philadelphia is collaboration, with Cret building in suburban Merion, though not forgotten, ri designers and makers working with has paled in the face of the Barnes’s remarkable stone, B each other and with an interested concrete, and glass building that encases galleries de- s Fa E public. For example, AIGA (ameri- signed with the exact proportions of the originals. ri can institute of graphic arts) is intriguingly and unique to the city, Philadelphia’s lle a sponsoring a hands-on workshop major cultural landmarks are joined by a series of g Charte, 2012, is among with the Hamilton Wood Type and Printing Muse- smaller museums, each devoted to a more single- rks wo - the works by Gary um (as old-school as you could get) and NextFab, a minded vision. The Fabric Workshop and Museum, N a magakis at Snyderman- M shared space for high tech design work, with the idea founded in 1977 by Marion Boulton stroud, affords r Works Galleries. de of melding the oldest and newest techniques and textile artists, fine artists, photographers, design- y N The Fabric Workshop technologies. “The bottom line,” jay says, “is that we ers, architects, and others opportunities to work s and museum’s collection are helping people understand how de- includes robert Venturi sign touches each and every aspect of and denise Scott their lives every day.” Brown and Associates’ DesignPhiladelphia had its roots in Grandmother (1983) and academia, but it is now the signature Will Stokes Jr.’s People event of the Philadelphia Center for ar- (1979). chitecture. The two organizations have Bryan Hopkins chose also become a nexus for year-round ar- his egg Holders and chitectural events—hosted by the Cen- meredith Host’s dot ter for architecture or others, among dot rounded Jelly them Hidden City Philadelphia, which Jar, both 2014, for the produces a daily blog and offers its own exhibition Breakfast: widely attended guided tours. Curated by Bryan Hopkins at the Clay Studio from The Philadelphia Museum of art with november 7 to 30. its strong design department headed by curator kathryn B. Hiesinger and its extensive (and growing) craft collection 62 m o d e r n F A L L 2 0 1 4 d e s i g n destination with fabric. such luminaries as Louise Nevelson, kashima and his daughter, Mira. The gallery, which Claes Oldenberg, roy Lichtenstein, red grooms, Ed fills five floors of a historic building, also represents ruscha, and robert Venturi and Denise scott Brown the work of other significant studio furniture design- have spent time there along with numerous younger ers such as Wendell Castle, Wharton Esherick, sam artists and designers, among them Doug aitken, Maloof, and David Ebner. This fall, aibel will mount Daniel arsham, and Tacita Dean. The Fabric Work- a companion Emil Milan exhibition to the one at the shop and Museum fills a Center City building (with Center for art in Wood. a store on ground level) and spills over into a sec- The North Third street corridor in Old City is also ond storefront, thus accommodating several simul- home to Wexler gallery, which focuses on contem- taneous exhibitions at once—some of them under porary work and features both design and craft and The Center for the auspices of another museum venture, the New represents an array of up-and-coming artists and Art in Wood is Temporary Contemporary.
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