MoMA gives Modern a Makeover

The modern design section of the Museum of Modern Art (MoMA) recently received a facelift. Running from December 23, 2009 to July of 2010, the museum’s third floor Philip Johnson Architecture and Design Galleries showcases “Shaping Modernity: Design 1880–1980.” The exhibit houses a selection of visionary objects, graphics, architectural fragments, and textiles from the Museum’s collection that reveal the attempts of successive generations to shape their experience of living in the modern world. Curator Juliet Kinchin and curatorial assistant Aidan O’Connor organized some 300 works into the following five sections:


The International New Art 1890–1914

The International New Art flourished in urban centers around the world taking on many localized forms and names (among them Art Nouveau, Jugendstil, Arte Modernista, Sezession, and Glasgow Style). The pieces in this installation were used in the office of the MoMA’s founding director, Alfred H. Barr, Jr. Other examples in the exhibition include a side chair by Charles Rennie Mackintosh, a side table by Mackay Hugh Baillie Scott, and a plaster cast of Antoni Gaudí’s original finial sculpture for the Church of the Sagrada Familia in Barcelona.

New Typography 1927–37

In the 1920s and 1930s, the movement known as the New Typography brought graphics and information design to the forefront of artistic avant-gardes in Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Included in the exhibition are 14 works by Jan Tschichold, Ladislav Sutnar, Johannes Molzahn, Theo H. Ballmer, Herbert Bayer, Frantisek Kalivoda, Zdenek Rossmann, Joost Schmidt, and Aleksandr Rodchenko.

Mind, Body, Machine 1925–40
The tone of this section is set by a giant railroad-car spring and a boat propeller first shown in MoMA’s landmark Machine Art exhibition in 1934, which celebrated such items of anonymous industrial design as symbols of social improvement and technological progress. The theme is further explored in utilitarian objects such as a streamlined meat-slicer (given in memory of the Yippie leader Abbie Hoffman), and the Vipp trash can, designed for a Danish hair salon.

What Was Good Design? MoMA’s Message 1944–56

This section,which opened in May of 2009, presents over 100 selections from the museum’s collection—ranging from domestic furnishings and appliances to textiles, sporting goods, and graphics—to illuminate the primary values of Good Design as promoted by MoMA within an international debate conducted by museums, design councils, and department stores.

Continuity and Critique 1960–80
The clean and elegant forms of classic modernism continued to appear in the domestic appliances of Dieter Rams for Braun, and the Vignelli Associates’ stacking plastic dinnerware. For many however, the emphasis on pop music, youth, and counterculture opened up new possibilities in materials, colors, and forms, as well as more humorous, expendable design.

Sears Tower to Be Revamped to Produce Most of Its Own Power

By SUSAN SAULNY
Published: June 24, 2009
CHICAGO — The Sears Tower, that bronze-black monument that forms the 110-story peak of the skyline here and stands as the tallest office building in the Western Hemisphere, will soon have another unique feature: wind turbines sprouting from its recessed rooftops high in the sky.
The building’s owners, leasing agents and architects said Wednesday that they are literally taking environmental sustainability to new heights with a $350 million retrofit of the 1970s-era modernist building — and the turbines are only the tip of the transformation. The plan, to begin immediately, aims to reduce electricity use in the tower by 80 percent over five years through upgrades in the glass exterior, internal lighting, heating, cooling and elevator systems — and its own green power generation.
In such a huge tower, with 4.5 million square feet of office and retail space, 16,000 windows and 104 elevators, the project is bound to be one of the most substantial green renovations ever tried on one site, planners said. The Sears Tower is significantly larger than the 102-story, 2.6-million-square-foot Empire State Building, for instance, which is also undergoing renovation to reduce energy consumption.
“If we can take care of one building that size, it has a huge impact on society,” said Adrian Smith, an architect whose firm designed the Sears Tower renovation. “It is a village in and of itself.”
Buildings are among the world’s largest contributors of greenhouse gas emissions. After the retrofit, energy savings at the Sears Tower, which is to be renamed the Willis Tower this summer, would be equal to 150,000 barrels of oil a year, officials said. The savings are expected to help redeem some of the project’s cost, which is to be financed through private equity investment, grants, debt financing and government funds.
The Sears Tower plans to open a first-floor center to educate the public about the redesign, and hopes to serve as a model for other aging skyscrapers around the world, officials said.

Serving Architects, Consultants in Everything Green Become Mainstays

Lauren Yarmuth of YRG Sustainable Consultants if one of a growing cadre of consultants who specialize in helping developers, architects and sometimes tenants gain an official stamp of approval from the United States Green Building Council through its LEED certification program — the undisputed calling card of environmental bragging rights.

“Going green used to be part of just a handful of organizations’ mission statements, but now it’s become part of everyone’s agenda,” said Ashley Katz, communications director for the Green Building Council. “That has, of course, increased the need for sustainability consultants.”

Many of the consultants are, like Ms. Yarmuth, trained as architects and work directly with the Green Building Council to develop and refine the guidelines they help clients follow. At the end of 2006, the Green Building Council’s membership included 679 consultants. By July 31 this year, there were 1,590.

This mirrors the rapid increase in the number of buildings certified by the council: In 2005, there were 404 buildings that met LEED standards. Midway through 2008, 1,705 buildings have been certified. LEED started certifying new construction as “green” or “sustainable” in 2000, and the fifth version of standards is being prepared for 2009.

Despite a seemingly straightforward point system and scorecard, getting LEED certification is not always easy. Even large firms with employees with titles like “environmental strategist” hire consultants to walk them through the process.

"Children's City" Creates Cheerful and Relaxed Atmosphere for Sick Children

Kinderstad (which means "children's city" in Dutch) is an addition to the old VU Medical Centre in Amsterdam, designed by Sponge Architects & Rupali Gupta in cooperation with IOU Architecture.

This was the winning entry of the Young Architects Competition of the Dutch National Board of Architects (BNA) and the penthouse now serves as a visiting area and offers a great space for the parents and their sick children to spend their visiting hours in. Roland Pouw of IOU Architecture says


"I hoped to create a space where young patients can forget for one moment their sickness and where they are in their own dreamland...".

MOMA Exhibition

Home Delivery: Fabricating the Modern Dwelling

July 20–October 20, 2008

Home Delivery: Fabricating the Modern Dwelling is both a survey of the past, present and future of the prefabricated home and a building project on the Museum's vacant west lot. Not since the mid-century House in the Garden series has MoMA built occupiable model buildings to demonstrate contemporary issues to the public. The fives homes erected on the vacant west lot are designed by Kieran Timberlake Associates (Philadelphia); Jeremy Edmiston and Douglas Gauthier (New York); Horden Cherry Lee Architects / Haack + Höpfner Architects (London/Munich); Massachusetts Institute of Technology School of Architecture and Planning / Associate Professor Lawrence Sass (Cambridge); and Oskar Leo Kaufmann (Dornbirn, Austria).

The exhibition, and its accompanying Web site (www.momahomedelivery.org), display the process of architectural design and production in equal measure with the actual end result. Within the gallery, eighty-four architectural projects spanning 180 years are presented by means of film, architectural models, original drawings and blueprints, fragments, photographs, patents, games, sales materials and propaganda, toys, and partial reconstructions. This diverse collection of material illustrates how the prefabricated house has been, and continues to be, not only a reflection on the house as a replicable object of design but also a critical agent in the discourse of sustainability, architectural invention, and new material and formal research.

Charles & Ray Eames Postage Stamps

In recognition of their groundbreaking contributions to architecture, furniture design, manufacturing and photographic arts, designers Charles and Ray Eames will be honored next summer with a pane of 16 stamps designed by Derry Noyes of Washington, DC. If you’ve ever sat in a stackable molded chair, you’ve experienced their creativity. Perhaps best known for their furniture, the Eameses were husband and wife as well as design partners. Their extraordinary body of creative work — which reflected the nation’s youthful and inventive outlook after World War II — also included architecture, films and exhibits. Without abandoning tradition, Charles and Ray Eames used new materials and technology to create high-quality products that addressed everyday problems and made modern design available to the American public. Visit the USPS website for more information.