Mobile Homestead was developed by Kelley with Artangel and the Museum of Contemporary Art Detroit as a community space, and is based on the artist's childhood home in the Detroit suburb of Westland. The notion of a house as our most private sanctuary is obliterated with Mobile Homestead, the work of the late contemporary artist Mike Kelley, which has made its way from its permanent home at the Museum of Contemporary Art Detroit (MOCAD) to the lot in front of The Geffen Contemporary at the Museum of Contemporary Art Los Angeles (MOCA). This is the mobile home’s first journey outside
In 1967, while I was an architecture student at the University of Washington in Seattle, my History of Architecture professor Hermann G. Pundt presented an hour-long lecture to the class on the Glasgow School of Art and the work of Charles Rennie Mackintosh.
Richard Meier, Peter Eisenman, and Paola Antonelli pay tribute to their collaborator and mentor. From left: Tadao Ando, Lella Vignelli, Richard Meier, and Massimo Vignelli, in January 1990. Massimo Vignelli, one of the leading graphic artists of his generation who designed some of the most recognized logos and branding materials of the second half of the 20th century, died Tuesday after a long illness. He was 83. Vignelli applied his strict minimalist aesthetic to some of America’s most iconic brands, designing the austere American Airlines logo, consisting of sans-serif AAs, introduced in 1967 and used until it was replaced last
A design exhibition in New York introduces a neglected genre. Installation view of the exhibition, Norwegian Icons, in Manhattan. Of all the places where modernism put down roots, Norway provided particularly fertile ground: with its union from Sweden dissolved as recently as 1905, a new international language signaled independence. Recovering from World War II occupation, the country harnessed the principles, technologies, and idioms of modernism to return to normality quickly and affordably. Modernism bloomed, but unlike the distinguishable and celebrated work of its 20th-century architects—think of the functionalism of Erling Viksjø versus Arnstein Arneberg’s conservatism, or the fame of
Marc Norman has been the director of UPSTATE: A Center for Design, Research, and Real Estate at the Syracuse University School of Architecture since 2012. The program was created by former dean Mark Robbins to, in Norman’s words, “tie faculty and students to real-world projects in the city and the region.” Norman studied political economics at Berkeley and urban planning at UCLA and spent four years as a project manager for Skid Row Housing Trust, a community development corporation in Los Angeles, before moving to New York. There, he worked for Lehman Brothers, financing affordable housing, and for Deutsche Bank,
Architectural Record’s first Innovation Conference outside of New York City was aptly held in Los Angeles, a city known for blurring boundaries between urbanism, architecture, and the landscape.
Michael KennaHomage to BrassaiLondon, Englandnegative 1983/print 1984Toned gelatin silver printGift of the George H. Ebbs Family, 2007.51.52 Architecture has been an irresistible subject for photographers since the birth of the medium, and like buildings themselves, architectural photography can be different things to different people—a malleability explored in the excellent exhibition Architecture + Photography, on view at the Carnegie Museum of Art in Pittsburgh through May 26. Using materials from the museum’s Heinz Architectural Center and Department of Photography, curator Tracy Myers and assistant Alyssum Skjeie built the show around four intersections between photography and architecture over a period of more