Hasta La Ideas

It seems that, given the incredible, record-setting success the Metropolitan Museum of Art had with its “Alexander McQueen: Savage Beauty” exhibition, that any other museum would jump at the chance to host it themselves. While putting the show on tour hasn’t yet been announced as being in the works, movements are afoot to help push it along. Art Info reports that a number of petitions have been set up in recent weeks, post-closure at the Met, one by the British magazine Grazia, asking that “Savage Beauty” make its way to McQueen’s hometown of London, an another, more general and larger in span, requests that the exhibition start traveling worldwide, helped by way of another petition and asking Twitter users to start using the tag “#MakeSavageBeautyTravel.” Of the two, it appears that the London effort might be working, with vague stirrings that, after some time to recover from the whirlwind that was the Met, it might wind up there one day. Should that happen, that’s sure to be a positive for both of the grass movement efforts, as one gets their way while the other sees the precedent set that the exhibition can indeed travel. We’ll just have to wait and see.

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Despite some hurdles along the way, which included some last-minute fundraising and getting tagged with graffiti, Michigan State University seems on still track to open their new, Zaha Hadid-designed Eli and Edyth Broad Art Museum on its campus by the spring of next year. This week marked two high notes toward progress. First, that they’ve hired Min Jung Kim, previously at the Guggenheim, to step in as deputy director, serving under Michael Rush, who was hired away from the Rose Art Museum back in December. Second, the State News reports that the university is now preparing their plans to start the transition, both staff and artwork, from the current-yet-now-closed old building, the Kresge Art Museum, and into the new digs. The staff part is fairly seems easy, largely involving putting desk supplies and computers in boxes and walking across the campus, but it’s the art moving that takes a bit more work. And not only will they be transitioning the university’s collection over, but the Broads will also be bringing pieces of their massive art holdings as well. So while the staff isn’t expected to get into the still-under construction museum until next year, all the art-based logistics are sure to keep them busy for the next few months.

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Visitors enter a museum of energy near a nuclear power plant in Spain through a curved wall of light.

Designed by Girona studio Arquitecturia, the museum near Tarragona is wrapped in vertical lengths of black-painted steel and features a tall window framing a central row of double-height rooms.

Two curved terraces dissect the rectangular plan to create the two concave walls, which are clad in translucent polycarbonate.

Lights inside the museum cause these two walls to glow after dark.

The single-storey museum contains an exhibition hall, lecture room and meeting rooms, all accessedfrom a foyer at the front of the building.

Other buildings on Dezeen that feature translucent glowing walls include a museum of glass in the Netherlands and a business training centre in Italy.

Photography is by Pedro Pegenaute.

Museum of Energy by Arquitecturia

This SITE

Desolate land, landscape and industry not related, simply juxtaposed, they coexist without tension.

Here, in this place, the boundary condition is strongly felt.

Uncomfortable, there is no shelter.

Between the Ebro and the topography, between industry and the urban settlement.

The need to anchor this place is strong.

We start dusting off the GRID

On the blank paper, a square 42 x 42, abstract, perimeter without references.

On the Square, an orthogonal grid, rows interval: A A B A A, columns interval: a b a a b a

On the Grid, B divides the square into two, between the receiving space and the space of exhibition, B articulates, B is circulation and transition.

On the Grid, the type, a b a a b a modulate and order, programmatic conditions.

The TYPE on this SITE

The type on this site, lost purity, now, it emanates a sense of belonging, intertwined abstraction and specificity.

XY are no axes anymore but coordinates, two structural directions.

East west, landscape, the Ebre river and topography.

North south, artifice, industry and the town of Ascó.

From outside to inside, accidental spaces, subtracted MATTER, emptiness is absence, the interior is revealed.

STEEL outside – regular perimeter, dense heavy precise, dark cold rough

POLYCARBONATE inside, winding subtraction, ethereal light sinuose, bright smooth soft

Click above for larger image

Authors: Josep Camps + Olga Felip
Colab: M. Agudo, I. Sola, A. Horta, J. Farres, A. Serrats
Client: ANACNV

Click above for larger image

Engineery: PROINTEC
Structure: GMKgrup
Constructor: TCSA

See also:

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Cité de l’Océan et du Surf by Steven Holl	Roku Museum by NAP & Hiroshi Nakamura	National Glass Museum by Bureau SLA

With just two weeks away from its planned packed, yet somber opening, one of the many concerns ahead of the New York landing of Hurricane Irene was how it might affect the still-under construction National September 11 Memorial and Museum. “Could Hurricane Irene Uproot the 9/11 Memorial?” asked the New York Observer, speculating that maybe one of the 13 cranes surrounding the area might topple over, or the newly planted trees would be pulled out by heavy winds, or any number of other things that can happen when you combine heavy construction equipment, torrential storms and a somewhat fragile newly built sheen. However, in the end, the result was quite the opposite, as not only did both the memorial and museum escape relatively unscathed, save for a few broken branches and some minor flooding, the site wound up maybe even better because of the storm. Here’s from the same paper, the Observer, just two days after that original article:

In a way, the site is in better shape for its grand opening in exactly two weeks than it would have been had their been no hurricane. “The plaza looks great,” Mr. Daniels said. “All the preparations we did in preparing for the storm actually helped prepare us for the opening, like removing excess equipment and temporary fencing that had been surrounding the pools.”

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