Foster abandons Moscow museum project

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News: Foster + Partners has announced its resignation from a major expansion and modernisation of the Pushkin Museum of Fine Arts in Moscow, following a row about the firm’s involvement in the project.

Foster + Partners claims that the museum has failed to involve the firm in the project, while Moscow’s chief architect says the problem is that Norman Foster wasn’t contributing to the design personally.

A statement released this week by Foster + Partners reveals that it had walked away from the £430 million project two months ago. The announcement was prompted by comments from Moscow’s chief architect Sergei Kuznetsov, seemingly unaware of the resignation, who gave an ultimatum for the firm’s founder to take a more active role in the development and visit the city within the next month.

“If Sir Foster, for one reason or another, refuses to participate further in the work, then, most likely, a competition will be held to choose another team, possibly of Western architects,” Kuznetsov told journalists.

Speaking later to the Arts Newspaper, he added: “It’s not the candidacy of Norman Foster that raises any questions. The only problem is that either Norman Foster must himself work on the project and defend it face-to-face, personally – this is a very important question in architecture – or he must turn down this project.”

The architecture practice responded by revealing it had formally withdrawn from the project in a letter dated 5 June 2013, claiming that the museum had failed to involve them in the development of the design.

“Foster + Partners formally resigned from the Pushkin Museum project and stipulated that their name could not be used in conjunction with the project, as confirmed in a letter from Lord Foster to the director of the museum on 5 June 2013,” said the firm.

“Foster + Partners took this action because the museum, for the last three years, has not involved us in the development of the project, which was being carried out by others. This was despite numerous attempts by the practice to continue working with the museum.”

Norman Foster had been appointed to the project in 2006 by former Pushkin Museum director Irina Antonova – a fan of Foster’s work – who left the post in July after more than 50 years in charge. It was scheduled for completion in 2018 but may now be pushed back for another two years.

Foster + Parters is also currently working on a new California campus for Apple, which is reportedly $2 billion over budget, as well as a 200-metre skyscraper on Park Avenue, New York.

See more architecture by Foster + Partners »

Image of Pushkin Museum of Fine Arts is courtesy of Shutterstock.

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Green light for Kengo Kuma’s redesigned V&A at Dundee

News: Kengo Kuma’s latest proposals for a new outpost of the V&A museum in Dundee, Scotland, have been granted planning permission, following a redesign to reduce costs (+ slideshow).

Green light for Kengo Kuma's V&A at Dundee

Planned for construction in Dundee’s Craig Harbour, Kengo Kuma’s competition-winning design for the V&A at Dundee first gained approval in autumn 2012, but spiralling costs forced the architect to redesign the structure so that only its prow projects over the edge of the water, rather than the whole building as originally intended.

Green light for Kengo Kuma's V&A at Dundee

The £45 million building will be constructed on the site of a former leisure centre and will feature an angular body with thick horizontal striations, creating exhibition spaces that are naturally lit and ventilated. It is set to become the leading centre for design in Scotland.

Green light for Kengo Kuma's V&A at Dundee

Philip Long, director of V&A at Dundee, commented: “Kengo Kuma’s fabulous design will give Dundee and Scotland a wonderful space to enjoy outstanding international exhibitions, and to learn about and get involved with Scotland’s remarkable history of design creativity. I believe it will attract visitors from across the world.”

Green light for Kengo Kuma's V&A at Dundee

Detailing the timeframe for construction, he said: “The projected date for the main fabric of the building to be in place is the end of 2015. Its completion, the interior fit-out and installation of the first exhibitions and displays will follow throughout 2016.”

Green light for Kengo Kuma's V&A at Dundee

Kengo Kuma and Associates is working with Edinburgh studio Cre8 Architecture to deliver the project. The two studios won the original design competition back in 2010, seeing off competition from a shortlist that included Steven Holl Architects, Snøhetta and Delugan Meissl Associated Architects.

Green light for Kengo Kuma's V&A at Dundee

Other recent projects by the Japanese studio include a timber-clad art and culture centre in France and an experimental house in Japan. See more architecture by Kengo Kuma »

Green light for Kengo Kuma's V&A at Dundee
Proposed site plan

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The Getty Launches ‘Open Content’ Program, Lifting Restrictions on Use of Digital Images

Among the most well-known images in the history of photography is “The Open Door” (pictured), in which William Henry Fox Talbot used his pioneering calotype process to preserve forever the scene of a broom leaning at a jaunty angle on the threshold of Lacock Abbey. Talbot’s 1844 tableau is among the approximately 4,600 high-resolution digital images from the J. Paul Getty Museum that are now free use, modify, and publish for any purpose thanks to an open door policy announced today by The Getty.

“As of today, the Getty makes available, without charge, all available digital images to which the Getty holds all the rights or that are in the public domain to be used for any purpose,” said Getty president and CEO Jim Cuno in a statement announcing the Open Content program, which aligns the institution with similar programs at the Walters Art Museum, the National Gallery of Art, Yale University, the Los Angeles County Museum of Art, and Harvard University. Images were previously available upon request, for a fee, and permissions were granted for specific uses only.
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L.A.’s Petersen Automotive Museum Reveals ‘Early Sketch’ for Exterior Redesign


(Courtesy Petersen Automotive Museum)

The Pedersen Art Museum made headlines recently for what the Los Angeles Times characterized as a plan to sell off “a third of its 400 classic cars” to finance a major renovation and “put more emphasis on motorcycles and French vehicles…passions that match the tastes of the museum’s new leadership.” That leadership was not amused and has fired back with a statement intended to set the record straight.

“The collection has now reached over 400 pieces. Not only are we unable to showcase all of the vehicles, but maintaining and keeping that many cars in running order is virtually impossible,” wrote museum board chairman Peter Mullin and co-vice-chairman Bruce Meyer in an open letter posted to the museum’s website. “We are culling the collection for the first time in nearly 20 years, selling cars that can easily be procured on loan or vehicles that were never intended for exhibition.” The only vehicles that are being sold, according to Mullin and Meyer, are those “that we have in multiples or are not in show-worthy condition.”
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Happy Birthday Andy! EarthCam, Warhol Museum Stream Live from Artist’s Grave


(Image courtesy EarthCam)

Raise your Warhol-themed bottle of Perrier, because Andy would have turned 85 today. We think the artist would have gotten a kick out of one morbid, panoptical take on a birthday party: live-streaming footage from his elaborately landscaped Pittsburgh gravesite. The footage–which is also available in high-definition 16-megapixel and pop art-style formats–is a collaboration among EarthCam, the Andy Warhol Museum, and St. John Chrystostom Byzantine Catholic Church (home to a temporary “ChurchCam” in honor of the birthday boy, who was baptized there). “I think my uncle would have been jealous. He would have said, ‘I should have been at Marilyn’s gravesite filming everything,’” said Donald Warhola, Warhol’s nephew, in a statement announcing the birthday grave webcam. “It pays homage to one of his most famous and controversial projects, the ‘Death and Disaster’ series.”

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At Rubin Museum, Ignorance Is Not Bliss

But it does make for excellent fodder for discussions, film screenings, “interactive experiences,” and more thought-provoking happenings at New York’s Rubin Museum of Art. The reliably innovative cultural hub, the only museum in the United States dedicated to the Himalayan region, is now putting the finishing touches on “The Ignorance Series,” a fresh line-up of public programs that will explore how the unknown permeates our lives and impacts our perceptions of the world—at a time when it seems as if every answer is just a smartphone Google search away.
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Freudian Hip: Selima Optique Teams with Neue Galerie for Sigmund-Style Sunglasses


(Courtesy Neue Galerie)

“The doctor should be opaque to his patients,” wrote Sigmund Freud, “and, like a mirror, should show them nothing but what is shown to him.” Sounds like a job for a sweet pair of shades. The psychoanalyst’s signature round-framed specs get summer-ready with the Selima Optique Freud Sunshades (pictured), specially designed by Selima Salaun for New York’s Neue Galerie. The museum, which is devoted to early twentieth-century German and Austrian art and design, commissioned the limited-edition sunnies, and they are available exclusively at the Neue Galerie design shop and online store. The handmade polished tortoise frames, with UV400-protective green lenses, pair perfectly with the luxe leather glasses case from R. Horn: it’s an authorized reproduction of the case exhibited at the Sigmund Freud Museum in Vienna. The dark green pebbled calf-skin exterior (superego?) conceals a cardinal red interior that is all id.

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The Turbulences by Jakob + MacFarlane at the FRAC Centre

Faceted aluminium panels rise from the ground to form this pipe-shaped pavilion at the FRAC Centre in Orléans, France by architects Jakob + MacFarlane (+ slideshow).

The Turbulences by Jakob + MacFarlane at the FRAC Centre

Jakob + MacFarlane created the geometry of The Turbulences by extruding grids created across FRAC art centre‘s courtyard by the existing buildings in the public. The faceted surfaces form tubes topped with glass panels and entrances are inserted under raised parts of the undulations.

The Turbulences by Jakob + MacFarlane at the FRAC Centre

The new pavilion was designed as a reception area to funnel visitors towards the exhibitions housed in the main buildings. A tubular metal structure supports the secondary system of panels that cover the building.

The Turbulences by Jakob + MacFarlane at the FRAC Centre

Pre-fabricated concrete slabs clad the lower portion as a continuation of the courtyard surface. These are replaced by aluminium panels higher up, some of which are perforated and light up with LEDs at night.

The Turbulences by Jakob + MacFarlane at the FRAC Centre

More museum extensions on Dezeen include Zaha Hadid’s addition to the Messner Mountain Museum in the Dolomites and a new aquarium dedicated to codfish at the Ílhavo Maritime Museum in Portugal.

Photographs are by Nicolas Borel.

The Turbulences by Jakob + MacFarlane at the FRAC Centre

See more pavilion design »
See more architecture by Jakob + MacFarlane »
See more architecture and design in France »

The FRAC Centre sent us the following information:


Jakob + MacFarlane have brought to the fore an emerging dynamic form based on the parametric deformation and the extrusion of the grids of the existing buildings. As a strong architectural signal interacting with its context, this fluid, hybrid structure develop likes three glass and metal excrescences in the inner courtyard, in the very heart of the Subsistances.

The principle of emergence is extended to the immediate surroundings: the courtyard is treated like a public place, a topographical surface which forms the link between all the buildings and accommodate the Frac Centre programme. This surface goes hand in hand with the natural differences in level of the site towards the building’s entrance, reinforces the visual dynamics of the Turbulences and stretches away towards the city in a movement of organic expansion.

The destruction of a main building and the surrounding wall on Boulevard Rocheplatte has made it possible to greatly open up the new architectural complex to the city. Thanks to its new urban façade, the Frac Centre is connected to the cultural urban network of Orléans, and the inner courtyard has been turned into nothing less than a square. The new architectural presence has become the point of gravity of the Subsistances site, a new structure, and a new geometry. The architectural extension comes powerfully across through its prototypical dimension, which echoes the identity of the Frac Centre and its collection.

The glass and steel excrescences of the Turbulences house a public reception area and organize the flow of visitors towards the exhibition areas, situated in the existing main buildings.

The critical dimension of the work, conveyed by its structural complexity, is transcribed on all the project’s scales. The tubular metal structure, reinforced by a secondary structure supporting the exterior covering panels (aluminium panels, either solid or perforated) and the interior panels (made of wood), is formed by unusual and unique elements. The lower parts of the Turbulences are clad with prefabricated concrete panels, which provide the continuity of the building with the courtyard. The apparent disjunction between the two architectural orders is offset by the impression of emergence given by the Turbulences.

The light, prefabricated structure of the Turbulences has been entirely designed using digital tools. All the building trades involved worked on the basis of one and the same modelling file. The structures were subject to a trial assembly in the factory where the tubes were welded, before the permanent on-site assembly.

In this project, the at once conceptual and surgical approach to the urban fabric developed by Jakob + MacFarlane redefines the site in order to incorporate in it new points of equilibrium, “shifting” the architecture and offering contemporary art a dynamic and evolving image.

The architectural intervention, with its complex, facetted geometry, stands out against the symmetry and sobriety of the Subsistances site whose period structures and materials are left visible.

As “living” architecture permeable to urban ebbs and flows, the Turbulences – Frac Centre thus becomes the emblem of a place devoted to experimentation in all its forms, to the hybridization of disciplines, and to architectural changes occurring in the digital age.

The Jakob + MacFarlane extension, conceived like a graft on the existing buildings, introduces a principle of interaction with the urban environment activated by a “skin of light” on the Turbulences, designed by the artists’ duo Electronic Shadow (Niziha Mestaoui and Yacine Aït Kaci), the associate artist and joint winner of the competition.

Their proposal consists in covering a part of the Turbulences, giving onto the boulevard, with several hundred diodes, thus introducing a “media façade”, a dynamic interface between the building and the urban space. Using the construction lines of the Turbulences, the points of light become denser, passing from point to line, line to surface, surface to volume, and volume to image. This interactive skin of light, integrated in the building like a lattice-work moucharaby, will function in real time and develop a state of “resonance” with its environment, based on information coming, for example, from climatic data (daylight, wind, etc.) as well as animated image scenarios devised by the artists.

The building’s surface will thus be informed by flows of information, transcribing them as light-images. These luminous signs, the result of a computer programme, implement the merger of image and matter, turning The Turbulencess into “immaterial architecture”.

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Jeffrey Deitch to Step Down as MOCA Director

Dealer-turned-director Jeffrey Deitch is poised to part ways with the Los Angeles Museum of Contemporary Art, the Los Angeles Times reports. He is expected to step down with just under two years left in his five-year contract. “One person, who was not authorized to speak publicly, said that Deitch was ‘choosing to step down,’” wrote Mike Boehm in an article published today. “Another person who has spoken to Deitch said that MOCA is expected to announce Deitch’s exit along with the news that the museum is nearing completion of a fundraising campaign it announced in March to boost its endowment from about $20 million to $100 million.” Stay tuned for the press release, which is reportedly due following a MOCA board meeting scheduled for tomorrow. And L.A.’s loss may be New York’s (re)gain. B.L.A.T.C. reports that Deitch is already on the hunt for an apartment and a gallery space on the Upper East Side.

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Messner Mountain Museum Corones by Zaha Hadid Architects

Zaha Hadid has revealed images of her addition to the Messner Mountain Museum, a string of buildings dotted through the Dolomites of northern Italy.

Messner Mountain Museum by Zaha Hadid

For the sixth and final Messner Mountain Museum building, Zaha Hadid Architects has designed a softly curved building that will tunnel right through the peak of Mount Kronplatz, which forms part of the Kronplatz ski resort.

Like the five other museum buildings, the structure will house exhibitions exploring mountainous regions around the world. A pointed glass canopy will mark the entrance to the building, while a viewing platform will extend from the rockface on the opposite side.

Messner Mountain Museum by Zaha Hadid

“A composition of fluid, interconnected volumes, the 1000 square-metre MMM Corones design is carved within the mountain and informed by the geology and topography of its context,” says the studio.

Construction is already underway and the museum is set to open in 2014.

Messner Mountain Museum by Zaha Hadid
Cross section – click for larger image

The Messner Mountain Museum also includes a building in a converted castle, completed by Italian studio EM2 in 2011.

Zaha Hadid Architects has several buildings nearing completion at the moment, including a university block in Hong Kong and an undulating cultural centre in Azerbaijan. See more architecture by Zaha Hadid »

Here’s a project description from Zaha Hadid Architects:


Zaha Hadid Architects will design the sixth and final Messner Mountain Museum at Plan de Corones, South Tyrol, Italy. In collaboration with Reinhold Messner, one of the world’s most renowned mountaineers, as well as Kronplatz, the largest ski resort in the region, the Messner Mountain Museum (MMM Corones) is embedded within Mount Kronplatz.

“Located at the top of Mount Kronplatz with its unique views of the Dolomites, MMM Corones is the final piece in my series of mountain museums. Dedicated to the great rock faces of the world, the museum will focus on the discipline of mountaineering,” explains Reinhold Messner.

Inaugurated in 2003, the Concordia 2000 Peace Bell was the first step in combining cultural facilities with the sporting and recreational amenities at Mount Kronplatz. The MMM Corones adds a further cultural and educational element to this popular Alpine destination.

A composition of fluid, interconnected volumes, the 1000 sq. m. MMM Corones design is carved within the mountain and informed by the geology and topography of its context. A sharp glass canopy, like a fragment of glacial ice, rises from the rock to mark and protect the museum’s entrance.

Architect: Zaha Hadid Architects
Design: Zaha Hadid, Patrik Schumacher
Project Architect: Cornelius Schlotthauer
Design Team: Cornelius Schlotthauer Peter Irmscher
Execution Team: Peter Irmscher Markus Planteu Claudia Wulf
Structural Engineer: IPM
Mechanical Engineer + Fire Protection: Jud & Partner
Electrical Engineer: Studio GM

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