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  • Celebrate: Groundswell

    Los Angeles | Dates: 28 Jun, 2014
    CELEBRATE is A+D Architecture and Design Museum>Los Angeles’ annual gala that brings together design leaders and creative thinkers from around the world. This year, we CELEBRATE our California beach communities, which have for years been a mecca for - and inspiration to - artists, craftspeople, designers, and architects.

    This year, A+D celebrates California’s beach communities, which have for years been a mecca for—and inspiration to—artists, craftspeople, designers, and architects. Continuing the legendary runway presentations for which A+D’s annual CELEBRATE gala has now become known, the 2014 event will feature custom surfboards, boogie boards, and skateboards created by local and international architects, designers, and artists expressly for the A+D fundraiser.

  • Facades+ Chicago July 24th and 25th

    Chicago | Dates: 24 – 25 Jul, 2014
    The Architect’s Newspaper and Enclos present a two day conference that will examine the increasingly fast-paced evolution of façade technology and explore innovative, sustainable design practices. Don’t miss the chance to network with leading industry experts, participate in discussion-based panels and learn through hands-on workshops. Last year, symposium was AIA:CES approved for 8 LU | HSW credits. Opening keynote speaker James Timberlake is a founding principal of KieranTimberlake, the renowned Philadelphia-based architecture firm know for its synthesis of art, science, and advanced research. JAHN’s Francisco Gonzalez Pulido to give the afternoon keynote. Registration open! Visit www.facadesplus.com
  • Sight Lines: Richard Serra's Drawings for Twain

    St. Louis | Dates: 28 Mar – 07 Sep, 2014
    Sight Lines: Richard Serra's Drawings for Twain will highlight a series of drawings and manipulated photographs as well as a steel model related to the large-scale sculpture,Twain, located on the Gateway Mall in downtown Saint Louis. In 1974, Serra was chosen by a panel of art professionals and civic leaders to create a site-specific work on an open plaza just east of the Civil Courts building. The material that will be on display acts as a record of the extensive planning for Serra’s first public commission in the United States. 

    Twain, occupies one city block and consists of seven 40-foot steel plates and one 50-foot plate that form a quadrilateral arrangement. The narrow openings between the plates act as framing devices for the city beyond, including the Gateway Arch. The drawings in this exhibition investigate the relationship between Twain's form and its setting—simulating the physical experience of moving in and around the sculpture. Displayed around a steel model, the drawings offer a 360-degree view of the site.

    The exhibition is curated by Ann-Maree Walker, research assistant in the Department of Prints, Drawings, and Photographs, and is on view in gallery 313 from March 28 through September 7, 2014. 
  • Seeking the Landscape of Civic Identity: The Gateway Mall and Serra's Twain

    St. Louis | Dates: 19 – 20 Jun, 2014
    Seeking the Landscape of Civic Identity: The Gateway Mall and Serra's Twain
    Thursday, June 19, 11:00 am
    Friday, June 20, 6:00 pm
    Speaker: Michael Allen, historic preservation expert

    Allen's talk will examine the history of St. Louis’ Gateway Mall, with a focus on the significant changes that occurred between the 1960s and 1980s that affected the city’s civic and cultural landscape. The talk, held in conjunction with the exhibition Sight Lines: Richard Serra's Drawings for Twain, highlights a series of drawings and manipulated photographs as well as a steel model related to the large-scale sculpture, Twain, located on the Gateway Mall in downtown Saint Louis. In 1974, Richard Serra was chosen by a panel of art professionals and civic leaders to create a site-specific work on an open plaza just east of the Civil Courts building. The material that is on display acts as a record of the extensive planning for Serra's first public commission in the United States.
  • Happy Birthday, Martin Mitchell Mansion

    Naperville | Dates: 29 Jun, 2014
    1:00 PM - 4:00 PM
    $12 adult, $10 senior (62+), $8 youth (4-12)

    Join us for a special birthday celebration of the Mansion as 2014 marks the Mansion’s 130th year. Today, the Mansion continues to be the crown jewel of Naper Settlement. Enjoy a mini-cupcake with ice cream, take a tour of the Mansion and play games. Be on hand for the beginning of a yearlong Pass the Plate journey as a special commemorative dish is filled and passed throughout the community. Track the plate each month on our web page, Facebook/Twitter, reading stories of recipes and the food being shared for special celebrations.

    Under 4 years, Naperville Residents and members are free.

    All activities are included with admission.

  • Call for Papers: "Spatial Violence" [Architecture Theory Review]

    Dates: 09 Jun – 01 Aug, 2014

    Call for papers:  Architectural Theory Review, vol. 19, no. 3
    To be published December 2015

    Special Issue: Spatial Violence
    Editors: Andrew Herscher and Anooradha Iyer Siddiqi

    This special issue will be devoted to the exploration of spatial violence. We invite papers that examine the mediation of violence through architectural registers: construction, destruction, design, use, representation, theory, and history.

    The imbrication of violence and space in histories of architecture and urbanism has often been articulated in terms that elide frameworks for critique and thereby reproduce violence in historiographical form. We see this in interpretations of spatial violence that privilege the destruction of works of architecture or sovereign space through visually significant events or acts; that reinforce the role of architects or planners as authors and of authorship only as constructive, rather than destructive; that approach archival and other institutional and epistemological regimes only as sources of evidence about political violence rather than components of violent political assemblages; and that underscore the notion that spatial forms of violence represent rupture to an ostensibly normative fabric, or a "state of exception," in Carl Schmitt's term, as for example in political conflict or humanitarian disaster. We contend that the concept of spatial violence, as such, and pursuant architectural histories, structured as they have been by political forces and dynamics, have thus provided legitimations for political and historiographical violence, and, moreover, have been subsumed under other orders of knowledge and practice.

    In contrast, we pose spatial violence as a constitutive dimension of architecture and its epistemologies—as a theoretical method, rather than a topic, and indeed, one native to architectural theoretical and historical inquiry. Spatial violence, in this conception, may be used to study histories of and through architecture, and may be understood as a force that has manifested systemically (and thus, perhaps less prominently in the chronologies and geographies of architectural historical discourse) through what Slavoj Žižek has described as "the more subtle forms of coercion that sustain relations of domination and exploitation." Such structural violence is related to processes less immediately visible than those of directly transacted physical violence; we may find traces in the circulation of capital through phases of development and modernization, mass-urbanization that renders ever-greater densities of population vulnerable to ecological disaster, or the ghettoization of peripheral and interstitial territory in cities worldwide. This reading refracts expressions and understandings of the purportedly distinctive borders between war and peace; modernization, as the extraction of violence from everyday life; capitalist accumulation, as a naturalized mode of violent and expansive global imperialism; violence, as a form of social, political, and economic order rather than its exceptional interruption; and space, as a figure itself, rather than an empty field upon which social, political, and economic forces act themselves out. In short, it suggests that violence is not only something inflicted upon architecture, but also something that architecture itself inflicts—that is to say, in keeping with Walter Benjamin's prescient formulation that there is no document of civilization that is not also a document of barbarism, "spatial violence" thereby offers another name for "architecture" itself.

    For this special issue of Architecture Theory Review, we seek essays that help to position "spatial violence" as a new historiographical model, which describe and analyze architecture's participation in political violence, as well as architectural history's participation in the legitimization, naturalization, and masking of political violence. How may we theorize spatial or territorial redistribution, intervention, and politics in relation to violence? How have spatial strategies for the reorganization of economics, society, and power been articulated in relation to violent acts, and any putative prevention of or recovery from them? What roles have architectures and architects played in advancing or resisting violence? How does the study of violence contribute to the historical analysis of space and how does the study of space contribute to the historical analysis of violence? And how do spatial histories of violence relate to and act upon other histories, offering new sequences, continuities, and ruptures and contouring such historical categories as "development," "modernity," and "progress"?  The ambition of this special issue is to explore what "spatial violence" might yield, both in terms of new historical narratives, and as a basis for historical and theoretical critique.

    Architectural Theory Review, founded at the University of Sydney in 1996, and now in its nineteenth year, is the pre-eminent journal of architectural theory in the Australasian region. Now published by Taylor and Francis in print and online, the journal is an international forum for generating, exchanging and reflecting on theory in and of architecture. All texts are subject to a rigorous process of blind peer review.

    Enquiries about this special issue theme, and possible papers, are welcome;
    please email the editors (Andrew Herscher: herscher@umich.edu; Anooradha Iyer Siddiqi: iyersiddiqi@gmail.com). All other queries may be directed to Sean Anderson: sean.anderson@sydney.edu.au

    The deadline for the submission of completed manuscripts is Monday 1st
    August 2014. Please submit manuscripts via the journal¹s website:

    When uploading your manuscript please indicate that you are applying for
    this special issue (vol. 19.3 – Spatial Violence).

    Manuscript submission guidelines can be found at:

  • Bridge City: A Bicycle Tour of Downtown Area Bridges

    Portland | Dates: 12 Jul, 2014

    With a dozen bridges spanning the Willamette River between Sellwood and St. Johns, it should come as no surprise that Portland is often called “Bridge City”.

    This AHC bicycle tour will discuss the rich history of Portland’s downtown bridges from its earliest, the twice rebuilt Morrison Bridge, to it's newest – the soon to be completed Tilikum Crossing Transit Bridge.

  • Lecture: Wade Hampton Pipes, Architect

    Portland | Dates: 22 Jul, 2014

    With a career spanning nearly 50 years, Wade Hampton Pipes (1877-1961) was one of Oregon’s most notable architects during the first half of the 20th century. Pipes’ home designs were so outstanding that his work has long been imitated by others.

    Primarily a residential architect, Wade Hampton Pipes was a native Oregonian who trained in England. His designs displayed a thorough interest in the Arts & Crafts movement of the late 19th and early 20th centuries, but with a style that was all his own. From cottages to country estates, there are dozens of Pipes-designed homes remaining today, scattered throughout the Portland area and the Willamette Valley. Architectural historian Eric Wheeler will outline the life and work of Wade Hampton Pipes in this image-filled presentation.

  • Sustainability and Historic Preservation: A Bicycle Tour of Portland’s Central Eastside

    Portland | Dates: 13 Sep, 2014

    What is the relationship between architectural preservation and environmental sustainability? Come explore this question on a tour of Portland’s Central Eastside which has a variety of examples of adaptive reuse, some ambitious sustainable renovations, and a mostly-level biking experience.

    Along this tour you’ll see a former flour mill, a one-time PGE power plant, Portland’s only Ford automobile assembly facility, a re-purposed firehouse, a school in the midst of a historic adaptive reuse project, as well as a former laundry, and even a former library designed by noted Portland architect A.E. Doyle.

  • Metal Fest 2014 – Celebrating the Metal Arts

    Astoria | Dates: 19 Jul, 2014

    Local and regional metal arts practitioners, Clatsop Community College and the Fort George Brewery & Public House are collaborating to produce Astoria’s first Metal Fest event – Saturday, July 19, noon to 9pm, at the Fort George Lovell Showroom and Brewery.

    The festival will highlight metal artists from throughout the Pacific Northwest and a diverse range of techniques including blacksmithing, bladesmithing, and fabricating in metal. Participating artists include: Vern Wilson, sculptor; Lynn Gledhill, President of the Northwest Blacksmith Association; Mike Neely, Mark Moshofski and David Curl, professional blacksmiths and more.

    Artisans will demonstrate their techniques, display their work and offer work for sale. In addition, artists are donating original work for a live auction of work that will be displayed in the Fort George Lovell Showroom gallery. Proceeds from the auction and a percentage of sales will be donated to Clatsop Community College to help support its new blacksmithing three-course sequence beginning Fall Term 2014. Registration for the first course in this series, Blacksmithing I (BLD199) is now open at www.clatsopcc.edu/register.

    Live music and a BBQ by the Fort George Brewery will be available throughout the event.

    Please direct inquiries to: Lucien Swerdloff, 503-338-2301; lswerdloff@clatsopcc.edu.

  • Queen Mary Art Deco Festival

    Long Beach | Dates: 28 Aug – 01 Sep, 2014

    “Cruise” back in time to the Golden Age of Travel for a weekend aboard one of the greatest Maritime Monarchs in history. Drink, dine, dance, and discover the opulence of this by-gone era immersed among the largest collection of Art Deco in the World.

    The Queen Mary boasts some of the grandest and intricate interior designs ever accomplished on an ocean liner. Influenced by the Art Deco movement of the 1920s and 30s, her strong curves and geometric forms represent elegance, glamour, function and modernity.

    Art plays a prominent role in the décor of the ship. Further enhanced by the use of over 50 different types of woods from all over the world, The Queen Mary earned her nickname, the "Ship of Woods."

    With elaborate murals, paintings, sculptures and wood carvings found throughout the ship, it’s no wonder she is widely considered one of the best examples and landmarks of Art Deco style in the world.

    Pack your vintage duds and celebrate the luxury and grandeur immortalized in F. Scott Fitzgerald's literary classic The Great Gatsby at the 10th Annual Art Deco Festival presented by the Queen Mary in association with the Art Deco Society of Los Angeles.

  • The Common Citizenship of Forms: New Sculpture by Jeff Carter

    Chicago | Dates: 10 Jul – 31 Aug, 2014
    Using ready-to-assemble components from the global home-furnishings store Ikea, Jeff Carter repurposes them into architectural models that are simultaneously familiar and a bit off-kilter. His constructions explore the formal vocabulary of Bauhaus architecture while also considering the dilemma of modern material culture: can mass-produced consumer goods be “good” design? Which is more socially useful: inexpensive products to buy or artisanal production and jobs?
  • The Period Room: Museum, Materiality, Experience

    Leeds | Dates: 18 – 20 Sep, 2014

    Since the late 19th century the Period Room has been a consistent presence in the public museum, and yet over the past 25 years the Period Room has become a contentious museum object, leading many museums to question the legitimacy of the Period Room as an effective and appropriate method of display and interpretation.

    As dislocated fragments, often remodelled to fit the spaces in the museum, the Period Room is, for some: a signifier for the inauthentic, an outmoded method of display and an example of unfashionable museum interpretation. Many museums retain their Period Room displays, but the recent changes in the perspectives on Period Rooms have also led a number of museums in the UK, Europe and the USA to reconsider their continued relevance as museum objects. This may include dismantling or de-accessioning the displays, and in some cases, repatriating the Period Rooms to their places of origin (if they still exist).

    This conference, jointly organised by the University of Leeds and The Bowes Museum, and supported by the Paul Mellon Centre for Studies in British Art, considers the Period Room, and the historic interior, from a wide variety of perspectives in order to address some key questions about the history and practice of Period Room displays in Museums.

    The conference has an interdisciplinary framework incorporating theoretical and practice-based perspectives. It brings together leading academics and museum professionals from a wide range of institutions in the UK, Europe and the USA, to discuss, debate and share perspectives on history and interpretation of Period Rooms and historic interiors in museums.

    For conference delegates there is also a chance for wider participation in the debates through the mid-conference ‘Sandpit’. We hope that the conference will have wide appeal and that it will have a significant impact on future museum practice and museum theory.

    Conference highlights include:

    • Keynote talks from Thomas Michie, (Senior Curator, Decorative Art and Sculpture at Museum of Fine Arts, Boston) and Giles Waterfield, (Former Director, Dulwich Picture Gallery).
    • Closing conference address from Professor Helen Rees Leahy (Professor of Museology at the University of Manchester).
    • Conference speakers include museum professionals from The Metropolitan Museum of Art, New York; Minneapolis Institute of Art; New Orleans Museum of Art; National Museums, Scotland; Historic Royal Palaces; The Science Museum, London; The Jewish Museum, Vienna, and the Universalmuseum Joannneum, Graz. As well as academics from University of Cambridge; University of Ghent; KTH Royal Institute, Stockholm; De Montfort University; University of Durham; Open University; University of Potsdam; University of Southampton.

    Included in the conference fees are:

    • Presentations on the innovative methods of display and interpretation of the English Interiors Galleries at The Bowes Museum, led by senior curators.
    • An organised field trip to Auckland Castle.
    • Evening wine receptions at both The Bowes Museum and Auckland Castle.

    The full conference programme and costs are available via The Bowes Museum website:www.thebowesmuseum.org.uk

    For further information, or to request a booking form please contact Rosie Bradford at The Bowes Museum by email: ThePeriodRoom@thebowesmuseum.org.uk or by telephone: 01833 694615.

    High demand for is expected for Conference Tickets so early booking is advised.

  • Call for Entries: Pamphlet Architecture 35

    Dates: 17 Jun – 01 Sep, 2014

    Following the success of the inaugural call for entries, which produced the Pamphlets 23–30, Pamphlet Architecture, with renewed support from the National Endowment for the Arts, announces the 2014 competition.

    To promote and foster the development and circulation of architectural ideas, Pamphlet Architecture is again offering an opportunity for architects, designers, theorists, urbanists, and landscape architects to publish their projects, manifestos, ideas, theories, ruminations, insights, and hopes for the future of the designed and built world. With far-ranging topics including the alphabet, algorithms, machines, and music, each Pamphlet is unique to the individual or group who authors it. This call for ideas seeks projects that possess the rigor and excitement found throughout the rich history of Pamphlet Architecture.

    The deadline for submissions is September 1, 2014. The winning entry will engage important issues facing architecture, landscape architecture, and/or urban design today in a way that is as visually provocative as it is intellectually compelling. The winner will be given a grant of $2,500 to develop the proposal into an 80-page, black and white, 7-by-8½-inch book, which will be published by Pamphlet Architecture, Ltd. / Princeton Architectural Press as Pamphlet Architecture 35. The outcome of the competition will be announced here on September 12, 2014, and entrants will be notified by email.

  • Starts/Speculations: Graphic Design in Chicago Past and Future

    Chicago | Dates: 12 Jun – 30 Sep, 2014

    Inspired by the past century of design achievement and looking toward the future with insight and creativity, Starts/Speculations represents an anthology of work from Chicago’s graphic design legacy and a glimpse into how the tools we use to design and communicate could evolve and influence our interactions in the future.

    Beginning with a letter that articulates visual design standards for the 1909 Plan of Chicago by Daniel Burnham and Edward H. Bennett, the exhibition is a broad overview of the past century of graphic design in Chicago with a particular focus on the influence of European modernism through the establishment of the New Bauhaus in 1937. As the Chicago Design Museum evolves and grows, we look forward to exploring and sharing more of Chicago’s design legacy by unearthing the stories that make our city unique, as well as highlighting dynamic influences from across cultures, borders, and disciplines. We consider this the start of something more—more ideas, more conversations, and more discovery.

    The glimpse into the future includes work from:

    Chris Eichenseer
    Jonathan Petersen, with animation by Tommy Dalton
    Matt Wizinsky
    Other Forms
    The Post Family
    Studio Blue

    The reflection on the past features work on loan from the following institutions and/or collections:

    AIGA Chicago
    AIGA National
    Bauhaus Chicago Foundation Archive & Collection
    Edward H. Bennett Collection, Ryerson & Burnham Archives, The Art Institute of Chicago
    Chicago Film Archives
    Crosby Associates
    IIT Archives, Paul V. Galvin Library
    John Massey Inc.
    University of Illinois Richard J. Daley Library Special Collections Department
    VSA Partners

    Starts/Speculations: Graphic Design in Chicago Past and Future will run from June 12 through September 30, 2014. During this time, the museum will be open Tuesday through Saturday from 12:00-7:00 pm.

    The store will also be open during this time, featuring items for purchase from the following designers and studios:

    Craighton Berman, Craighton Berman Studio
    Marjie Best, Best Design Chicago, Inc.
    Ivan Brunetti, Columbia College Chicago
    Sharon Burdett, Strand Design
    Jay Byrnes, Fourth is King
    Tyler Deal, Idiot Pull
    Nick Disabato, Draft Design Inc
    Sarah Dodson, MAKE Literary Productions
    Firebelly Design
    Kyle Fletcher, USKLF
    Ryan Ford
    Iker Gil, MAS Context
    Emily Haasch
    Steven Haulenbeek, Steven Haulenbeek Design Concepts Inc.
    Heart & Bone Signs
    Matthew Hoffman, You Are Beautiful
    taylor hokanson, chicago knit works
    Jesse M Hora, MAKE and co.
    Quinn Keaveney
    Joseph Klomes, _unproductive
    Kim Knoll, RFRM Jewelry
    Legacy Frameworks
    Frances MacLeod
    Mike McQuade, McQuade Inc.
    Julie Morelli, Nourishing Notes
    Ork Posters
    Po Campo
    Public Media Institute
    Thomas Quinn, Blank is the New Black
    Michael Renaud, Pitchfork
    Erin Rensink, Kozie Prery
    Lance Rutter
    Ben Stagl, ChiLab
    Jude Stewart
    Studio Limited
    The Society of Typographic Arts
    Roman Titus and Tanner Woodford, Applied and Chicago Design Museum
    Eric Weber, RightAngle Workshop

  • Thinking Through Design

    London | Dates: 23 Jun, 2014
    Monday 23 June 8pm

    Mat Hunter, Chief Design Officer at the Design Council, discusses critical design practice with Designs of the Year nominees Onkar Kular from the Royal College of Art, Ben Barker and Sam Hill from Pan Studio and James Bridle, to ask how design can transcend practicality to make us think differently.

    £14 Adult
    £10.50 Student
    £7.50 Member*

    The ticket price includes entry to the museum from 6.30pm.

    T 020 79408783
    Ticketweb (booking fee applies)

  • Louis Kahn / The Power of Architecture

    London | Dates: 09 Jul – 12 Oct, 2014

    The American architect Louis Kahn (1901-1974) is regarded as one of the great master builders of the Twentieth Century. Kahn created buildings of monumental beauty with powerful universal symbolism.

    This exhibition encompasses an unprecedented and diverse range of architectural models, original drawings, travel sketches, photographs and films. Highlights of the exhibition include a four-metre-high model of the spectacular City Tower designed for Philadelphia (1952-57), as well as previously unseen film footage shot by Kahn’s son Nathaniel Kahn, director of the film ‘My Architect’.

  • New Moscow – Новая Москва, Urban Development by International Competitions 2012-2014

    Berlin | Dates: 31 May – 05 Jul, 2014

    A new series of international architecture competitions are characterizing a clear change in the current urban planning strategy of Moscow. The initiator of these developments is the incumbent chief architect of the Russian capital, Sergey Kuznetsov. Together with his team, he has breathed new life into Moscow’s urban development since taking office in mid 2012. The exhibition New Moscow – Новая Москва presents two international competitions – from the fields of landscape planning (1st prize Diller Scofidio + Renfro, New York) and cultural building (1st prize Heneghan Peng, Dublin) – and through these demonstrates the great gains for the city’s urban planning that are being drawn from this open, global approach.

    Both of the competitions presented in the exhibition demonstrate the great potential for development and innovation in Moscow to meet the growing demands of the city residents for cultural and leisure facilities. A further important topic is the extension of the traffic infrastructure of this growing city, which is initiating a radical change in the building policy of the Russian capital.

    For more information, please click here.

  • Competing Utopias: An Experimental Installation of Cold War Modern Design from East and West in One Context

    Los Angeles | Dates: 13 Jul – 14 Sep, 2014
    Visiting Hours:
    Fridays: 6-10 PM
    Sat/Sunday: 11 AM - 3 PM
    Admission is $10 on Saturdays, when there are docent-led architecture tours of the house. The suggested donation on other days is $10. Related events are free with donation to the VDL House.

    Competing Utopias is a design collision that should never happen. But somehow, in Los Angeles, in 2014, twenty-five years after the fall of the Berlin Wall, it will.

    This installation is a ‘mash-up’ in the most provocative sense of that word. Its force comes from the collision of two design cultures that have been kept apart but have been visually connected in ways yet unexamined. What we propose is an experimental installation that presents Cold War modern design from East and West in one context.

    Competing Utopias is organized by two Los Angeles institutions: the Neutra VDL Studio and Residences and the Wende Museum and Archive of the Cold War, each a different type of museum. The Neutra House is an iconic Los Angeles mid-century modern house museum, designed by Austrian born American architect Richard Neutra. The Wende Museum is the largest archive of Cold War artifacts in the world. Both ‘institutions’ originated in German speaking Europe, both subsequently landed in Los Angeles. Their collections embody two forks of a Cold War history.

    The Cold War was fought not just with guns, but also with art, design, and culture. Who would formulate the vision for the future of humanity? Twenty-five years after the fall of the Berlin Wall, historians, curators, and artists are investigating the divisions between East and West in their visual expressions of modernity — how were they different and how were they similar? Form knows no political boundaries or foreign languages — in this most basic sense the ‘cultural Cold War’ was a truly global competition of ideas and ideals.

    The strength of this installation comes from its simplicity; that a cultural disruption is arranged by just a few simple acts. All of the objects from the Neutra House will be removed and Cold War objects from the Wende collection will repopulate the home: chairs, tables, lamps, phones, pictures, books, cooking utensils and even Stasi surveillance equipment, to be stand-ins for the removed originals. While the installation will not have any physical labels in order to provoke an unimpeded conversation about the contrasts and similarities of modern design, digital information will be available online and on site-specific iPads provided for further research and exploration.

    The installation is meant to ask more questions than it could possibly answer. Why do design objects from the East fit so seamlessly, often invisibly, into a high design mid-century home from the West? Is Cold War design from West and East so different after all? And how has Los Angeles as a place of this cultural collision altered the meaning of these design histories?

    Competing Utopias will challenge and broaden our understanding of Cold War design and will compel us to reflect upon an entirely new context for these histories that is the installation itself.

    Special events will be presented in conjunction with the installation, including lectures and summer dinner parties with luminaries in architecture, design, film, as well as screenings of ‘rediscovered’ DEFA technical and zoological documentary films from East Germany.
  • Open to the Public: Civic Space Now

    New York | Dates: 12 Jun – 06 Sep, 2014

    What makes public space compelling and enjoyable? What, in fact, makes it public? Government funding? Municipal policing? The recent “occupation” of parks, plazas, and squares, including POPS (privately owned public spaces) by protest movements worldwide has focused attention on the significance—and indispensability—of broadly accessible public space as a setting for political demonstration. And now, amidst the ubiquity of digital communication, the simple desires for face-to-face encounters and a sense of community, however transitory, also compel us to seek out the shared experiences that public spaces provide. Yet public space, often slow in the making, is easily compromised. Vulnerable to market pressures, public space loses its essential character through excessive commercialization, branding, and programming. Its creation and maintenance require both patience and vigilance.

    The contemporary public spaces presented in this exhibition—thirteen in New York and one each in the nation’s three next largest cites, Los Angeles, Chicago, and Houston—demonstrate a broad range of approaches to design, access, financing, and management. These case studies are primarily dedicated to congregation, circulation, or contemplation, though many combine elements of all these functions. Whatever their use and impact, however, each of the spaces seen here is intended to serve the public—as complex, confounding, and contested as that goal can prove to be.

    Curator: Thomas Mellins