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robertogreco : davidadjaye   19

At MoMA, Bodys Isek Kingelez Finally Gets the Retrospective He Deserves - Artsy
"Due to Kingelez’s “lack of known art historical precedents,” Suzuki writes in the catalogue, “[the work] evades the genealogy that we love to document and trace.” While there are no artists known to have made anything quite like Kingelez did, however, there is also no shortage of associations with the visual culture of Kinshasa, the capital of what is now the DRC. “I draw my ideas from Africa,” Kingelez once said. And as indicated in catalogue texts by Suzuki, British-Ghanaian architect David Adjaye, and Chika Okeke-Agulu, a Nigerian artist and art historian at Princeton University, Kingelez must be understood in the postcolonial context of the history and culture of Kinshasa."

[https://www.moma.org/calendar/exhibitions/3889
https://www.youtube.com/watch?v=RB4jgBx16vY
https://news.artnet.com/exhibitions/bodys-isek-kingelez-1308167

“Without a model, you are nowhere. A nation that can’t make models is a nation that doesn’t understand things, a nation that doesn’t live." –Bodys Isek Kingelez]
bodysisekkingelez  congo  utopia  art  architecture  cities  models  modelmaking  classideas  africa  zaire  jeanpigozzi  okwuienwezor  sarahsuzuki  drc  democraticrepublicofthecongo  uban  urbanism  sculpture  davidadjaye  chikaokeke-agulu  chérisamba  moké  kinshasa 
august 2018 by robertogreco
Sugar Hill Museum Preschool (David Adjaye) - YouTube
[See also:
http://www.archdaily.com/514785/david-adjaye-s-sugar-hill-development-a-new-typology-for-affordable-housing
http://www.averyreview.com/issues/20/sugar-hill-two-years-later
http://www.designboom.com/architecture/adjaye-associates-sugar-hill-housing-complex-harlem/ ]

"Sugar Hill Museum Preschool is one of the most inspiring projects I've ever seen. Design by the worldwide recognized architect David Adjaye.This educational center, located in between Harlem and Washington Heights is an action from the past, developing right now to expect future results. This project composed by an environment that helps early childhood education to communicate visually within the city, through transparent windows, but at the same time involving the children in an interaction with natural elements. Expression, self-determination, creativity, imagination, economics are some of the splendorous skills offered by Sugar Hill Museum Preschool. Thanks to Broadway Housing Communities for show us the place.

THE SUGAR HILL PROJECT

898 St. Nicholas Avenue, New York, NY 10032.

The Sugar Hill Project, BHC’s most recent initiative, leverages the success of our integrated model which pairs permanent housing with early education and educational advocacy, and access to the arts. The 191,000sf mixed-use building designed by globally renowned architect David Adjaye was prominently located in Upper Manhattan’s Sugar Hill historic district on 155th Street, the crossroads of the traditionally African-American neighborhood of Harlem and the immigrant, mostly Latino communities of Washington Heights.

BHC received more than 48,000 applications for housing at Sugar Hill.

Conceived as an oasis of stability, learning, and opportunity for children and families in an area where more than 70% of children are born into poverty, the Sugar Hill Project features:

• 124 affordable studio, one-, two- and three-bedroom apartments
• Sugar Hill Children’s Museum of Art & Storytelling
• 11,000sf Sugar Hill Museum Preschool
• Community art gallery
• Parking garage for residents and community members
• Seasonal green market (June-November)

All 124 apartments have been leased to low-, very low- and extremely low-income families and single adults; 25 of these households came from the NYC homeless shelter system.

A light-filled early childhood center with the capacity to serve up to 200 children from birth to five and their families serves building residents and the wider community.

The innovative Sugar Hill Children’s Museum of Art & Storytelling is dedicated to the cognitive and creative development of children ages 3-8. An exhibition, education, and storytelling programs celebrate the cultural legacy of one of New York’s most prestigious neighborhoods. Young visitors and their families are invited to engage with art and artists as they explore and share their creative voices.

A replicable model of innovation in affordable housing and community development, BHC’s Sugar Hill Project is poised to generate transformational change for generations to come.

sugarhillmuseum.org "
preschool  davidadjaye  architecture  schooldesign  design  2016  nyc  education 
march 2017 by robertogreco
David Adjaye on Instagram and Good Design - WSJ
"An architect I truly admire is: the late Hassan Fathy, who pioneered an architecture that responded very directly to climate, local materials and place.

I listen to music: all the time. A recent favorite is “Unjust Malaise,” by Julius Eastman. His music has sometimes been overlooked, but I love its contemporary sound.

What I don’t want anymore is: flux. Hotels offer all these incredible services but at a certain point, everything is moving, my bags are moving, my life is moving. Having an apartment in a place I go to a lot give me the ability to say, “Oh, that’s my favorite box of snacks from the food store,” or “There’s a couple of bottles that I really like drinking.” That sort of mundanity is so important."



"A design I’m obsessed with is: the Baby Bjorn. In Africa, people use cloth to tie kids to their side when they’re young, or put them on their back when they get older. It’s so beautiful that somebody has found a way to heighten this into a piece of design.

The one app I use is: Instagram. [My feed is] this incredible dialogue [with other users] about what’s going on in the world in terms of design, what objects are interesting me. But the selfie obsession is beyond mind-numbingly dull. That side of it is completely whatever."



"A favorite design movement is: Arte Povera [which often involved found objects]. It explored the idea of making something extraordinary out of nothing, which is a powerful message.

I collect: art but rarely from galleries—I buy directly from artists that I love.

I used to wear: black, all the time. About five years ago, I said that’s enough and threw all the black clothes out of the wardrobe. Now, it’s always color, pattern and texture, but today we’re shooting [the portrait against so much pattern] and so I found my black outfit."
davidadjaye  architecture  instagram  2015  design  artepovera  flux  mundanity  routine  hassanfathy 
june 2015 by robertogreco
Library as Infrastructure
"For millennia libraries have acquired resources, organized them, preserved them and made them accessible (or not) to patrons. But the forms of those resources have changed — from scrolls and codices; to LPs and LaserDiscs; to e-books, electronic databases and open data sets. Libraries have had at least to comprehend, if not become a key node within, evolving systems of media production and distribution. Consider the medieval scriptoria where manuscripts were produced; the evolution of the publishing industry and book trade after Gutenberg; the rise of information technology and its webs of wires, protocols and regulations. 1 At every stage, the contexts — spatial, political, economic, cultural — in which libraries function have shifted; so they are continuously reinventing themselves and the means by which they provide those vital information services.

Libraries have also assumed a host of ever-changing social and symbolic functions. They have been expected to symbolize the eminence of a ruler or state, to integrally link “knowledge” and “power” — and, more recently, to serve as “community centers,” “public squares” or “think tanks.” Even those seemingly modern metaphors have deep histories. The ancient Library of Alexandria was a prototypical think tank, 2 and the early Carnegie buildings of the 1880s were community centers with swimming pools and public baths, bowling alleys, billiard rooms, even rifle ranges, as well as book stacks. 3 As the Carnegie funding program expanded internationally — to more than 2,500 libraries worldwide — secretary James Bertram standardized the design in his 1911 pamphlet “Notes on the Erection of Library Buildings,” which offered grantees a choice of six models, believed to be the work of architect Edward Tilton. Notably, they all included a lecture room.

In short, the library has always been a place where informational and social infrastructures intersect within a physical infrastructure that (ideally) supports that program.

Now we are seeing the rise of a new metaphor: the library as “platform” — a buzzy word that refers to a base upon which developers create new applications, technologies and processes. In an influential 2012 article in Library Journal, David Weinberger proposed that we think of libraries as “open platforms” — not only for the creation of software, but also for the development of knowledge and community. 4 Weinberger argued that libraries should open up their entire collections, all their metadata, and any technologies they’ve created, and allow anyone to build new products and services on top of that foundation. The platform model, he wrote, “focuses our attention away from the provisioning of resources to the foment” — the “messy, rich networks of people and ideas” — that “those resources engender.” Thus the ancient Library of Alexandria, part of a larger museum with botanical gardens, laboratories, living quarters and dining halls, was a platform not only for the translation and copying of myriad texts and the compilation of a magnificent collection, but also for the launch of works by Euclid, Archimedes, Eratosthenes and their peers."



"Partly because of their skill in reaching populations that others miss, libraries have recently reported record circulation and visitation, despite severe budget cuts, decreased hours and the threatened closure or sale of “underperforming” branches. 9 Meanwhile the Pew Research Center has released a series of studies about the materials and services Americans want their libraries to provide. Among the findings: 90 percent of respondents say the closure of their local public library would have an impact on their community, and 63 percent describe that impact as “major.”"



"Again, we need to look to the infrastructural ecology — the larger network of public services and knowledge institutions of which each library is a part. How might towns, cities and regions assess what their various public (and private) institutions are uniquely qualified and sufficiently resourced to do, and then deploy those resources most effectively? Should we regard the library as the territory of the civic mind and ask other social services to attend to the civic body? The assignment of social responsibility isn’t so black and white — nor are the boundaries between mind and body, cognition and affect — but libraries do need to collaborate with other institutions to determine how they leverage the resources of the infrastructural ecology to serve their publics, with each institution and organization contributing what it’s best equipped to contribute — and each operating with a clear sense of its mission and obligation."



"Libraries need to stay focused on their long-term cultural goals — which should hold true regardless of what Google decides to do tomorrow — and on their place within the larger infrastructural ecology. They also need to consider how their various infrastructural identities map onto each other, or don’t. Can an institution whose technical and physical infrastructure is governed by the pursuit of innovation also fulfill its obligations as a social infrastructure serving the disenfranchised? What ethics are embodied in the single-minded pursuit of “the latest” technologies, or the equation of learning with entrepreneurialism?

As Zadie Smith argued beautifully in the New York Review of Books, we risk losing the library’s role as a “different kind of social reality (of the three dimensional kind), which by its very existence teaches a system of values beyond the fiscal.” Barbara Fister, a librarian at Gustavus Adolphus College, offered an equally eloquent plea for the library as a space of exception:
Libraries are not, or at least should not be, engines of productivity. If anything, they should slow people down and seduce them with the unexpected, the irrelevant, the odd and the unexplainable. Productivity is a destructive way to justify the individual’s value in a system that is naturally communal, not an individualistic or entrepreneurial zero-sum game to be won by the most industrious.


Libraries, she argued, “will always be at a disadvantage” to Google and Amazon because they value privacy; they refuse to exploit users’ private data to improve the search experience. Yet libraries’ failure to compete in efficiency is what affords them the opportunity to offer a “different kind of social reality.” I’d venture that there is room for entrepreneurial learning in the library, but there also has to be room for that alternate reality where knowledge needn’t have monetary value, where learning isn’t driven by a profit motive. We can accommodate both spaces for entrepreneurship and spaces of exception, provided the institution has a strong epistemic framing that encompasses both. This means that the library needs to know how to read itself as a social-technical-intellectual infrastructure."



"In libraries like BiblioTech — and the Digital Public Library of America — the collection itself is off-site. Do patrons wonder where, exactly, all those books and periodicals and cloud-based materials live? What’s under, or floating above, the “platform”? Do they think about the algorithms that lead them to particular library materials, and the conduits and protocols through which they access them? Do they consider what it means to supplant bookstacks with server stacks — whose metal racks we can’t kick, lights we can’t adjust, knobs we can’t fiddle with? Do they think about the librarians negotiating access licenses and adding metadata to “digital assets,” or the engineers maintaining the servers? With the increasing recession of these technical infrastructures — and the human labor that supports them — further off-site, behind the interface, deeper inside the black box, how can we understand the ways in which those structures structure our intellect and sociality?

We need to develop — both among library patrons and librarians themselves — new critical capacities to understand the distributed physical, technical and social architectures that scaffold our institutions of knowledge and program our values. And we must consider where those infrastructures intersect — where they should be, and perhaps aren’t, mutually reinforcing one another. When do our social obligations compromise our intellectual aspirations, or vice versa? And when do those social or intellectual aspirations for the library exceed — or fail to fully exploit — the capacities of our architectural and technological infrastructures? Ultimately, we need to ensure that we have a strong epistemological framework — a narrative that explains how the library promotes learning and stewards knowledge — so that everything hangs together, so there’s some institutional coherence. We need to sync the library’s intersecting infrastructures so that they work together to support our shared intellectual and ethical goals."
shannonmattern  2014  libraries  infrastructure  access  accessibility  services  government  civics  librarians  information  ethics  community  makerspaces  privacy  safety  learning  openstudioproject  education  lcproject  zadiesmith  barbarafister  seattle  nyc  pittsburgh  culture  google  neoliberalism  knowledge  diversity  inequality  coworking  brooklyn  nypl  washingtondc  architecture  design  hackerlabs  hackerspaces  annebalsamo  technology  chicago  ncsu  books  mexicocity  mexicodf  davidadjaye  social  socialinfrastructure  ala  intellectualfreedom  freedom  democracy  publicgood  public  lifelonglearning  saltlakecity  marellusturner  partnerships  toyoito  refuge  cities  ericklinenberg  economics  amazon  disparity  mediaproduction  readwrite  melvildewey  df 
december 2014 by robertogreco
The Revolution at Your Community Library | New Republic
"Now that a digital copy of the Library of Congress’s entire book collection could fit in a single shoebox, the future of the contemporary library is up for grabs. The New York Public Library’s proposed reconfiguration of its Manhattan headquarters is only the most recent high-visibility entrant in a debate that has been ongoing since the mid-1990s, manifested in the press and in a series of large urban central library projects in Berlin, Singapore, Seattle, and elsewhere. What should a contemporary library be? 1 Seattle is one oft-cited exemplar: there Rem Koolhaas and Joshua Prince-Ramus of the Office of Metropolitan Architecture jettisoned the reading rooms, study carrels, and hushed whispers of the traditional library in favor of a dramatic multi-story “living room” where patrons could, according to the architects, “eat, yell, or play chess.” But to find architects, librarians, and municipalities who have re-conceptualized the contemporary public library with a more nuanced and promising vision, we must turn our attentions away from noisy Seattle and other large projects toward the modest community library.

Around the globe, a handful of innovative architects are forging a new building type with a deceptively familiar name. These libraries offer something found nowhere else in the contemporary city: heavily used, not-for-profit communal spaces that facilitate many and various kinds of informal social interactions and private uses. Ranging in size from five thousand square feet, a smallish McMansion in Westchester, to thirty thousand square feet, the size of Derek Jeter’s home near Tampa, some of these community libraries are neighborhood branches of an urban library system, and others stand alone. These buildings look nothing like one another, yet they all offer exemplary moments of architectural innovation. Collectively, they make the case that excellent design is no luxury, certainly not for the civic buildings and lives of people and their communities."



"No wonder that, around the world, the construction of new small community libraries has spurred an impressive efflorescence of architectural innovation. People have wearied of bowling alone. Individuals need places where they can engage with others like and unlike them, with whom they share an affiliation just by virtue of inhabiting a particular city, town, or neighborhood. Groups of people need places that can help constitute them into and symbolically represent their community. Everyone needs what the urban sociologist Ray Oldenberg calls third places—the first is home, the second is school or workplace.2 That is what these new community libraries provide.

THE FUTURE OF THE LIBRARY IS UP FOR GRABS.

This creates an engagingly complex architectural challenge, as the community library presents many competing mandates that are difficult to resolve in built form. To become a lively centrifugal social force that can buttress or, in more troubled areas, constitute a neighborhood’s sense of identity, it must project the impression that it is a civic icon and a public place. And yet it must also offer people opportunities to engage in solitary pursuits. Today’s community library might well be a place where one can eat and play chess, but it must not be a place to yell; it must still offer private moments in communal places, moments saturated in silence, light, the knowledge and the creativity of human expression. And all on a tight budget.

How to distill such competing if not colliding imperatives—public, private; iconic, domestic; distinctive, local—into a coherent design? Even though technically all that a community library actually needs is enclosed, climate-controlled loft spaces, in fact it needs more. Only good design can make a mute, inert edifice convey to people that it embraces all comers and embodies their community’s shared identity. Many of the new library designs are loft-like spaces writ monumental, but they are much more than warehouses for computers, books, and people. Monumentalizing domesticity by design, they take their cues from the needs of people in general and community library patrons in particular: the neighborhood’s scale, the proportions of the human body, people’s innate receptivity to natural light, their tactile sensitivity and associative responsiveness to materials."
2014  libraries  seattle  bellevue  washingtonstate  oma  remkoolhaas  joshuaprince-ramus  washingtondc  community  architecture  norway  samfrancisco  louiskahn  mvrdv  rotterdam  nyc  nypubliclibrary  davidadjaye  thirdplaces  thumbisland  nypl  dc 
march 2014 by robertogreco
david adjaye: washington projects
"david adjaye is making his mark on washington, as well as his winning proposal for the national museum
davidadjaye  architecture  design  washingtondc  dc 
october 2009 by robertogreco
Make It Right Gets Made - Dwell Blog - dwell.com
"The feel-good story: The first six houses funded by Brad Pitt's Make It Right Foundation have been completed in the Lower Ninth Ward of New Orleans. They include homes designed by New Orleans architectural firms Billes Architecture and Concordia; plus KieranTimberlake of Philadelphia, and a couple of prefabs by Los Angeles-based Graft. Soon to come are the balance of Pitt's all-star lineup, including Adjaye Associates, Morphosis, MVRDV, Pugh + Scarpa, and Shigeru Ban."

[See also: http://archrecord.construction.com/news/daily/archives/071210Pitt.asp AND http://archrecord.construction.com/news/daily/archives/081211PittHouses.asp ]
homes  housing  neworleans  affordability  morphosis  davidadjaye  shigeruban  mvrdv  pugh+scarpa  eskewdumexripple  trahanarchitects  bnim  constructs  graft  kierantimberlake  concordia  billesarchitects  architecture  design  braddpitt  philanthropy  katrina  makeitright  nola 
january 2009 by robertogreco
The unusual suspects of Manifesta: The Pirate Bay and David Adjaye - we make money not art
"His contribution to the Manifesta biennial is Europolis, a beautifully crafted glass and metal foil panel that raises questions such as 'What if Europe was condensed into one piece and combined as one cell? What would be left behind as residue?' Adjaye extracted information from the capital cities of the European Union and condensed it into a single entity. The sum of many European cities doesn't make a European city. These have not been planned; they have evolved over time, through history and war, development, destruction, mixing, migration and changing populations. Adjaye's work evokes the idea of the city as phenomenon. Its organic form contains all the information about those cities from which it is drawn: material texture, population, time, scale and occupation."
davidadjaye  design  wmmna  piratebay  copyright  p2p  art  architecture 
september 2008 by robertogreco
Constructing Culture [David Adjaye]: Online Only Video: The New Yorker
"David Adjaye talks with Thelma Golden about architecture in contemporary culture and what buildings can be in the twenty-first century. From “Stories from the Near Future,” the 2008 New Yorker Conference."
davidadjaye  architecture  design  culture 
may 2008 by robertogreco
dezeen » Blog Archive » 10×10 Housing Project by Tom Dixon, Shigeru Ban, David Adjaye etc
Design Indaba 08: here are images of housing designs by teams including Tom Dixon, Shigeru Ban, David Adjaye, Thomas Heatherwick And Klein Dytham for Design Indaba’s 10×10 Housing Project at Freedom Park in Cape Town, South Africa.
via:cityofsound  architecture  design  housing  homes  davidadjaye  shigeruban 
march 2008 by robertogreco
David Adjaye unveils his first visual arts building - Building
"Rivington Place is the first public gallery to be opened in London for 40 years"
davidadjaye  architecture  design 
october 2007 by robertogreco
Q&A With U.K. Starchitect David Adjaye -- New York Magazine
"Lauded and pilloried (well, by one client), the U.K. sensation heads to our shores." "discourse about private retreat and public engagement...public work dissolves barriers.. encourage permeability...house is...retreat from urbanity...city...tranquil spa
architecture  architects  davidadjaye  design  uk  nyc 
july 2007 by robertogreco
From architect to 'starchitect' | Art And Architecture | Arts | Telegraph
Already making waves in Britain, David Adjaye looks set to crack the US and become an international name. He talks to Dominic Bradbury
architecture  uk  us  architects  davidadjaye 
june 2007 by robertogreco
Double Vision - New York Times
"The four-story building, on the site of a former carriage house, is the first American project by the London-based architect David Adjaye, who was recently commissioned to design the new Denver Museum of Contemporary Art."
architecture  davidadjaye  design 
september 2006 by robertogreco
Telegraph | Arts | The joyful world of a modern Robin Hood
"Always look - and always learn. That's the philosophy that has turned David Adjaye into one of Britain's hottest architects - and one whose work is marked by a great generosity of spirit. As an exhibition of his work opens, he talks to Benjamin Secher"
architecture  design  davidadjaye 
february 2006 by robertogreco
The Observer | UK News | British public buildings just don't work - top architect
"David Adjaye, one of the country's brightest young architects, is working to create a more welcoming and user-friendly urban landscape "
architecture  urban  public  design  commons  planning  davidadjaye 
january 2006 by robertogreco
icon | 017 | david adjaye
"David Adjaye: On giraffes and public buildings"
architecture  davidadjaye 
january 2006 by robertogreco
Guardian Unlimited | Arts features | Steve Rose on David Adjaye's Peace Centre in Oslo
"There's nothing quaint about David Adjaye's Peace Centre in Oslo. It's a triumph of technology and MTV style, says Steve Rose"
architecture  davidadjaye 
january 2006 by robertogreco

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