New Museums as Exhibition Venues

Contemporary Arts Center, Cincinnati (2003) Although the site Zaha Hadid was handed for the Contemporary Arts Center is on a cramped corner in the heart of the city, Hadid has given Cincinnati a building that not only attracts the eye with its striking exterior, but draws the visitor up through its six floors via escalators set in an ingenious atrium.

The escalator/atrium opens directly onto the galleries at each floor, thereby eliminating doorways to many galleries and offering unusual viewing angles on the works. Since there is no permanent collection, Hadid designed flexible spaces of varied size, height, and lighting, specifically geared to contemporary installation and performance art. Curators not only "fill" these spaces with a choice of works, but invite artists to create site specific installations. Hadid's gallery rooms themselves are not wildly angled or curved and seldom call attention away from the works that fill them.

When I visited the museum during it first season, the spaces that open out from the escalator atrium generally seemed to work with the pieces that were installed there so that one was aware of the flow of the architectural space without feeling it was competing with the art.

Institute of Contemporary Art, Boston (2006) The exterior of Boston's Institute of Contemporary Art makes a very different first impression from Hadid's Cincinnati building. The architects of the ICA, the firm of DS+R (Diller, Scofidio + Renfro), have not created a striking sculptural icon but what at first glance looks like a pair of stacked glass boxes, their primary drama, the heavily cantilevered fourth storey that reaches out to the water's edge. Nor have the architects indulged in a grand multi-storey atrium but modestly set the entrance in a corner of the building.

Of course, the site at the edge of Boston harbor, with views over the water and parts of the city skyline, is dramatic in itself and they have taken excellent advantage of it. From the harbor side, under the third floor overhang, a kind of stadium seating rises up to the second level glass curtain wall, offering an outdoor venue for relaxing or watching performances, while inside the building, behind the glass wall and on a level with the top of the stadium seating, is a stage and beyond the stage, indoor seating that continues upward, thus creating a continuous line for the eye from outside to inside. The galleries are two very large column-less spaces that take up the top floor. In front of them, running the entire width of the building is a wide corridor whose floor to ceiling glass wall overlooks the harbor and the city.

On the next level down is an ingenious mediateque, a canted, stair stepped room, filled with computer monitors, ending in a window twenty-one feet by ten feet that looks down into the water. From the outside this room looks like a giant projection booth or a piece of the building that has come loose at one end and fallen down.

One architecture critic has called this room "a conceptual art piece in and of itself." This is not surprising since the DS+R firm had been primarily known for its conceptual and installation art works until it got the commission for the ICA. Perhaps it is because they have been successful as artists (they had a 2003 retrospective at the Whitney) that at the ICA they have been largely content to make a place for viewing and thinking about art. As one of the architects, Elizabeth Diller, remarked of their building, "having spent our lives on the other side of the wall, making and feeling frustrated by spaces, we wanted the galleries to be neutral, reprogrammable, unscripted." But another partner in the firm, Richard Scofidio, put the architecture forward a good deal more, saying DS+R's intention was that the architecture neither compete nor "be a neutral backdrop... it had to be a creative partner." The third principal of the firm, Charles Renfro, has asserted the architecture's rights even more pointedly, claiming that DS+R imagined the museum as an active "optical instrument" that would disrupt the "touristic gaze." In fact, DS+R had originally intended to cover the vast expanse of the window wall overlooking the harbor with strips of lenticular film in order to create segmented and blurred views - the kind of thing they had done in some of their previous installation art. Had the architects had their way, they would have come close to turning the entire ICA into a giant piece of conceptual art, competing with the art it was to contain.Even so, Hal Foster asks:

How will art fare in a museum that makes such an insistent claim on our visual interest? Although the galleries are given pride of place in the cantilevered pavilion, they might seem secondary to the other space-events of the building... Perhaps in this regard the ICA will represent a new moment in the art-architecture rapport: If it declines to compete with the art at the level of sculptural iconicity, as at the Guggenheim Bilbao... it might vie with the art in the very register of the visual...

The Art Boulevard emerged in response to a double-sided problem. On the one hand, many artists and creatives encounter difficulties when trying to find a venue where they can exhibit and perform their work. On the other, many arts venues experience difficulties when programming events and activities, searching for fresh talent or diversifying their creative resources. The Art Boulevard is part of “Convivir en el Arte” (Coexisting in Art), a project approved by the Crossborder Cooperation Programme Spain-Portugal 2007 – 2013 and confinanced by the European Regional Development Fund.

The Art Boulevard is a network of creative opportunities.On The Art Boulevard, exhibitors (in this case, Artists and Arts venues), have a space where they can present their work, meet people and embark upon new collaborative projects.

The Art Boulevard is a multidisciplinary space which welcomes creative practitioners whose work spans across all art forms. Although literature, music and visual arts are the most represented, we believe that creativity has no limits, therefore here at The Art Boulevard we offer a space for all creative expressions.A new approach: Crowdsourcing for artists. When crowdfunding is not enough to get your project off the ground, The Art Boulevard is here to help you find the services, ideas, content, venues, and other resources you might need to make your arts project a reality The Art Boulevard has a large number of registered users and visitors who are ready and willing to help you do just that and it’s so simple to connect with them: just sign up to The Art Boulevard, publish an opportunity and start connecting! And if you want to offer your services to help someone else achieve new creative heights, just visit the " opportunities " section of our Café to see how you can collaborate.Be proactive and search for already published opportunities, discover Art Lovers and Artists, visit their profile, find out what they’re looking for and start collaborating! The Art Boulevard experience is absolutely free and access to the site is simple, just sign-up and create your profile by:creating image, video and audio galleries that showcase your work;creating events announcing exhibitions, concerts, book launches… Publishing notices and 'desperately seeking' announcements in search of potential collaborators for your projects, a space to exhibit a piece of work or launch a call for entries.

Blobitecture from blob architecture, blobism or blobismus are terms for a movement in architecture in which buildings have an organic,amoeba-shaped, building form.^[1] Though the term 'blob architecture' was in vogue already in the mid-1990s, the word blobitecture first appeared in print in 2002, in William Safire's "On Language" column in the New York Times Magazine in an article entitled Defenestration. ^[2]Though intended in the article to have a derogatory meaning, the word stuck and is often used to describe buildings with curved and rounded shapes.

The term 'blob architecture' was coined by architect Greg Lynn in 1995 in his experiments in digital design with metaball graphical software. Soon a range of architects and furniture designers began to experiment with this "blobby" software to create new and unusual forms. Despite its seeming organicism, blob architecture is unthinkable without this and other similar computer-aided design programs. Architects derive the forms by manipulating the algorithms of the computer modeling platform. Some other computer aided design functions involved in developing this are the nonuniform rational B-spline or NURB, freeform surfaces, and the digitizing of sculpted forms by means akin to computed tomography

One precedent is Archigram, a group of English architects working in the 1960s, to which Peter Cook belonged. They were interested in inflatable architecture as well as in the shapes that could be generated from plastic. Ron Herron, also a member of Archigram, created blob-like architecture in his projects from the 1960s, such as Walking Cities and Instant City, as did Michael Webb with Sin Centre. ^[4] Buckminster Fuller's work with geodesic domes provided both stylistic and structural precedents. Geodesic domes form the building blocks for works including The Eden Project. Niemeyer's Edificio Copan built in 1957 undulates nonsymetrically invoking the irregular non-linearity often seen in blobitecture. There was a climate of experimental architecture with an air of psychedelia in the 1970s that these were a part of. Frederick Kiesler's unbuilt, Endless House is another instance of early blob-like architecture, although it is symmetrical in plan and designed before computers; his design for the Shrine of the Book (construction begun, 1965) which has the characteristic droplet form of fluid also anticipates forms that interest architects today.

Also to be considered, if one views blob architecture from the question of form rather than technology, are the organic designs of Antoni Gaudi in Barcelona and of theExpressionists like Bruno Taut and Hermann Finsterlin.

Despite the narrow interpretation of Blob architecture (i.e. that coming from the computer), the word, especially in popular parlance, has come to be associated quite widely with an or^{[ clarification needed ]} odd-looking buildings including Frank Gehry's Guggenheim Museum Bilbao (1997) and the Experience Music Project (2000), though these, in the narrower sense are not blob buildings, even though they were designed by advanced computer-aided design tools, CATIA in particular.^[5] The reason for this is that they were designed from physical models rather than from computer manipulations. The first full blob building, however, was built in the Netherlands by Lars Spuybroek (NOX) and Kas Oosterhuis. Called the Water Pavilion (1993–1997), it has a fully computer-based shape manufactured with computer-aided tools and an electronic interactive interior where sound and light can be transformed by the visitor.

A building that also can be considered an example of a blob is Peter Cook and Colin Fournier's Kunsthaus (2003) in Graz, Austria. Other instances are Roy Mason's Xanadu House (1979), and a rare excursion into the field by Herzog & de Meuron in their Allianz Arena (2005). By 2005, Norman Foster had involved himself in blobitecture to some extent as well with his brain-shaped design for the Philological Library at theFree University of Berlin and the Sage Gateshead opened in 2004.

The role architecture plays in our everyday lives is astronomical. From the cool houses we marvel at on Freshome’s pages to historical & iconic buildings that we recognize instantly, architecture surrounds us daily. The architects behind these buildings and homes are what we love and the following 10 architects have paved the way for ingenious design, cutting edge innovation and have become pioneers of our built environment. Take a look at what we think are 10 of the greatest modern architects of our time.

1.) Frank Gehry (born 2.28.1929):

There is no mistaking Gehry’s works, as they are the most distinctive, and innovative architectural phenomena around. His deconstructive forms are iconic as tourists flock to all of his buildings worldwide to marvel at the architectural forms he creates. Named by Vanity Fair as “the most important architect of our age”, he has set the precedence for contemporary architecture. His ability to create spaces that manipulate forms and surfaces is his most notable feats and we all love his unique uses of materials that almost defy all logic in how they work together.

Frank Gehry’s – City of Wine Complex, Northern Spain

Frank Gehry – Lou Rovo Center

His most notable projects include: The Walt Disney Concert Hall in Los Angeles, The Guggenheim Museum in Bilbao, Der Neue Zollhof in Düsseldorf and the Marqués de Riscal Vineyard Hotel in Elciego.

Her most noted projects are: MAXXI – the National Museum of the 21^st Century Arts the Bridge Pavilion in Zaragoza, Bergisel Ski Jump in Innsbruck, Phaeno Science Center and the Opera House in Guangzhou.

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