Art for Everyone? Keith Haring at The Broad

The documentary “Art for Everyone? – Keith Haring at The Broad” illustrates the largest solo exhibition of his work in Los Angeles. The film’s title question mark tries to bring attention to the misconception that his art is simple; it is not. Haring’s work is very complex. His commitment to a free and happy life is only understandable against his concepts of power and threat, death and deliverance, religion, sexuality, heaven, and hell. These subjects do not appear in isolation from each other but interact and almost inevitably overlap one another.

Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist whose pop art emerged from the subculture of the 1980s, particularly in New York. Why does his work remain so popular over three decades after his death at thirty-one? His art, instantly recognizable, is everywhere in garments of easy consumption. It is simple and cheerful: radiant babies, barking dogs, hearts, and a three-eyed smiling face.

His stated goal was to create art that was accessible to all beyond the walls of museums and galleries. He wrote a manifesto-cum-self-definition that included the words: “The public has a right to art/The public is being ignored by most contemporary artists/Art is for everybody.”

This premise was not new. In the early 1600s, Caravaggio broke dependence on commissions from the church, which dictated themes and censored results. He opened the road of individualism. Mexican muralists such as Siqueiros and Diego Rivera strove to create public art. The Communists used art to convey ideological propaganda, and Roy Lichtenstein made large-scale public art on popular subjects consumed by the public.

 

There are several reasons for Keith Haring’s continuous success in the 2020s. The sexuality of his paintings relates to openness towards LGBTQ. The apparent simplicity appeals to people with a short span of attention. His figures lack discernable ages, races, or identities. Their vitality and joy speak to people of all ages, all backgrounds.

Keith Haring at Pop Shop, 1986

Art for Everybody? from Rick Meghiddo on Vimeo.

Israel 75 Israel Multi-layered Complexity: People, Environment, Architecture.

ISRAEL 75 from Rick Meghiddo on Vimeo.

Israel 75 Card

The State of Israel is seventy-five years old. The Jewish nationhood celebrates the rebirth of the People of the Book’s physical, spiritual, and political sovereignty, based on secular principles of freedom and equality of justice for all.

This event happens while there is turmoil within and without Israel. From within, democracy is in peril. Its check and balance laws are under attack. From the outside, Israel must confront viral anti-Semitism (frequently masquerading as anti-Zionism) and a conspiracy of delegitimization.

The short documentary accompanying this blog tries to give an idea of Israel’s multi-layered complexity. As an architect, my observations mostly look at the environment, the diversity of people, and some selected works of architecture.

The Land of Israel remains subjected to two truthful and mutually contradictory narratives. The Jewish narrative relates to its ancient history, to the Land of Israel, to Hebrew as a spoken language, to multi-cultural traditions, to dispossession, persecution, massacres, and reemergence.

The Arab narrative tells of its prolonged residence in the land that the Romans renamed “Palestine” to erase the memory of the Jews’ presence, sovereignty, and attachment to Judea. They referred to it as “Judea Capta,” captured Judea.

For real peace to be possible, both narratives must learn to tolerate and internalize the other side’s narrative. This will need education on both sides, and it will take, most likely, several

Art in the Desert Site-specific Art Biennale in the Coachella Valley Desert

Desert-X Howl from Rick Meghiddo on Vimeo.

The relevance of the 2023 Desert X Biennale goes beyond the exhibition of site-specific artworks by emerging artists; their input is spread across an arc of over twenty miles. This action raises our territorial consciousness of art relating to the environment.

Art in the Desert

Land Art artists such as Robert Smithson, Christo and Jeanne-Claude, and Arakawa & Gins, have related to the natural and the built environment with large-scale interventions. In Desert-X an entire area is a stage for individual artists, each approaching the surrounding environment differently.

Susan Davis founded Desert X six years ago and is its director. This fourth edition was co-curated by Neville Wakefield and Diana Campbell, who presented twelve artists from Europe, North America, and South Asia. No one imposed a theme on them.

Area of Desert X artwork’ location.

Rana Begum’s (No.1225 Chain-link) is a London-based artist from Bangladesh. She created a chain link maze-like series of concentric rings inspired by the surrounding mountains. This work is engaging; it is a metaphor for chain links’ positive and negative uses. The yellow color emphasizes the positive. 

Torkwase Dyson (liquid a Place) created a monumental sculpture that is a poetic meditation connecting the memory of water in the body and the memory of the water in the desert. Her abstract work contrasts built and natural scale.

Mario Garcia Torres (Searching for the Sky while Maintaining Equilibrium) gets his inspiration from bulls’ movements and rodeo riders trying to maintain balance. The setting of these mechanical sculptures brings art-related technology to the desert.  

Matt Johnson’s odalisque-inspired (Sleeping Beauty) assembling of shipping containers framed by a railway and a freeway represents a criticism of movement-globalization of goods. Its architectural scale produces a strong statement.

Gerald Clark transforms a traditional Cahuilla basket {Immersion) into a giant game board, using didactical cards of his creation. According to the game rules, somebody can only reach the center by answering correctly questions relating to the traditions and histories of the Cahuilla Indians. 

Himali Singh Soin and David Soin Tappeser (Hylozoic/Desires – Namak Nazar) is a sound sculpture in the form of a salt-encrusted telephone pole equipped with loudspeakers, resembling a flowering cactus. The speakers broadcast the voice of Himali Singh Soin’s poetic declamation.

Lauren Bon, the creator of the Metabolic Studios in Los Angeles, is an artist who works with architecture, performance, photography, sound, and farming, to create urban, public, and land art projects to galvanize social and political transformation. Here she creates an object (The Smallest Sea with the Largest Heart) that represents a Blue Whale’s heart.

Paloma Contreras Lomas (Amar a Dios en Tierra de Indios, Es Oficio Maternal) addresses topics such as patriarchy, violence, class segregation, colonial guilt, and middle-class identity with humor.  An absurd array of tangled limbs of two mysterious characters wearing long hats sprawl out of the car and onto the site’s pristine, manicured grounds.

Tschabalala Self (Pioneer) sculpture focuses on the foremothers, the largely unidentified Native and African American women whose bodies and labor allowed for American expansionism and growth. It visually represents their birthright and place within the American landscape.

Héctor Zamora’s (Chimera) is a performative action in collaboration with street vendors who are omnipresent in the Coachella Valley but often invisible in the landscape. The artist’s work provides opportunities to use materials differently, in this case transforming street vendors into walking sculptures made of balloons. 

Tyre D. Nichols died in January of 2023 after police beat him following a traffic stop in Memphis. The billboards is a tribute to his aspiring photography. This makes a strong statement in direct contrast with the commercial use of billboards and the impact of a freeway on the desert.

Marina Tabassum’sTabassum’s Khudi Bari (Khudi Bari, Bengali for ”Tiny House”) is a Bangladeshi architect who created a prefabricated house that is easy to assemble and disassemble, ideal for building in areas that are likely to be flooded. 

Desert X is an excellent example of the input of many artists, where the whole is more than the sum of its parts. Looking at its geographic scale stimulates our imagination for future invention.

An EYE on BERLIN Present, Memory, Architecture and Art

An EYE on BERLIN from Rick Meghiddo on Vimeo.

An EYE in BERLIN illustrates contemporary architecture and art examples within a consciousness of the city’s history between 1933 and 1989. It includes the Reichstag dome, the Jewish Museum, and the Sony Center. It also illustrates aspects of the city’s past and present and a visit to the Hamburger Bahnhof art museum and the German Historical Museum.

A City in Flux

Thirty years after the fall of the Wall, Berlin still struggles with its urban form. It is a city in flux, complicated, with an urban fabric that seems to resist all attempts to reorder it. It is a reminder of the more messy, contradictory, and organic qualities that all cities should have. It is charming and full of life, not for its beauty or wealth, but because of its vitality.

The city has become a mecca for artists, a place of attraction to architects and filmmakers, and recognized as one of the hottest cities of the 21st century. With an atmosphere buzzing with creative energy, serious members of the contemporary art world can only stay away from Berlin for a short time. It’s become an essential stop on the art circuit, as a junction between east and west.

Buildings in Berlin are manifestos, propaganda, memorials, and battlefields. The city as a whole is a disjointed urbanization in search of identity. Some areas seemed too large, flat, or insipid box-like structures produced as merchandise.

ARCHITECTURE

The Reichstag Dome: The People Above the Government

The Reichstag is the dominant component of a democracy of the troika, together with the Chancellery and the Paul Löbe parliamentary building. The dome sits on top of the Bundestag, the German parliament, symbolizing that the people are above the government. A mirrored cone in the dome’s center directs sunlight into the building. A large sun shield tracks the sun’s movement electronically and allows carefully filtered light to wash down into the chamber. The dome can be climbed by a vertiginous double-helix made of two lightweight steel ramps, which inspired Foster to design London’s City Hall.

Berlin Philharmonic

Berlin Philharmonic, Hans Scharoun’s masterpiece, remains as a reminder of great post-WW II architecture. Completed in 1963, it preceded Frank Gehry’s Disney Hall by forty years.

It embodies organic architecture principles, in which the buildings are designed from within. The sequences of spaces leading to the hall play with tension and release. Low, small entrance areas lead to a vast, multi-layered foyer.

The main hall presents a vineyard-style arrangement of the stage and audience, with terraces rising around a central orchestral platform. This feature led to the tent-like design of the hall’s ceiling, with a higher center draping down towards the edges.

The Memorial to the Murdered Jews of Europe

Designed by architect Peter Eisenman, the Memorial to the Murdered Jews of Europe is a vast field of concrete slabs in the historic heart of Berlin, which, before the Nazis came to power, had the largest Jewish population in Germany. Paradoxically, the monument is a few hundred yards from the site of Hitler’s bunker.

No other country had erected a monument to “the biggest crime in its history” in the middle of its capital. Covered with 2,711 concrete slabs arranged in a grid pattern on a sloping field, the project was designed to produce an uneasy, confusing atmosphere. The whole Memorial aims to represent a supposedly ordered system that has lost touch with human reason.

The Jewish Museum

The Jewish Museum in Berlin is the masterwork of the Polish-born musician-turned-architect Daniel Libeskind. The zinc-clad structure is designed to create a sense of disorientation interspersed with feelings of claustrophobia and panic. Corridors tilt, cross, and funnel to nothingness. The world outside is glimpsed only occasionally through slit windows.

Libeskind’s building has no entrances or exits of its own. There are promises of doors, but they turn out to be dead ends The floors slope. The concrete walls oppress. You are not in charge of your destiny.

The Garden of Exile denies us the relaxation we expect of a garden. It is a plantation of concrete columns from which Russian olive trees cascade. Nothing is as it should be here. The ground won’t stay still, and the sky itself appears displaced. People wander this disconcerting garden a long time, uneasy and reflective.

Sony Center and Potsdamer Platz

The Sony Center, designed by Helmut Jahn and Peter Walker as landscape architect, is one of Berlin’s most impressive public spaces. It is one of the few buildings in the area which offers a public plaza that is always lively and happening. An umbrella-shaped roof covers its vast atrium.

Potsdamer Platz, an important public square and traffic intersection in the center of Berlin, results from extensive competitions, designs, and planning. Nineteen of the buildings in the area were conceived and designed by an international team of architects headed by Renzo Piano.
Renzo Piano’s master plan for the area called for typical Berlin blocks courtyard buildings with a maximum height of 9 stories. British architect Richard Rogers designed a project on commission from Daimler Chrysler. It contains offices in the first two blocks and residential in the last block. Retail functions occupy the ground and lower floors. Rogers reinterpreted the constraints and designed courtyard buildings with an eroded corner. This would open up the courtyard, allowing sunlight and air to circulate.

D.Z. Bank

The DZ Bank Building is a mixed-use building comprised of a commercial component, housing the Berlin  headquarters of DZ Bank and a residential component consisting of 39 apartments.

A glass canopy covers the main entry to the building from Pariser Platz. A high-volume foyer immediately inside the main entry offers a view into the building’s large interior atrium, which features a curving glass ceiling and a curving glass floor. Office spaces are organized around the atrium, and are oriented inward to take advantage of the natural light that floods through the glass ceiling.

The building’s primary conference hall is located within a highly sculptural shell in the center of the glass floor of the atrium. Clad in stainless steel on the exterior and wood on the interior, the conference room is the physical and spiritual heart of the project.

German Historical Museum Extension Hall

Chinese-born, U.S.-based architect I. M. Pei designed a small extension to the German Historical Museum. The four floors of the Exhibition Hall are devoted to the Museum’s temporary exhibitions. The new building had to be connected with the baroque architecture of the German Historical Museum.

ART

Berlin is home to hundreds of galleries and art museums with unparalleled collections. Cultural projects are generously funded and supported by many large and powerful institutions in the city. The ever-so-avant-garde contemporary art scene can flourish in this environment.

The documentary includes the Hamburger Bahnhof Museum, an original railway station from the mid-19th century, turned into an art museum in 1996; the Berlinische Galerie and the Konig Galerie; and the extraordinary and revealing German Historical Museum.

An EYE on PARIS People, Places, Architecture, Art

An EYE on PARIS from Rick Meghiddo on Vimeo.

What makes cities great? Streets, public spaces, and architecture physically express its residents’ values, belief systems, lifestyles, and self-expression through the arts. Lifestyle is expressed through our work, how we act, spend our leisure time, and follow social patterns.

“An Eye on Paris” focuses on observing daily life and on some new outstanding works of architecture, public spaces, and some museums (there are about 130 in the city) less notorious than the Musée du Louvre and the Musée d’Orsay.

View from the Centre Pompidou

LIFESTYLE

The French honor the time dedicated to eating. Sitting around the table for a meal is sacred in French culture. People are always concerned about the quality of their food ingredients. That is why they are loyal to their local farmers’ market and tend to do most of their shopping there.

Cafés in Paris have always served as social spaces, the classic Parisian meeting place to relax or refresh. During the summer, outdoor terraces are packed with people.

Paris has many outdoor events. In this documentary, we captured some of the yearly Day of Music and one of the many places offered to dance by the Seine, in this case, at the Quai Saint-Bernard.

PARKS

We studied three parks: the Park de Bercy, the Park de la Villette, and the Promenade Plantée.

 

 

PARC DE BERCY
Designed by architects Bernard Huet, Madeleine Ferrand, Jean-Pierre Feugas, Bernard Leroy, and by landscapers Ian Le Caisne and Philippe Raguin, the park is made of three gardens connected by footbridges: The “Romantic Garden”, which includes fishponds and dunes; The “Flowerbeds”, dedicated to plant life; and “The Meadows”, an area of open lawns shaded by tall trees.
In the north-east of the park stands the Cinémathèque Française (the former American Center) designed by Frank Gehry, and on the raised terraces are the 21 sculptures of Rachid Khimoune’s “Children of the World” installation, created in 2001 to honor children’s rights.
The park is adjacent to a major sports arena, the Palais Omnisports, with a sitting capacity of 20,000.

PARC DE LA VILLETTE

The Parc de la Villette is a 37-acre / 55 hectares area that houses one of Paris’ largest concentrations of cultural venues. These include the Cité des Sciences et de l’Industrie (City of Science and Industry, Europe’s largest science museum), three major concert venues, and the prestigious Conservatoire de Paris.

The park was designed by architect Bernard Tschumi in partnership with Colin Fournier on the site of the huge Parisian abattoirs (slaughterhouses) and the national wholesale meat market. He conceived thirty-five architectural “follies “to give a sense of orientation to the visitors. In architecture, a folly is a building constructed primarily as an ornament but suggesting through its appearance some other purpose.

Since the creation of the park, museums, concert halls, and theatres have been designed by several noted contemporary architects. These include the City of Science and Industry, La Géode (an IMAX theatre inside of a 36-meter / 118 ft diameter geodesic dome;) The City of Music, designed by Christian de Portzamparc, which opened in 1995 and it also includes a museum of historical musical instruments with a concert hall, also home of the Conservatoire de Paris. The Philharmonie de Paris opened in January 2015, designed by Jean Nouvel.

PROMENADE PLANTÉE

The Promenade Plantée is an extensive green belt that follows the old Vincennes railway line. Beginning just east of the Opéra Bastille with the elevated Viaduc des Arts, it follows a 4.7 km (2.9 mi) (2.9 mi) path to the Bois de Vincennes. At its west end, near the Bastille, the parkway rises above the surrounding area and forms the Viaduc des Arts, over a line of shops featuring arts and crafts.

The design was created by landscape architect Jacques Vergely and architect Philippe Mathieux. The Viaduc des Arts was designed by architect Patrik Berger, who also designed the recently completed Canopy of Les Halles. The project includes different types of gardens, it traverses existing buildings, and it crosses boulevards. Twenty years after its construction, the Promenade Plantée inspired the successful High Line in New York.

THE LOUIS VUITTON FOUNDATION BUILDING

The Louis Vuitton Foundation building was designed by Frank Gehry. It is a museum and cultural center like no other one. This unique 11,000 square-meter monument of 21st-century architecture was conceived as an iceberg surrounded by glass that takes the form of a sailboat’s sails inflated by the wind. The structure of the glass roof allows the building to collect and reuse rainwater and improves its geothermal power.

THE FOUNDATION JÉRÔME SEYDOUX-PATHÉ

Foundation Jérôme Seydoux-Pathé

You can walk along Avenue de Gobelins and not notice a hidden gem of architecture designed by Renzo Piano. The clever use of the site includes a main entrance on a restored and preserved facade along the Avenue des Gobelins which features sculptures by Auguste Rodin.

The Foundation Jérôme Seydoux-Pathé is dedicated to preserving the history of the French film company Pathè and to promote cinematography. It houses its archives and the foundation’s offices. It is located in the courtyard of a 19th-century block that includes a complex of historical Hausmann-era buildings. The 839 m2 headquarters is located in Paris’ 13th arrondissement. Its construction was completed in September 2014. The site’s major limits determined the peculiar design, which looks like a greenhouse.

NEW PALAIS DE JUSTICE – COURTHOUSE

New Paris Courthouse

The new Courthouse, located on the northern edge of Paris, is 160 meters high, have an internal area of around 100,000 m2 and accommodates up to 8,000 people per day. The complex reunites 90 courtrooms and about 1,300 offices under one roof. In developing the scheme, Renzo Piano sought to reduce the apparent scale of the building by breaking it down into four volumes of decreasing size. They include three roof terraces with 500 trees and other vegetation. From an environmental standpoint, the project employs a range of strategies including the use of natural ventilation, the incorporation of photovoltaic panels on the façade, and the collection of rainwater.

THE CANOPY OF LES HALLES

Canope of Les Halles

The long-awaited cultural center and metro station were created by architects Patrick Berger and Jacques Anziutti on the site of a historic Paris marketplace. The design at Les Halles is known as the Canopy due to its enormous umbrella-like glass roof, which comprises 18,000 pieces of glass supported by 7,000 tons of steel.

The completed Canopy and the center below replace a deeply unpopular concrete shopping complex – nicknamed “the hole of Les Halles” – which was built in the place of the market’s original 19th-century glass and iron buildings designed by architect Victor Baltard. They were demolished in the 1970s in an act many critics have described as cultural vandalism.

The creation of a humane urban quality does not depend only on the quality of a city’s buildings. The design quality of open public spaces, way beyond landscape architecture, is critical. It demands imaginative long-term thinking accompanied by the political vision and will.

Always Unfinished Anselm Kiefer in L.A.

Always Unfinished – Anselm Kiefer in L.A. from Rick Meghiddo on Vimeo.

The exhibition of Ansel Kiefer’s “Exodus” at the Gagosian Gallery in L.A., staged at the Marciano Foundation, exemplifies his breadth and originality. The documentary included here illustrates his work, thinking, and personality. Words matter. They inspire Kiefer’s output. He finds sources in the Old and New Testaments, in Kabbalah’s mysticism, and the poetry of Paul Celan and Ingeborg Bachmann. But it is not only words. Landscapes of nature, ruins of bombarded cities, and of cultural behaviors also converged into the reinterpretations and reassembling of his architect’s mind.

 

Kiefer’s use of straw in his work represents energy. He claims this is due to straw’s physical qualities, including the color gold and its energy and heat release when burned. The resulting ash makes way for new creation, thus echoing the motifs of transformation and the cycle of life.

 

Kiefer’s oeuvre encompasses paintings, installations, books, drawings, watercolors, collages, and altered photographs. The physical elements of his practice—from lead, concrete, and glass to textiles, tree roots, and burned books—are as symbolically resonant of complex events of history, memory, and the ancestral epics of life, death, and the cosmos. Full of symbolic thresholds between peoples, places, and times, the paintings are metaphysical allegories that meditate on loss and deliverance, dispossession, and homecoming.

 

Anselm Kiefer was born in 1945, a few months after the end of World War II in Donaueschingen, Germany. Following studies at different schools, he received his art degree in 1969. He lived about twenty years in Hombach (midway between Frankfurt and Stuttgart.) In 1991, the artist left Germany to travel around the world—to India, Mexico, Japan, Thailand, Indonesia, Australia, and the United States. In 1992 he settled in Barjac, France (about 50 km from Montpellier and 100 km from Lyon.) From 2008 he lived in Paris, in a large house in the Marais district, with his second wife, the Austrian photographer Renate Graf, and their two children.

Anselm Kiefer

 

Kiefer fascination with Paul Celan and Ingeborg Bachmann, whom he considers “the best poets of the second half of the 20th century,” is revealing. The love affair between Ingeborg Bachmann and Paul Celan constitutes one of the most dramatic chapters of literary history after 1945. The respective backgrounds of the lovers who came together in May 1948 in occupied Vienna could not have been more different: she, the philosophy student daughter of an early Austrian Nazi member; he, a stateless German-speaking Jew from Czernowitz who had lost his parents in a concentration camp and was himself a survivor of a Romanian labor camp. They both wrote in high German, frequently hard to understand even when knowing the language.

 

Two major recent exhibitions were a colossal installation at the at Palazzo Ducale in Venice (2022) and at Paris’ Grand Palais (2021.)

 

The Wende A Museum of Art and Culture Behind the Iron Curtain

The Wende Museum is a unique depository of memories from the Eastern European countries beyond the Iron Curtain that endured Communism-labeled fascism during the Cold War. It is dedicated to preserving this period’s art, culture, and stories.

West and East Europe divided by the Curtain Wall

When my friend Elisa Leonelli sent me a recent article she wrote about her visits to The Wende, we followed after her steps. It was quite a surprise. We found very appealing both the museum’s content and the space that architect Christian Kienapfel of Paravant Architects created within Culver City’s old National Guard Armory.

Engels, Mark, Lenin, Stalin

 

Bust of Lenin, Istaravshan, Tajikistan, 1965

The Cold War era started with the end of World War II and ended with the collapse of the Berlin Wall in 1989. It was a conflict between American-led democratic capitalism and Russian-led Communism. It includes the atrocities committed by Stalin and the Gulag it created; it includes Russia’s invasion of Hungary and the Prague Spring’s crashing; and it also includes the obsessive period of McCarthyism that contributed to a distorted view of socialism.

The Wende Museum (wende in German means in English, “change, turning point”) is the brainchild of Justinian Jampol, its founder and director. It raises awareness to the world behind the Iron Curtain. Arts and artifacts, censured literature and publications, and human stories about everyday life can now be seen, read about, and listened to. The artifacts exhibited in the 13,000 square foot space are only a fraction of the collection, which is more geared to educate and entice curiosity rather than to enshrine masterpieces. Segal Shuart Landscape Architects designed a pleasant rear garden to accommodate outdoor events.

My personal experience with the subject is indirect. I heard stories from Ruth, who spent her teens in Communist Romania. While we were students in Rome, we befriended Romanian artist Ion Nicodim, who in 1963 made a tapestry, Ode to Man, (approximately 32 x 15 feet) that was donated by the Romanian government to the United Nations. We traveled throughout Romania during Ceaușescu’s regime and felt the oppression in the air. In 1976 we visited then Berlin divided Berlin. Years later, in 2018, we made two documentaries in the unified city.

Ode to Man, by Ian Nicodim, 1963

The film included in this article brings some visuals of paintings, murals, and monumental sculptures from that period (such as GDR’s painters Heinz Drache and Willi Sitte,) and also artworks by some Eastern European contemporary artists that became famous in the West, such as Christo and Marina Abramović, and younger ones still living in those countries, such as Pazza Pennello (Kyiv, Ukraine,) Jana Želibská (Bratislava, Slovakia,) and Ewa Juszkiewicz (Warsaw, Poland.)

The Wende Museum is an inducement not only to learn about a recent past but also to us warn about the dangers of fascist movements at the present time.

The Kiss – leonid brezhnev and Enrich Honecker, 2009, Berlin Wall

Frank Gehry 2021 A Playful Ninety-two Years Young Master

We are not surprised by Frank Gehry surprising us as an architect. We know that he is also prolific as an artist. What surprised me this time is that, at ninety-two, following a pandemic year when he had to lay 170 people working at his office, is that he has not stopped pushing the envelope of creativity. 

Gehry’s dual exhibition at the Gagosian Gallery in Beverly Hills (June 24 – August 6, 2021) is remarkable. The ground floor exhibition is titled Spinning Tales and shows several hanged Fish Lamps made for the first time in polyvinyl and copper. This last version of his fishes evolved through large-scale sculptures, such as Standing Glass Fish at the Weisman Art Museum in Minneapolis, 1986; the 22-meter high fish for a fish restaurant in Kobe, Japan, 1987; and El Peix (The Fish) at the Barcelona Olympics, 1992.

The upper floor immersive installation, Wishful Thinking, is based on a scene of Alice Adventures in Wonderland. Framing the show is a mirror wall and a textured chain-link fence. This artwork echoes preceding architectural works such as the Museum of Pop Culture in Seattle, 2000; the Marqués de Riscal Hotel, Elciego, Spain; and the Biomuseo in Panama City, 2014.

During the last nine years, I documented three of his architectural masterpieces: Disney Hall in Los Angeles in 2012, the Lou Ruvo Center for Mental Health in Las Vegas in 2013, and the Louis Vuitton Foundation in Paris in 2018. This is the first time that I approach his artwork unlinked to a building. Although the scale and complexity of architecture and art can be very different, this exhibition proves that one medium can feed into the other.

Rethinking the City Alternative Lifestyles for a Post-Pandemic World

Fareed Zakaria’s new book, “Ten Lessons for a Post-Pandemic World,” conveys a broad view of tomorrow’s possibilities within the context of both history and a rapidly changing present. Zakaria covers accelerated change, quality government, the market economy, expertise, artificial intelligence, tomorrow’s city, inequality, globalization, a US/China bipolar world, and idealists’ leadership.

The argument that most attracted me can be found in Chapter Six. It reasons that while people abandoned cities throughout history because of epidemics, wars, fires, natural disasters, and recessions, cities came back, and people rebuild them better and safer than before. Why? Because, as Aristotle put it in 350 BC, humans are social animals.

This argument inspired me to bring up some former and present architectural solutions that can apply to some of the current crisis’s problems. To put Zakaria’s and our urban-related ideas within a broader context, I recommend reading his book in its entirety.

Fareed Zakaria: GPS Program and New Book

Why Cities?

There is a likelihood that after Covid-19, many people will leave the city life, yet cities will continue to grow. While telecommunication will continue to become transformative both to work and education, human beings like to interact in person. According to an estimate by the United Nations, more than two-thirds of humans will live in an urban environment by 2050. So, the question for rethinking the post-pandemic city is not if it will continue to grow, but how.

Urban vs. Rural Projected Population Growth by 2050

Density

One of the most critical issues to reconsider is population density. From the sustainability point of view, an increase in housing density can free up agricultural land for food production, diminish the need to commute to work, and potentially stimulate human interaction socially, economically, and intellectually.  Does living in dense societies increase the dangers posed by Covid-19? Not necessarily. For example, dense cities like Hong Kong and Singapore had a very low death toll, yet other low-density and rural areas in the United States had much higher death tolls.

Is the subject of safety a design problem or a policy problem? Most likely, it is a combination of the two. The recently re-elected Mayor Anne Hidalgo wants to turn Paris into a “fifteen-minute city” by making all locations accessible by foot or within a fifteen-minute bike ride. This policy has led to major pedestrian-oriented design transformations throughout the city.

Lifestyle

The speculation as to whether the earth’s population will reach ten billion by 2050 or 2070 can affect how we collectively plan using the planet’s resources for food and shelter to provide a sense of physical and psychological safety.   Furthermore, there will be an increased need for transportation, healthcare, commerce, and education infrastructure. The size of the land-footprint that we create will affect the way we live our lives.

Sample Models of Population Density

High Population Density. Paris is a model to consider. Its buildings are 4-6 stories high, zoned as residential-commercial mixed-use. The city is surrounded by trees and plants in the streets and parks.  Aesthetically, it accommodates contemporary design within a historical context. Culturally, it has an infrastructure that stimulates people’s intellectual growth.

Medium Population Density. The Netherlands is a great example of territorial planning. Only 10% of the Dutch population actually live in a big city. Amsterdam, The Hague, Rotterdam, and Utrecht are all connected by highways, allowing many people to commute to work while leaving the country’s heart and soul as the farmlands that the Dutch ultimately wanted to maintain.

Low Population Density. Costa Rica has received a 2019 Champions of the Earth award, the UN’s highest environmental honor, for its role in nature preservation and an ongoing policy to combat climate change. It demonstrates leadership in the use of green energy and the preservation of both forests and oceans. Furthermore, according to the Happy Planet Index, it ranks first in sustainable happiness.

Realistic Idealism

Zakaria titled his tenth lesson, “Sometimes the Greatest Realists Are the Idealists.” While his analysis focuses on policy, I suggest that we can also become inspired by two great architects’ designs.

Frank Lloyd Wright saw policy and design intertwined. When he first presented his 12-foot square model of Broadacre City in 1935, he looked at each individual “broad acre” as a place to enable self-actualization.  The intent was to make room for a large variety of activities, just on a smaller and more personalized scale:

                          “little farms, little homes for industry, little factories, little schools, a little university going to the people mostly by way of their                                        interest in the ground, little laboratories on their own ground for professional men. And the farm itself, notwithstanding the                                          animals, becomes the most attractive unit of the city.”        – Frank Lloyd Wright.

Thirty-five years later, Luigi Pellegrin conceived his new mixed-use model of a spatial structure. He suspended most of the residential units above the areas dedicated to services and commerce.

 

Luigi Pellegrin and Frank Lloyd Wright, 1951

Urban Change with a Stroke of a Pen

Back in 2020: changing people’s minds and rewriting regulations is a long and difficult process. In his conclusion, however, “Nothing is Written,” Zakaria insinuates that changing our mindset is possible.

I would consider changing the residential zoning policies to allow for two units to be built instead of one, doubling apartment availability while also making housing more affordable. Furthermore, one could incorporate edible gardens on the balconies and roofenhancingnce sustainable living aaddingdds beauty to the surroundings. These “stroke of a pen” modifications could have an enormous impact on American cities while generating millions of jobs.

For new developments, medium-rise condominiums could be designed in sections, each with its own private stairway and elevator shaft,  distributing to 12-20 units, which is considered to be the optimal number for socialization,  according to environmental psychologists. Some areas of the city could be zoned for experimentation, free of obsolete regulations.

Medium-Rise: 8-16 Units per Entrance – 2020

Four-Block Transformation with Common Green Areas

Shashlik Scheme: Tree Mixed-Use Towers Interconnected

Coda

My wife and I lived in Tel Aviv during the summer of 1973, having recently returned to Israel following seven years of studying architecture in Rome and then working for Pellegrin. We were twenty-eight years old young professionals, hoping to create our own practice finally.

The Association of Architects and Engineers in Israel sponsored a conceptual competition to design a 5,000 dwelling-unit neighborhood. The submission deadline was scheduled for November.

 

On October 6, the Yom Kippur war started. When the war was finally over, the competition deadline was rescheduled to November of the following year. We had time to rethink. The influence that Wright and Pellegrin had on us was powerfully present in our thinking, along with thoughts about the future of a world with limited resources, projected to reach a population of six billion by 2000 (at the time, the world population was three billion).

Main Concepts – 1974

 

Forty-six years later, after winning the competition, we are facing a post-pandemic future. I still believe that most of the principles that guided our never-built design remain valid. Change for the better is possible.

 

 

¡SÍ, SE PUEDE! Women of Action in Architecture and in Politics

This short documentary, “¡Si Se Puede!” is dedicated to women of action on two subjects: architecture and politics. Unseemingly related the two disciplines follow a similar process: DREAM > PROGRAM > DESIGN > BUILD. Both crafts demand courage, imagination, and tenacity.

Dolores Huerta, 89.
Rick Meghiddo

The cry used as the title was conceived by Dolores Huerta (89) during the 1970s and has been since then the motto of the United Farm Workers of America. President Barak Obama adopted the English version “Yes, we can!” first during the 2004 Illinois Democratic primary race for US Senate. It became a slogan of his 2008 presidential campaign.

Dolores Huerta, neither an architect nor a politician – she has always been an American labor leader and civil rights activist – is chosen here as a symbol of a woman fighting for ideas.

Women-Architects and Women-Politicians

The first two Democratic debates of twenty candidates running for President included six women: Senators Elizabeth Warren, MA; Kamala Harris, CA; Kirsten Gillibrand, NY; Amy Klobuchar MN; Representative Tulsi Gabbard, and Self-help author, Mariane Williamson. Their platforms have many overlapping, similar subjects. From all these, the most related to architecture are sustainability, the environment, infrastructure, education, affordable housing, and food production.
Included are also Representative Alexandria Ocasio-Cortez, NY, who won her nomination to the Congress at the age of twenty-nine, and Anne Hidalgo, Mayor of Paris, the first woman to hold the office. Ocasio-Cortez’s proposed Green New Deal is likely to influence political decision-making in the foreseeable future. Anne Hidalgo’s major part of her development program is the improvement of the environment. The infrastructure development plan also includes a 24-hour subway service, a ban on parking in certain areas and days, and the creation of new green areas, including urban farming.
The women-architects presented in the documentary come from different countries – Canada, Irak, Poland, Israel, Mexico, the Netherlands, France, Italy, Spain, Germany, the UK, and the US – and they have built, besides their countries of residence, in Bangladesh, China, Morocco, Saudi Arabia, the Palestinean West Bank, and New Zealand.
There is a gap between the politicians and the architects on the broadness of worldview. While most of the politicians look widely at climate change, their vision on the physical implications of some of their subjects is limited to what is known. Architects, by training, learn to think globally and in multiple layers of complexity, and only then they work on the details. They use not only logical thinking but also lateral thinking, which implies infinite possibilities.
Besides Zaha Hadid, who died in 2016 at the age of sixty-five, the most innovative of the women architects brought here is Elizabeth Diller, a Partner of Diller Scofidio + Renfro. Her works include the High Line in New York and The Broad in Los Angeles. The Shed, currently under construction at the northern end of the High Line, is scheduled for completion in 2019. When completed, it is likely to become a revolutionary new icon of multi-use architecture. The $500m Center for the Performing Arts will house a vast transformable space and a big open piazza able to be covered by the extension of the movable outer shell, clad with an inflatable skin of quilted pneumatic cushions.
The Chicago skyline would not be the same without American architect Jeanne Gang. Aqua, the unique skyscraper that has become well-known for its wavy facade, is the third tallest building in the world designed by a woman. Most recently, she was named to the TIME 100 most influential people of 2019.
Also significant is the use of bamboo as a building material in the works of Anna Heringer in China and of Elora Hardy in Bali. Bamboo, an eco-friendly construction material, is one of the fastest-growing plants in the world.
Another architect to follow is Benedetta Tagliabue. In 1991 she founded the studio Miralles Tagliabue EMBT with Enric Miralles (1955-2000.) Her works include the Scottish Parliament in Edinburg, The Santa Caterina Market in Barcelona, and the Spanish Pavilion in Shanghai, shown here.

Architects can take initiatives without waiting for a commission, but, in the final event, moving from paper-architecture to built-buildings requires other decision-makers: clients, city authorities, bankers, the community. The role of politicians is critical when the decisions needed are related to the urban environment, housing, and public institutions.

Politicians may – and should – dream big, yet moving from dreams to legislation to implementation demands, to a great extent, relaying on imaginative architects, who should possess, besides their skills, high moral standards.

A Personal Note

Influential women occupied a dominant place in my life. My mother, Fanny Frenkel de Maghidovich, was a strong presence not only at home but also publicly. As Secretary-General of Argentina’s WIZO (Women International Zionist Organization,) she influenced thousands of listeners with her rhetoric in impeccable Spanish.
I grew up surrounded by loving aunts. From these, my aunt “Chichi,” Dr. Marta Luz Frenkel, is an attorney still going to work every day at ninety-four. She is more “a big sister” than an aunt, and I rely on her judgment. I was also blessed by women-teachers of Spanish, English, and Math and I befriended some extraordinary women: Nancy Reeves, a pioneering feminist; Irena Kovaliska and Ilana Offer, committed artists; Sylvia Manheim, a political activist still fighting for human rights at ninety-four. The list goes on and on.
Last but not least, are my wife Ruth, also a partner as an architect, and our daughter Gabby, who, after practicing psychiatry, is still looking for new challenges. They both make a dent on my daily decision-making.