Exhibitions

Formafantasma
Window to Columbus
Exhibit Columbus

Columbus, Indiana

On view until 30 November 2017

Eliel Saarinen’s First Christian Church, Robert Venturi’s white-glazed-brick Fire Station 4 and Paul Kennon’s Streetscape project are just a few examples of the terra-cotta brick’s prominence in the architecture and civic planning of Columbus, Indiana.

Inspired by this brick legacy, Formafantasma and Dzek have developed a volcanic-ash-glazed brick as the primary building block for our installation. The Amsterdam-based Italian studio Formafantasma has been involved with volcanic materials since 2013, and in recent years has been working with us to investigate the architectural potential of volcanic ash.

Window to Columbus is a wall of volcanic-glazed bricks with an inset window. This window reveals a mini-museum hosting a series of six exhibitions, rotating fortnightly, telling stories about the materials that have helped to define Washington Street and the architecture of Columbus at large. The exhibitions are co-curated by Formafantasma and Tricia Gilson of Columbus Indiana Architectural Archives. Their content will appear on these pages as well as on our Instagram page as they are released.

This exhibition also represents the first public presentation of our research with Formafantasma into volcanic matter and its relevance in the manufacture of architectural materials. The wall will be composed entirely from our first four pilot productions of bricks glazed with Mount Etna volcanic ash, clay and salt.

Learn more about our Volcanic Ash Trials
Learn more about Formafantasma
Learn more about visiting Exhibit Columbus 

Image credits, Hadley Fruits

Window to Columbus
The Beauty in Brick
24 Aug - 11 September

Since Columbus Indiana's founding nearly two hundred years ago, brick has been used to build structures of beauty and endurance. Today, downtown Washington Street and its sidewalks are paved in bricks of two different colors, all part of architect Paul Kennon’s 1990 Streetscape design. To support the project, residents could ‘adopt a brick’ and have a message engraved into it.

Inspired by this brick legacy, Formafantasma and Dzek have developed a volcanic-ash-glazed brick as the primary building block for this installation. The Amsterdam-based Italian studio Formafantasma has been involved with volcanic materials since 2013, and in recent years has been working with Dzek to investigate the architectural potential of volcanic ash.

Advertisement for ‘adopt a brick’, Republic (Columbus, Indiana), 8 April 1990. Credit, Republic, 8 April 1990<br />
Advertisement for ‘adopt a brick’, Republic (Columbus, Indiana), 8 April 1990. Credit, Republic, 8 April 1990
Clay bricks from Paul Kennon's Streetscape Project, 1990. Taken from the Washington Street sidewalk.
Clay bricks from Paul Kennon's Streetscape Project, 1990. Taken from the Washington Street sidewalk.

Window to Columbus
A Postcard History
12 -24 September

Postcards from the Bartholomew County Historical Society allow us glimpses of how Washington Street’s transportation, signage, and architecture have changed over the course of a century. Horses and interurban railways have been replaced by cars. No longer do neon signs light up the night. Ornate nineteenth-century architectural styles like French Second Empire (Bartholomew County Courthouse), Italianate (Irwin’s Bank), and Romanesque Revival (Viewpoint Books) gave way to the stately Neoclassical style (Historic Post Office). And Modernism (Irwin Conference Center) would cede to Post-Modernism (Columbus City Hall).

Bartholomew County Jail and Courthouse, circa 1940<br />
Washington Street, Northwest from 2nd Street
Bartholomew County Jail and Courthouse, circa 1940
Washington Street, Northwest from 2nd Street
Columbus City Hall, circa 1982 Washington Street, Southeast from 2nd Street
Columbus City Hall, circa 1982 Washington Street, Southeast from 2nd Street
Irwin Conference Center, circa 1963 Washington Street, Northwest from 5th Street
Irwin Conference Center, circa 1963 Washington Street, Northwest from 5th Street
Viewpoint Books (far right), circa 1910 Washington Street, South from 7th Street
Viewpoint Books (far right), circa 1910 Washington Street, South from 7th Street
Hotel St. Denis, circa 1910<br />
Washington Street, Southwest from 6th Street
Hotel St. Denis, circa 1910
Washington Street, Southwest from 6th Street
Viewpoint Books (far right), circa 1910 Washington Street, South from 7th Street
Viewpoint Books (far right), circa 1910 Washington Street, South from 7th Street
Birdseye view of Washington Street, circa 1905<br />
Washington Street, Northeast from Third Street
Birdseye view of Washington Street, circa 1905
Washington Street, Northeast from Third Street
Washington Street, North from 3rd Street, circa 1945
Washington Street, North from 3rd Street, circa 1945
Washington Street, North from 3rd Street, circa 1945<br />
Washington Street, North from 3rd Street, circa 1945
Historic Post Office, circa 1920 Washington Street, Northeast from 7th Street
Historic Post Office, circa 1920 Washington Street, Northeast from 7th Street
Photograph of Washington and 5th Streets, circa 1912
Photograph of Washington and 5th Streets, circa 1912
Photograph of Washington Street, Northeast from 5th Street, circa 1902
Photograph of Washington Street, Northeast from 5th Street, circa 1902
Photograph of Washington Street, Northeast from 5th Street, circa 1960

Photograph of Washington Street, Northeast from 5th Street, circa 1960

Window to Columbus
26 Colours
24 September - 8 October

Many storefronts in downtown Columbus retain the colour schema of architect Alexander Girard’s Storefront Improvement Project. In 1961, the Columbus Downtown Development Agency invited Girard to create a plan that would remove the visual clutter from the businesses along and adjacent to Washington Street. Girard, embracing the city’s Victorian downtown buildings, limited his palette to 26 colours and made shop signs of uniform size. Girard’s approach informed the repainting of Monroe Street in Detroit’s Greektown and was offered as a possible solution for the transformation of G Street in Washington, D.C.

Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photographs of maquettes for Alexander Girard’s Storefront Improvement Project, circa 1965. Columbus Indiana Architectural Archives
Photo by Balthazar Korab, circa 1965. Columbus Indiana Architectural Archives
Photo by Balthazar Korab, circa 1965. Columbus Indiana Architectural Archives
Plan of the color scheme for Washington Street commercial facades by Alexander Girard. Vitra Design Museum

Plan of the color scheme for Washington Street commercial facades by Alexander Girard. Vitra Design Museum

Window to Columbus
Solidity and Transparency
24 Oct -7 November

When Joseph I. Irwin began construction of Irwin’s Bank in 1881, he chose brick and limestone, both solid materials, to convey his bank would endure through time. Some 70 years later, J. Irwin Miller, Joseph I. Irwin’s great-grandson, would choose transparent glass for the Saarinen-designed bank at the corner of Fifth and Washington streets. The Evening Republic astutely noted that “The philosophy of the new building [is] turning banking ‘inside out’ […]. Open glass walls and inviting interior contrast to the usual conception of a bank building with thick masonry walls and iron bars.”

Irwin’s Bank, circa 1891. Bartholomew County Historical Society.
Irwin’s Bank, circa 1891. Bartholomew County Historical Society.
Article announcing the opening of Irwin’s Bank from Daily Evening Republican (Columbus, Indiana), 14 April 1882.
Article announcing the opening of Irwin’s Bank from Daily Evening Republican (Columbus, Indiana), 14 April 1882.
Irwin Union Bank and Trust Company, circa 1955. Photo by Balthazar Korab. Columbus Indiana Architectural Archives.
Irwin Union Bank and Trust Company, circa 1955. Photo by Balthazar Korab. Columbus Indiana Architectural Archives.
Article describing the new Irwin Union Bank and Trust building from Evening Republican (Columbus, Indiana), 1 April 1953.
Article describing the new Irwin Union Bank and Trust building from Evening Republican (Columbus, Indiana), 1 April 1953.
Article describing the new Irwin Union Bank and Trust building from Evening Republican (Columbus, Indiana), 1 April 1953.

Article describing the new Irwin Union Bank and Trust building from Evening Republican (Columbus, Indiana), 1 April 1953.

Storefront for Art and Architecture
Sf Exhibitions
Souvenirs: New New York Icons

September 16th - November 18th, 2017

We’re proud to support Storefront for Art and Architecture in their exhibition, Souvenirs: New New York Icons.

Souvenir: New New York Icons, the second iteration of Storefront’s model show, commissions 59+ objects that redefine New York’s iconic imagery. Inspired by each of the city’s Community Districts,
more than 59 artists, architects, and designers have reimagined the referential images that constitute the global perception of the city, proposing new understandings of the urban experience. The exhibition design by Mos Architects features unfinished slabs of our Marmoreal black designed by Max Lamb.

Challenging the symbols that have permeated the gift shop, Souvenirs presents critical approaches to the shifting and complex iconography of the city. The exhibition introduces new objects and, with them, new ways to relate to form, matter, affect, representation, and agency.

Visitors to the exhibition will be asked to cast a vote for the object that best represents their visions and values of the city. The top three souvenirs will be presented to the Mayor of New York City Bill de Blasio as new icons for the city.

Graphic design by Studio Lin.

Participants: IIIII Columns, Abruzzo Bodziak Architects, adamo-faiden, Afaina de Jong / AFARAI & Innavisions, Agency—Agency, Al-Hamad Design (Nanu Al-Hamad / Kaeli Streeter),
Alan Ruiz, Ania Jaworska with Lucia Lee, Antonas Studio, Architensions, Atelier Van Lieshout, Caroline Woolard, Charlap Hyman & Herrero, ecosistema urbano, Frank Benson, Future Expansion, Hayley Eber, Huy Bui, Ibañez Kim, Jenny Sabin Studio: Jenny E. Sabin, Jingyang Liu Leo, Jerome W Haferd and K Brandt Knapp, Katie Stout, Kwong Von Glinow Design Office, Leigha Dennis, Liz Phillips, Local Projects, Lydia Xynogala, Medium, Michael Wang, Michelle Chang, Midnight Commercial, Miguel Robles-Durán, N H D M / Nahyun Hwang + David Eugin Moon, Naomi Fisher, NEMESTUDIO, New Affiliates, Oana Stanescu Family NY, Office III, Office Kovacs, Ogrydziak Prillinger Architects (OPA), Once–Future Office, ONTOPO, P.R.O. – Peterson Rich Office, Patrick Meagher & Lenka Ilic, QSPACE, Rafael de Cárdenas / Architecture at Large, SIKI IM, Slash Projects, Slow and Steady Wins the Race, SOFTlab, Sonia Leimer, Studio Christian, Wassmann, Studio Meem, Talbot & Yoon, Tomashi Jackson, Ultramoderne, WELCOMEPROJECTS, Young & Ayata and iheartblob, ZUS [Zones Urbaines Sensibles]

Swiss Institute Annual
Architecture and Design Series:
Second Edition, Pavillion de L’Esprit Nouveau:
A 21st Century Show Home,
Curated by Felix Burrichter

24 September – 8 November, 2015

Swiss Institute / CONTEMPORARY ART
18 Wooster Street
New York NY 10013

View map

We are delighted to be a part of the Swiss Institute’s 2nd Edition of its Annual Architecture and Design Series entitled PAVILLON DE L’ESPRIT NOUVEAU: A 21st Century Show Home. Curated by Felix Burrichter, the editor and creative director of award-winning architecture and design magazine PIN–UP, the exhibition channels the visionary irreverence of Le Corbusier for a 21st century take on domesticity.

When Swiss-born architect Le Corbusier participated in the 1925 Paris Exposition des Arts Décoratifs, his contribution – the original Pavillon de l’Esprit Nouveau – caused an uproar among the fair’s organizers. In a commercial trade show intended to facilitate the promotion of the Art Déco style, his aesthetic was dismissed as antithetical. In retrospect, however, Le Corbusier’s Pavillon de L’Esprit Nouveau acted as a manifesto that introduced revolutionary design concepts, such as building standardization, mass-production as it applies to furnishings and interiors, and the mechanization of the home. These ideas would resonate for decades to come, largely influencing post-war housing schemes and décor throughout the rest of the 20th century.

In homage to the original Pavillon de l’Esprit Nouveau, Burrichter’s exhibition acts as a conceptual show home for the 21st century. Ninety years after the original debuted in Paris, this contemporary PAVILLON DE L’ESPRIT NOUVEAU explores new modes of domesticity, as well as innovation in furniture design, where craft co-exists with computational expertise. The exhibition features over 30 international designers and artists, most of whom are participating with specially commissioned works. All featured pieces bear key elements in either fabrication or material that highlight industrial progress made in the last 15 years such as laser-cutting, 3D-printing, advanced LED-technology, non-woven textiles, and ultra-light carbon-fiber.

In addition to serving as a platform for new design, PAVILLON DE L’ESPRIT NOUVEAU is also an interactive, architectural experience. Divided into softly delineated zones, each increasing in levels of privacy, the exhibition design by architect and artist Shawn Maximo makes use of digital rendering technology and Chroma key compositing. The 21st century show home incorporates scenarios of different domestic environments, exploring the blurred lines in a culture of digital escapism and surveillance.

In the characteristically confident words of Le Corbusier, the Pavillon’s 2015 iteration at Swiss Institute aims to capture “a turning point in the design of modern interiors and a milestone in the evolution of architecture.”

The exhibition will include works by:
Lindsey Adelman, Nanu Al-Hamad, ArandaLasch, Alessandro Bava, Josh Bitelli, Camille Blin, Laureline Galliot, Konstantin Grcic, Paul Kopkau, Kram/Weisshaar, Joris Laarman, Max Lamb, Le Corbusier, Piero Lissoni, Philippe Malouin, Shawn Maximo, Jasper Morrison, Jonathan Muecke, Marlie Mul, Ifeanyi Oganwu, Leon Ransmeier, Sean Raspet, Jessi Reaves, Guto Requena, RO/LU, Rossi Bianchi, Julika Rudelius, Soft Baroque, Robert Stadler, Ian Stell, Katie Stout, Elisa Strozyk, Studio Drift, Patricia Urquiola, Christian Wassmann, Bethan Laura Wood.

London Design Festival
Marmoreal by Max Lamb:
A pictographic story of material making.

19-25 September 2015
4 Thurloe Place Mews
London SW7 2HL

Following exhibitions in Milan, Beijing and Basel, Dzek brings Marmoreal to London as a part of the Jane Withers curated Brompton Design District. Set in a South Kensington garage in Thurloe Place Mews, a stone’s throw from the V&A, this London Design Festival exhibition presents Marmoreal in its complete range of standard colours and dimensions. From full slabs and tiles to a selection of furnishings, this unique arrangement marks the first time viewers can experience the full-size, three-metre slabs. All these formats of Marmoreal are shown alongside images and text that give visitors an in-depth insight into its manufacturing process, from concept and prototype all the way to production and application.

Max Lamb
Marmoreal, Bathroom, Furniture
Design Miami/ Basel

16-21 June 2015
Hall 1 Süd, Messe Basel, Switzerland
Stand C02

At Design Miami/ Basel, the British designer Max Lamb (b. 1980) will address material design, bathroom furnishings, and interiors in the exhibition Marmoreal, Bathroom, Furniture. The installation features a new black Marmoreal engineered marble realised in collaboration with Dzek.

Marmoreal, Bathroom, Furniture challenges the rationale for the mass standardization of sanitaryware, provoking reflection on our bathroom rituals and relationship to that intimate space. Le Corbusier, the master modernist, had a particular interest in the bathroom experience and viewed the mass standardization of sanitaryware as the pinnacle of successful design, championing the bidet as the epitome of design by evolutionary need. Charlotte Perriand, Le Corbusier’s contemporary, also had great interest in the bathroom; the French architect’s time in Japan and Vietnam informed her highly regarded bathroom work. Lamb, like Perriand, adopted some of this eastern bathing philosophy during his travels in Asia. It is evident in his desire to be more generous with the bathing experience while simultaneously resisting the idea that the bathroom should consume ever more space. The design of the Marmoreal bath, with its steep vertical sides, recalls the traditional Japanese ofuro, or soaking tub.

Lamb began his examination of bathroom design by questioning the origins of our personal maintenance habits: specifically, whether they’ve been informed by mass standardization, or whether this standardization was born of human necessity. His daily bathing routine was an important reference point, and inspired a desire to eliminate the things he deemed ill considered in the standardized modern bathroom. With the Marmoreal material as protagonist, each of his bathroom furnishings became necessarily different from the familiar standards made out of ceramic, steel, and plastic. Stone, of course, offers both limitations and opportunities.

Lamb’s interpretation adheres to idealistic structural rationalism; his bathroom furnishings are architectonic, and operate in a language consistent with the other Marmoreal furnishings of his design—skeletal pieces that convey an honesty typical of the designer’s work. They are efficient, and designed to serve equally well in a fully integrated Marmoreal space as well as in ad hoc scenarios.

Marmoreal, Bathroom, Furniture. Concept Sketch, Max Lamb 2015

House Party with Dzek
Kate MacGarry, London

14 November - 20 December 2014
Kate MacGarry
27 Old Nichol Street
London E2 7HR

House Party is an exhibition of furniture, ceramics, painting, sculpture, jewellery and clothing by 24 artists and designers selected by Kate MacGarry and Brent Dzekciorius from Dzek.

Featuring works from 1882, Josh Blackwell, Yoko Brown, Karl Fritsch, Martino Gamper, Gemma Holt, Marc Hundley, Max Lamb, Philippe Malouin, Peter Marigold, Michael Marriott, Peter McDonald, Florian Meisenberg, Otto, Renee So, Andrew Stafford, Study O Portable, Harry Thaler, Faye Toogood & Francis Upritchard.

Broached Retreat
UCCA, Beijing

24 May - 29 August 2014
UCCA
798 Art District
No.4 Jiuxianquiao Lu
Chaoyang District, Beijing
China 100015

The Ullens Center for Contemporary Art in Beijing is putting on its first design exhibition this spring in cooperation with Lou Weis from Broached Commissions in Australia. Titled Broached Retreat, the exhibition invites international designers to participate in discussions on the history of design. These discussions take place within a pavilion constructed out of paper, stone, and steel. The pavilion, entitled Broached Privacy, addresses the question of how we experience personal, interior spaces today.

Marmoreal by Max Lamb is featured in Broached Retreat as an architectural surface used within the pavilion for flooring and wall cladding as well as in the construction of exhibition designer Chen Lu’s own furniture designs.

Other participating designers include Broached founding members Adam Goodrum, Trent Jansen, and Charles Wilson, whose work is appearing alongside that of Keiji Ashizawa (Tokyo), Susan Dimasi (Melbourne), Naihan Li (Beijing), Azuma Makoto (Tokyo), and Lucy McRae (London).

http://ucca.org.cn/en/exhibition/broached-retreat/

Marmoreal
An Engineered Marble for Architectural Surfaces
Designed by Max Lamb
Salone del Mobile, Milan 2014

8 April -13 April 2014
Via Maroncelli 7
ProjectB Gallery
20154 Milan
Italy

Dzek debuts Marmoreal, a new engineered marble for architectural surfaces designed by Max Lamb.

Hours
Tuesday – Saturday 11am – 7pm
Sunday 12 – 5pm