Word: maltzan
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Dates: during 2000-2009
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...Michael Maltzan discussed how his final design for the museum incorporated the temporary nature of the museum with the history of the industrial neighborhood outside Manhattan where it is located...
...idea of temporality had within it a kind of spatial constraint,” Maltzan said. “Because [the entrance] was a loading dock, it is lower when you enter. We use that to our advantage to give you the sense you’re moving from the outside...
...four projects in “Lift” depend heavily upon circulation patterns—the scripted movement of people through architecture. From his California experience, Maltzan seems to have picked up on one of the ubiquitous forms of movement through space: the sinuous ramps of freeway overpasses. Beyond this formal analogue, Maltzan’s geometry of bands and tubes follows after the work of Iraq-born and London-based architect Zaha Hadid. Its tubular forms recall Diller and Scofidio’s proposal for a new Institute for Contemporary Art in Boston...
...below and doubles as a film screen. Similarly, it becomes clear that Maltzan’s museums are not places that are ideally suited to housing art exhibits—they emphasize horizontal rather than vertical planes and their curved walls present a curator’s nightmare. Rather, Maltzan creates social spaces or civic arcades, suggesting the derive or “drifting” approach to movement developed by theorist Guy Dubord in the late 1960s. Maltzan’s architecture is about observation, not stasis...
...compelling design—an expensive house along a much-politicized strip of beachside property, over which a battle is being fought regarding public access to the coastline—becomes an almost fetishized sculptural object. Other portions of the exhibit are left similarly unclear: the study models that Maltzan produced during his design process are left to speak for themselves and the oversize architectural cross-sections that dominate the walls of the gallery lack any label or scale. In all, the presentation of “Lift” is a bit too formal, given that social subtext...