In mid-December of 2017, we received a call from an associate at one of the most lauded architecture firms in the nation. Little did we know that five months and 48 tons of steel and concrete later, our work would be at the center of the most talked about exhibition in the country.
Heavenly Bodies: Fashion and the Catholic Imagination is the Metropolitan Museum of Art Costume Institute’s spring 2018 exhibition and happens to be its largest to-date, taking place across 27 galleries in two locations, The Met Fifth Avenue and The Met Cloisters.
Designed by Diller Scofidio + Renfro with The Met’s Design Department, the exhibition examines fashion’s ongoing engagement with the devotional practices and traditions of Catholicism by presenting objects from The Met’s collection alongside papal robes and accessories from the Sistine Chapel sacristy, many of which have never been seen outside the Vatican. Contemporary couture items are presented throughout The Met’s Fifth Avenue galleries and The Met Cloisters.
A project of this scale and ambition occurring within such a compressed time frame requires intense cooperation, communication, and organization. Thousands of details and modifications were exchanged, registered, and conveyed in a timely fashion in order to execute and install the myriad components in the right configurations. But just as importantly, New Project was able to work directly with DS+R to translate the firm’s architectural concepts and language into three-dimensional form, ensuring that the vision was executed as conceived while adhering to museum safety standards.
Because of the tight fabrication window, we communicated edits and comments with the team in a 3-D software environment, rather than passing 2-D construction set drawings back and forth. And we collaborated with the designers and engineers to ensure the delicate balance between stability of the displays and management of stress loads was maintained. With that much steel and concrete, we had to be extra cautious that floor loads were dispersed and that all displays passed the engineers’ load tests.
We ultimately fabricated and installed more than 150 individual platforms, pedestals, cases, and custom mannequin mounts based on DS+R’s exhibition vocabulary of straight lines, subtle cruciform shapes, and a muted, industrial palette. We constructed two enormous custom structures: a 40-foot cantilevered wall of acrylic and steel and a 28-foot long glass and steel table to display papal vestments. Upon installation, we worked in concert with the museum’s preparators, conservators, and registrars who precisely placed each priceless artifact and couture piece.
While building and installing large exhibitions is standard operating procedure for New Project, the inclusion of centuries old artifacts and liturgical vestments from the Vatican combined with a celebrity-studded opening covered in every major new outlet the world over made this exhibition unlike any other.
Heavenly Bodies: Fashion and the Catholic Imagination is on view at The Metropolitan Museum of Art Fifth Avenue and The Cloisters from May 10 through October 8, 2018.
All in process and install photos by New Project, museum installation photos by Brett Beyer.
Papal vestments displayed in the cantilevered wall we built with custom steel table containing papal copes in the foreground, cassock of John Paul II in the background on view in the Lizzie and John Tisch Gallery in the Anna Wintour Costume Center.
It was announced last year that Calvin Klein had entered into a four-year agreement with The Andy Warhol Foundation for the Visual Arts that will allow the fashion company to license Warhol’s art across its collections and activations. The agreement offers Calvin Klein’s Chief Creative Officer Raf Simons access to the full breadth of Warhol’s creations—including never-before-published works.
New Project was tapped to execute the latest iteration of Calvin Klein’s partnership with the Foundation: Warhol’s Silver Clouds reimagined by Simons as a site-specific installation for the 654 Madison Avenue flagship.
The silver Mylar balloons were printed with images used in the Spring 2018 CALVIN KLEIN 205W39NYC runway collection (including some from the Death and Disaster series as well as portraits of Warhol pals Dennis Hopper and Sandra Brant). Special fans were painted to match the bright yellow interior scaffolding and installed to ensure the balloons, filled with an exacting measure of helium and air, floated through the space just as they did in Warhol’s Factory and Leo Castelli Gallery decades ago.
New Project undertook several tests, both in the shop and in the store under the cloak of night, to determine the specific mixture needed to fill the balloons, to observe their behavior, and to add features to the space to tune the air flow patterns.
The installation has been a huge success, bringing smiles to patrons who freely interact with the floating works of art. Be sure to catch it while you can—like all things pop, the installation is fleeting. On view at 654 Madison Avenue through February 28, 2018.
After figuring out how to direct the air flow, we customized an armada of fans.
And poles and fixtures.
We inflated and tested the balloons in the shop office first.
Once the Silver Clouds were installed, the store was transformed.
But a lot of adjustments went into the process to make sure the balloons behaved as we wanted. Check out this time lapse video of the overnight test to see what the balloons do when they think we aren’t watching!
We just completed another inspired window display for Calvin Klein’s flagship store on Madison Avenue. (You may recall our past windows with them including faux clay walls and 20th anniversary celebration display.) Their concept was to create a topographical landscape for their apparel to live in. Inspiration came from desert landscapes of the southwest. To create the models, we incorporated data from actual maps, tweaked it to fit the given spaces and product considerations, and generated cut files for our CNC machine. When all was said and done, there were over 800 discrete pieces with their edges totaling over a mile in length. Then came coloring; three colors dispersed somewhat randomly amongst all the levels. Needless to say, our diligence in labeling every last piece was absolutely essential for ease of assembly.
Check it out if you’re in Manhattan. Madison Ave and 60th street.
think & build
May 1st marked the long anticipated public opening of the new Whitney Museum of American Art in Manhattan’s Meatpacking District. The museum and its 21,000 works now call 99 Gansevoort Street its new permanent home. The building, designed by famed Italian architect Renzo Piano, includes approximately 50,000 square feet of indoor exhibit space and an additional 13,000 square feet of outdoor exhibit space. Its strong asymmetrical shape mirrors the industrial character of the neighboring buildings and stands prominently on the island’s west side overlooking the High Line.
We have worked with a number of luxury fashion brands to create memorable and cohesive window and store displays throughout the city. Having worked with Max Mara before, we were approached by the London-based company Chameleon Visual, who have been producing distinctive visual concepts for the finest brands for years, to build and install a number of custom pieces for the launch of the Whitney Bag. On the docket: pedestals, cases, vinyl, large-scale lightboxes, neon signs, walls, after-hours installs, and three large-scale models of the Museum. No Problem!
Boom Boom Room- Top of The Standard Hotel Private View Party
Our Role: Fabrication and installation of one enclosed display case, and three large-scale models of the New Whitney Museum of American Art. The models, made of medium-density fiberboard (MDF) & Dibond composite, were cut using the CNC machine with v-grooves allowing it to fold into shape. The models were then primed and sprayed with the building’s signature bluish-grey hue.
MaxMara Madison Avenue– Whitney Bag Launch
Our Role: Fabrication and installation of lightboxes, neon signs, and bases to display the different style options of the Whitney Bag. This late-night installation took a large crew to finish, and we think the end result is pretty striking.
MaxMara: Saks, 5th Avenue Whitney Bag Launch
Our Role: Fabrication and installation of three separate displays in Saks, 5th Avenue.
MaxMara: Bergdorf Goodman Whitney Bag Launch
Our Role: Fabrication and installation
think & build
Modular Custom Furniture for Cornell Tech- “It’s Not Our Space, It’s Theirs”
New York City is no stranger to arts-specific educational institutions. Manhattan and its surrounding boroughs are home to Parsons the New School of Design, the School of Visual Arts, Pratt Institute, and the New York Film Academy, among many others. Each offering their own set of discipline-focused curricula, these schools have produced countless alumni who have gone on to become leaders in their respective fields. With the recent shift toward the technological and with start-ups securing their place as a permanent fixture of our future, it was only a matter of time before New York’s already impressive educational offerings included a technology-based school which would focus on preparing its students with the information technology skills they’ll need to be at the forefront of the rapidly-changing technological landscape. Enter, Cornell Tech.
Seen as a way to increase entrepreneurship and job growth in the city’s technology sector, Mayor Bloomberg announced the plans for Cornell Tech’s 12 acre Roosevelt Island campus back in 2011. The first phase of construction is slated to be completed in 2017, with the remainder of the campus scheduled to be finished in 2037. In the interim, in order to establish a foot-hold in the city, Cornell Tech has begun offering their graduate program out of a temporary home inside Google’s Chelsea building. The school was looking for a space that is open and flexible, where students, faculty, and guests could interact and collaborate in unique and personalized ways. Enter, New Project.
New Project was contracted by Rockwell Group, a local architectural design firm, to fabricate large mobile modules that the students can move, rearrange, and manipulate to create unique spaces for classes, lectures, study, and lounging. Rockwell Group accurately defines the resulting creation as a “learning toolkit of working hubs and surfaces that encourage collaboration”.
Using Rockwell Group’s original designs, New Project fabricated and installed four freestanding, modular structures in the school’s “Studio” in 2013. Each module was equipped with white boards and cork boards, as well as access to dropped electrical power sources so that students could easily attach computers, projectors, monitors, etc. Various seating and large work surfaces make up the remainder of the space, which could be transformed and moved to accommodate a number of various needs including events, lectures and presentations. Additionally, we built a custom reception desk in the shape of Roosevelt Island, the university’s future home, using layered furniture-grade birch plywood.
A year and a half later, we’ve returned to the campus and spoke with Cornell Tech staff members Tamika Morales, Administrative Assistant, and Aaron Holiday, Managing Entrepreneurial Officer, to see how the units have been received and manipulated by the students. Here’s what they had to say:NP: In your experience here at Cornell Tech, how have you noticed the students using the furniture in “The Studio”? TM: The students have become very comfortable with the furniture. They use the large piece, dubbed “Mamma Jamma”, the most. I’ve seen it used as a large desk and study area, a stage, and many other things. All of the furniture is used on a daily basis in a number of different ways. The furniture has actually become a very important part of the student’s “Hack Days”. NP: Can you elaborate on what a Hack Day is and how the furniture is used in the process? AH: Hack Days occur three times a semester. The objective of this 24 hour event is for the students to make accelerated progress on the projects they are building on campus, particularly technology and software. It creates a collaborative culture for people who are actively building things. The furniture is an integral part of hack day. We put the studio in a way that its setup is completely unusable; tables are flipped upside down, things are all over the place. Tamika and the team will pile all of the furniture up in the middle of the room with the white boards all around the space. Then, at the count of three, students will race and go after everything and grab what they want. It’s actually quite incredible to watch this completely disheveled space transform into a useable work area in less than a minute. The students can create and convert it into their own space, They take ownership not only of the project they are working on but the space they’re working in. This can only happen because the furniture is modular and on wheels. NP: That sounds exciting! Reminds me of the cornucopia scene in The Hunger Games, without all the violence of course. When we built the furniture we were really hoping that the students would take ownership of the space and utilize it according to their needs. It’s nice to see they are. Are there any other events that come to mind that the furniture was manipulated and used for? TM: Yes! We use it all the time for seminars, announcements, panel discussions, and most often for our weekly guest speakers. We call it Conversations In The Studio, where luminaries in the tech community are invited to come and speak to about entrepreneurship, engineering, art and other topics. The conversations are moderated by the students. We can pull out the stage, and set up chairs, but the rest of the furniture is pushed to the sides to accommodate the crowds. Sometimes the Google people come down to hear the speaker. NP: Have the students or speakers used the furniture in any way that has surprised you? TM: I saw someone actually doing pull-ups one day on Mamma Jamma. I also once saw someone turn one one of the pieces into their own space, complete with a “Do Not Disturb” sign on the outside, they found the remotes that are hidden inside the deskâ€¦ they really take ownership. The magnetic Cornell Tech sign gets moved everywhere and is played with to take pictures and whatnot. It’s always in a new spot. NP: There is a lot going on here everyday, and it’s not a huge space. It almost seems like this kind of set up was necessary. If the furniture was static and heavy, you would have been very limited as to what you could do with the space. TM: Yes, I think the students would have been very frustrated. It wouldn’t have the same energy. This isn’t our space, it’s their space.
We have to say, we knew the furniture would be utilized, but we were pleasantly surprised how they have incorporated the furniture into their daily lives on campus. It is interesting that physical furniture is so heavily manipulated and depended on in such a technological setting. We are so proud of what we built, and think Rockwell Group really hit the nail on the head with the design.
We leave you with some visuals from the planning, fabrication, and installation phases of the project. Enjoy!
Also, check out Rockwell Group’s Vimeo Page for a time-lapse video of Cornell’s Studio in use.
Think and Build.
The Holiday Season in New York City
NYC’s cultural institutions offer top-quality programming and exhibits around this time of year. Navigating the overwhelming options can be, well, overwhelming. With seven kids under the age of ten and one more on the way in ourÂ New Project family, we have some experience finding the best options for meaningful and exciting family time in the city.
If you’ve been following us online for the past month, you’re likely familiar with our latest project at the Museum of Mathematics (MoMath) in NYC, an exhibit titled Robot Swarm. The response has been glowing from visitors of all ages! The museum is open to the public seven days a week from 10am to 5pm, so there’s no excuse to miss it. You’ll find yourself just as immersed and fascinated as your kids, trust us, we always end up tied up in the Enigma Cafe.
Make sure you check out the other exhibits we’ve built for the museum, including the Logo Generator, Formula Morph, Harmony of Spheres, Motionscape, and Sixth Sense while you are there. Kudos go out to our friends and collaborators at MOEY, a Brooklyn based interactive design company we worked in conjunction with on these pieces.
“Manipulate mathematical symbols symmetrically to create a unique MoMath-style logo” –MoMath
Our entire team here at New Project wishes you and your families a happy holiday season and a beautiful New Year!
Thank you for your support and see you in 2015!
think & build
“Game of Thrones: the Exhibition”, just finished its layover in Amsterdam. This was a large project we designed and fabricated for HBO. We worked in conjunction with Roger Westerman Design, a great exhibition designer here in Brooklyn. Included in the exhibit is an interactive game based on The Battle of Blackwater Bay that Moey, Inc. helped us develop.
Amsterdam was the forth of five stops the exhibit has made. It started its journey in Toronto, then came to New York City. Our crack project manager Terry Glispin then had the pleasure of taking it to São Paulo, Brazil (where he squeaked over to Rio for some surfing). The exhibit’s home in Amsterdam was perhaps the most stunning, considering the venue was a 19th century neo-gothic church!
Check out the stunning placement of The Iron Throne. (All photos courtesy of HBO Netherlands and Game of Thrones).
Each venue has had various actors from the Game of Thrones series show up. In Amsterdam Liam Cunningham (Davos Seaworth), Maisie Williams (Arya Stark), and The Netherlands’s own Carice van Houten (Melisandre) came to check out the exhibit.
Here is Melisandre and Davos testing their archery skills on the interactive game Battle of Blackwater Bay. (Season 2, episode 9, in case you were wondering).
Here are more great photos of the Game of Thrones exhibition in its Amsterdam home.
And a little look at the crowd on line for the Game of Thrones Exhibit. Needless to say, it was popular.