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BUFFALO, NY — The sixth consecutive Architectural Ceramic Assemblies Workshop (ACAW) will take place on August 19, 2021, commencing with an opening keynote speech by Tod Williams and Billie Tsien, principals of Tod Williams and Billie Tsien Architects | Partners. ACAW is an industry-academic collaborative workshop hosted by Boston Valley Terra Cotta, with Carnegie Mellon University School of Architecture and the University at Buffalo School of Architecture and Planning. Its aim is to broaden industry professionals’ knowledge of the performance of terra cotta, encouraging a deeper understanding of manufacturing architectural ceramics that will inform next-generation designs. Guided by terra cotta manufacturers and ceramicists, eight teams of architects, façade engineers, and educators work together over the course of the workshop to share knowledge and gain experience developing terra cotta wall assemblies. Visual mockups – constructed by the teams on-site at Boston Valley – will be virtually presented during the conference. The event is concluded by closing keynote speaker Mic Patterson, PHD and LEED AP+ of Façade Tectonics Institute.

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Join us in the ongoing discussion around the Future of Architecture in the emerging virtual economy.

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From 1 until 15 July, Guiding Architects invites you on a virtual trip to no less than eight cities all over the world.

Helwaser Gallery is pleased to present the second solo exhibition of new works by artist Christina Kruse (b. 1976, Germany). "Christina Kruse: Plasterheads" will be on view through July 30th, 2021 at the gallery’s Madison Avenue space, and will introduce the artist’s latest sculpture works. Over the last decade, the artist has developed a distinct visual language within her practice. Often resembling abstracted human figures, her sculptures are defined by a combination of organic, rounded shapes offset by strong rectilinear forms.

For this exhibition, Kruse has developed a large-scale installation which will be displayed in the first room of the gallery. Displayed on a collapsible table, the installation is likened to a miniature world, where multiple figure-like maquettes are scattered across various miniature architectural elements. Rendered in different positions and poses, the maquettes resemble human figures caught in various acts: climbing in and out of the structure, looking up or down, in search for something. Yet, the figurines don’t interact with each other. Described as a metaphorical playground of the inner psyches, Lunapark (2021) attests to the artist’s interest in the deeper psychological states that motivate and shape the world that their human counterparts inhabit. For Kruse, each of the elements within the entire installation, including its materials, serve as a deeper metaphor that expresses the structure of the world that we inhabit. By choosing to use plaster and soapstone as primary materials to construct the maquettes, both of which are easily shaped, Kruse highlights the very malleability of human nature itself. Set against the infinite expanse of the table construction, these maquettes seemingly capture the endless permutations of behavior that result when they are connected by space and time.