Media Archive: Heinz Architectural Center

Maggie’s Dundee, 2003; Architect: Frank Gehry, Gehry Partners, LLP; Landscape Design: Arabella Lennox-Boyd; Photo: © Maggie's Centres

Great architects and designers meet the challenges of cancer care

Maggie’s Centres: A Blueprint for Cancer Care
September 13, 2014–January 5, 2015
Heinz Architectural Center, Carnegie Museum of Art

Opening September 13, 2014, at Carnegie Museum of Art’s (CMOA) Heinz Architectural Center, Maggie’s Centres: A Blueprint for Cancer Care offers a look into how some of the world’s most influential architects, Frank Gehry, Piers Gough, Steven Holl, Rem Koolhaas, and Richard Rogers, have addressed the everyday challenges of people undergoing treatment for cancer.

The exhibition, organized by the New York School of Interior Design, and curated for CMOA by Raymund Ryan, curator of architecture, showcases the remarkable family of healthcare buildings known as Maggie’s Centres. These outstanding works of integrated architectural design are situated across the United Kingdom. At Maggie’s Centres, cancer care is facilitated in buildings that are bright and unorthodox; that prioritize essential human needs of social gathering and private contemplation; and that introduce gardens into the daily lives of patients.

A selection of high-resolution images is available. If you have never received image access to the CMOA press room, please contact Jonathan Gaugler to request the password.

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Michael Kenna; Homage to Brassai, London, England; negative 1983/print 1984; Toned gelatin silver print;
Gift of the George H. Ebbs Family, 2007.51.52

Architecture + Photography

 April 12–May 26, 2014
The Heinz Architectural Center

Photography has always been an important transmitter of architectural ideas, even among its mid-19th-century early adopters. Much of what we know about buildings and sites is not personally experienced, but conveyed through photographic representations of them. However, not every photograph that includes architectural imagery can rightly be called “architectural photography.”

Architecture + Photography demonstrates the wonderfully rich symbiosis between architecture and photography and attempts to parse some of its fascinating complexities. Drawing on the collections of both the Heinz Architectural Center and the Department of Photography, the exhibition presents four groups of objects that explore this relationship:

  • A recently acquired portfolio of pictures of iconic 20th-century buildings taken by famed architectural photographer Ezra Stoller, revealing how his imagery helped shape public understanding of architectural Modernism. 
  • A selection of photographs by Frances Benjamin Johnston of historic buildings in Charleston, SC, that reflects on how photography as a documentary form can encourage preservation of our changing built environment. 
  • Selections from a “Carnegie Art Set,” a collection of photographs of important sites and buildings (as well as paintings and sculptures) around the world, created by the Carnegie Corporation in the 1920s. Copies of the Carnegie Art Set were distributed as teaching tools to several hundred schools throughout the country, extending Andrew Carnegie’s mission of making knowledge “free to all” far beyond the libraries and museums he gave to Pittsburgh. 
  • Images from the museum’s photography department—including works by Richard Artschwager, Dan Graham, Tetsugo Hyakutake, Bruno Requillart, and W. Eugene Smith—suggesting some of the ways in which contemporary artists have responded to architectural forms and imagery in their work.

To view and download a selection of images from the exhibition, please visit the high-resolution digital assets section of this site.

The exhibition is organized by Tracy Myers, curator of architecture, and Alyssum Skjeie, curatorial assistant. Myers says it is useful to think of the exhibition as variations on a theme. “All four groups of works are principally concerned with the way in which architecture figures in photography. However, each group provokes different kinds of questions about things like a photographer’s intentions, Western assumptions about what is culturally significant, whether there is such a thing as photographic objectivity, and how our associations with a place temper our response to an image of it.” Continue reading