The international architecture firm SOM is best known for its stolid glass towers, but partner Roger Duffy has shown that is not the only way. One of his favorite modes is collaborating with the Minimalist artists he admires to create experiential (and experimental) spaces, buildings not unlike the installations of these artists—James Turrell, Lawrence Weiner, Rita McBride. But that is not the only work this daring designer has created. Here are a dozen of his projects from the past decade, ranging from schools to luxury condo towers and international airports.
When he was 11, Roger Duffy had his first encounter with art. It was 1966 and he was thumbing through one of those big Time-Life picture books about America at his home in Oakmont, a town on the outskirts of Pittsburgh famous for its golf course of the same name. He came across a picture of a drawing by Diego Rivera hanging in the guest room at Fallingwater, Frank Lloyd Wright’s wooded retreat 60 miles away. Mr. Duffy asked his father what it was, and Duffy père responded laconically, “It’s art.”
Even today, as one of the most canny combiners of art and architecture, Mr. Duffy, in his reserved way, said he saw no great significance in this awakening. He had come to realize the power of a piece of art, as well as that of its surroundings, even though he did not know it at the time. “I thought of art as magic, and I still do,” he said. “But the two of them together, in that moment, I never really thought of that, now that you mention it. I was just focused on the picture in the picture.”
It would take a few decades for his appreciation of art to develop, and years more for him to incorporate it into his work as a partner at Skidmore Owings & Merrill, but his focus never really wavered. “He may not have known it, but I think this sensitive genius was always there inside him, just waiting to come out,” said Robert Whitman, the renowned multimedia artist and friend and collaborator of Mr. Duffy.
Marina Abramovic, the iconoclastic performance artist (aren’t they all?) was in Queens today to talk about her “legacy” in Hudson, N.Y., a project that it turns out was nearly built in Brooklyn. “It was impossible to find the right location,” she explained to a crowd of nearly a hundred arts journalists assembled inside the giant Kraftwerk dome in the MoMA PS1 courtyard.
Instead, she settled on the upstate town along the river with which it shares a name, for the new Marina Abramovic Institute, the embodiment of her life’s work, but also more, she insisted. “Why I didn’t want to make a foundation?” she asked herself. “Because a foundation shows only your own art. For me, it was important to create a situation for other forms, as well.”
“Why my name?” she continued. “I feel like I could become a brand, like Coca-Cola, or Levis for jeans. My names is now about performing art.”
But will crowds truly flock to Hudson to engage in long-duration art, as Ms. Abramovic characterizes the work to take place at her institute, where “who is the performer and who is the audience is impossible to tell,” Serge Le Borgne, the institute’s director, said.