Search results for "met rooftop"
The tree-house-sized installation, Transitional Object (Psychobarn), was created by Turner Prize–winning artist Cornelia Parker, who has previously used architectural fragments in her work to explore themes of memory, transition, and transformation. Psychobarn plays with our preconceptions, and its menacing exterior belies a surprisingly wholesome origin. Daunted by the skyline, Parker decided to create a small domestic structure to contrast the city’s glass and stone towers. Looking to Edward Hopper’s paintings for inspiration, she found her answer after learning that his 1925 House by the Railroad was the model for the iconic Bates residence in Hitchcock’s masterpiece. To re-create the house while cultivating tension between the familiar and the unfamiliar, Parker used repurposed wood and rusted metal salvaged from an old red barn slated for demolition. She built her house like Hitchcock built his: A stage set that looks whole only from the right perspective. The metal scaffold behind its facade is clearly visible from half of the rooftop. Like its cinematic inspiration, Transitional Object (Psychobarn) is part fiction and part reality.
Hopper, Hitchcock, barns, Cornelia Parker, stage sets—I love all those things, which makes it all the more frustrating that I don’t love Psychobarn. The work’s title is a reference to psychoanalytical theory related to the emergence of a child’s identity independent from his parents. Perhaps it’s appropriate then that Psychobarn struggles to separate itself from a rich artistic heritage. It’s clever, I guess. Funny, even. But it doesn’t quite transcend the role of pop-culture punch line to become something greater, something that offers more profound insight, which Parker is certainly capable of producing. She first came to my attention with her pieces Mass and Anti-Mass—two nearly identical, large black cubes composed of charred wood fragments suspended at each end of a large gallery space—Mass is the remains of a church that burned down after a chance lightning strike; Anti-Mass is a church that was burned down by arsonists. It’s a challenging and provocative piece that I still think about often. Psychobarn has none of that power or complexity. There is no hidden psychosis.
I’m not saying that I need to have a deep emotional experience on the Met rooftop. This is, after all, a summertime installation that’s only 50 feet from a bar. It should be fun, and it is. But previous Met rooftop installations managed to be fun while also transforming our perception of the roof, the museum, or even the entire city. Dan Graham and Günther Vogt’s phenomenal Hedge Two-Way Mirror Walkabout (2014) and Tomás Saraceno’s Cloud City (2012) come to mind. These interactive installations distorted, refracted, and re-presented the skyline to the rooftop revelers at the Met. Psychobarn aims for a similar populist appeal (and it will surely capture hundreds of likes on Instagram), but unlike those previous projects, it doesn’t need to be experienced to be appreciated. It gains nothing by being on the Met’s rooftop. Worse, the rooftop gains nothing by having it. Originally, Parker wanted to build an entire barn on the roof. That would have been a transformative experience. Imagine stepping out of the refined galleries of the city’s greatest fine arts museum into a dirty, hay-filled, chicken-clucking space. Alas, it proved unfeasible.
Don’t let this deter you from making a pilgrimage up to the Met rooftop this summer. There is that aforementioned bar up there that, for the duration of the installation, will be serving Hitchcock-themed drinks. I recommend the Corpse Reviver (gin, Cointreau, Lillet, and absinthe). Like any good cocktail, the thoughtful blend of ingredients results in something that’s more than the sum of its parts. I just wish I could say the same for the art.
Transitional Object (Psychobarn) is on view through October 31 at the Metropolitan Museum of Art.
Los Angeles–based Neil M. Denari Architects (NDMA) has unveiled plans for a 10,000-square-foot office and gallery addition slated for the Sotoak Realty company in the Union Plaza District of El Paso, Texas.
The adaptive-reuse project aims to add a sculptural rooftop pavilion to an existing three-story red brick warehouse. The proposed addition cantilevers 18 feet over an adjacent street and features a red aluminum panel soffit designed in homage to the region’s clay-rich soils.
For the project, the designers have created a north-facing window wall that will capture daylight, a feature that compliments an interior light well connecting a rooftop terrace with the building’s main stairs and a lower level gallery. Renderings for the project depict a bright open office area flanking a cluster of executive suites, with perforated metal panel window walls lining the eastern-facing portions of the space. The project is currently entering the construction documents phase, according to the Texas-born Neil M. Denari, principal at NMDA.
The project is expected to be completed in 2020.
Architect: Neil M. Denari Architects Client/Developer: Sotoak Realty Location: El Paso, Texas Expected completion: 2020
Ultrathin concrete roof to cap a net-positive energy rooftop apartment
Winter is Coming
Rooftop ice rinks are the new High Line
Walking Under Sunshine
SITU Studio designs a “Solar Canopy” to popularize rooftop solar systems in urban areas
The company Metalsa exemplifies the entrepreneurial spirit that is lifting Mexico financially and reducing the flow of immigrants to the US. Founded in Monterrey in 1956, the company has grown to become a global manufacturer of automotive frames and components for companies from Ferrari to Ford. “Out of the blue,” as Brooks + Scarpa principal Larry Scarpa recalled, “we received a call to compete for the design of their new research facility and, after interviewing, we won the job.”
Located on a 100-acre, government-sponsored technology research campus adjoining Monterrey Airport, the Metalsa Center for Manufacturing Innovation joins the facilities of other international companies, and branches of UT Austin and two Mexican technical universities. The site has a secure perimeter, but the constraints were few beyond a 125-foot height limit and a mandate that all equipment be concealed. Metalsa already has a manufacturing plant of several million square feet in Monterrey, the commercial capital of Mexico. Here the goal was to create a showcase of sustainability and an ideal work environment that would embody the ideals of the firm and impress visiting customers. Phase 1, comprising 16,500 square feet of warehouse, research lab, and office space, has been completed. In phase 2, these facilities will expand to the north and east, increasing the square footage to 55,000.
Inspired by the jagged mountains around Monterrey, the architects created a steel-framed block with sharp-peaked lanterns that draw in natural light from the north like the saw-tooth roofs of factories. A projecting canopy suspended from a cantilevered roof is clad in perforated and etched aluminum. It shields the glass curtain wall of the reception area and two-story office wing. A layer of polycarbonate behind the aluminum plates provides insulation and diffuses the shadows cast by the openings. Behind this public face, walls clad in aluminum panels enclose the open 60-foot-high warehouse, bathed in natural light from above, where chassis and other components are tested. This is a secure area, where proprietary information is concealed from prying eyes, and access is tightly controlled. The same concern for privacy was applied to the second floor laboratories in the office wing, and the architects calibrated the openings to balance the competing claims of protection and transparency. Tilted oval windows provide discreet glimpses of the labs and the warehouse.
In contrast, the open office areas have an easy flow, and the architects designed the triangular tables with splayed legs. These, like the building, were locally sourced and fabricated. Scarpa intended for Metalsa to make the aluminum skin, but it proved cheaper to go to another factory in Monterrey. He was also challenged to reuse the structural frame that a local architect had designed before Metalsa decided to hire a more prominent designer.
Sustainability is a hallmark of Brooks + Scarpa buildings, and here the challenge was extreme. The temperature routinely tops 100 degrees in the summer, and once reached 118 degrees in April. Passive technologies are combined with rooftop solar panels. The building is cooled and warmed by tapping into the city water supply and feeding pipes through a heat exchanger to exploit the difference in temperature between the water and the earth. Gray water is stored in a cistern below a sunken garden to the north and the public spaces open onto this green oasis through a roll-up industrial door in the exposed glass curtain wall. Like the visionary workplaces created in the early years of the modern movement, Metalsa combines efficiency, humanity, and expressive design in exemplary fashion.
Rafael Viñoly’s lemon yellow tile-covered Brooklyn Children’s Museum makes a big statement in a mostly brownstone neighborhood. A new rooftop canopy, designed by Toshiko Mori Architect (TMA), aims to make the three-year-old building even more active and accessible. The canopy with an EFTE skin covered in a dot matrix frit will allow the rooftop to be used for lectures, concerts, and other events, including the museum hopes, in the blazing hot summer months. The designers say the frit is meant to mimic the dappled light of a tree.
Starting from four points on the roof, the curved structure forms a perfect arch spanning 75 feet. “There’s a reason they used similar forms in cathedrals,” said Joshua Uhl, a senior associate at TMA. “They are incredibly efficient.” The structure, composed of six-inch diameter tubes, is light enough that the architects didn’t need to reinforce the roof. The four corners of the structure system form small seating areas arranged around circular storage bins. The bins house round yellow foam cushions that can be used for seating underneath the canopy.
Though the museum was only just completed in 2008, its bathrooms and a theater will also be renovated by Mori.