Three of Heatherwick Studio’s monumental projects are taking shape along Manhattan’s High Line, part of the transformation of the Meatpacking neighborhood from a gritty industrial landscape to a playground for the ultra-wealthy. From Hudson Yards at the elevated park’s northern-most tip, to the manmade island taking shape on the coast off of 15th Street, AN recently checked in on the status of the London studio's rapidly rising projects. Pier 55 Pier 55 seemed like it was on the verge of financial collapse just a year ago, as the cost of the Barry Diller–backed project rose to $250 million and the nonprofit Hudson River Park Trust was buffeted by lawsuits. Diller withdrew his support of the 2.75-acre pocket park in the Hudson, and the floating island, supported by sculpted concrete piers, looked like it was never going to happen. Then, thanks to Governor Cuomo stepping in at the last minute to mediate between billionaire Douglas Durst, the City Club of New York, and Diller, the project was declared back on. When AN last toured the site in April of 2018, piles were being driven into the Hudson’s riverbed for the two walkways that would lead to the park. Now, at the start of 2019, it appears that construction is picking up steam. Most, if not all, of the piers appear to be in place, and the 132 sculptural, wave-like concrete caps are being installed. Each of the “pots” was fabricated in Upstate New York from custom foam molds and it’s expected that they’ll be fully installed in March 2020. The installation is on hold for the winter and should begin again in May of this year. Mathews Nielsen Landscape Architects will be handling the landscape design proper, and the park is expected to open in early 2021. Once complete, Pier 55 will include an amphitheater and two landscaped staging areas. 515 West 18th Street Further north on 18th Street, the first tower of the two-pronged 515 West 18th Street has already topped out. The 425,000-square-foot development was only first revealed in January 2018 thanks to a video aimed at luring foreign investors, but the project has already made considerable progress in a year. The split project drew polarizing reactions for its bulging, barrel-like bay windows, which almost seem to be inflated from the inside. The two towers (connected via a single-story annex under the High Line) are expected to bring 181 condos to the neighborhood. The 10-story tower on the eastern half of the High Line has topped out as of January 2019, and the western tower, which will reach 22 stories so that residents can catch views across the Hudson River, is already above ground. It’s likely the condos in the finished development will be pricey, as developer Related Companies has promised high-end interiors, plenty of amenities, and 175 parking spots. Coincidentally enough, Thomas Heatherwick’s High Line–straddling project is going up right next to BIG’s; on the southern side of 18th street is the XI, the Bjarke Ingels Group’s pair of twisting, travertine-clad towers. Once complete sometime in mid-2020, Heatherwick’s bulging towers will sit comfortably between the Gehry-design IAC building to the west, and venerable performing arts space the Kitchen to the north. The Vessel At the High Line’s northern terminus, looming over the entire park is the glass-heavy presence of Hudson Yards. At the center of this massive public-private development is the Vessel, Thomas Heatherwick’s $150 million, 150-foot-tall, bronzed-steel-and-concrete staircase sculpture. Completely climbable (an elevator will also be included for those unable to take the stairs), the Vessel features over 154 flights of stairs, 80 landings, and over 2,400 treads. The installation expands as it rises, going from a 50-foot-wide footprint at the base to a 150-foot-wide diameter at the top. Once at the top, visitors can expect unobstructed views across the Hudson River, down the city, and of the surrounding Hudson Yards neighborhood. The piece was prefabricated in 75 large parts in Italy, then assembled on site, with the last segment installed in December of 2017. When AN visited the site last, construction workers were busy putting the finishing touches on the sculpture’s rails and lights. Phase one of Hudson Yards, which includes the Vessel and the development’s five-acre public plaza in which it sits, is expected to open to the public on March 15 of this year.
Posts tagged with "High Line":
The entire length of New York's High Line is increasingly being buried between dense blocks of mid-rise luxury residential buildings. One of the pleasures of the elevated walkway is the view it allows out to the surrounding city, but the park's viewing spots are increasingly being blocked by new buildings replacing surface parking lots along the walkway. The 10th Avenue and 17th street overlook, with its tiered seating facing north up the broad avenue, is still one of the best public spaces in the city. Now the Friends of the High Line, the nonprofit that runs the walkway is preparing a spectacular new viewing site along the elevated public/private park. The space is a spur off the main trunk line of the old rail bed that crosses over 10th Avenue at 30th Street. It stands dead center over 10th Avenue and allows for spectacular views up and down the wide boulevard. AN was given a tour of the still unopened spur by Cecilia Alemani from High Line Art and Adam Ganser, vice president for planning and design for the park. The overlook is set to open in April 2019 is currently being prepared to house a plinth upon which High Line Arts will place a rotating series of sculptures visible for cars driving north on the one-way boulevard. The first art project on the plinth will be Brick House, a sixteen-foot-tall bronze bust of a black woman by Brooklyn’s Simone Leigh. The sculpture's head, which will be clearly visible to the street below, is crowned by an afro, with cornrow braids that end with cowrie shells. The sculptor claims the female bronze is influenced by the architectural styles of “Benin, Cameroon, and Chad, a restaurant from the American South and Batammaliba architecture” from Togo. The skirted torso will have the effect of serving as an obelisk supporting a perspectival view that virtually never occurs in a city of gridded streets that never end in a public space. The overlook is the perfect place for a public viewing platform, and High Line Arts is preparing to make it the city’s next great public space.
An upcoming traveling exhibition put on by Friends of the High Line will invite cities and local artists to imagine what monuments should look like in the 21st century. New Monuments for New Cities, the inaugural project of the High Line Network Joint Art Initiative, will feature 25 site-specific artworks set within five urban reuse projects across the United States and Canada. The public art showcase, running from February to October of next year, will take an important look at the role monuments have played in shaping cities and how they successfully speak to or, in some cases, misrepresent the people who live there. A diverse set of artists from each locale have been selected to submit proposals for the project in the form of posters. “As memorials to the deeply imbalanced history of the Western world are being torn down, the current moment demands critical thought and creativity about the monuments that adorn our cities,” said Chief Curator of High Line Art Cecilia Alemani in a statement. “These proposals from today’s artists offer an inspiring range of vision for how we might eternalize this point in society’s progress.” The posters or renderings will be projected for two to four months at a time within several major industrial reuse spaces in North America including the Buffalo Bayou in Houston, Texas; Waller Creek in Austin; The 606 in Chicago; and The Bentway in Toronto. The exhibition will finish its international tour on the High Line next fall, coinciding with the High Line Network’s annual meeting and its first public symposium.
Across the country, cities are reimagining old industrial landscapes as innovative parklands and restorative ecologies as a way to connect urban dwellers with nature and protect the environment. A new design ideas competition in Buffalo, New York, aims to revitalize the city’s 1.5-mile elevated DL&W rail corridor as a multiuse urban nature trail and greenway. The project is set not only to spur economic development for Buffalo but to reshape the city, becoming a local attraction much like the Toronto’s Bentway or Atlanta’s Beltline. Organized by the Western New York Land Conservancy (WNYLC), the competition invites architects, designers, landscape architect, urban planners, and artists to submit visionary concepts of the corridor as a nature-filled connector for downtown Buffalo, its waterfront, and the surrounding historic neighborhoods. The project is backed by several major sponsors, including M&T Bank and the Ralph C. Wilson, Jr., Legacy Funds, a group that’s part of the late Buffalo Bills owner’s namesake foundation which, just last month, pledged to invest $200 million in both Buffalo and Detroit’s parks and trails systems. The corridor is owned by Niagara Frontier Transportation Authority and has long been a focal point of potential redevelopment for residents and city officials alike. Last year, the WNYLC published a community vision for the site that will guide its future design. “After listening to the community’s hopes for the DL&W corridor, we are excited to give designers from Western New York and around the world a chance to show us how they would bring those hopes to life,” said Nancy Smith, executive director of the WNYLC in a statement. “This spring we will share the designs with the community and ask the community what they think of the ideas, what they like, and what they would do differently.” The competition will be judged by a jury of architects, educators, planners, and consultants including representatives from the University of Buffalo, Stoss Landscape Urbanism, and Friends of the High Line. The proposals will be unveiled online next spring and will also be featured in several public exhibitions in Buffalo. Three winners, including the jury’s favorite as well as the community’s pick, will receive monetary awards ranging from $1,000 to $7,500. To enter the competition, participants must register for free by emailing firstname.lastname@example.org. For more information on submission guidelines and the competition brief, see here. An optional site visit for applicants will be held on January 4, 2019, and submissions are due February 15.
Brought to you with support fromSince the construction of the High Line’s first section in 2009, Manhattan’s Meatpacking District has undergone a dramatic transformation from a declining industrial district to a burgeoning site of development attracting leading national and international firms. Now, California’s Backen & Gillam Architects has stamped its presence in the neighborhood with a modern aluminum-and-glass screen wall inserted atop a restored historic reddish-brown brick warehouse.
Landmarks Preservation Commission pushed the design team to draw upon the neighborhood’s prevailing historical elements: the bolts, splices, and rivet patterns found on steel and cast-iron awnings, as well as elevated infrastructure. The new black aluminum frames primarily consist of a set of prefabricated components. Each frame is composed of two aluminum cross braces which are fitted to a set of turnbuckles, allowing for the adjustment of tension across the screen wall. T-frames studded with bolts are the primary vertical and horizontal elements of the screen wall. These can be split into two categories: structural members that run the length of the elevation and drive into the building below, and beams supporting the overall rigidity of the frame. This entire system is connected to an array of vertical mullions through existing steel brackets and a new screen wall connector. For the project, Backen & Gillam worked closely with the manufacturer, Ahlborn Structural Steel, to produce a kit of parts that was easy to assemble on site. Every component shipped from Santa Rosa, California, was designed as a three-piece unit set to maximize space on the convoy of flatbed trucks that carted them across the country. Each aspect of the screen wall, down to the bolts, were numbered and classified to ease their installation. In total, the design and construction teams were able to erect the entire addition in approximately two weeks. Gillam's interior spaces maintain the structure's historical bones while providing room to breathe for the new. The central and defining moment of the internal spaces is the light-filled, six-story atrium extending the full height of the complex, with successive rows of fluted Corinthian columns bordering aluminum-and-glass balconies.Located on the corner of Little West 12th Street and 9th Avenue, the nearly 100,000-square-foot project for the retailer formerly known as Restoration Hardware, now known as RH, is within the stringently-protected Gansevoort Market Historic District. The building itself was constructed over a century ago as a retail warehouse, and ultimately transformed into a garage for the renowned Astor family. For project lead Jim Gillam, the constraints set by the
It isn’t often that one has the chance to perform in a world premiere. I’ve performed in a few during my forty years as an avocational singer, but never anything like the Mile Long Opera (MLO), which ran in New York City from October 2 to 8, 2018. Because I am also an architect, performing as a singer and actor in the MLO was a special privilege. I was able to see both the dramatic material and the urbanistic setting from an insider’s point of view. I am convinced that David Lang, Liz Diller, Claudia Rankine, Anne Carson, and the producers of MLO created a modern masterpiece. With the rather enigmatic subtitle, “A Biography of Seven O’Clock,” the MLO’s hype suggested that audience members would get a taste, maybe a big gulp, of what makes New York City so extraordinary, and also so ordinary. The first surprise was that they delivered on that promise. By using choirs from throughout the city’s five boroughs, some professional and/or small, others amateur and/or large, the creative team assembled a cast that resonated with just about everyone. Sprinkling some professional opera singers among the throng of ordinary folks provided just enough weight to please the likes of Renée Fleming, who attended a performance in mid-week, and other cognoscenti. It would have been easy to lose the multi-ethnic and multi-cultural flavor of so many New York singers strung single file along a narrow, mile-and-a-half walkway, especially in the evening hours under varied lighting conditions. Here, the production designers earned their stripes by developing several masterful costume and lighting conceits. The most effective was the duck-like baseball cap worn by the majority of us, which bathed the face in a soft, ethereal aurora. Audience members described the effect of the floating faces as dreamlike—we were instructed to wear only dark so our faces would stand out. By lighting the faces of each performer, MLO designers brought both the wonderful variety and the individuality of New York’s inhabitants into focus on the High Line. As the audience walked by, each singer or speaker could touch passing strangers with a look or an expression, while also declaiming their portions of the libretto (some of it in Spanish). I can say that for me, those brief glances from listeners were unforgettable. I thought of the paintings on the wall of a museum gazing out at amazed art lovers—Magritte would be jealous. Was there music in this opera? Yes and no. David Lang, of Bang on a Can fame, has explored sound in just about every possible way during a long career. Thus one would hardly have expected a conventional piece of musical theater, and indeed those of us singing and speaking our parts were initially rather confused by what we heard. There were no chords, no apparent melody, no key signatures, and apparently no “leitmotifs” to provide a map of the work. Even the first rehearsals were puzzling—where would we stand in relation to our fellow choir members? Was there an alto or bass part? All we knew was that this was a piece for voices and that we would be singing without amplification. There were big risks involved in putting singers of varying abilities out in the midst of a bustling urban environment. How could anyone but an operatic diva be heard above the street noise? When I looked at the first robot camera footage of the “cells” (individual areas with specific parts of the libretto and music) that were posted by the sponsor, Target, I was concerned that many voices were not coming through the texture. After performing for a couple of nights I realized what I had missed, and why our composer had written such unusual “music.” This was an immersive experience. Even more important than seeing the piece on the High Line was listening to every voice along the way. Lang gave the audience an active part in the drama as it unfolded before them. You really had to “lean in” to get the full intellectual and sensory power of the narrative. By lighting the faces of each performer, or group of performers, Lang and his collaborators invited the audience to parse the threads of text, sound, and light, both momentary and temporally continuous. The music and libretto established a repeating theme, marked by phrases and distinctive vocal riffs, that would eventually make sense in the context of a moving, walking perceptual gestalt. There was, first of all, the recurrence of the dining table in the spoken narrative. I did not realize how my version of this little “recollection” would strike audience members as they heard me say “Between us, I love my dining room table.” With a common memory, shared by so many of us, Claudia Rankine established an immediate frame of reference. In the music, themes of community, loss, loneliness, love, and deprivation played out in vignettes sung by recognizable characters from the city: a Vietnamese nail salon technician, a construction worker, an eight-year-old walking with his aunt, lovers at the movies, a hotel maid, a window washer. One thousand voices, each distinct, would finally create a “cloud” of meaning, at least in theory. Before each performance, we heard our directors describe the “miracle” that was occurring each night. Press notices were positive, but it was the audience that gave us the best feedback on the piece. They were spellbound, amazed, and entirely engaged. Friends invariably would ask if tickets were available—they had heard the hype. Alas, anyone who failed to get a pass would miss one of the cultural events of the new century. I thought of how pissed I was to have missed Einstein On The Beach. It was like you had to see MLO in order to be a hip New Yorker in 2018, at least among choral geeks. For architects, the allure was just as strong. The tapestry sound would not have been so striking without the incredible setting of the High Line. One should always mention James Corner and the community activists who fought to save the elevated tracks from Gansevoort to 34th Street, because this was adaptive re-use at its best. Architect Liz Diller and her staff saw the potential of the linear park as a performance space and helped to design the enhancements to the setting that made the piece ring so beautifully, in a visual sense. Indeed, it was the synesthetic character of the Mile Long Opera that I believe signaled its importance as a new kind of performance piece. The Mile Long Opera was an intense distillation of the things that make New York the greatest city in the world. It brought us the city of the imagination, the city of technology, the city of skyscrapers, the city of world theater, the city of music, the city of strangers, the city of magic, the city of poverty, the city of transport, the city of wealth, and above all the place that we call New York. At the end of the performance, Anne Carson’s poetry captured everything in a few trenchant, Whitmanesque lines: “Whatever can happen in a city can happen in this city, whatever can happen to anyone can happen to us. Onward rolls the bright current.”
As the sun sets each night over Manhattan’s High Line, the sounds of 1,000 opera singers waft through the streets of Chelsea, at least until October 8. The Mile-Long Opera: a biography of 7 o’clock, a co-production between Pulitzer Prize-winning composer David Lang and Diller Scofidio + Renfro (DS+R), one part of the High Line's design team, sets human-scale stories against the elevated park’s environs. Poets Anne Carson and Claudia Rankine provided the text for each of the opera's 26 sections, which was distilled in part from interviews with New York City residents on what the twilight period means to them, and DS+R partner Elizabeth Diller directed the show’s staging. The opera, a 90-minute linear amble from the High Line's 14th Street entrance to its West 34th Street terminus, is in content, tone, and setting, about transition: the changing time of day, evolving domestic duties, and the shifting character of New York itself. Audience members are encouraged to walk slowly and weave their ways between the groups of singers, each belting out—or whispering, or chanting—their specific role on loop, unfolding the full experience for guests as they move forward. With each performer cloaked in white light from a luminescent hat, smartphone, backpack, or other piece of everyday wear, the experience can feel at times dreamlike. But the surrounding sounds of the city, walls of new development around the High Line, and Hudson Yards’ looming presence on 34th Street ground the performers in a material setting. Gentrification is not explicitly the Mile-Long Opera’s purview, but, as Diller recently relayed to the New York Times, the changes in the Meatpacking District (some caused by the High Line itself) are highlighted as wistful background threads. The mingling of old and new construction along the park with song lyrics about friends moving away, the L Train shutdown, and passing strangers on the street, are meant to make the audience consider change as a process and not simply get nostalgic for “the good old days.” DS+R and Diller’s involvement in the show’s staging (choreographer Lynsey Peisinger served as co-director) shines through, as both are intimately familiar with the challenges and opportunities of staging a show on the High Line. Marriage proposals waft up from beneath the elevated walkway and flyover, and for the spiraling spur at the park’s end, which butts up against the West Side Highway and an active heliport, performers are clad in reflective jumpsuits and have their voices amplified, one of the only times they compete with the noises of the city. This push and pull of the city, according to Diller in the playbill, makes New York both a backdrop and an antagonist as the audience travels the 30-block-long urban stage. Standby tickets to the Mile-Long Opera are free, but for those who can’t make it before the show closes, a 360-degree virtual reality version of the performance is being uploaded in parts online.
Two new Chelsea galleries are popping up underneath the High Line in New York City as part of a multi-artspace build-out by Related Companies, developer of Zaha Hadid Architect (ZHA)’s 520 West 28th Street. Designed by New-York based studioMDA, the new flagship for Paul Kasmin and the High Line Nine galleries broaden the art and architectural appeal of the adjacent elevated park. For Kasmin’s fourth show space in the neighborhood, Markus Dochantschi, founder of studioMDA and former architect at ZHA, envisioned a column-free, 3,000-square-foot gallery with a boxy, angled exterior featuring white concrete and a subtle wood texture. Inside, large-scale sculptures can fit smoothly in between the 22-foot-high walls and below a coffered ceiling with 28 individual skylights that diffuse natural light into the space below. This super-waffle grid also creates a pattern for the building’s rooftop sculpture garden, with a landscape designed by Future Green Studio. Visible from the High Line, it has an undulating form that allows plants to be set deep within the soil. Dochantschi and studioMDA also created the multi-tenant High Line Nine gallery next door, the face of which provides a stark contrast to the bright, inviting Kasmin gallery. Sporting a brutalist-inspired, curved facade cast in white bronze, the building is situated directly underneath the rail park and stretches in arcade form from 27th to 28th Streets via a central corridor. Each tenant within the High Line Nine will receive a space ranging from 650 square feet to 1,800 square feet accessible via the core passageway. The elongated facility will take on an industrial feel thanks to the exposed High Line columns and steel beams connected to the structure above. At the end of the High Line Nine, there will be a café and wine bar called il Piccolo Ristoro. So far, Leila Heller Gallery, Valli Art Gallery, Polich Tallix, Hollis Taggart Gallery, ZieherSmith, and Burning In Water as well as the adjacent Kasmin have signed on as part of the group.
After years of planning and handwringing over fundraising, the first phase of Philadelphia’s own “High Line,” the transformation of the Reading Viaduct rail line, was opened to the public last Thursday. Although the Rail Park’s first spur is only a quarter mile long, the rail line will be twice as long and wide as New York’s High Line when fully built out. The first section of the linear park, located on the northern edge of Center City and designed by landscape architects Studio Bryan Hanes, reflects the neighborhood’s industrial past. Native plants and trees were planted on top of the viaduct’s steel arches, and remnants of the embedded rail track are woven throughout the zigzagging walkway. Riveted I-beams have been turned into seating, and structural steel beams are used to support the hanging benches. A timeline of the neighborhood and a historical list of the city’s industrial manufacturers have been cut into a weathered Cor-ten steel “history wall” that visitors can walk beside. Unlike New York’s High Line, the Rail Park is wide enough to include both dedicated bike trails and footpaths for pedestrians, creating new links to traditionally underserved neighborhoods when the three-mile-long park is complete. Construction on the $10.8 million elevated park was beset with delays. In planning since 2010, the project finally broke ground in October of 2016 after SEPTA, the site’s former owner, agreed to lease the rail spur to the nonprofit Center City District (CCD) during construction. Now that the section is finally open, ownership has been handed over to the City of Philadelphia, with maintenance and management split between the CCD, the nonprofit Friends of the Rail Park, and the city’s Department of Parks & Recreation. Funding for the Rail Park’s 25,000-square-foot first phase was raised in combination by the Friends of the Rail Park and through a $3.5 million Redevelopment Assistance Capital Program grant from the state government. According to the CCD, this section of the Rail Park will serve as a design proof-of-concept and fundraising tool for the rest of the viaduct’s development. No timeline or estimated construction dates have been given for the second and third phases.
The first-ever “Hat Party on the High Line” event drew a rowdy crowd of art, culture, fashion, and architecture aficionados to the elevated park last night courtesy of the Friends of the High Line, with proceeds going to support the park’s continued operation and atmosphere of inclusivity. The night was sponsored by a huge host committee made up of some of architecture’s biggest names (including Diller Scofidio + Renfro, BIG, James Corner Field Operations, Zaha Hadid Architects, Rafael Viñoly Architects, and more) and hosted by Diane von Furstenberg. Perhaps the biggest draw was the 9:00 PM hat contest, where guests strutted their stuff on a runway in front of judges Alan Cumming, Aki Sasamoto, Florent Morellet, Charles Renfro, NYC Parks Commissioner Mitchell Silver, and Vi Vacious and Acid Betty from RuPaul's Drag Race. Partygoers rose to the challenge and presented their wildest hats, most of them inspired by the plant life and views of the High Line, to raucous applause. While BIG debuted a twisting-tower hat reminiscent of their High Line-topping XI, Zaha Hadid Architects 3D printed a swooping blue and white hat reminiscent of the curves found at 520 West 28th, and other studios including SOM and DS+R all competed to take home the crown. Ultimately the night was won by Vinayak Portonovo of Practice for Architecture and Urbanism (PAU), seen modeling the studio’s contribution; a glitzy take on PAU’s plan for the new Penn Station.
One thousand opera singers will grace Manhattan's High Line from October 3 through 7, staging a massive public performance for five consecutive nights. The Mile-Long Opera: a biography of 7 o’clock, produced by Diller Scofidio + Renfro (DS+R), the High Line, and production company The OFFICE performing arts + film, will present a thousand sung stories about what 7:00 PM means to New York residents. The Mile-Long Opera has a star-studded production team: The show is a joint venture between DS+R and Pulitzer Prize-winning composer David Lang, who will be setting the stories to music. Poets Anne Carson and Claudia Rankine will be writing the stories, based on interviews, about the liminal period between day and night. DS+R partner Elizabeth Diller will be staging the show, with the help of co-director Lynsey Peisinger, along the entire length of the High Line. Nonprofit cultural partners from each borough will be supplying the show’s singers, who will be directed by Donald Nally, and each partner will recruit volunteers, hold workshops, and throw cultural events in the lead-up to the October performance. Diller’s involvement has been known for some time now, and the idea supposedly took inspiration from the intersection and confrontation between public space and performance art. “After working on the design of the High Line for over a decade and witnessing the rapid transformation of the surrounding area, I thought a lot about the life cycle of the city—its decay and rebirth—full of opportunities and contradictions,” said Diller in a statement. “This vantage presented an opportunity for creative reflection about the speed of change of the contemporary city and the stories of its inhabitants. “The park will be a 30-block-long urban stage for an immersive performance in which the audience will be mobile, the performers will be distributed, and the city will be both protagonist and backdrop for a collective experience celebrating our diversity.” The Mile-Long Opera will be free, in keeping with the mission to open up opera to the public. Visitors can freely wander the length of the High Line while intermingling between the groups of singers, and each artist will belt out their own solo story. Guests can choose to linger and listen through to individual stories or explore as many experiences as they want. The High Line will close early to the general public on the nights of the show, and only those who have booked an advance reservation online (here) will be able to attend. With anticipation building for the 2019 opening of The Shed on the park’s northern end, it looks like DS+R will keep the cultural momentum going through the fall.
The Danish-Icelandic artist Olafur Eliasson’s multi-story studio is located in an old 19th-century brewery in Berlin’s Prenzlauer Berg district. The combination artist’s studio, materials research laboratory, and fabrication workshop is outfitted with elegant Hans Wegner furniture, displays of Eliasson projects, artwork prototypes, and a glass-walled kitchen for employees’ daily lunches. Inside this calm, but busy, workshop there is now an architecture office. Directed by Eliasson and architect Sebastian Behmann, Studio Other Spaces is a natural outgrowth of the large-scale public sculptures and installations that Studio Olafur Eliasson has been creating since the mid-1990s. Eliasson has long had an interest in architecture, running an art school called the Institute for Spatial Experiments and working for many years with Einar Thorsteinn, an architect and geometry expert who was a follower of Buckminster Fuller. Studio Olafur Eliasson was also part of the James Corner–Diller and Scofidio + Renfro design team for New York’s High Line park. For several years the art studio has had major clients commissioning projects that were really exterior curtain walls, like the Harpa Reykjavik Concert Hall, designed with Copenhagen-based firm Henning Larsen (and winner of the 2013 Mies van der Rohe Award), which has a facade of quartz-like hexagonal sections. Eliasson writes that he believes the “culture sector in our society is more likely to create change than the public sector, the politicians, or the private sector.” This new architecture office is perhaps a vehicle to combine his dramatic public art with a pragmatic social program. This desire by designers and artists to also be architects has a long lineage going back to the Renaissance through the Vienna Secession, and today we see it with artists like James Wines of SITE or industrial designers like Pentagram and Thomas Heatherwick. Given all the requirements of building, it is still not common for an architect to be grounded in art, but with the capabilities of today’s digital practice and the range of large-scale public art, we may start to see more of these professional distinctions erode. Studio Other Spaces’ recent projects and its facility with spatial design shown here is not just branding, but sophisticated architecture. Head of design in Studio Olafur Eliasson, Behmann is an educated and licensed architect and has been consulting on the studio’s architectural projects since 2001, though the studio only recently began to design major monuments all over the world. The architecture office currently has eight architects on staff, all with different backgrounds. Eliasson said he admires architects because “they build buildings for people who are not interested in buildings—they just work in them, or they just sleep in them, or they just eat in them.” This a very good start for practicing architecture. Ilulissat Icefjord Park Competition The park design uses melting ice to shape space based on a unique design strategy where ice is at once the formwork of a concrete structure and the focal point of the resulting space. Icebergs were harvested directly from the nearby ice fjord to create an exhibition building, called the Ice Void, which harbors the memory of the ice that was used to shape it in its walls. Linked to the Ice Void outdoors by a 360-degree path, the Sun Cone building defines the park. The light glass structure of the Sun Cone positions the visitor center directly in the landscape and offers guests a spectacular panoramic view of the surroundings and the Arctic sun. The park helps make the overwhelming experience of visiting the ice fjord comprehensible—providing visitors with a scale for contemplating and relating to the awe-inspiring ice fjord. Fjordenhus Vejle, Denmark The new headquarters of Kirk Kapital rises directly from the harbor of the city of Vejle, Denmark. Accessible by footbridge, the 75-foot-tall building is formed by four intersecting cylinders with brick facades that have rounded negative spaces, creating complex curved forms and arched windows. The brickwork incorporates fifteen different tones of unglazed brick, making a visually rich surface; blue and green glazed bricks are integrated into the carved-out sections to produce color fades that enhance the sense of depth. The ground floor is open to the public and includes two water spaces that are visible from viewing platforms. Facades of Harpa Reykjavik Concert Hall and Conference Centre Reykjavik, Iceland Olafur Eliasson and his studio designed the show-stopping facade of the Harpa Reykjavik Concert Hall and Conference Centre in collaboration with Henning Larsen Architects. Reminiscent of the crystalline basalt columns commonly found in Iceland, the facade was built from a modular, space-filling structure called the quasi-brick. The quasi-brick is a twelve-sided polyhedron consisting of rhomboidal and hexagonal faces. When stacked, the bricks leave no gaps between them, so they can be used to build walls and structural elements. The combination of regularity and irregularity in the modules lends the facade a chaotic, unpredictable quality that could not be achieved through stacking cubes. The modules incorporate panes of color-effect filter glass, which appear to be different colors according to how the light hits them; the building shimmers, reacting to the weather, time of day or year, and the position and movements of viewers. Your rainbow panorama Aarhus, Denmark In 2007 Studio Olafur Eliasson won a competition to transform the rooftop of Aarhus Art Museum in Denmark. It offers visitors sweeping views of the city, the sky, and the distant horizon. The elevated 360-degree walkway is 492 feet in diameter and glazed with rainbow-colored glass. Visible from afar, the work divides Aarhus into various color zones and acts as a beacon for people moving about the city—an effect that is heightened at night when lights running the circumference of the walkway illuminate it from within.