Posts tagged with "Installations":

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Winners revealed for Toronto’s fourth annual Winter Stations Design Competition

Canadian winter design devotees have selected four winning designs to spiff up Toronto's east end beaches this February. The fourth annual Winter Stations International Design Competition asked entrants to consider the succinct theme, RIOT, when dreaming up installations that sit around the beaches' not-used-much-in-winter lifeguard stations. Some of the winners took the theme literally, and the others reflected more abstractly on the global political chaos, struggle, and strife that defined 2017. The United States' Martin Miller and Mo Zheng's sheltering Pussy Hat nods to the knit hats women (and some men) donned in protest after President Donald Trump's election, while Alexandra Grieß and Jorel Heid of Germany brought an, um, alarming new take on Italian Futurist Luigi Russolo’s intonarumori to the waterfront with their installation, Make Some Noise!!! In Wind Station, Paul van den Berg and Joyce de Grauw of the Netherlands advocate for nuclear phase-out using hundreds of pinwheels—wind energy—assembled in the shape of a nuclear cooling tower. Kien Pham's Obstacle strikes a more optimistic note. The U.K. designer installed red barriers around a climbing piece that can be accessed only when visitors work in teams to rotate the barriers. “It was important for us to allow the competition to evolve and reflect the global events of the past twelve months,” said Winter Stations co-founder Roland Rom Colthoff of RAW Design, in prepared remarks. "At the same time, the installations couldn't stray too far from the main motive of Winter Stations, which is to bring joy, warmth and conversation to the long, cold Canadian winter landscape." Three student installations will join the four professional designs. Students will erect their own projects, while the build team from Anex Works will construct the pros' pieces. Competition founders RAW Design, Ferris + Associates, and Curio conceived the event as a way to get Torontonians to the beach in the chilliest months. The seven structures will be erected at Kew, Scarborough and Balmy beaches. Opening day is February 19, and the installations will be on view until April 1. Can't make it to Toronto? Feat not—renderings of the winning designs are reprinted here. (All text is via the Winter Stations International Design Competition project descriptions.) "Inspired by the Women's March movement, this vivid installation recreates the powerful, knitted symbol that captured the spirit of the protests around the world on January 21, 2017. The design is simple, yet powerful, a symbol that gains strength through participation and unity. As winter approaches it is a reminder to wear your hat, stand up for what’s right, and stay warm." "Italian Futurism comes to Toronto with this over-sized noisebox, based on Luigi Rusollo’s 'intonarumori' which caused an uproar in the classical music scene when he introduced it in the Milan Opera House in 1914. The installation is intended as a playful instrument to 'ring the alarm.'" "Wind Station is a call for nuclear phase-out that brings together hundreds of tiny pin-wheels, to symbolize renewable wind energy, in the shape of a nuclear cooling tower. A playful protest that asks why countries continue to rely on dangerous and un-sustainable technology to provide energy when safer, cleaner alternatives are available." "Obstacle is a metaphor for overcoming the problems in the world. Although at first, it seems like an impenetrable barrier, the columns rotate allowing visitors to enter and interact with the obstacle, and other visitors. In order to confront the obstacle, visitors have to work together, rotating the columns in sequence to overcome the adversity." "Inspired by the topography of Toronto's Don Valley, Rising Up invites visitors to experience nature's uprising against increasing urbanisation. The elevating tension between humans and the environment is articulated through deconstructed topographical layers and increasing negative space within the sculpture which exposes visitors to the elements." The project team includes Alexander Good, Austin Huang, Kevin Sadlemyer, Marc Cote, Stephan Stelliga, Zixiang Chen, BLA students, University of Guelph, School of Environmental Design and Rural Development and Nadia Amoroso, PhD, ASLA, Faculty Representative, University of Guelph, School of Environmental Design and Rural Development. "NEST is an installation that embodies ideas of comfort within a system of disorder and complexity. The structure is composed of modular cells that contain a weave of colourful webs, providing both shelter and playful moments of light and shadow within the space." The project team is Adrian Chiu, Arnel Espanol, and Henry Mai. "Revolution is composed of 36 vertical modules of different height, enabling visitors to express their opinions through the air. As one projects their voice into the horn, they also amplify the conviction of their words. As the wind blows through the installation, it carries these sounds and ideas into the atmosphere to form a collective message." The project team includes Ben Chang, Anna Pogossyan, Amr Alzahabi, Carlos Chin, Iris Ho, Tracee Jia, Krystal Lum, Adria Maynard, Purvangi Patel, and Judiette Vu.
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Primitive hut installation by OMG! decomposes in upstate New York

One might say that the Primitive Hut pavilion by OMG! is both high-tech and traditional, or even temporary and permanent. A mix of new and old techniques and technologies, the project is designed to last indefinitely while at the same time decompose away. OMG! is a collaborative between Martin Miller of Antistatics and Caroline O’Donnell of CODA, and their latest installation, Primitive Hut, is situated in the OMI International Arts Center in Ghent, New York. The two set out to produce a work that would question the relationship of architecture to time through an exploration of growth and decay. To do so, they engaged digital fabrication techniques as well as a structural system first proposed by NASA engineer Kenneth Cheung. Utilizing what are called digital cellular solids, the team constructed the installation out of a lattice of roughly though accurately cut interlocking plywood modules. Besides the plywood, the only other materials employed were sawdust (waste from cutting the plywood), bio-resin, hemp, and an infill of manure cylinders. One other component that balances the line between material and site are a set of four maple trees which grow through the structure. “The planting of the four trees more than offsets the wood used in the pavilion. As the pavilion decomposes, the trees will be nourished and will eventually lift the roof structure up in its branches. As in the original etching, the project is about opening up our understanding of architecture towards a better interaction with nature,” O’Donnell told AN. Referencing the famous illustration from Marc-Antoine Laugier’s text "Essai sur l'architecture" from 1755, O’Donnell explained the formal and material considerations as they relate to temporal aspects of the project. “This text speculates on the primitive human’s first house as one which harnessed the potentialities of the environment and blurred the lines between nature and architecture. While this well-known image shows the iconic form of the house formed by the tree branches, the house is not yet formed and implies both a future and a past state of growth and decay.” The 5,000 individual pieces that make up the structure were cut in such a way to optimize the fabrication process. “In the early days, computational design was often exuberant for the sake of exuberance and the image of blobs and folds became synonymous with digital architecture,” Miller said in reference to the changing attitudes surrounding digital and parametric design. Rather than a pure formal or computation exploration, OMG!’s work is interested in leveraging the possibility of efficiencies in the process and the ability to engage with the material in a very precise craftsperson-oriented level of detail. As such, the process of producing the individual pieces led to the specific pattern and texture born of the rationalized cutting process. “The ribbed effect produced actually reads as an exuberant detail, but is born out of the efficiency of the fabrication.” The pavilion opened to the public on October 21, and will remain on the site in some form until the trees that are growing through it die. So, at least 200 years.
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7,000 pinwheels bring life back to a forgotten garden in Prospect Park

  In Brooklyn's Prospect Park, 7,000 pinwheels are spinning life into a previously underused enclave. This Monday morning, children and families could be found enjoying the Rose Garden (not to be confused with the Cranford Rose Garden) by the Grand Army Plaza where a temporary installation by New York–based architect Suchi Reddy is celebrating the park's 150 anniversary. Known as The Connective Project, the work has been open to the public since Friday, though, thanks to inclement weather, Reddy's work has only truly been enjoyed from the weekend onwards. But perhaps the rain was helpful. Reddy, speaking to The Architect's Newspaper (AN) yesterday morning, said how she had initially wanted to fill the three pools to reflect the brightly-colored installation; the sight of whirring yellow pinwheels augmented by the rippling water would have been a small spectacle to behold. Unfortunately, this couldn't happen as fixing the pools' to make the hold water was too costly. Now some rainwater remains and children can be found playing in the pits that have been turned into mini amphitheaters. "We initially started with orange, though my preference was white as it stands out against the green" Reddy continued, speaking of the pinwheel's color. Instead, the firm settled on yellow, producing what Reddy describes as a "wonderful golden wave." The Indian-born architect has been practicing for 15 years and her firm, Reddymade Design, now works out of Greenwich Village. Reddy added how she was fascinated by pinwheels as a child (and still evidently is) and also chose the shape because she wanted to use an object that would be relatable for all. The pinwheels can be found in three sizes and reside at four different heights; all are perched atop stainless steel rods placed ten inches into the ground. Their orientation and spacing were worked out by Reddy's entire office to produce an undulating mirage of yellow and—thanks to the site's topography—partial views through the installation as well. "I didn't want it to be a static installation just about one thing," explained Reddy. "We wanted to introduce a layer of complexity and create a scene that you can see through." Up close, one can find that some pinwheels are unique and made from rain-proof dust stone paper. After a weekend workshop run by the park, visitors have added their own designs by drawing onto the pinwheels. Some were also printed with artwork already on them; AREA4, the events management group consulted by the Prospect Park Alliance who hired Reddy, facilitated pre-submitted designs. Though only having been open for three days, pathways etched into the grass around The Connective Project indicate the installation is drawing the attention of many, despite its difficulty to find. (Do not, as this author can testify, use Google Maps to locate the installation. Enter by the Grand Army Plaza and follow the yellow pinwheels painted on the ground.) Reddy's work is only on view until July 17th, so hurry before the pinwheels go.
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4,672 ultrathin aluminum strips compose THEVERYMANY’s Orlando convention center installation

This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.

A 48-by-35-by-26-foot public artwork has been installed in the main concourse of the Orange County Convention Center in Orlando, Florida. The work, titled Under Magnitude, is designed by New York architect Marc Fornes and his firm THEVERYMANY as a “curious signal and a place for visual wandering” meant to activate one of the convention center’s main social spaces.

The two-story sculpture—made up of 4,672 ultrathin aluminum strips and 103,723 rivets—is suspended above the concourse floor via steel wires and can be seen at eye level from the mezzanine. The structure follows the laws of what Fornes described as “tangential continuities,” a geometric phenomenon describing how micro-level linear components are utilized to describe macro-scaled, nonlinear geometries. The model dates back to the work of 20th century artist Frei Otto, whose Soap Bubble Model theory postulates the so-called “extensive curvatures” at the foundation of Fornes’ work. Frei was interested in the geometric and structural tension that occurs in surfaces that transfer stresses along their length. Fornes inverts that theory via his notion of “intensive curvatures,” in which digital modeling is used to “maximize double curvature across the project,” rendering dynamic and fully self-supporting forms. The result is a holistic structural system that is defined by a tightly curved and constantly changing surface that is also incredibly strong and composed of thin materials.

The project, developed using Rhino digital modeling software, opened in March 2017. In a video, Fornes said: “Some people start to project their own background onto it. If you come from the sea, some people will read coral. Some people will read flowers. It doesn’t matter [how the viewer interprets the form], but it matters that they engage and that they start to wonder about the structure.”

Under Magnitude Orange County Convention Center Orlando, Florida Tel: 407-685-9800 Architects: THEVERYMANY
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Studio Gang will design enormous, acoustically-attuned domes for the National Building Museum

Studio Gang will install a human hive in the halls of the National Building Museum this summer. The Chicago- and New York–based studio will erect thousands of wound paper tubes to create three domed rooms, the tallest of which will stretch 60 feet into the air. The tubes, a sustainable building material, range in height from a few inches to ten feet. The installation, aptly named Hive, will anchor the D.C. museum's Summer Block Party, a series of temporary commissions inside its Great Hall. Previous participants include James Corner Field Operations (2016), Snarkitecture (2015), and BIG (2014). “When you enter the Great Hall you almost feel like you’re in an outside space because of the distance sound travels before it is reflected back and made audible,” said Studio Gang founding principal Jeanne Gang, in a prepared statement. “We’ve designed a series of chambers shaped by sound that are ideally suited for intimate conversations and gatherings as well as performances and acoustic experimentation. Using wound paper tubes, a common building material with unique sonic properties, and interlocking them to form a catenary dome, we create a hive for these activities, bringing people together to explore and engage the senses.” The firm's installation will compress the capacious Great Hall, with its imposing Corinthian columns, into intimate spaces for conversation, playing musical instruments, or cooperative building activities for children (and adults so inclined). The tubes also feature reflective silver exteriors and vivid magenta interiors, creating a spectacular visual contrast with the Museum’s historic nineteenth-century interior. Hive will be on view from July 4–September 4, 2017. Check nbm.org for more information about the exhibition and related programming.
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2016 Best of Design Award for Temporary Installation: Rounds by SPORTS

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it's grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

2016 Best of Design Award for Temporary Installation: Rounds

Architect: SPORTS Location: Lake Forest, IL

Rounds is a temporary plywood theater pavilion created for an artist colony just north of Chicago. It was the winner of the Adrian Smith Prize, which is sponsored by Adrian Smith + Gordon Gill Architecture and included a $15,000 production grant and a ten-person, design-build residency for three weeks at Ragdale. Departing from the bandshell structure and stage most commonly deployed in this setting, Rounds establishes a dynamic and playful performance surface. Small-scale curves in the ring’s ribbon-like design act as lounge spaces while mid-scale waves serve both as covered stage areas and portals to the inner space of the ring. The largest undulation is designed for the main stage area, which can be broken down into smaller parts and distributed around the ring for several concurrent performances.

Additional support for the project was provided by Syracuse University School of Architecture and W.E. O’Neil.

Build Team Greg Corso, Molly Hunker, Jordan Nelson, Nick Zukauskas, Kevin Lenhart, Preston Welker, Sean Morgan, Dabota Wilcox, Jon Anthony, Monika  England, Kokeith  Perry, Sarah Beaudoin

Engineer Arup

Landscape Architect Rosborough Partners Fabrication Consultant Knowhow Shop Exterior Finish Stuc-O-Flex Honorable Mention, Temporary Installation: Floating The Waller

Architect: Ten Eyck Landscape Architects Location: Austin, TX

This installation of 200 empty illuminated inner tubes floating on Austin’s Waller Creek was conceived to highlight the need for improving water quality, ecological health, and public accessibility in urban waterways.

Honorable Mention, Temporary Installation: Town Branch Water Walk

Architect: SCAPE Landscape Architecture Location: Lexington, KY

The design intervention is not a physical landscape, but a communication tool conceived with the Lexington, Kentucky, Downtown Development Authority. A self-guided podcast tour of the Town Branch Culvert gives a broad understanding of the biophysical area, reveals the invisible waters beneath the city, and demonstrates the impacts each resident can have.

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Bureau Spectacular reinterprets Marc-Antoine Laugier’s Primitive Hut

Los Angeles—based Bureau Spectacular has designed an indoor treehouse that reconsiders Marc-Antoine Laugier’s 18th-century idea of the so-called “primitive hut.” The installation—dubbed Another Primitive Hut—will be featured in an upcoming episode of the Seattle-focused travel show Been There, Made That produced by Vox Creative to highlight the city for Millennial arts and culture-focused travelers. Bureau Spectacular’s installation hearkens toward Laugier’s vision of the semiotic, platonic ideal of a primitive dwelling, where a home’s structure is made up of the trunks of a grove of trees and the roof consists of the tree canopies above. But, instead of calling for a more fundamental, stripped-down view of building and shelter as Laugier did—Laugier’s Enlightenment era treatise was written at a time of intense fascination with lavish, Baroque architectural forms—Bureau Spectacular has created an idiosyncratic melange of repurposed contemporary architectural symbols. Bureau Spectacular founder Jimenez Lai, in his design for Another Primitive Hut, combines the notion of Laugier’s idealized hut with the architectural manifestations of several other canonical dwelling spaces, namely Le Corbusier’s Villa Savoye and the Roman Parthenon, by merging the forest canopy, the latter buildings's roof and the former structures's triangular pediment into an enclosed dwelling space lifted above the ground on piloti made from dimensional lumber. The space is meant to act as a “welcome chamber” for friends and family and call into question contemporary forms of humanity. The structure also draws inspiration from OMA’s Seattle Public Library, which a press release for Another Primitive Hut describes as “a floating stack of stories to accommodate the 21st century Human.” In the press release, the architects also ask, “What does Laugier’s old idea that architecture should be derived from nature even mean, when nature now consists of the materials and detritus of consumerism, rather than the perpendicular trunks of trees?” Lai and Bureau Spectacular were invited to The Emerald City exhibition by Visit Seattle, a Seattle-focused tourism group. For more information on Been There, Made That and Visit Seattle, see the Visit Seattle website.
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CODA turns 500 chairs into a unique—and spiky—example of recycling materials

A new pavilion has been constructed on the Cornell University Arts Quad as part of the Cornell Council for the Arts' 2016 biennial. Titled URCHIN Impossible Circus and designed by Ithaca, New York and Brooklyn-based CODA, the recyclable installation is built from 500 borrowed plastic chairs and will be on display until late December. With URCHIN, CODA seeks to question the role of the everyday object—the chair—and its usefulness. Although from up-close, the pavilion is easily understood as a concentrated and focused exercise in repetition, the arrangement appears as a singular, spiky entity when viewed from afar. According to CODA’s website, the “object’s features are no longer understood in terms of their use (legs, arms, seat), but in terms of their form (spikes, curves, voids) as, due to their rotation from the ground, they lose their relationship with the human body.” CODA is known for its innovative use of materials, its approach to sustainability, as well as for sparking dynamic interactions between the architecture and its inhabitants over time. As CODA states on their website, “no chairs were harmed during the production of URCHIN Impossible Circus,” stating that they will be “returned to circulation afterward.”
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This pavilion by Kuth Ranieri Architects is made of concrete formwork

' Kuth Ranieri Architects’ pavilion made out of cardboard Sonotubes (prefabricated tubular formwork for casting concrete), created for this year’s Market Street Prototyping Festival in San Francisco, has earned the firm a People’s Choice award. Designed and built alongside three dozen other installations, the pavilion—dubbed SonoGROTTO—is made out of a bundle of cardboard Sonotubes varying between 6, 10, and 24 inches in width that are bolted together and carved into a sheltered seating area. Overall, the pavilion’s proportions are equal to those of a cube, with circular sections carved out from the overall mass. Certain Sonotubes extend all the way to the ground and support the structure while others are sliced up along curving profiles, creating the benches, thresholds, and openings that animate the pavilion. The pavilion, designed to be located on an active street, creates what the designers dub as an urban “grotto,” containing areas sheltered by a vaulted ceiling punctured by an oculus that offers views to the sky. In a press release explaining the project, the architects state, “Porous enough to retain a strong connection with its surroundings, yet enclosed enough to provide a safe haven, SonoGROTTO allows people to explore and rest simultaneously. SonoGROTTO offers a space for reflection, refuge, and a myriad of alternate uses for all ages.” The festival was sponsored by the San Francisco Department of City Planning and Yerba Buena Center for the Art. It's also the by-product of extensive community outreach by the department aimed at uncovering new, innovative ideas for enhancing the quality of life along Market Street in downtown San Francisco. As such, the festival organizers sought to engage at the community level through a design-oriented street festival. The three-day festival brought thousands out onto the Market Street corridor along three areas spanning from the Yerba Buena Center for the Arts on one end to the Embarcadero on the other to display a myriad of pavilion ideas that spanned in concept from architectural follies and performance-oriented displays to even, a miniature forest.  For more information on the other pavilions, see the festival website.
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Van Alen Institute reveals winner of festive Flatiron holiday installation contest

Common decency puts a kibosh on Christmas music before Thanksgiving, but New York's Van Alen Institute wants you to think of the holidays extra early this year: Yesterday the group announced the winner of its annual contest that brings temporary architecture to the people of Manhattan. New York– and Greece–based LOT was one of five firms invited to submit designs for the competition. Their winning installation, Flatiron Sky-Line, is a series of 10 arches fabricated from white powder-coated steel tubes and outfitted with LED lights. Hammocks draped on the arches will allow visitors a leisurely resting spot where they can to take in the city around them. For the past three years, the Flatiron/23rd Street Partnership Business Improvement District (BID) and Van Alen have partnered to bring a festive, holiday-themed installation on the North Flatiron Public Plaza, that concrete triangle at the intersection of Broadway, 5th Avenue, and 23rd Street. Last year, SOFTlab had the honor of activating the plaza with their psychedelic installation, Nova. “Flatiron Sky-Line is an engaging installation, creating a social space underneath the illuminated arched outline, a structure to walk within and around, gaze through it towards the skyline, and experience Flatiron’s surroundings through a certain lens,” said LOT co-founding principal Leonidas Trampoukis, in a statement. “The simplicity of the installation’s design will draw in audiences, and, we expect, produce significant feelings as they stand in one of our country’s most recognizable intersections.” LOT's residential and commercial interiors, as well as its sculptural displays, can be seen all over the globe: Recent work includes a boutique hotel overhaul in Mykonos, Greece, and the New York showroom for Paris-based designer Laure de Sagazan. Flatiron Sky-Line will be officially unveiled on November 21.
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Hallway of mirrors installation now on display at Times Square

Can you see yourself at Times Square this month? Running through November 21, visitors to Times Square in Manhattan will find The Beginning of the End. The reflective intervention comes from the Times Square Arts, Cuban Artists Fund, and Cuban artist Rachel Valdés Camejo and asks audiences to think about the relationship between an object and its surrounding space—Broadway Plaza between 46th and 47th Streets. Camejo’s first work in the U.S., The Beginning of the End sees the bright lights and razzmatazz of Times Square amplified through a corridor of mirrored surfaces. Visitors can walk through and glance down to see the sky at their feet along with the vibrant streetscape around them. Immersed within the new perspective of their surroundings, the audience is prompted to contemplate the way they view the vicinity. The Beginning of the End also works as a successful installation at night too. Despite not being able to walk on the sky, Camejo's installation encapsulates and reverberates the visual chaos of Times Square has to offer. Speaking in a press release, Camejo gave her thoughts on the installation:
For me it is wonderful to have this opportunity to present my work in a public space such as Times Square. It is certainly a place totally different from the environments where I have shown my installations before. My pieces always work according to the environment that concern them and in this case will be very different. I build objects to create dialogues between human beings, the object and space. So far the other environments in which I worked are quieter places, even places that become inhospitable, so to have my work this time in a place where so many people pass, and in a city like New York, it gives a whole other visual and conceptual possibility to my work.
“This work pulls in the sky to draw it underneath your feet, wrapping Times Square completely around your body," said Times Square Arts Director, Sherry Dobbin. "The natural skyscape, the electronic billboards and the office buildings combine in a human kaleidoscope, in which each twist of your body brings about new perspectives.” Meanwhile, Tim Tompkins, President of the Times Square Alliance, said, “Times Square has always been a reflection of America and ourselves. Ms. Camejo’s work allows the marvelous mix of people in Times Square to intersect in ever-new ways.”
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A colorful installation memorializes one of Chicago’s lost YMCAs

Media Objectives (M-O), an environments and branding studio within Chicago-based Valerio Dewalt Train Associates (VDTA), has produced an installation in homage to a former YMCA. The YMCA was located where the recently finished NEWCITY lifestyle center on Chicago’s near North Side. The YMCA was built near the former Cabrini-Green public housing projects. It was envisioned as a place to bring the Cabrini-Green community and the nearby Gold Coast communities together in a common recreation facility. Built in 1981, the YMCA’s membership declined in the 1990’s, and the building was eventually sold to developers. The NEWCITY Heritage Installation is comprised of three walls sections built on raw steel frames. Each section is made from glazed bricks salvaged from the colorful facade of the YMCA. Surrounding the installation, the walls of the gallery space are typographic patterns spelling out ideals associated with the YMCA including; “safe haven,” “inclusivity, and “a shared memory.” The NEWCITY development is a large three building complex that includes a residential tower, retail, and commercial office space. The installation is in the high-rise’s ground-floor pedestrian through-way.