Posts tagged with "public art":

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Construction gone awry: crane driver accidentally extricates a house and causes car pile-up—or that’s what the artists will have you believe

A house “mistakenly” unearthed from the soil by an inebriated crane driver hangs mournfully over a construction site in Karlsruhe, southern Germany. Torn roots sprout from its base to remind onlookers that it was once a happy home before its violent extrication. The hyper-real sculpture by Argentinian artist Leandro Erlich is suspended above a market square, where construction for a new tram network is in full swing. While it might appear to critique the built environment and associated human errors, the model house is intended to challenge resident’s perception of construction as an eyesore and something “divorced from the natural world.” "Pulled up by the Roots highlights this tension,” Ehrlich told Dezeen. “As living beings on an ever-changing planet, we can never be apart from the organic world; the architecture that we create is part and parcel of our environment." Inspired by the historical architecture of Friedrich Weinbrenner, Erlich’s reality-bending art addresses global themes of uprooting and migration, but it’s also there to remind people that “underneath the tons of metal and concrete of our cities, a vital organic presence remains.” Therefore, the roots are a sign of life and not destructive intervention. Pulled up by the Roots is part of The City is a Star, a series of realistic sculptures installed across Karlsruhe to commemorate its anniversary. Another spectacle to behold is a comically bent truck by Austrian artist Erwin Wurm, whose rear wheels seem to be kicking off from the building behind it like a bucking bull. 2015-stadt-ist-der-star_truck_001 The artwork truck was recently slapped with a parking ticket, according to CityLab, but a report from KA News insists that the gag ticket was issued by a rare breed of city officials possessing a sense of humor, after the Center for Arts and Media (ZKM) publicly complained about having to pay the charges. The sculptures will be on view until September 27, 2015. Another satirical outlook on human foul-ups is a topsy-turvy pile-up of VW Beetles by Hans Hollein, titled Car Building. Were they also victim to the drunken crane driver’s clumsy hand? 2015-stadt-ist-der-star_car-building_001
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Two Belgian architects create a steel-frame maze which viewers can look down on from an old mine shaft

Belgian architects Pieterjan Gijs and Arnout Van Vaerenbergh created a sculptural-spatial intervention on the grounds of the Genk’s C-mine Arts Center in Belgium, where viewers must navigate a geometric conundrum. Through unique compositions of wall, void, and cut-outs, the two architects, collectively known as Gijs Van Vaerenbergh, explore fundamental architecture typologies. Labyrint comprises 5mm (0.196 inches) steel plates that have been geometrically hollowed to create a collection of continuous, never-ending frames. Arches, concaves, and hard angles form an otherworld, where viewers can get their bearings by looking through cut-outs that repeat themselves from one side of the structure to the other, revealing daylight on the other side. These dimensions were generated using Boolean transformations, a mathematical principle based on a system of logical thought. “Through a monotonous succession of high corridors, the viewer is confronted with openings that reveal what is on the other side of the walls,” say the architects. Lording over the structure is one of the old mine shafts of C-mine, a former coal mining site. Visitors can ascend the shaft, which peaks at 123 feet, and look down onto the maze and those exploring it – a vantage point traditionally reserved for the creators of mythical labyrinths. “In any other context, the installation wouldn’t have worked,” said Gijs Van Vaerenbergh. “The central square at c-mine is a completely different environment. “Here, we were confronted with an artificial, highly designed, large-scaled context that wasn’t very welcoming to make a similar installation. We therefore chose to build an installation that was directed inwards and dealt more strongly with space and one’s relation to it. We did so by looking for inspiration in a primal architectural typology: the labyrinth. In a way, this is an essential form of architecture, which is only composed of walls."
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An expanse of sustainable timber just clinched the Chicago Architecture Biennial’s Lakefront Kiosk Competition

Officials with the Chicago Architecture Biennial today announced the winners of the Lakefront Kiosk Competition, choosing a team whose stated goal was “to build the largest flat wood roof possible.” Dubbed Chicago Horizon, the design is by Rhode Island–based Ultramoderne, a collaboration between architects Yasmin Vobis and Aaron Forrest and structural engineer Brett Schneider. Their pavilion uses cross-laminated timber, a new lumber product that some structural engineers call carbon-negative for its ability to displace virgin steel and concrete while sequester the greenhouse gas carbon dioxide during its growth. Ultramoderne's long, flat roof “aims to provide an excess of public space for the Architecture Biennial and Chicago beach-goers,” according to the project description. Their design rose above 420 other entries from designers in more than 40 countries, and will receive a $10,000 honorarium, as well as a $75,000 production budget to realize the kiosk. BP is providing those funds as part of a $2.5 million grant to the inaugural biennial. Three teams—Lekker Architects, Tru Architekten, and Kelley, Palider, Paros—were finalists for the top honor. Fala Atelier, Kollectiv Atelier, and Guillame Mazars all received an honorable mention. The Biennial has posted a selection of submissions to the Lakefront Kiosk Competition on its Pinterest page.

After the biennial, Chicago Horizon "will find a permanent home in Spring 2016, operating as a food and beverage vendor, as well as a new public space along the lakefront.

During the Biennial three other kiosks will be installed along the lakefront. Details on those are due to be announced next week, but here are the preliminary project descriptions:
The Cent Pavilion, designed by Pezo von Ellrichshausen in collaboration with the Illinois Institute of Technology, is a forty-foot tower meant to convey silent and convoluted simplicity. Rock, the kiosk designed by Kunlé Adeyemi in collaboration with the School of the Art Institute of Chicago is a pop-up pavilion a public sculpture composed from the raw and historic limestone blocks that once protected the city’s shoreline. Summer Vault, designed by Paul Andersen of Independent Architecture and Paul Preissner of Paul Preissner Architects, in collaboration with the University of Illinois, Chicago, is a lakefront kiosk that consists of basic geometric shapes combined to create a freestanding hangout within the park.
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This million dollar sculptural Ferris wheel at a Montreal bus stop is stirring questions about cost

A new bus stop in Montreal will include a 64-foot-tall, Ferris Wheel–shaped art installation that cost the city a cool $840,000. For blatantly obvious reasons, many Quebecois aren’t thrilled about that—in no small part because the expensive art project is in a part of Montreal that is struggling to combat poverty. CityLab reported that the sculpture, called La Vélocité des lieux (the Velocity of Places), is part of a larger reconstruction of an intersection that is set to include a park, bus rapid transit, and new housing. The wheel was designed by BGL, a Quebec City–based art collective, that was dubbed “Canada's Art-World Class Clowns” by Vox, and more recently represented Canada at the Venice Biennale. The trio of so-called class clowns won a competition to design the art piece for the intersection in 2012 When the wheel is completed in September, bus frames will zip around its circular frame as a gesture toward the bus stop below. In a statement, BGL said the installation embodies “dizziness, playfulness, [and] community spirit.” But right now at least, the community is pretty mixed on the project. In an interview with Montreal CTV, one local resident praised the wheel saying that it would help put Montreal-Nord on the map, but many others have said the money spent on the wheel should have gone toward schools, roads, and social programs. Chantal Rossi, a city councilor for Montrea-Nord, defended the controversial project, saying that the area deserves public art just like anywhere else in the city. “The people will be proud of it,” she said.
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In a commentary against waste-producing lifestyles, Indian artist creates a sculpture made from 70,000 bottle caps

Indian artist Arunkumar HG has created a somewhat tongue-in-cheek calling out of our throwaway, waste-producing lifestyles with a shoreline sculpture made from nearly 70,000 bottle screw caps. The artist amassed the collection from his neighborhood over the course of a year, carefully stacked the caps, and connected them in vertical configurations using steel filaments. An undulating, horseshoe-like form resulted, resembling, from afar, a mosaic that is pleasant to behold courtesy of the various colors. “There is a huge imbalance in between our sustainable ecology and our contemporary living practices,” the artist told Designboom. Titled Droppings and the Dam(n), the sculpture is made from bottle caps sourced from Arunkumar’s town of Gurgaon, India, to “map the consumption pattern of the society at the time” and show the scale of waste produced within a limited time period. The sculpture was built for the most recent edition of "Sculpture by the Sea" in Aarhus, Denmark, a government-funded public arts project originating on Sydney’s world-famous Bondi beach. “I have always loved large community arts events like 'Opera in the Park' and 'Symphony Under the Stars', especially the way total strangers sit next to each other listening to music while enjoying a picnic dinner and a few glasses of wine,” David Handley, founding director of Sculpture by the Sea, wrote in a post on the official website explaining the reason he started the initiative. “To me this sense of community is too rarely displayed or available in the modern world.” The month-long public art exhibition is Denmark’s largest visual arts event and typically attracts half a million visitors.
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Honoring the forgotten: Melbourne-based artist Robbie Rowlands makes Detroit’s abandoned houses come to life

The deteriorating floorboards and walls of abandoned homes appear to defiantly reassert their existence in artist Robbie Rowlands’ exhibition, Intervention. While on residency in Detroit, Michigan, the Melbourne-based artist drew attention to abandoned houses by ripping out certain sections and creating track-like extensions of their fixtures—so that the otherwise nondescript wall seems to implore, “pay attention to me.” The idea is to take a rundown structure and bring it back to life, even if only in the metaphorical sense, saving inanimate objects from forgetfulness by giving them an unprecedented reincarnation. Rowlands thus navel-gazes on the nature of decay to convey the truism that we only pay attention to these ever-present objects when they begin to break down. Most of Rowlands’ pieces resemble rollercoaster tracks gone haywire as sections of the pockmarked wall curl outward and sweep the floor. Intervention consists of pieces sporting forlorn, personifying titles like Singled out, Sorry for the Intrusion, and Feeling exposed. To Die with No Fear features the boards of a gutted shed curled on a dusty floor, illuminated by a single shaft of light through a chink in the disintegrated woodwork. Rowlands’ previous work involved cut-up pianos, an overturned basketball hoop cut into sections, spiraling cartoonishly over the ground as if made from rubber. Rowlands also eviscerated a desk, cutting it, too, into sections to make it look vaguely like it was raising its wings in a “notice me” overture. “If the former object is largely unrecognizable in the new sculpture, the process is not one of violence. Rather, there is a sense of redemption, as if the object has been liberated from obsolescence, from forgetfulness,” writer Simon Cooper wrote in an essay accompanying Rowlands’ Disintegration exhibition in 2008.
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Navy Pier’s new “Wave Wall” by nArchitects lays a modern Spanish Steps at the foot of a Ferris wheel

Navy Pier is three years into a $278 million overhaul, and the new face of Illinois' most visited tourist attraction is beginning to emerge—most recently a grand staircase titled “Wave Wall" washed over the foot of the pier's famous ferris wheel. The peninsular mall and mixed-use amusement park has many major changes still in store, courtesy of a design team led by James Corner Field Operations. But photos available on the website of designers nARCHITECTS reveal a completed portion of the project collectively called “Pierscape” that creates an outdoor amphitheater from a simple stairway. (The full design team includes dozens of consultants.) The form of the new public space, which faces south into Chicago Harbor, resembles a sweeping wave or a wending draft of wind. Treads made of composite materials domesticate the snarling steel risers. Glass beneath the steps allow passersby indoors at the Pier to glimpse activity on the steps outside. From the bottom of the stairs, the project unspools into an audience seating area for public performances, and also frames the historic Navy Pier Ferris wheel—a 196-foot tall wheel will soon replace the current one, itself a stand-in for the 264-foot icon first transported to the spot from the 1893 World's Columbian Exposition. The designers say “Wave Wall” was inspired by the Spanish Steps in Rome.
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A pair of Chicago architects planted this electric pink porch in downtown Vancouver

A stand-alone porch with a psychedelic paint job opened earlier this month on Vancouver's Robson Street, beckoning passersby to inhabit the lighthearted public space for the fifth round of the city's Robson Redux design-build competition. Porch Parade, by Stewart Hicks and Allison Newmeyer—together, Design With Company or Dw/Co—is a temporary shelter from the summer sun that will be recycled after its residency on the 800 block of Robson Street with the help of a local chapter of Habitat for Humanity. The young Chicago architects schemed up the space in collaboration with Jana Yeboah. “The design features a collection of porches that appear abstract at first, but when full of visitors, becomes a lively and familiar atmosphere for downtown Vancouver,” according to the project description by Viva Vancouver, the public art entity that stages Robson Redux. "Porch Parade" (Design with Company) Hicks and Newmeyer were also featured in the eclectic Graham Foundation show Treatise: Why Write Alone?, put on earlier this year by Jimenez Lai. Their whimsical installation Shaw Town opened last month for visitors to The Ragdale Foundation's annual Ragdale Ring pavilion. The design played off original Ragdale architect Howard Van Doren Shaw's arts-and-crafts forms with a collection of architectural pillows stored in a giant toy box. Their winning entry for Viva Vancouver was selected by a jury of “prominent Vancouver urban thinkers,” said spacing magazine, from more than 80 entries exhibited at the Museum of Vancouver in March. "Porch Parade" (Design with Company) Honorable mentions went to: #icu by Jeanie Lim, Jason Pielak, Grace Chang, Christine Chung, and Samuel McFaul; Robson Reclaimed by Haeccity Studio Architecture – Travis Hanks and Shirley Shen; Basic Re-Purpose Design – Theunis Snyman; and Jorge Roman; and Greenest Block by D’Arcy Jones Architecture – D’Arcy Jones, Matthew Ketis-Bendena, Craig Bissell, Dea Knight, and Caralyn Jeffs.
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Last year a labyrinth, now a giant ball pit: National Building Museum hosts indoor beach in its Great Hall

The magnificent, four-story Great Hall of the National Building Museum is now a site for executing cannonballs, rolling on the floor laughing, and other acts of gleeful revelry. A giant ball pit filled with recyclable translucent plastic orbs cuts between the colossal Corinthian columns, bounded by an enclosure made from scaffolding, wooden panels, and perforated mesh all painted stark white. A mirrored wall at one end creates the illusion of an unending abyss of translucent orbs. Bordering the enclosure is a 50-foot “shoreline,” filled with umbrellas and monochromatic beach chairs for lounging in the sunshine that filters through the window-laden ceiling four stories above. Adults can recline on “dry” land with a book, play paddleball, or have a drink at the snack bar. The installation, titled The BEACH was dreamed up by Brooklyn-based design firm Snarkitecture, which bills it as “an exciting opportunity to create an architectural installation that reimagines the qualities and possibilities of material, encourages exploration and interaction with one’s surroundings, and offers an unexpected and memorable landscape for visitors to relax and socialize within.” The fun-fest is part of the National Building Museum’s ‘Summer Block Party’ series, which last year hosted Big Maze by the Bjarke Ingels Group. Visitors wandered through an 18 foot-high maple plywood structure inspired by ancient labyrinths, garden and hedge mazes of 17th and 18th-century Europe and modern American corn mazes.
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New York City converted this dingy subway tunnel into a colorful underground museum of street art

For a long time, the 900-foot pedestrian tunnel that leads to the 1 train in Washington Heights was one of New York City's creepiest spaces. Now, it's been transformed into one of the city's best places to see art—or at least take some impressive Instagram photos. As part of the New York City Department of Transportation (NYCDOT) Beautification Project, the dingy tunnel was recently transformed into a colorful, art-filled corridor. NYCDOT picked five teams of artists (out of 150 submissions) and gave them each a 200-foot piece of the tunnel to use as a canvas. As you can see, the result is pretty dramatic. NYCDOT has a nice rundown of what visitors and commuters should expect as they make their way through the tunnel:

At the entrance to the tunnel, local Washington Heights artist Andrea von Bujdoss, also known as Queen Andrea, welcomes pedestrians with her mural entitled, 'Primastic Power Phrases,' a series of typographical designs that include phrases such as, 'Today is Your Day,' 'Live your Dreams' and 'Estoy Aqui!' As one travels further into the tunnel, Maryland-based artist team Jessie Unterhalter and Katey Truhn have created, 'Caterpillar Time Travel,' a series of colorful, geometric designs. Next, Queens-based artist Nick Kuszyk takes viewers through 'Warp Zone,' a geometric design that plays with perspective and 'warps' the tunnel walls. Chilean artist Nelson Rivas, also known as Cekis, has created a dense jungle landscape with, 'It’s like a Jungle/Aveces es como una jungla.' At the end of the Tunnel, local artist Fernando Cope, Jr., also known as Cope 2, created 'Art is Life' to remind pedestrians to 'Take Your Passion, Make it Happen' and to 'Follow Your Dreams.'

If you're wondering why the DOT oversaw this project, it's because the tunnel is technically mapped as a city street. Anyway, onto the pictures!
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Creative Time’s Anne Pasternak appointed director of the Brooklyn Museum

Former president and artistic director of Creative Time, Anne Pasternak, has been appointed the director of the Brooklyn Museum, replacing outgoing director Arnold L. Lehman, who has served the museum since 1997. Pasternak, who built Creative Time into one of the world’s leading art organizations, will continue Lehman’s publicly-engaged mission going forward, bringing her own take on public art and programming and the “other ways that artists want to contribute to public ideas,” as she put it in a 2013 interview with Paper Magazine. Pasternak joined Creative Time as their only employee in 1994, when the fledgling organization had a budget of $375,000. She saw the budget increase to over $3 million, and, over the course of 21 years, she shed light on many rising artists, including Iranian video artist Shirin Neshat and Brazilian artist and photographer Vik Muniz. Much of her latest work has been engaged with ideas about cities such as urban development, gentrification, and placemaking. She has taken positions and organized events that tackle big ideas, taking public art beyond the realm of the spectacular and into a more engaged, civic-minded discourse about the issues in the world today. This has included everything from the Tribute in Light at Ground Zero by John Bennett, Gustavo Bonevardi, Julian LaVerdiere, Paul Marantz, Paul Myoda, and Richard Nash Gould, in memory of 9/11, to the annual Creative Time Summit, which has become the standard for art conferences, and the largest art and social justice gathering in the world.
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This netted, aerial sculpture above Boston’s Rose Kennedy Greenway looks like lace but is stronger than steel

A multicolored aerial sculpture lords over the Rose Kennedy Greenway in Boston in spiderweb fashion, casting rippling shadows over the pedestrian-friendly highway topper. While it appears to be as delicate as lace, the contraption, comprising over 100 miles of knotted fibers, is 15 times stronger than steel and weighs in excess of one ton. Artist Janet Echelman hand-spliced and knotted the colored rope into half a million nodes, with the entire structure suspended from three adjacent skyscrapers like a hammock 600 feet above the traffic below. Mystically titled As If It Were Already Here, the mid-air spectacle symbolizes the history of its location. The three voids in the sculpture are a nod to the three hills of Boston, which earned the city its “Tri Mountain” appellation before the mountains were razed in the 18th century to extend the land into the harbor. “It is a physical manifestation of interconnectedness and strength through resiliency,” Echelman wrote on her website. Meanwhile, the bands of color in the netting refer to the former six-lane highway that once dichotomized downtown and the waterfront. In 2008, it was converted into the Rose Kennedy Greenway. By day, the sculpture blends almost entirely with the sky, so that the striated colors appear as a misty, mirage-like sheen that shifts according to wind speed changes detected by sensors that register fiber movement and tension. This data also determines the color of the light projected onto the sculpture, so that when any one element moves, the entire sculpture is affected. By night, the sculpture illuminates in various colors. The intricate feat of engineering was first modeled on a software program developed in connection with Studio Echelman and Autodesk, featuring a custom plug-in for exploring net densities, shape, and scale while simulating gravity and wind. The sculpture will be on view from May through October 2015 as part of the Greenway Conservancy's Public Art Program.