Posts tagged with "Rooftops":

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Alicja Kwade hews a cosmos from steel and stone on the Met’s roof

An astronomical ballet has landed on the roof of Manhattan’s Metropolitan Museum of Art for the summer. The 2019 Roof Garden commission has gone to Polish-German artist Alicja Kwade, who has installed two stark sculptural interventions in the space overlooking Central Park; ParaPivot I and ParaPivot II, which will be on display through October 27. The Berlin-based Kwade has suspended nine marble spheres, each mined in a different country, including Norway, Finland, and Brazil, and uniquely veined and colored, in a simulacrum of our solar system. Each planetoid weighs between a hefty half-to-one-and-a-half tons, but have been effortlessly elevated by angular, interlocking powder-coated steel frames. The color and patterning of each carefully-selected stone mimic the most well-known features of each planet. (The nine planets represented include Pluto, which was demoted from planet-status in 2006.) As the frames fan out from a central point, the spheres’ arrangements suggest the elliptical, wobbly orbits found throughout our solar system, with many of them playfully balanced and wedged between the scaffolding. The Met describes the ParaPivot structure as evoking the “astrolabe, a scientific instrument invented in ancient Greece and perfected by Islamic astronomers in the medieval period to chart the trajectories of the stars and planets.” However, the piece is site-specific for a reason. Each rectangular scaffold creates a curated view of the Manhattan skyline, and both frames the city as well as suggests a “support” that holds it up. The effect is meant to tie the Earthly setting to the astronomical theme. Unfortunately, because of the delicate interplay between stone and steel, visitors aren’t allowed to walk underneath either ParaPivot.
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Adrián Villar Rojas brings a surreal dinner party to The Met rooftop

Spring is finally here, and sure as daffodils, new art has sprouted on the rooftop of The Met. Last year, Cornelia Parker enlivened the roof with a creepy house, and this year, Argentine artist Adrián Villar Rojas has created The Theater of Disappearance, a surreal dinner party that questions how cultures are presented and objects contextualized in New York's largest encyclopedic museum. Among the sculptures, there's a lot to catch the eye: At one table, disembodied arms make owl eyes over a figure who's contemplating a shapely object in his own hands. Behind that, a backpacker stares wearily into the middle distance, holding a figurine with two others on his shoulders who seem to be standing guard. There are art experts who could easily identify the artifacts Rojas used, but The Theater of Disappearance is more about the radical juxtaposition of the objects, their decontextualization collapsing history and human culture into one exuberant tableau. To develop the works, Rojas spoke with curators, researchers, conservators, and others in charge of specific collections, scanning suits of armor, Egyptian, Greek, and Roman art, and carved figurines from the Americas. There are almost 100 objects re-collaged among body scans of real, contemporary people—work boots and puffy vests and canvas sneakers and all. "Rojas took on the colossal, heroic task of investigating the museum's collecting processes from a personal, socio-historical viewpoint, laying open his re-interpretation of the collection, which has been liberated from the usual underpinnings of curatorial interpretation," said Sheena Wagstaff, the museum's Leonard A. Lauder chairman of modern and contemporary art. "In the process, he holds up a mirror to what we do at the museum, questioning the ideological stance of the museum, and in particular, how we choose to present cultural histories over time." The 16 black and white clay sculptures are, in part, a reference to The Met's early days, when the museum exhibited plaster casts of artifacts it couldn't acquire. Outside the museum, Rojas looked to Jorge Luis Borges's "On Exactitude in Science," which in one paragraph details a kingdom that loved maps so much it created a 1:1 scale representation of itself, a map so unwieldy that it disintegrated into spectacular pieces, left to drift in a desert. Rojas, according to a press release, positions the museums as the desert, "a scale-model theater of disappearance." Beyond sculpture, the artist designed the outdoor space down to the very last detail. He collaborated with the museum on a new bar and extension of the pergola, new benches, plantings, as well as a patchwork gray stone patio and an industrial hatched-metal floor near the rear of the terrace. The typeface for the exhibition, and wayfinding signage on the rooftop, was designed by Rojas, as well, in order to create a completely immersive experience. The Theater of Disappearance is on view April 14 through October 29, 2017. For more information on the exhibition, visit
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Chicago's LondonHouse opens with infinitely Instagrammable rooftop bar and restaurant

One of the best ways to experience Chicago is from a rooftop, so naturally hoteliers are cashing in. Case in point: The new Goettsch Partners-designed LondonHouse. Located at the corner of North Michigan Avenue and Wacker Drive, along the East Branch of the Chicago River, the 452-room hotel boosts a three-story penthouse bar and restaurant. The LondonHouse is a hybrid renovation-new-build with 183,000 of its total 250,000 square feet located in the historic Alfred Alschuler–designed 1923 London Guarantee Building. The remaining 67,000 square feet are in a narrow sliver of a building that finally completes Wacker’s streetwall, filling an odd 20-spot surface parking lot. This contemporary curtain-walled addition acts as the entry to the hotel with a second-floor lobby and restaurant, the Bridges Lobby Bar.

The main draw of the hotel for guests and the public alike is the three-story LH bar and restaurant on the building’s roof. With infinitely Instagrammable views up and down the river, the scene is a veritable architect’s dream. Directly across from the hotel sits no less than, Marina City, AMA Plaza (formerly IBM), the Trump Tower, the Wrigley Building, and the Tribune Tower. With special attention paid to the city’s landmarks codes, a cupola of the Guarantee Building has also been opened for events, accessible through LondonHouse.

LondonHouse 85 E Upper Wacker Dr., Chicago Tel: 312-357-1200 Architect: Goettsch Partners Interior Design: Simeone Deary Design Group

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Forever 21 flips the switch on Los Angeles' largest solar project yet

On January 21 solar supplier PermaCity and retailer Forever 21 turned on the switch to their 5.1 MegaWatt DC SunPower solar system in Los Angeles' Lincoln Heights neighborhood. The renovation of the former Macy’s distribution center—now Forever 21's headquarters— was designed by Forever 21 staff with Culver City architect Brian Reiff. The project consists of 15,512 SunPower modules placed on the building's roof, using PermaCity’s SolarStrap—an aluminum and stainless steel, light-weight panel system using no ballast or penetrations. The building is now the largest solar rooftop system in Los Angeles County and the third-largest in California. The project was made possible thanks to the Los Angeles Department of Water and Power (LADWP) Feed-in-Tariff, a program launched in 2013 allowing renewable energy plants to sell their power back to the city. The solar panels on the rooftop will generate enough energy to power the equivalent of 1,450 homes, avoiding the production of almost 13 million pounds of carbon dioxide, the equivalent of taking 1,200 passenger cars off the road.
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On View> Dan Graham’s Rooftop Pavilion at the Metropolitan Museum Reflects on Public Space

Hedge Two-Way Mirror Walkabout Metropolitan Museum of Art 1000 5th Avenue, New York Through November 2. 2014 One of the great gifts bestowed on New York in the summer is the Metropolitan Museum of Art’s roof garden. You are thrust into Olmsted’s Central Park from a promontory surrounded by the perimeter skyline on all sides. The trick with the rooftop art commissions is to play with the space, the views, and the interrelationships between the two. The goal is to make the viewer see them differently—you want to feel like the rooftop is your personal terrace in the sky while sharing it with others in a magnificent secret shared space. Dan Graham’s Hedge Two-Way Mirror Walkabout plays with what he calls this “leftover space” of rooftop by framing the viewer's “elliptical experience” with various man-made and natural elements: glass, steel, stone, hedgerows, chairs, and ForeverLawn (definitely not AstroTurf). Stepping from the fake grass that covers the rooftop—green mixed with yellow and brown in different blade thicknesses—one climbs almost imperceptibly onto a slightly-raised platform of granite slabs that forms a square. These pavers support a sinuous bisecting slab of steel-trimmed, S-shaped, mirrored glass, a staple of modern skyscrapers, that is supported on the east and west sides by hedges, that, as Graham noted, demarcate property lines. If you enter from the north side, you can gaze through the glass barrier to those on other side and to Central Park South beyond. When you approach from the south side, you are struck by the reflections of the skyline behind. It’s a concave/convex funhouse, where one is constantly catching glimpses oneself. Graham has been working with “pavilions” for a long time, and Hedge Two-Way Mirror Walkabout feels like a more rural version of his much-missed Rooftop Urban Park Project (1991) atop the Dia Center for the Arts on West 22nd Street. You want to sit on the lawn and have a picnic. At the Met, Graham worked with Swiss landscape architect Günther Vogt, who also designed the stainless steel moveable chairs with recycled rubber coating manufactured by Burri. On the museum’s second floor are related projects by Graham which attest to his long-standing interest in architecture and public space. A 20-minute video called Two-Way Mirror Cylinder inside Cube and a Video Salon (1992), commissioned by Dia, investigates atria, shopping arcades, and winter gardens, both historical and contemporary ranging from the Crystal Palace, Galleria Vittorio Emanuele, the Ford Foundation, Citicorp Park Avenue Atrium, Charles deGaul airport,  Parc de La Villette, World Financial Center’s Winter Garden, and the IBM Building. Graham narrates, as he does in Two-Way Mirror Hedge Labyrinth (1991), a short video centered on a pavilion installed at a private home in La Jolla, CA, where he muses on the city—how landscape architecture redefines it, how the labyrinth is a metaphor for it, and how two-way mirrored glass’ transparency and reflectivity mimics it. Graham’s concerns with movement and time, human interplay and asymmetrical procession, all take place on a mirrored stage.
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"Tilt!" tips tourists out from Chicago's John Hancock Tower

Visitors to Chicago's John Hancock Tower this weekend were, of course, treated to the skyscraper’s stunning views of Lake Michigan and downtown Chicago, but the thrill-seekers among them also had another option. On the 94th floor, up to eight people at a time can stand in a glass box that tilts out 20 degrees, dangling them 1,000 feet above the street. Named “Tilt!,” the attraction opened Saturday morning, hydraulically lifting its first eight members of the public out into the void beyond the building’s iconic steel beams. The Hancock Center, designed by Skidmore, Owings & Merrill partner Bruce Graham, has been the second tallest building in Chicago since the 1973 opening of the Willis (formerly Sears) Tower, also an SOM building. Willis’ “Ledge” attraction, a stationary glass box cantilevered out about four feet from the tower, has attracted more than a million visitors each year since it opened in 2009.
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Nation's First Rooftop Community Garden Prepares to Open Atop a Seattle Parking Garage

Installation of the first community rooftop garden in the United States—UpGarden—is almost complete. Located in the shadow of Seattle's Space Needle, the project will convert close to 30,000 square feet on the top of the Mercer parking garage into an organic, edible, herb and flower garden with 100 plots for lower Queen Anne neighborhood residents. Landscape architecture firm Kistler Higbee Cahoot is leading the design, organizing community workshops and construction of the garden with a volunteer crew. The project is part of the Seattle Department of Neighborhoods P-Patch program, which helps manage almost 80 urban community gardens across Seattle. P-Patch gets its name from the Picardo family who donated land to create the city's first community garden in 1973. UpGarden was funded by the 2008 Parks and Green Space Levy. While UpGarden is built on top of a parking garage engineered to hold up dozens of cars, special effort had to be taken to consider the weight of the new garden, which can be quite heavy. A cubic yard of dry topsoil can weigh about a ton, and much, more when wet, which could overwhelm even a concrete parking structure. UpGarden's design accounted for weight by including terraced planting beds with shallower elevated filled with a lighter-weight mix of potting soil. Small seating areas have been incorporated into the landscape design along with a planted trellis and educational kiosk at the garden's entrance. Designers paid homage to the unorthodox site's automotive past by incorporating an Airstream trailer repurposed for use as a tool shed along a lavender-lined lawn at the center of the garden. A donated 1963 Ford Galaxy was also repainted purple and hollowed out to serve as a planting space for crops such as corn and pumpkins. The first crops at UpGarden will be harvested later this summer. Unfortunately, the garden is only temporary—there are plans to demolish the aging Mercer parking garage, built for the 1962 World’s Fair, in three to five years.
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Quick Clicks> Coops, Help Japan, Sidewalk Dining, and Rooftops

Coop Moderne. Urban agriculture is all the rage lately, and with the backyard gardens come the chickens. Jetson Green offers a few examples of high-design chicken coops made of reclaimed materials by Studio H, a design-build program for high-school students in North Carolina. Aid. Architecture for Humanity is working on plans to provide relief to victims of the Sendai earthquake and tsunami. The post-disaster reconstruction group is asking for donations now to they can build later. If you would like to support Japan more immediately, the Japanese Red Cross Society is also a good choice. Al Fresco Forward. As the weather begins to warm, the New York DOT has announced that it's pop-up cafe program is moving forward. Modeled after pop-up sidewalk cafes in San Francisco and other cities, New York tried out its first model in the Financial District last year. The planter-lined sidewalk extensions project six feet into the street and are paid for by sponsoring businesses. The Post has the list of DOT-approved restaurants in Soho, the Village, and elsewhere. Rooftop Remix. Web Urbanist put together a collection modern rooftop additions from around the world by the likes of MVRDV, Coop Himmelb(l)au, and others. As Web Urbanist points out, the juxtapositions of the additions against their host structures is quite striking. (Via Planetizen.)