What better way to prolong the relevance of a pricey sculpture commissioned for the 2012 Olympics than to tack the world’s longest tunnel slide onto it? Nearly 376-feet tall, the ArcelorMittal Orbit Tower designed by Turner Prize–winner Anish Kapoor and structural designer Cecil Balmond is the UK’s tallest public art piece - a helter-skelter eight-strand lattice of distinctive red metalwork modeled after an “electron cloud,” according to Balmond. Wrought from 2,000 tons of steel, the commemorative Orbit Tower lords over London’s Queen Elizabeth Olympic Park as a hallmark of the 2012 Olympics and Paralympics hosted in the city. Suspended 264 feet above ground, the tunnel slide will snake around the tower five times, ending in a straight 164-foot stretch to the ground. Speed of descent peaks at a dizzying 15 mph, with the vertigo-inducing ride lasting about 40 seconds. On the way down, visitors can glimpse snatches of East London views through the transparent sections of the slide. Currently, adrenaline junkies will be one day abseil down the tower for $134, or $205 for GroPro footage of the descent and a commemorative T-shirt. “What more exciting way to descend the ArcelorMittal Orbit than on the world’s longest and tallest tunnel slide,” said Peter Tudor, the park’s director of visitor relations. “We are committed to ensuring our visitors have the best possible day out every time they visit Queen Elizabeth Olympic Park, and as with all our venues, we are constantly exploring ways to ensure we lead the way with the latest visitor experience. This slide really will give a different perspective of Britain’s tallest sculpture.” If heights don’t intimidate you, plan to be in London in Spring 2016 to catch a ride on the world’s tallest slide.
Posts tagged with "Sculpture":
The 18 winning projects shortlisted in the Field Constructs Design Competition flag a range of pressing socio-environmental issues through whimsical takes on interactive public art. The exhibits will occupy an old landfill and brownfield in Austin within the Circle Acres nature reserve, turning the site into a bizarre outdoor museum teeming with site-responsive sculptures and unforeseen creatures. Here, we take a look at some of the winning proposals to be displayed from November 14–22. Cloudfill by Blake Smith, John Cunningham, Seth Brunner (New York) This three-part installation is made of plastic bottles stuffed in bags. Each piece is specifically designed for either forestland, wetlands, or dry land, and references a different environmental issue, from deforestation to strip mining and microplastics in the ocean, to advance the educational mission of the Ecology Action of Texas. A floating bridge is planned for the park’s wetland area, which used to be a quarry.
Commpost by Daniel Gillen, Colby Suter, Gustav Fagerstrom (Beijing)These disorienting camel humps rising in the middle of a field are an educational commentary about composting. Visitors scan QR codes or use the on-site WiFi to learn about ecological food disposal. Like a LEGO set, it comes with a step-by-step assembly manual and can still function with minimal component parts. Visitors can throw scraps and water into pits within the sculpture and watch them turn into dirt. Dis-Figure by Aptum Architecture (Syracuse) This vaguely equestrian sculpture looms out of the swampy shadows like a guardian angel. Built from a wood frame covered in latex, the sculpture reportedly “glows” and changes appearance throughout the day. “Through the intertwining of skeleton and mutilated skin, a digitally enhanced structure and its biodegradable latex ornamentation disfigures the form and, in turn, alludes to a new reading of ‘form meets nature’ as the grotesque, the uncanny, and the unexpected,” said the architects. Las Piñatas by Goujon Design (Austin) This exhibition bespeaks the proverbial tension between development and preservation. The giant piñatas pay homage to a local family-owned piñata store that was razed in early 2015 by a pair of transplanted property developers in the city’s rapidly gentrifying East Austin neighborhoods. “The low-income and predominantly Hispanic neighborhood of Montopolis”—where the park is located—“will inevitably become another friction point between the development of a ‘new’ Austin and the preservation of ‘old’ Austin,” according to Field Constructs. Meat Church Field Kitchen by Jordan Bartelt, Scrap Marshall (Los Angeles) The design for this short-lived smokehouse riffs on a lone church standing in the Texas barrens, where seasoned grill-masters prepare juicy meats to be consumed with others like at a church picnic. However, folks of all faiths are welcome at this non-denominational gathering.
Plants are usually the star of Chicago's Garfield Park Conservatory, but a forthcoming art installation will help brighten the Jens Jensen gem with lights, mirrors and prismatic panels. Local firm Luftwerk Studio is calling the project solarise, and promising a site-specific “series of immersive light and sculpture installations.” According to a press release from Mayor Rahm Emanuel's office, solarise is part of the Chicago Cultural Plan—a diffuse planning and marketing initiative launched during Emanuel's first term to crowd-source ideas for new cultural programs in the city. Solar-powered LEDs will illuminate reflective panels and sculptures in the conservatory, which is open every day of the year from 9:00a.m.–5:00p.m., with evening hours extended to 8:00p.m. on Wednesdays. The installation will be on display at the Garfield Park Conservatory from this year’s Autumnal Equinox to next year’s Autumnal Equinox, September 23, 2015 to September 22, 2016. Here are some more details, per Emanuel's office:
• The Beacon: A permanent LED facade connected to the ribs of the historic Palm House. The Beacon will be the focal point of the exhibit and will be visible from both inside the Conservatory and from the grounds in front of the building. • Florescence: A sculptural canopy of red and blue petals that will cast colorful shadows throughout the Show House by day and by night. The Show House color panel installation will reveal the spectrum of light necessary for plant growth. • Seed of Light: A continuous interaction between water and light will create a ripple of shadows that will play out across the Conservatory’s Horticulture Hall floor. • Prismatic: An immersive prism sculpture in the Desert House will refract natural and LED lighting. A sound installation using plant material from the Conservatory collection will accompany the sculpture and lighting. • Portal: A series of mirrored sculpture panels will frame the Palm House reflection pond and the Fern Room’s waterfall. • Lobby: A light box that will play on Jens Jensen’s concept of the Midwest Prairie as a sea of all colors.
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. 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?
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."
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.
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.
Santiago Calatrava, currently the darling of George Clooney, has set up seven blade-like sculptures along Park Avenue in New York City. The installation is a collaboration between the Marlborough Gallery, the New York City Parks Department, and the Fund for Park Avenue. The aluminum sculptures each have an expressive form that is classic Calatrava, but are not the all-white creations that we have come to expect from the architect. No, these pieces are painted red, black, and silver. The installation runs until mid-November meaning that it should close right around the time that Calatrava's long-delayed World Trade Center Transportation Hub finally opens. Take a look at the gallery below for a closer look at the sculptures, and if you're in New York and want to see for yourself, the pieces are on Park Avenue's median between 52nd and 55th streets.
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.
Change is underway at Chicago's Museum of Contemporary Art. At a press conference Friday MCA officials revealed that the institution is working on a new image, new programming and even a new master plan for the museum's space led by Los Angeles–based design firm Johnston Marklee. The announcement was timed to coincide with the last push of a major fundraising campaign. The museum has quietly raised $60 million in recent years, nearing a “vision campaign” goal of $64 million. Today they revealed their latest donation: $10 million from Kenneth Griffin, an MCA trustee who is also the richest man in Illinois. MCA's fourth floor galleries will now bear his name. “We've been thinking about what a 21st Century museum looks like,” said Madeleine Grynsztejn, MCA's director. Citing figures from the National Endowment for the Arts, Grynsztejn said the museum needs to become more “responsive” to the community—“a civic institution of local necessity and international distinction.” Part of that mission includes converting the cafe space into an “engagement zone” for public events, performances and education. Museum goers looking for a snack will have to find it on the first floor, where a new restaurant will front onto Pearson Street. Those and other changes to the 1996, Josef Paul Kleihues–designed building's programming are part of a new masterplan currently in development at the offices of architects Sharon Johnston and Mark Lee. Dutch designers Armand Mevis and Linda Van Deursen of the firm Mevis & Van Deursen also designed a new logo for the museum—part of a larger campaign to rebrand the museum and reengage with a public tempted to seek out art online or otherwise outside the Streeterville museum's walls. MCA has had some success reinvigorating popular conversation about contemporary art with its David Bowie Is exhibition, which recently wrapped up its run at the museum after drawing nearly 200,000 visitors—an MCA record, according to Grynsztejn. “The Bowie show challenged the MCA to raise our game,” she said. That could include expanding hours or more drastically reconsidering the museum's model, Grynsztejn wondered aloud Friday. But it will definitely include more shows for young artists on the cusp of a breakout, said curator Michael Darling, as well as more interactive exhibitions. Darling pointed to an upcoming residency by the Grammy-winning chamber group Eighth Blackbird, which he said would include unannounced and improvised performances throughout the museum, with the intent to connect the public with contemporary music and the process of creating it.
Iowa City this week picked engineer-turned-artist Cecil Balmond to anchor an overhaul of the city's downtown pedestrian plaza. His sculpture will be the focal point of Iowa City's Black Hawk Mini Park Art Project, the first phase of an $11 million streetscape redevelopment project that officials hope to start next year. Balmond's work aims to enliven public spaces with forceful, architectural installations. His studio has strung shafts of light in Anchorage, Alaska, explored the Solid Void of sculpture with a forest of metal filigree in Chicago's Graham Foundation, and woven steel like rope to bridge a Philadelphia railway. The Chicago Transit Authority recently tapped Cecil Balmond Studio to contribute art for an overhaul of the 91-year-old Wilson Red Line station. An artist review panel consisting of Genus Landscape Architects Brett Douglas and Angie Coyer, and Iowa City staff Geoff Fruin and Marcia Bollinger selected U.K.–born Balmond over artists Vito Acconci and Hans Breder. Construction on the project is expected to begin next year.
The New York architect and designer Dr. Haresh Lalvani has been researching the forms of living things-particularly those of shape codes akin to our own DNA makeup for 30 years. This research and analysis he then translates into sculptural forms that seem always to be merging and growing not fixed or frozen in place. At his solo exhibition, Mass Customization of Emergent Designs, at Moss Gallery at Design Miami in 2011, he used an algorithm to create 1,000 design variations of a common fruit platter out of a total of 100,000,000,000 possible designs before the computer crashed. Each platter was created with the same technology but preserved its inherent uniqueness. Lalvani’s claims this technology requires no economy of scale, as it costs no more for a factory to make all products different (mass-customization) than it costs to make them all the same (mass-production). His Brooklyn-made sculptures have appeared in galleries and public forums around the city including his beautiful 9-foot-tall, folded-titanium volume covers that were displayed at the entrance into the architecture room at MoMA for several years. Now you can see his morphological forms in the beautiful Columbia county countryside of Ghent, New York at the Omi International Arts Center. Lalvani has installed two sculptures X-POD and X-TOWER in the rolling landscape of the arts center. His X-TOWER for example is based on the towering form of California's Sequoia trees and emerges from a single flat metal sheet and raises into a towering almost pine cone shape form that is at once beautiful, mysterious and powerful as a work of art.