In the middle of a lightly populated island in the middle of a French reservoir—the Ile de Vassivière—an eerie green glow rises from the crest of a hill at dusk, indicating that you’ve found OTRO, a phosphorescent skate park of sinuous bowls and tunnels. Designed by artist Koo Jeong-A, L’Escaut Architectures, and skateboard consultants Brusk and Barricade, the project is described as “skateable artwork” and located near a large chateau housing the International Center of Art and Landscape, a light house designed by Aldo Rossi, and a humanoid piece of land art only visible from high above.
“What if mobile, self-sufficient living units were the building blocks for future cities?” asked New York artist Mary Mattingly. She explored this question in her Flock House Project, experimenting with migratory living solutions through fantastical inhabitable installation art. The project is going on throughout the city this summer.
Mattingly’s series of four “Houses” have been traveling around the five boroughs since June. Individually titled the Microsphere, Terrapod, Chromasphere, and Cacoon, they are now on display at the Bronx Museum, Snug Harbor, the Maiden Lane Exhibition Space, and Omi Sculpture Park in Ghent, NY.
Socrates Sculpture Park
3205 Vernon Boulevard
Through October 21
Socrates Sculpture Park and the Architectural League of New York present the inaugural recipients of the park’s “Folly” grant and residency for emerging architects and designers to New Yorkers Jerome Haferd and K. Brandt Knapp. The residency was established to investigate the intersection of architectural and sculptural disciplines and the increasing overlap in references, materials, and techniques between the two. To this end, young architects and designers were asked to propose a contemporary interpretation of the folly, a structure whose purpose is purely decorative but architectural in form. Haferd and Knapp’s winning submission, Curtain (above), is composed of a series of slender wooden posts that define a space of 20 feet on each side and a triangulated roof canopy approximately 8 to 12 feet high. White chains, some suspended between posts and some left hanging, will suggest occupiable spaces within the structure and will sway with the breeze off the East River—a play on the modernist conception of the “curtain wall.”
Last night, crowds of young architecture types filled the courtyard at MoMA PS1 in Queens to meet Wendy, this year’s Young Architects Program winner by HWKN. Visible from the nearby elevated subway station and from the streets around MoMA PS1, Wendy is comprised of pollution-fighting fabric spikes set in a grid of scaffolding intersecting the concrete courtyard walls. Yesterday’s crowds were given special access to the interior of the installation, revealing a complex structure of poles, fans, and misters that will cool visitors this summer.
MoMA PS1 will host its annual Warm Up music series in the courtyard beginning on July 7, showcasing “the best in experimental live music, sound, performance, and DJs.” Wendy will officially open to the public on July 1. Meanwhile, at a taxi garage across the street, small fragments of last year’s installation by Interboro called Holding Pattern are still in use on the sidewalk.
It’s a bird! It’s a plane! No, it’s actually a plane. On the corner of 60th Street and 5th Avenue in Manhattan, a six-seat, twin-engine Piper Seneca aircraft balances on two vertical steel posts positioned at the end of its wings, playfully rotating on its own axis and likely confusing visitors to Central Park. After doing a double take on the surreal scene, find a plaque located nearby and you’ll learn that this mysterious aircraft is actually an installation by artist Paola Pivi, whose portfolio includes scenes of zebras on snowy mountaintops and arenas of screaming people. Working with the Public Art Fund, an organization dedicated to present artists’ work throughout New York City, Paola Pivi opened her newest installation featuring the Piper Seneca, How I Roll last Wednesday, June 20th.
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Wendy will eat the smog of the equivalent of 260 cars this summer
“I cannot wait for the data to come in so we can show people,” said Matthias Hollwich, a principal of the Manhattan-based architecture firm HWKN. Hollwich is talking about the air quality monitoring system that will be hooked up to Wendy, the 3,000 square-foot star-shaped pavilion HWKN is currently installing in the courtyard of MoMA PS1 for the annual Young Architect’s Program. Because PS1’s Kraftwerk exhibition occupied the museum’s courtyard until May 14th, HWKN only had six weeks to build Wendy, which will not only house a pool, a misting station, a water canon, an elevated dj booth and an exhibition space, it will “eat” smog all summer long thanks to a special little ingredient called TiO2.
Video rendering of the Bay Lights (courtesy TBL)
“What if the West Span [of San Francisco’s Bay Bridge] wasn’t a bridge and instead were a canvas?” asked Ben Davis, founder of creative agency Words Pictures Ideas and man behind the The Bay Lights (TBL) some time ago. That question soon became the foundation for San Francisco’s latest high-tech public art project that’s got even Silicon Valley abuzz. With the support of San Francisco Mayor Ed Lee and major Silicon Valley bigwigs, TBL is planning to put up an ethereal light show 1.5 miles wide and 230 feet high covering the west span of San Francisco’s Bay Bridge.
A giant Tetris block has landed in Powell Gardens, a large botanical garden an hour drive outside of Kansas City, Missouri. MIRRORRORRIM, designed and built by Kansas City-based firm 360 Architecture, is a modular stacking of bright, lime green, cedar cubes, forming a T-shape on the ground with a vertical tower rising above the crossing point. The wooden structure is layered over on some sides with perforated stainless steel panels.
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The artist’s first major U.S. commission lands at the Met
On Monday, the Metropolitan Museum of Art held a preview of the latest installation to take root in its Iris and B. Gerald Cantor Roof Garden. Designed by Tomás Saraceno, the installation is the largest of the artist’s Cloud Cities/Airport Cities series, and his first major commission in the United States. Under overcast skies and a sprinkling of rain, the installation’s first visitors—or at least those wearing rubber-soled shoes—clamored through its 16 interconnected modules. Some paused to sit or lie in the structure’s uppermost areas, while others were content to view the constellation of mirrored acrylic forms and nylon webs from the ground. The experience of boarding the structure is disorienting, and the piece gives visitors the impression that it would float away from the rooftop and over Central Park if not tethered to the Met by steel cables.
If all the world is a stage, according to Shakespeare, all the city is a kunsthalle in the eyes of the New York City Department of Transportation. Bogardus Plaza, a tiny pedestrian plaza carved out of a little-used block of Hudson Street in Lower Manhattan and named for architect James Bogardus, the inventor of the cast-iron building, just received a well-deserved facelift and has now been chosen to host a prototype art display case designed by Architecture Research Office (ARO).