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A double-layer steel lattice transforms a former residence into a Japanese eatery’s new home in Mexico City
When Mexico City-based architect Michel Rojkind was chosen as one of the Architectural League’s Emerging Voices lecturers in 2010, he already had a lot of work under his belt. His firm, Rojkind Arquitectos, had recently completed Nestlé’s factory and chocolate museum in Querétaro and was beginning work on a 54-story mixed-use tower on Mexico City’s chic Paseo Reforma. But in spite of big-name projects, the architect who started out as a rock-and-roll drummer maintained a connection to the fabrication of his projects, collaborating with local workers and using simple components instead of employing more complicated techniques. “I joke with my Swiss architect friends that I wouldn’t know how to work in Switzerland, where everything is perfect,” he told AN in a May 2010 interview. “You have to figure out ways to make things happen here, and it inspires me.” A testament to that inspiration, Rojkind’s new Tori-Tori restaurant employs a double-layer steel lattice to transform an existing residential structure in Mexico City’s rapidly changing Polanco neighborhood.
Matthew Marks Gallery tonight opens its new West Hollywood gallery, designed by architect Peter Zellner. The white, cube-shaped, 3,500 square foot building is highlighted by a huge sculpture by Ellsworth Kelly, which makes sense given that the gallery’s opening show, Ellsworth Kelly: Los Angeles, opens tomorrow. The sculpture, a dark colored bar measuring 8×40 feet, has been installed 30 feet off the ground, jutting ten inches out from the building facade, creating a floating effect. The metal sandwich panel structure was hung via a series of steel plates, “like hanging a painting,” said Zellner. Of course that’s a painting that weighs 5,000 pounds. Inside the lofty, spare gallery space, with its eight skylights, will be showing off some of Kelly’s finest work, including two works that inspired the facade piece: the collage Study for Black and White Panels (1954), and the painting Black Over White (1966).
1976: Movies, Photographs
and Related Works on Paper
Paul Kasmin Gallery
515 West 27th St.
Through February 11
British-born James Nares has lived in New York since the mid-1970s, when Lower Manhattan was “a beautiful ruin,” according to the artist. While most celebrated for his large, single-stroke kinetic paintings, the artist has a long track record of documenting his fascination with movement and bodies in motion dating back to the days when he delved into many other media such as films and chronophotographs. The exhibition features five films including Pendulum (1976), in which Nares clocks a large spherical mass swinging from a footbridge, against the industrial backdrop of downtown Manhattan—evocative of the foreboding, dreamlike qualities also seen in Giorgio de Chirico’s surreal paintings.