Something tells me that this will attract a lot of tourists with cameras!! Shall see.....
Something tells me that this will attract a lot of tourists with cameras!! Shall see.....
…and the front page article is here.
Is that water below?
This is a stunning piece (in its detail and scale).
The article mentions that a "glass screen will likely be installed to protect the work at street level." What does this entail exactly. Is the whole sculpture going to be behind glass and untouchable?
It hasn't been decided just how much protection the sculpture will get yet, but however much glass that entails, much of it will be above the glass. They do want to put the individual elements out of reach of passersby.
Thank you for this.
As well, I did not appreciate the extra birds towards the lobby. I know the lobby will continue the "birds" theme within if the "artists renditions" are correct but given that this building so much resembles the renditions (more so than any project I can remember) I am sure the rest will be true to form.
JasonZ, that 3rd picture captures "the Rising" and continues the birds theme.
Is that planned or fortuitous?
Either way, great pics.
This one I missed by a split second....
Great photos. Seems like there's some kind of 1970s filter going on.
Here's hoping for perfectly clear low-iron glass of course, as well as an aesthetically pleasing deployment of it. I'm guessing that if they could have put in a larger pool (a reasonably wide sidewalk is needed here, so no can do) they could have avoided having to put up supplemental protection for the sculpture: one does not want vandals getting a hold of this thing.
As you say 42,
If the glass is clear it should not detract a lot. I guess they have to be careful not to make it too clear or someone will bump into it.
Clearly with the small wading pool to reflect people would look up and walk into the water anyhow so they would need some barrier at ground level I would think anyhow.
It's sad we have to cover our art. It's gonna take away from its beauty a lot. But in Toronto they break bathrooms and maybe they would destroy art.
I'm curious, would this sort of protection be taken in say New York or London ? You'd imagine they'd have similar concerns ?
Regarding the sculpture in the park (i.e. the mountain / castle) looking thing, I don't see any protection around that.
I'm not really sure what strategy would work here ... I think you just need to factor that into the maintenance. Take the giant piece in the park in Chicago, does it need to contend with graffiti ?
Sometimes when you go out of the way to deter people from committing a certain act it may just make them that much more compelled to commit it.
I had a chance to tour both model suites (18th floor) on Saturday. Overall I think the quality of finishing is average. My biggest gripe was the low ceilings. For a product that's suppose to be high end; why in the world would they have 8' ceilings throughout most of the unit. The cheap carpeting in the bedroom was also a disappointment. Most of the other agents present had similar thoughts. Nice looking building though.....
This sculpture is on a highly trafficked public avenue and will be immediately adjacent to a upscale hotel that will presumably have 24-hour surveillance and security. I doubt that taggers, or anyone else for that matter, will really get a chance to be alone with it.
This is not the kind of monolithic work that is more commonly designed for public spaces. It's likely the artist wouldn't have proposed something so intricate if some kind of protected barrier wasn't included.
Funny. But I think a Henry Moore would be more appropriate for that scene.
I still don't get the reasoning. No other sculpture, here or in New York or London has protective glass to protect it from tagging etc.
I felt that was a design flaw.
The carpeting is actual wool. Hardly "cheap" but they should have continued the hardwood throughout probably. They offered it but at about $10K/bedroom.
They showed you pretty much what you get, as opposed to a showroom with $200K of upgrades buried in there though Ric and that should be credited and apples and apples compared.
I note the Ritz is selling a bit better now with only 22 for sale on MLS compared with about 32 just 1-2 months ago. Developer still has units and don't know the price.
Curious how Trump will do. I guess if SL is a disappointment too that only leaves 4S?
I have to say that I think they "did not do a very good job on the designer choices". And the dining room little table looks almost like plastic. I believe how a place is furnished plays alot and they missed the mark in my view. That said, the kitchens and bathrooms and the floor choice other than the bedroom are great in my view. Furnishings are personal.
Perhaps this should be moved to the real estate forum.
I dont want to dwell on that though, as I do think overall it's a very nice building.
I'm short.....so no problem. LOL
Until recently condos were 8 feet with bulkheads down to 7+ feet. Houses were 8 feet. So it is a bit curious that we now consider 8 feet at the low point and 9 feet to be low.
I wish they would have made the whole think with 10 foot ceilings. I was actually first told that the 9 feet would be 9 feet clear when I bought in the residences so I am disappointed that this is not the case. In other words, I was actually under the impression that it would be 9 feet at the low point. I will clarify if this is unique to the 18th floor or if this carries all the way up to floor 50.
Called. It apparently varies as to where the ducting is on the floors? Not sure if the sales people actually know. But it is 9 feet clear in the principal areas but does drop to 8 feet where there are bulkheads (kitchen) but also along the windows.
I agree, that is a shame. I thought it would be 9 feet in the living room/bedroom/den and only dropped in the kitchen/bathrooms. Oh well.
"Anish Kapoor was born in Bombay and has lived in London since 1973 where he trained first at Hornsey and then at Chelsea School of Art. He explored the possibilities of Conceptual Art for a time. Then, in 1979 he made a visit to India which reacquainted him with early cultural memories which were to inform his subsequent work. He also began to take an interest in Jungian psychoanalysis and to employ a vocabulary of forms and images which appear largely symbolic of different aspects of the feminine principle. The art historian Jeremy Lewison has related Kapoor's imagery to the accounts of the female archetype given by the Jungian psychoanalyst Erich Neumann in his book The Great Mother. According to Neumann the creative aspect of man is feminine and is alluded to in various archetypal images among them that of a vessel and mountain. Both these archetypal images are central to Kapoor's art and are prominent in this work. The pair of vessels also suggest breasts and the openings in them evoke the vagina. Such voids are another recurrent image in Kapoor's work. The forms are covered in loose, pure pigment, a procedure inspired by the brightly coloured powders used in Hindu festivals and worship. This use of pigment gives Kapoor's sculptures an extraordinary character and presence and Kapoor has commented 'The act of putting pigment on these objects removes all traces of the hand. They are not made. they are just there.' The title comes from two sources. The first part 'As if to Celebrate ...' is taken from a haiku poem. The second part refers to the Hindu myth of the goddess Devi who was born out of a fiery mountain which was composed of the bodies of male gods. The myth makes mention of a 'blood red mountain' and a 'graceful forest full of flowers'. Kapoor's use of this myth here seems to point up his interest in the dominance of the female principle, as well as his finding of archetypal images in Indian mythology. Although Kapoor is concerned with the purely formal aspects of the arrangements of his works (the yellow element here, he says, acts as a point of punctuation in relation to the red ones) his main concern is with symbolic effect, the bringing together of objects imbued with significance as on an altar or shrine."
Simon Wilson, Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition 1991, p.293
I think that Zhang Huan's Rising, which suggests a life form that's part animal, part vegetable - part Jabberwock and part Beanstalk ( sans Jack ) if you like - and part East and part West as with his staging of Semele, is a similarly important large scale work to our Kapoor. And because it's done in metal rather than meat, or flies, or water, or any of the other natural materials he's worked with, it marks a similar point of transition from performance art to the very public, and non-gallery, sculptural realm.
I walked by the Huan sculpture today. Wow! Strange to see something so Surreal and Giger-ish on Univerity. It gets an incredible amount of attention--I don't think I've seen reactions to any other public artwork like this before--in toronto anyways.
Speaking of Kapoor:
The picture above reminds me how endlessly photographable and engaging the bean is. With some works of art you simply don't need a footnote to appreciate them.
the roof fins are make the top kinda look like a flower from certain angles like Urbandreamers first pic ^ ( the leaves at the top are like blossoming or something).... something about the way the fins are curved on the inside a bit with the supports. not to mention, i think they're gonna have a green roof too. sick.
Is that part of the sculpture disembodied on the glass at the top of the cube? This public art piece is such a sweet addition to an already sleek and glossy building
Bravo to Hariri Pontarini on another great design with some originality!