Sky Mirror

Sculptor: Anish Kapoor
2006 New York

















The Sky Mirror is a mirror from stainless steel polished with 10,7m of diameter located in Rockefeller Center. This installation is lightly elevated regarding the plan of the street, being the convex side orientated for the 5th Avenue, and the concave reflects the tower of the Rockefeller Center.
The object of his attention is the power of transformer of the mirrored surface, enslaving the trasuentes to observe in another way the reality that wraps them, in special his architecture, which distortion checks a new character and value.
















O Sky Mirror é um espelho de aço inoxidável polido com 10,7m de diâmetro localizado em Rockefeller Center. Esta instalação está ligeiramente elevada em relação ao plano da rua, sendo o lado convexo orientado para a 5ª Avenida, e o côncavo reflecte a torre do Rockefeller Center. O objecto da sua atenção é o poder transformador da superfície espelhada, cativando assim os trasuentes a observarem de um outro modo a realidade que os envolve, em especial a sua arquitectura, cuja distorção lhes acaba por conferir um novo carácter e valorizar

Uchronia

Architect: Arne Quinze
2006 Nevada . Burning Man Festival












Uchronia is a message from the future, captured in a immerse sculpture. Narratives are hidden in every nook and cranny, to be fleshed out by those who make the effort to understand them. Uchronia represents a realm without boundaries, capturing all human emotions, including fear. Its roots are in the here and now: this organism's skeleton is formed by wooden battens. A sculptural Utopia symbolizing the human race, each beam representing one individual.

Uchronia was a joint project with Jaga that was built, and burned down, during the 2006 burning man Festival.

by Arne Quinze

Sackler Crossing

Architect: John Pawson
2006 Kew . London

In 2004 the decision was taken to commission what is the latest in a series of architectural interventions at Royal Botanic Gardens, Kew – a bridge across the lake.

Following Capability Brown’s preference for the ‘sinuous Line of Grace’, the bridge plots a serpentine path across the water. The deck is set the minimum possible distance from the lake’s surface, allowing those crossing to feel that they are literally taking a walk across the water. This sense of proximity is enhanced by glimpsed views of the lake between the deck treads and by the near invisibility of the supporting structures which lends the bridge a quality of sculptural abstraction. Clear visual connections link the manmade landscape of the bridge with the repeating natural forms of its setting - the gently rounded contours of the land, the smooth expanse of water and the powerful verticals of the trees.

by John Pawson

Grotto Caves Entry

Architect: Massimiliano Fuksas
1988 Niaux . France











Selected between four architects, the idea of the project what entents to be is the access of entry to the cave of Grotto, being the reference to a great prehistoric animal that gone out from the caves was opening his wings to welcome the visitors.
The opening altissima of the wings that it opens and if enquadradam, evokes the entry of the cave to an extensive distance, reinforcing his presence in the scenery.
The used material, it tries to transmit the archaeological character of the place, being therefore fulfilled in acid corten on a wooden walkway.
The great plasticity of the work, it sends us to his education, in the atelier of Giorgio di Chirico in Rome, whose influence made always be felt, in what his method of work finishes for priveligiar the drawing and the painting as the forms of reflection.

















Seleccionado entre quatro arquitectos, a ideia do projecto que perconizava o acesso de entrada à gruta de Grotto, acabou por ser a referência a um grande animal pré-histórico que saído das grutas abrisse as suas asas para acolher os visitantes.
A abertura altissima das asas que abre e se enquadradam, evoca a entrada da gruta a uma extensa distância, reforçando a sua presença na paisagem.
O material utilizado, procura transmitir o carácter arqueológico do lugar, sendo por isso realizada em ácido corten sobre um passadiço de madeira.
A grande plasticidade da obra, remete-nos à sua educação, no atelier de Giorgio di Chirico em Roma, cuja influência se fez sempre sentir, em que o seu método de trabalho acaba por priveligiar o desenho e a pintura como formas de reflexão.