Archive for the ‘Cloud Gate’ Category

10/05/2006


You know I like ‘Cloud Gate’ by Anish Kapoor. Aka ‘the bean’ in Millennium Park.
I told you so in all these posts.

Here’s more insight into it, from the paper with the best arts reporting in the English language, The Guardian (UK).

Photograph: AP

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10/05/2006


You know I like ‘Cloud Gate’ by Anish Kapoor. Aka ‘the bean’ in Millennium Park.
I told you so in all these posts.

Here’s more insight into it, from the paper with the best arts reporting in the English language, The Guardian (UK).

Photograph: AP

05/05/2006

Kapoor, Einstein, Michelangelo and Mies

I said, the other day that Anish Kapoor’s “Cloud Gate” in Millennium Park bends light and space, a la Einstein. And it does. But it also bends time. When you walk up to it, you’re looking for yourself (isn’t that what art is all about?) and there’s a moment when you can’t find yourself, and you’re lost, and then as you get a little closer, you regain your Self; but in that momentary lapse, when You were gone, time stopped. That’s my Theory of How we Relate to Our Selves.


See them pointing? They found themselves, (their Selves?) happily.

And the second thing I want to relate, is…

Michelangelo said, to sculpt, take a block of marble, and take away what doesn’t need to be there. Mies, in his buildings, took away what didn’t need to be there. No pitched roof, no window frames, etc. Michelangelo learned from the Greeks. Early Greeks sculpted by first carving in from the front, then carving in from the side, until the two met. Look at 860 – 880 Lake Shore Drive, by Mies.

Wish I had a better picture, but – see how one is frontal and one is a side view? Then, you put them together in your mind.

So much of Mies is about – how buildings are made. I’ve seen how when moving around his buildings an open becomes a solid. Or approaching a work of his, first (sequentially) you are given a floor, then columns, then walls, then a roof; in the way buildings are made. And I’ve stood in front of his buildings and my subconscious mind (in a Seurat kind of way) has filled in the pitched roof, the window frames, the door, the chimney, that are burned into our minds from before we were kids and drew houses like that.*

I’ve certainly stood at 860-880 Lake Shore Drive and wondered at how the two boxes relate to each other and play off of each other so magically.

But I’d never realized that they’re two views of one object, one frontal, and one side view, that the architect will resolve, but never does. And so it remains endlessly fascinating.

* A scientist once said that the Pantheon in Rome knocks us out in its simplicity because it’s just that – it’s the way we draw houses as kids – with three basic shapes – a circle, a square and a triangle.


That’s a very, very, very fine house,
-Edvard.

05/05/2006

Kapoor, Einstein, Michelangelo and Mies

I said, the other day that Anish Kapoor’s “Cloud Gate” in Millennium Park bends light and space, a la Einstein. And it does. But it also bends time. When you walk up to it, you’re looking for yourself (isn’t that what art is all about?) and there’s a moment when you can’t find yourself, and you’re lost, and then as you get a little closer, you regain your Self; but in that momentary lapse, when You were gone, time stopped. That’s my Theory of How we Relate to Our Selves.


See them pointing? They found themselves, (their Selves?) happily.

And the second thing I want to relate, is…

Michelangelo said, to sculpt, take a block of marble, and take away what doesn’t need to be there. Mies, in his buildings, took away what didn’t need to be there. No pitched roof, no window frames, etc. Michelangelo learned from the Greeks. Early Greeks sculpted by first carving in from the front, then carving in from the side, until the two met. Look at 860 – 880 Lake Shore Drive, by Mies.

Wish I had a better picture, but – see how one is frontal and one is a side view? Then, you put them together in your mind.

So much of Mies is about – how buildings are made. I’ve seen how when moving around his buildings an open becomes a solid. Or approaching a work of his, first (sequentially) you are given a floor, then columns, then walls, then a roof; in the way buildings are made. And I’ve stood in front of his buildings and my subconscious mind (in a Seurat kind of way) has filled in the pitched roof, the window frames, the door, the chimney, that are burned into our minds from before we were kids and drew houses like that.*

I’ve certainly stood at 860-880 Lake Shore Drive and wondered at how the two boxes relate to each other and play off of each other so magically.

But I’d never realized that they’re two views of one object, one frontal, and one side view, that the architect will resolve, but never does. And so it remains endlessly fascinating.

* A scientist once said that the Pantheon in Rome knocks us out in its simplicity because it’s just that – it’s the way we draw houses as kids – with three basic shapes – a circle, a square and a triangle.


That’s a very, very, very fine house,
-Edvard.

04/29/2006

Bernard Tschumi lectures! May 9th. At the Art Institute. Sponsored by the Architecture and Design Society. Open to the public. Got me to thinking about

Tschumi’s Parc de la Villette in Paris.

It’s a precursor to Chicago’s Millennium Park.
The two urban parks do share a certain – object or form. At Parc de la Villette it looks like this:

” La Geode ” in the Paris park doubles as an IMAX Theater.

It shines and reflects and curves space in much the same way as a certain shiny object in a certain Chicago park that we have certainly written about – ” Cloud Gate ” – because that one is a shiny work of genius and we can’t get enough of it.
This, not purely round but in intriguing shapes, is a far superior work of art than the Geode in Paris. Theirs reflects space a la Newton, but ours bends space and light a la Einstein.

But go see the architect of the French park lecture on May 9th.
If it’s archi-babble, so Tschumi. (smile)

-Edouard