Texts
from the source indicated below
Richard ChaiRetail Installation
New York NY
2010
New York NY
2010
Growing up in Miami spending Saturdays at the Orange Bowl watching Hurricanes games, two vivid memories stand out for Daniel Arsham: the stadium’s orange bleachers and the enormous sign reading “MIAMI ORANGE BOWL.” The letters from this sign form the basis of the commemorative marker by Daniel Arsham/Snarkitecture for the Marlins Ballpark under construction on the site of the former Orange Bowl. Commissioned by Miami-Dade County Art in Public Places, this public artwork is scheduled for completion in April 2012.
The existing letters from the sign are reconstructed at their original ten-foot height and orange color and scattered throughout the public plaza on the east side of the stadium. Their positions capture an ambiguous moment between destruction and rebuilding: some stand vertically; others are angled in mid-collapse or submerged in the ground, while others lay horizontally as if at rest. As visitors enter or exit the stadium and move through the plaza, different alignments are created between the letters, spelling out various words as the new stadium is glimpsed through fragments of the old.
The commemorative marker turns the destruction of the Orange Bowl into a creative act. It encourages people to stop, look, walk around, touch, and sit on and around the letters, creating a site for visitors to contemplate and celebrate the collective memory of the Orange Bowl and the legendary teams, historic events, and generations of fans who inhabited it. For newer visitors unfamiliar with the Orange Bowl, the letters create an immediately recognizable work around which new stories and memories will be formed, to be passed down and shared alongside those already established and rooted in the site.
The existing letters from the sign are reconstructed at their original ten-foot height and orange color and scattered throughout the public plaza on the east side of the stadium. Their positions capture an ambiguous moment between destruction and rebuilding: some stand vertically; others are angled in mid-collapse or submerged in the ground, while others lay horizontally as if at rest. As visitors enter or exit the stadium and move through the plaza, different alignments are created between the letters, spelling out various words as the new stadium is glimpsed through fragments of the old.
The commemorative marker turns the destruction of the Orange Bowl into a creative act. It encourages people to stop, look, walk around, touch, and sit on and around the letters, creating a site for visitors to contemplate and celebrate the collective memory of the Orange Bowl and the legendary teams, historic events, and generations of fans who inhabited it. For newer visitors unfamiliar with the Orange Bowl, the letters create an immediately recognizable work around which new stories and memories will be formed, to be passed down and shared alongside those already established and rooted in the site.
A collaboration with choreographer Jonah Bokaer, Why Patterns is a performance commissioned by Dance Works Rotterdam. The visual design emerges from a single ping-pong ball that is introduced into a frame on stage, initiating a series of choreographed games. Unpredictable results trigger events that flood the stage with thousands of balls, which are manipulated by the movements of the dancers as the square frame is collapsed.
Credits
Choreography: Jonah Bokaer
Music: "Why Patterns" by Morton Feldman
Stage design: Snarkitecture
Lighting design: Jonah Bokaer, Snarkitecture
Costume design: Snarkitecture
Costume realisation: Edith Ordelman
Dancers: Stefano Giuliani, Irena Mirislic, Szabolcs Pataki, Helene Pieren
Catapult: Samantha Newman
Credits
Choreography: Jonah Bokaer
Music: "Why Patterns" by Morton Feldman
Stage design: Snarkitecture
Lighting design: Jonah Bokaer, Snarkitecture
Costume design: Snarkitecture
Costume realisation: Edith Ordelman
Dancers: Stefano Giuliani, Irena Mirislic, Szabolcs Pataki, Helene Pieren
Catapult: Samantha Newman
Curtain is an architectural intervention into the lobby of the Stephen P. Clark Government Center. Surrounding the escalators that lead to the courtrooms and public assembly hall on the second floor, Curtain descends from this double height space and appears to wrap the escalators in an undulating form that allows glimpses into and through its folds. Moments where the form is raised allow people to walk within the surrounds of the curtain and access the escalators, while areas where the form is dropped nearly to the floor create moments where both visitors and the existing architecture are concealed and revealed by the drapery.
Made entirely from reinforced fiberglass, Curtain oscillates between a form in motion and one suspended in time. Appearing as a familiar object in an unfamiliar context, its condition of being simultaneously flowing and rigid is designed to give pause to viewers as they reconsider their relationship with the surrounding environment and architecture. A continuous light cove rings the inside of the curtain, illuminating its surfaces to a bright white and bringing light into the surrounding area at the center of the lobby.
Made entirely from reinforced fiberglass, Curtain oscillates between a form in motion and one suspended in time. Appearing as a familiar object in an unfamiliar context, its condition of being simultaneously flowing and rigid is designed to give pause to viewers as they reconsider their relationship with the surrounding environment and architecture. A continuous light cove rings the inside of the curtain, illuminating its surfaces to a bright white and bringing light into the surrounding area at the center of the lobby.
The installation by Daniel Arsham/Snarkitecture for the illumination of the columns at the Marlins Ballpark in Miami, Florida uses the simple idea of revealing and concealing the columns through the use of light. Standing nearly 200 feet in height, each of the four super columns will fade up and down as if the light was a human breath, appearing and disappearing in subtly varying rhythms suggesting a group of people breathing in unison, but at slightly differing rates. The effect will be generated using powerful LED lights programmed to create a flickering, sparkling light that moves up and down the column.
The scale of the columns and the oscillating light allow this effect to be visible at great distances through the city, acting as a kind of beacon drawing people to the stadium and announcing events occurring within. As people move through the west public plaza area on the approach to the stadium, the fluctuating light will be most prominently visible on the four columns framing the plaza, but will also reflect on the faces of fans as they enter or exit the stadium, altering the event surroundings to create a distinctive post-game environment.
The scale of the columns and the oscillating light allow this effect to be visible at great distances through the city, acting as a kind of beacon drawing people to the stadium and announcing events occurring within. As people move through the west public plaza area on the approach to the stadium, the fluctuating light will be most prominently visible on the four columns framing the plaza, but will also reflect on the faces of fans as they enter or exit the stadium, altering the event surroundings to create a distinctive post-game environment.
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