Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
The Barn Art series, a local initiative in Port Austin, Michigan, seeks to salvage heritage barns by turning them into sculptural installations. For her installment, called Secret Sky, architect Catie Newell of Alibi Studio reimagined a decommissioned barn by cutting a chunk out of it. The triangular wedge — like a tear in the fabric of reality itself — forms a kind of pathway through which visitors can walk. At dusk, the barn is illuminated from the inside; light pours through the spaces between the wooden slats on the walls, transforming the structure into the world’s most rustic lantern.
Team Catie Newell with Maksim Drapey, Julia Jeffs, Oliver Popadich, Kelly Gregory and Ryan Craney (Alibi Studio); James Boyle, Chris Boyle, Brandt Rousseaux, Cindy Patrick and Carl Osentoski (Greater Port Austin Art and Placemaking); Charlie O’Geen (Etc Construction Services); John Gruber (Sheppard Engineering); Pete Maley (bricklayer); Terry Boyle (volunteer lead) with Mike Chin, David Gilbert, James Schmalenberg, Tom Schmalenberg, Don Jones, Carol Breitmeyer, Chip Newell, Esther Yang, Scott Hocking and Jon Rees (volunteers); Phil Cooley and Paul Arnet (construction support)
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
Architecture: Temporary and Experiential Installations
A sweeping remote landscape in Northern California is perhaps the last place one would expect to find a live performance venue. And that’s exactly the reason for The Line. The temporary structure, by Sacramento-based REgroup, democratizes the theatre-going experience with its profoundly minimal design. It also attempts to “rethink what the role of the rural can be and acts as an armature for a new type of ‘rural performance.’ ”
Constructed entirely from pressure-treated lumber and clad in MDO plywood, the 22.8-metre-by-1.2-metre platform appears as a pure white ribbon stretched taut across an otherwise empty field. While its simplicity is striking, it’s also pragmatic: REgroup was given a budget of less than US$5,000.
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