Arts and Culture : Development News

As part of the ongoing effort to re-imagine the Delaware River waterfront as a regional destination, the City of Philadelphia's Office of Arts, Culture and the Creative Economy is bringing a large-scale, interactive art installation to the Race Street Pier.  Thanks to a grant from the national creative placemaking accelerator ArtPlace, the installation—tentatively dubbed NET—is set to open to the public next summer.

"The idea is a series of interconnected nets that people can literally climb into and experience the waterfront from a suspended location," explains Margot Berg, Public Art Director for the City of Philadelphia. "It’s kind of like a public hammock space."

The city is working with Numen/For Use, a Croatian-Austrian design collective, to create the art piece at the Pier. "Our office was familiar with their work and thought it would be appealing to work with them,” explains Berg. "They’ve never done an installation piece outside or in the United States and were looking for such an opportunity. So they were on board with the idea."

A big part of the project's appeal was its location on the Race Street Pier and the waterfront in general. "The waterfront is a place where a lot of planning attention is being funneled—where the City is trying to connect people to the place,” says Berg.  "NET will serve as a way for people to experience the waterfront in a new way and make them want to come back over and over." 

Berg is hopeful that NET, in conjunction with the new headquarters of the Live Arts/Philly Fringe across the street and the nearby “Race Street Connector” public art piece, will create a ripple effect of investment along the waterfront. "The idea is to capitalize on the momentum in the area and show how art and culture can do that," she adds. 

Berg and the artists, in conjunction with the Delaware River Waterfront Corporation, are still finalizing details and ironing out the assembly logistics for the massive installation (a 30-square-foot cube). The team plans for a June 2013 unveiling and a three month-long exhibition.    

Source: Margot Berg, Public Art Director for the City of Philadelphia
Writer: Greg Meckstroth   

It's been almost 20 years since the Avenue of the Arts, Inc. (AAI) was founded to oversee the growth and development of Broad Street from Washington Avenue to Glenwood Avenue. As successful as the organization has been in creating a dining and entertainment destination centered on performing arts, there’s been a growing consensus that the area's image needs an update. 

To do this, AAI has partnered with the Pennsylvania Horticultural Society (PHS) to launch a "New Vision for South Broad Street" competition. The goal is to continue the thoroughfare's original purpose as an arts and entertainment district but with a modern take. Ten architectural and landscape firms submitted ideas, and four were chosen as finalists. Those firms showcased their ideas last week at the Bellevue.    

The final teams—Bohlin Cywinski Jackson, Cairone & Kaupp, Inc., Jonathan Alderson Landscape Architects, Inc. and LRSLA Studio—were tasked with developing contemporary, implementable plans for improving the Avenue’s streetscape.  They were asked to specifically consider innovative uses of light, sound, transportation, navigation, ecology, and economic and residential development. While the goals were the same, the firms’ ideas weren't.

For Jonathan Alderson, founder of Jonathan Alderson Landscape Architects, putting forth an implementable vision was the crux of his firm’s plan. "We wanted to put forth ideas that can happen soon—that are actually do-able," says Alderson, whose vision features the low cost installation of moveable, locally manufactured planters, pop-up performance squares, LED lanterns, bike lanes and mobile light displays. 

For Bohlin Cywinski Jackson, thinking big was the priority. "We saw this competition as a chance to put forth a plan to unite all neighborhoods along Broad Street, from the Navy Yard to Cheltenham Avenue," explained L.B. Young, an associate with Bohlin. "For this reason, our proposal features a number of small and big moves that together create a cohesive identity, so that no matter what part of Broad Street you’re on, you know you’re on Broad Street." Bohlin’s ideas ranged from creating open spaces and rethinking the Avenue’s branding to installing light wells that connect to the underground subway and tying in side streets with lighting and pedestrian connections. 

There were a number of ideas that all four teams seemed to agree on—chief among them activating the Avenue with art.  "It’s called the 'Avenue of the Arts' yet all the art is inside," said Ashley DiCaro of the Cairone & Kaupp, Inc. team. To mitigate this issue, DiCaro’s team (along with the other three) presented plans for turning the buildings inside out, bringing the art to the street. Pop-up performance spaces, large art installations and outdoor concerts were common features in each team’s vision. 

With the public’s interest now piqued, the four teams will officially present their visions this Wednesday, November 14 to a panel of judges and AAI representatives.  A winner will be announced six days later, and by the start of 2014, AAI hopes to begin implementing the winning design. 

Source: Jonathan Alderson, founder of Jonathan Alderson Landscape Architects; L.B. Young, associate at Bohlin Cywinski Jackson; Ashley DiCaro, Interface Studio
Writer: Greg Meckstroth

Are you a craft publisher wannabe?  Or maybe you just need an affordable, quiet environment to write?  Well if you’re either, or both of these people, you’re in luck – up-and-coming local publishing company The Head & The Hand Press has officially signed a lease at 2031 Frankford Avenue to open a workshop dedicated to providing a space for those who appreciate literary aesthetics. 

“The space is for anyone who wants to come and write,” says Nic Esposito, founder of The Head &The Hand.  “If you are a freelancer who needs a quiet getaway or you’re a story teller looking to get a book published, the work shop is for you.” 
Nic, a writer himself, says the new space will be for two general purposes.  First, it will provide a membership driven collaborative and creative space for local writers. Second, the workshop will be home to the Press' publishing operations to support novelists and story tellers.   

“We’re particularly excited about attracting that person who has a story to tell but doesn’t have the means to do it,” explains Esposito, who recently wrote his own book on urban farming. “The workshop offers all the traditional aspects of publishing – everything from writing, editing, graphic layout, but will involve the writer in a hands-on approach in a way big publishing companies can’t.” 

Esposito decided to start The Head & The Hand primarily because of the difficulties he saw in the publishing world when he wrote his book.  “I saw the upside of having a publisher help market your material,” explains Esposito. “When I was searching for a publisher, I quickly saw there weren’t many local publishing companies in Philly.”

So he started his own.  After a year of a lot of research and pulling together a committed team, The Head & The Hand was born.  The company officially bills itself as a craft publisher that treats writing as a craft and considers writers to be artisans. Esposito and the new company is influenced and inspired by the movement in Philadelphia and beyond to revitalize the manufacturing sector into locally based, handcrafted industries. 

The new work shop will share be sharing the space with Sarah Anderson, proprietor of the eclectic vintage shop Two Percent to Glory and join other recent Frankford Ave. favorites such as Pizza Brain, Little Baby’s Ice Cream, The Rocket Cat Café, and The Pickled Heron. 

“We’re very excited about the location,” says Esposito, “there are a lot of positive things happening along Frankford Ave. and being in the heart of Kensington fits the artisanal manufacturing aesthetic we’re going for.” 

Esposito and his friend Jim Zeppieri are currently in the process of building the desks for the workshop, hoping to have most, if not all of the work shop built out by November’s First Friday on the Avenue.  From there, expect a lot of events catered to the writing and publishing communities.  “The workshop won’t be static.  We’re going to be involved in the community,” says Esposito, “anything from the basics of writing to lectures on influential writers should be expected.”

Esposito and company will definitely be done by Nov, 16 when they hold an official launch party for The Head & The Hand at Johnny Brenda’s at 8 pm. 

Source: Nic Esposito, founder of The Head + The Hand Press
Writer: Greg Meckstroth

These days, Philly’s problems surrounding vacant land, urban decay and property neglect aren’t just getting the attention of city officials. Local artists, too, see the issue as paramount in Philadelphia’s existing urban context.  Nowhere is this viewpoint better exemplified than ‘RUST 3’, a recent and particularly innovative sustainable art installation coming soon to the Mt. Airy Arts Garage starting Nov. 10.  

Put together by local artists Andy Walker and Andy Heisey, the piece calls attention to the problems of urban renewal and abandonment in Philly.  But the display goes beyond these topics, also raising awareness on big picture issues including sustainability, reuse/rebuilding of our cities, the need for investment in urban areas and how new construction materials impact the environment. 

The installation’s primary work of art is the “Renewed Urban Studio Tent” which is where the idea of ‘RUST’ all started.  Made out of recycled materials found in the city - anything from photographs on clay shells, cigarette butts, glass bottles and recycled cement - the structure was built for the original RUST in August of this year. 

According to Andy Walker, they built the tent on South Broad Street in Center City as a studio for local artists and community members to create recycled/reused collages out of materials found from around the City.  Walker says these collages were then placed on the tent to form the skin of the structure.  "It was a real group effort and that's exactly what we wanted," says Walker. "The idea was to see how art rehabilitates the urban realm.  With artists and community members creating architectural pieces out of recycled materials, we wanted to challenge the notion of what urban building can be." 

RUST 2 came about the following month and showcased the collage pieces created during RUST.  And now, RUST 3 is set to open and will be the last hurrah of the series.  The basic elements of the original RUST will be on display, signifying the final recycling of the project while continuing to show how artists and the community can work together to create beauty out of reuse.

According to MAAG President and Cofounder Linda Slodki, while this is the final installment of RUST, MAAG wants the message to live on.  To this end, a citywide panel, “Artists Taking Back Philadelphia—Brick by Brick” will be on Sunday, Nov. 11 at 2 p.m. at MAAG. This panel will feature the Andys, Gary Steuer—Chief Cultural Officer for the City of Philadelphia, and Shari Hersh/Dre Urhahn—Philly Painting (a project of the MuralArts Program).

Topics covered include urban renewal and how artists fit into the conversation.  According to Slodki, MAAG hopes this discussion will help “bring out more artists interested in the topics at hand while assisting in making changes that need to be made in the future.” 

On that same Sunday, Nov. 11 at 10 a.m., Slodki says the Andys will host a workshop discussing the techniques they used to make their tent and showcase the various ways one can use recycled materials in artwork.

These events and a number of others are all happening at the Mt Airy Art Garage at 11 West Mt Airy Avenue and will run through Dec. 7 when RUST 3 closes up for good.      

Source: Linda Slodki, President and Cofounder of MAAG; Andy Walker, RUST
Writer: Greg Meckstroth

As part of the annual DesignPhiladelphia festival last Wednesday at the Center for Architecture, 11 presenters from different creative backgrounds fast forwarded through 20 slides at 20 seconds each (that’s a quick 6 minutes, 40 seconds) to answer a question that is typically reserved for the long-winded among us: What’s next for Philly? 
 
This is what the first annual Fast Forward Philly was all about; presenters were asked to talk, quickly, about their big ideas for the future of the City. And they were asked to do it fast in an effort to keep interest high and energy levels higher. 
 
Ideas were incredibly diverse; anything from ‘Silicon Philly! City of Innovation & Opportunity’ to ‘Making a Gardenpark in the City’ and ‘Promoting a "Maker" Economy’ were discussed.  But according to event organizers Kathy Lent and Erike De Veyra, enthusiasm was equally shared.  “We never had fewer than a hundred in the audience throughout the evening, and they all seemed quite engaged,” says De Veyra.  “We noticed that attendees sought out the presenters during intermissions and stayed long past the end of the official event to continue their conversations.”
 
“It was definitely successful.” exclaims Lent. “Despite the untested format and considering the number of other great DesignPhiladelphia events going on that night, the room was full the entire time.”   
 
The organizers received overwhelmingly positive feedback from both audience members and presenters.

“More than anything, they wanted to know how to find out more about the ideas brought up,” says DeVeyra.   

Michael Burlando and Alex Feldman's presentation on "Philadelphia Summer Olympics 2024" was particularly popular among attendees.
Ultimately, initiating the conversation on big ideas like these was the goal of Fast Forward.  “We hoped to inspire audience members to learn, connect, and maybe make some of these ideas actually happen,” says Lent. 
 
Earlier in the year, Lent and De Veyra, both of whom are architects in training, came to the conclusion that there were far too many big ideas going unnoticed in Philadelphia.  “There is a hub of creatives in this city with different perspectives and experiences,” explains De Veyra, “and it would be fantastic if they talked more to each other.”  And so, to facilitate the conversation, Fast Forward was born. 
 
Erike and Kathy both anticipate that, since Fast Forward was so popular, it will turn into an annual event.  Next time, expect an even greater set of multidisciplinary presenters and ideas.  “By the end of the event, it was clear that nearly every presenter was either an architect or trained in architecture,” remarks Lent, who says that was an unintended consequence.  For next year, she says their goal is to “attract many diverse perspectives on ‘What’s Next for Philly?’”
 
By appealing to a wider cross-section of forward-thinking Philadelphians, De Veyra and Lent believe this will help differentiate Fast Forward as a forum for up-and-coming doers and thinkers to pitch their vision for the future of the city.  “The world is always changing and needs new, fresh ideas,” says De Veyra. “This is one place we hope to continue sharing that energy and enthusiasm.”    

Source: Kathy Lent and Erike De Veyra, Fast Forward Philly organizers
Writer: Greg Meckstroth

The wait is over.

Paine's Park, the $4.5 million, 2.5 acre mixed-use skatepark/plaza along the Parkway, officially broke ground last week. This park has long been heralded for its grass roots collaboration with high levels of government; its unique, sustainable design meant to accommodate both pedestrians and skaters; and because it is considered to be the first open space in the country designed specifically with skateboarders in mind.  But with high profile attention already coming to the Park, (the Tony Hawk Foundation recently donated $25,000 for construction purposes), organizers are setting goals high for its future.
 
“We want to bring national and international events to Paine's Park,” says Claire Laver with the nonprofit Franklin’s Paine Skatepark Fund. “Thanks to Philly’s well organized skateboarding community in conjunction with the well-oiled Philadelphia Sports Congress, we have a lot going for us to achieve our goals.”
 
To this end, Laver says the park is built for large events – one of the main features of the new space is an amphitheater that seats 300 people and can accomodate up to 3,000 with portable bleachers. She says the permanence of these features is what will draw international and national event organizers.  “We can cut out a lot of the red tape that national organizers face when putting their events together.”   
 
Laver and others have their eyes set on large events like the X Games, which came to Philly in 2001 and 2002 but has not come back since.  But she also expects the Park will be perfect for smaller venues. 
 
“The first annual ‘Philly Cup Skateboard Series’ was held at various sites across the City," says Laver. "In the future, we expect Paine's Park will be utilized for this event as well as other amateur and local events put together by the large skating community here in Philly.”     
 
While no events have officially signed on to utilize the new space, Laver expects big announcements like these will come with time, especially once the Park opens and people clearly see its design and associated possibilities.    
 
The Park will undergo two phases of construction, taking a typical break during cold winter months.  It will be completed by May, 2013.

Source: Claire Laver, Franklin's Paine Skatepark Fund
Writer: Greg Meckstroth

From the outside, the Hatchatory looks like just another vacant warehouse, blocking views of the river in this once-bustling hub of East Kensington. You might not notice its shining gates, upcycled from steel that formerly covered each window; or the fresh coat of paint upon its windowsills. The bright orange door might catch your attention—a dazzling point against bricks and mortar. However, even if you did notice the door, you probably wouldn’t realize the weight of its symbolism—a happy meeting of old and new—or imagine the incredibly creative things happening behind it.
 
Billed as a “unique workspace for interesting small businesses and interesting people, the building at 2628 Martha St. houses 26 workspaces and dozens of maker-types who bring an artisan approach to manufacturing of all kinds.
 
Just a few weeks ago, Flying Kite took a peek inside at one of the Hatchatory’s tenants, the custom denim and leather goods makers at Norman Porter Company.
 
Fancy Time Studio is one of the Hatchatory’s other interesting makers. The recording studio is owned and operated by producer Kyle "Slick" Johnson, who has worked with bands such as Cymbals Eat Guitars, Rogue Wave, Wavves, Modest Mouse and Philly's own Creepoid. Beth Beverly uses her space at the Hatchatory to create alternative millinery and sculpture with natural fibers and ethically sourced fur and feathers. Another creative business that has set up shop there is Great Graphics, a screen printing business started by two Tyler School of Art graduates 30 years ago. It provides service to artists and commercial clients on fabrics, metal, wood, plastic and glass.
 
Built in 1895, the Hatchatory’s walls first housed a soap and a caulk factory. After about a century, the plant closed, ending its manufacturing days. But six years later, in 2003, Gerard Galster Jr. bought the property. Instead of demolishing the building, he asked his friend Russell Mahoney, a recent grad with a master’s degree from Taliesin, the Frank Lloyd Wright School of Architecture, to make it useful once again.
 
“When you knock down a perfectly good old building to put in a new ‘green’ one, all of its static carbon is released into the atmosphere. That’s a true crime in sustainable design,” Mahoney says.
 
The superintendant l’extraordinaire also operates his own design collective and workshop, Broken Arrow, at the Hatchatory. He admits that it is less expensive to replace old with new, but his team at Broken Arrow is dedicated to making it cheaper and more practical. They apply this practice to everything, including old desks from the soap factory days, which they refurbished for the Hatchatory’s workspaces.
 
Mahoney’s team has adapted those workspaces to modern loft units with original exposed brick, beams and hardwood floors. Each is equipped with state-of-the-art ductless heating and cooling systems and floor-to-ceiling windows that bathe the rooms in natural light.
 
Common areas in the Hatchatory are also repurposed for maximum use. Recently its garage space hosted WAMB, a Fringe Festival performance that took advantage of the wide-open space by draping circus rings and hoops from ropes on the rafters. The third floor open area provides a perfect space for tenants to exhibit art and sell products, and down the hall Mahoney is working on a communal area with couches and a kitchen.
 
Source: Russell Mahoney, The Hatchatory
Writer: Nicole Woods

The industrial buildings surrounding the 1500 block of N. Bailey Street in Brewerytown have always been known for making and producing things.  But in a tale all too common in urban core neighborhoods, years of neglect and disinvestment have left parts of the neighborhood feeling desolate and forgotten.  More recently, however, as a number of artists have moved into these buildings for live-work purposes, bringing with them real estate developers’ interest and money, the area is reinventing itself, once again producing things but with completely different means and ends.  

Now dubbed the ‘Bailey Streets Arts Corridor,’ according to local ceramic artist and college professor Michael Connelly, the name is well-earned.  “There are now 10 nationally respected ceramics artists living and working within a three-block radius, as well as painters, woodworkers, and a choreographer,” explains Connelly.  "Plus, 12 contributing buildings (commercial and residential) along the Corridor are now under the control of local artists and investors."    

Connelly has been a chief driver of establishing the arts corridor, and is responsible for attracting other artists to invest.  He has also put his money where his mouth is, recently purchasing two properties on North Bailey Street that he hopes to rent out to community artists at affordable prices.

He’s also investing in large renovation projects, more recently converting an old warehouse studio space.  He believes this project in particular will help the corridor reach a critical mass and really take off.  Working closely with his colleague Robert Sutherland, a ceramic artist and general contractor/builder, they have officially started Phase One work on the project, already securing the exterior walls and conducting interior demolition.

Connelly’s work and the resulting conglomeration of artists along Bailey Street got the attention of development and construction firm, MM Partners LLC, who saw the corridor’s progress and even bigger potential for increased investment.  In no time, the company bought up the famous W.G. Schweiker Co. building at the intersection of Jefferson and Bailey Street with plans to renovate it into something beneficial to area artists. 

According to Jacob Roller, co-managing partner at MM Partners, they immediately went to Connelly to gain ideas about what exactly to do with the building.  He recommended converting the space into live-work units for artists, something he saw as severely lacking in the Philadelphia region.

MM Partners is now following Connelly’s advice, filling out the Schweiker building with nine live-work units.  Roller hopes the renovated space will quickly become an anchor along the burgeoning corridor and provide a unique opportunity for area artists looking to save a little money on rent by putting studio space under the same roof as their bed.    

From here on out, Connelly hopes more and more artists and investors will continue to be attracted to the area. 

“Numerous artists have already followed our lead by moving into our rental properties on Bailey Street, as well as infilling the surrounding blocks,” he says.  “Moving forward, we are hoping the artists decide to invest in our area by purchasing property and further solidifying a creative arts vernacular of the community.” 

Source: Jacob Roller, Co-Managing Partner at MM Partners; Michael Connelly, Ceramic Artist/College Professor
Writer: Greg Meckstroth

The 40th Street area between Market Street and Lancaster Avenue will look a little brighter in the coming weeks.  The street, which serves as a link between the West Powelton and Mantua neighborhoods, is undergoing an enhancement that is being called The 40th Street Beautification Project.

“This will be a good way to showcase the area and give it a unique identity,” said Zac Sivertsen, who is co-manager of the project and the manager of neighborhood initiatives and resource planning for the Community Development Corporation, the real estate division of People’s Emergency Center.

PECCDC's focus on enhancing the neighborhood with greenery and art is moving forward thanks to the Vital Neighborhoods Initiative grant from the Preservation Alliance for Greater Philadelphia. The greenery portion of the project was completed last fall with tree plantings along the area’s sidewalks.   

Art is the final element of 40th Street’s rejuvenation. Local artists will paint the green SEPTA trolley poles with bright, vibrant colors. Weeds and shrubs surrounding the lots in the area will be replaced with flowerbeds.

A unique piece of art - specially designed for the 40th Street project - made of steel and mosaic glass will grace the fenced area near Pro Gulf Automotive Service and Repair between Baring and Spring Garden streets.  The sculpture, designed by local artists Emilie Ledieu and Bill Capozzoli, represents a tree.  

One goal is to encourage people to walk down the street and explore the Lower Lancaster avenue corridor, which PECCDC is working toward revitalizing.

“We want to draw people down the street both ways,” said Sivertsen.

James Wright, commercial corridor manager at PEC and co-manager of the 40th Street Beautification project, said that although there are many well-maintained homes on the block, the area needs a “little bit of love.”  

Source: Zac Siversten and James Wright, People's Emergency Center Community Development Corporation
Writer: Zenovia Campbell

Come this September, Center City’s shopping scene is going retro with the opening of Bettie Page Clothing at 1605 Walnut Street.  The traditionally west coast boutique has seen incredible growth since opening its first store in Las Vegas five years ago, opening numerous additional stores in places like San Francisco, San Diego and, coming this fall, Philadelphia.

Based in Vegas, the boutique, backed by publicly traded Tatyana Designs, Inc. specializes in designs inspired by the 50s and the iconic pin-up queen Bettie Page.  Launched in 2007, the company has grown dramatically since, posting $8 million in revenue in 2011, with sales up 55 percent for the first five months in 2012.

Beyond the U.S., the Bettie Page Clothing brand has started to go global, with boutiques in 57 countries around the world selling its products. According to Jan Glaser, co-owner of Bettie Page Clothing, the line is very popular in Australia, Europe and Canada. 

The company has been looking to expand their global reach with an eye on the East Coast as its next venture.  With plenty of world class cities to pick from, the owners ultimately thought Philly was the clear choice for their first East Coast store.  “The residents are fashion conscious and urbane, with Philadelphia boasting a huge number of art museums, music venues, top flight restaurants and a merging of cultures from around the world,” comments Jan Glaser – co-owner of Bettie Page Clothing.

Lead designer Tatyana Khomyakova, shares this sentiment: "I think that my designs fit the 'Big city lifestyle.'  Ladies in Philadelphia like to dress up and be seen as feminine but with a definite sense of confidence. I try to portray that strength of femininity in the Bettie Page boutiques.”

Glaser and Khomyakova apparently mean what they espouse – Bettie Page has signed a 10-year lease at their new Walnut Street digs, signifying they are committed to making it work in Philly. 

The new Bettie Page store will be open in September, something Glaser in particular is looking forward to.  “This location has a special meaning for me,” he explains.  “I was born in Philadelphia and have always had a great fondness for this city.”             

Source: Jan Glaser, Co-owner of Bettie Page Clothing; Tatyana Khomyakova, Tatyana Designs, Inc.
Writer: Greg Meckstroth

The City’s latest One Percent for Fine Arts project was recently unveiled, this time featured on Carl Dranoff’s latest new construction project at Broad and South Streets.  LightPlay, created by artists Mags Harries and Lajos Heder’s, will adorn the Southstar Lofts – an 80-unit residential building with ground floor retail that promises to become a significant gateway to Center City for travelers from the south.      
 
While LightPlay was announced as the winner of the competitive process a while back – earlier this year the fixture was chosen through a selection process conducted by the One Percent for Fine Arts Program of the Philadelphia Redevelopment Authority from well over a hundred applicants nationwide – renderings were recently unveiled and the piece’s function has come into light.     
 
According to the artists, they wanted to complement the theatrical events and art schools in the neighborhood, all while creating a dramatic lighting effect through the use of vertical prism sheets.  “Working with light and shadow insures that the piece will be constantly changing, surprising and remain fresh,” explains Lajos Heder.  “The orientation of the Broad Street Facade facing directly west makes it remain in full shadow until mid-day and then in full sun in the afternoon.”
 
According to Dranoff, his team was looking for an art installation piece that hit home -- exactly what Heder and Harries delivered.  “The Avenue of the Arts is one of Philadelphia’s liveliest, most flourishing neighborhoods, and we were looking for a work of art that would showcase the streets’ vibrancy, and compliment the aesthetics of Southstar Lofts,” explains Dranoff, “and the installation created by Mags Harries and Lajos Heder exceeded our expectations and has captured the energy that radiates from the thriving mix of entertainment, dining and living offered on South Broad Street.”
 
The artists did not forget about one of the installations' main purposes: acting as a gateway to Center City.  To incorporate this function, they utilized the nearby subway stop and featured it in the design.  “The sidewalk in that area is very lively, lots of students passing by, people coming in and out of the SEPTA station. We wanted to make the arrival at the station and walking along the sidewalk more memorable.”  According to the artists, there will be a glazed canopy over the subway entrance using the same light refracting prism sheets that are being used on the building, protecting from the rain and creating a bright light event for passengers emerging from the subway.
 
Once complete, developers of the Southstar Lofts are promising improved urban vitality and more eyes on the street.  The artists behind LightPlay firmly believe their work will have transformative effects as well and “enhance the urban environment and make better places for community activity.”  With lofty ambitions in front of them, Dranoff and company look to break ground in October, with an expected completion date of late 2013, although that has not been officially confirmed. 

Source: Carl Dranoff, Lajos Heder
Writer: Greg Meckstroth