Kristian 'Varg' Vikernes: You'll have to find another idiot to steal everything from.Įuronymous: I haven't stolen anything from you. Kristian 'Varg' Vikernes: I don't need you anymore.Įuronymous: Okay. In addition to Adjaye’s new building, the foundation maintains an additional gallery, parking lot, and a 1-acre pocket park dedicated to Pace’s son, who died of a drug overdose in 1997.Kristian 'Varg' Vikernes: I'm going to release my music on my own label. Ruby City is actually a bit of a misnomer Ruby Street would be a more accurate description. The Menil makes for another useful point of comparison just as that institution has converted its Montrose environs into an open campus, so the Pace Foundation has colonized its own surroundings, if on a smaller scale. His New York-based firm has been responsible for several recent works of structural invention in Texas, chief among them the 2018 Menil Drawing Institute, in Houston.

It might well be the heaviest shade in American architecture, and its design is a credit both to Adjaye and to his distinguished structural engineer, Guy Nordenson. If there is a bravura architectural moment, it is visible from the garden: tempting gravity, a floating vertical plane of red concrete guillotines down at an angle, blocking the harsh sun from the gallery interior. Those spaces look out onto an enclosed sculpture garden commanded by a large Nancy Rubins mashup of mangled airplane parts which, in its chaos of jagged and jumbled forms, makes for an effective juxtaposition with Adjaye’s stolid structure.ĥ/5Modern art pieces on display in the upper gallery room of the Ruby City art center in San Antonio, Texas. (There is an elevator, for those who prefer or need it.)īack-of-house office space, including a beautiful conference room wrapped in warm wood - is tucked into the rear area on the first floor. From the last gallery, another stairway leads back down to the lobby, forming a kind of art loop. A long, slim stairwell leads up to the galleries proper, a series of four white boxes of varying dimensions lit from above by monitor skylights. The lobby, accessed from a courtyard, is small and dark, with an information desk of textured concrete and steel. That reality becomes clear on the interior. Its solid form and largely blank walls make its scale difficult to judge with accuracy: If anything, it appears larger to the eye than it is in reality. This is not entirely accidental: Adjaye claims one inspiration was San Antonio’s historic Spanish missions.

Sitting on a workmanlike block south of downtown, it has the mysterious look of an ancient war machine, abandoned by the archaic people who built it.

Lord of chaos san antonio