Buren installed a set of seven previously unseen works around the rooftop, responding to the geometric concrete forms on top of the 1952 building. The large window beneath the canopy has been covered over with multicoloured translucent sheets, adding to the red and blue stained glass sections within the frame. At night, the light inside shines through the colourful screen and is reflected on mirrored surfaces across the space. A row of alternating angled panels sits along one edge of the roof. Sections facing upward are mirrored to reflect the sky, while downward-facing surfaces are chequered black, white and red. The floor is dotted with a series of small square podiums, which have coloured tops and black and white striped sides. Mirrored walls surround the base of the sculptural chimney facing a screen of triangular panels, which stand atop a small flight of concrete steps.
The use of shapes and colours not only portrays an atmosphere which is energetic and playful but is also adapted to the use of the building. I like the way in which he has used mirrors to create a sense that there us a larger area beyond what you can see.
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