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 MORTON SQUARE

Tom’s commission for Morton Square, an apartment complex on the lower West Side of Manhattan is impressive. From the entrance marquee and vestibule sidelights, to the main lobby, the suspended circular orange chandelier and the luminescent green glass planes coming out of the front desk, Patti has embraced the decorative - adding freshness to the luxury of the building.

Within the circular atrium, five monolithic glass panels are suspended from a wall below a clerestory, in a piece titled Light Monitor.

A mix of natural and artificial light illuminates the panels. Though the glass is formed into precise gridded patterns, the light that emanates blurs the color as though it is neon, and transmits shadows and patterns on the large open wall below. The intersection of lines, tonal and colored light, creates an illusionary, yet somehow corporeal form in the space, that is continually shifting, a moving source of abstract imagery. As day becomes night, and as night merges into day a transformation of glass surface color, texture, and shape in the courtyard garden light boxes, the townhouse entrances, the marquee, the vestibule, the main lobby, the interior atrium and the lighting fixtures add to a sense of way finding. Patti and architect Philip Koether created a building that resonates with the decorative arts of the 21st century - art, science and innovation.

Morton Square is a full city block luxury residence along the waterfront in Greenwich Village, New York City. Commissioned by the client, JD Carlisle Development Corp, to integrate artglass within the building’s public spaces, artist Tom Patti created wall panels, light fixtures and clerestory windows that illuminate and modulate light to enhance the building. Translucent colored glass and reflective glass surfaces in the entrance and lobby add drama and reinforce a sense of the building’s artistic expression. Featuring a magnificent glass “Light Monitor” in the interior lobby ceiling, Morton Square is the first residential building in New York where an artist has been commissioned to such an extent. Working in collaboration, Patti and project architect Philip Koether created a building that resonates with the decorative arts of the 21st century - art, science, innovation. And responds to world of changing needs

Artist Tom Patti’s artwork for Morton Square is predicated on the idea that it is viewer oriented and less object oriented. It’s the viewer that engages the work and holds the perception of it. Unlike an object on a pedestal, where the object is the enhanced form - always giving of itself to the viewer – at Morton Square the viewer is involved with the work. Unable to be separated from the Work, each person will perceive it differently, depending upon the height, angle, time of day and the weather conditions. All the artwork is glass and created to be sensitive to artificial and natural lighting conditions. As day becomes night, and as night merges into day a transformation of surface color, texture, and shape - of the garden, the townhouses, the marquee, the vestibule, the main lobby, the interior lobby and the lighting fixtures will add to a sense of way finding.

The art is laid out in the building to enhance expectation and anticipation. It is rarely seen in total, from one access, or one view. As people enter and use the space, they become orientated to the artwork. It’s shape, color and configuration imprints on their mind - with references that help to enter, travel and egress the facility.

The artwork for Morton Square was three years in the making. It evolved through time and intensity of experience. The developer – the architect – the building construction - allowed for creativity and constant revision. The artist optimized the best part of the time – the Work that is at Morton Square was conceived as the newest and best idea moving forward.