Hmm. Moloch? A face mask without a self? Ever bigger guys pressing down on the littlest guy? There’s something Kafkaesque about this “stairway to nowhere.” An Escher painting catching real humans? It recalls a trilobite or exoskeleton–or perhaps an ant farm. It catches light and the eye (and “the light of the body is the eye”), and yet it seems to be a metaphor for something alienating and dark: perhaps the breastplate of Achilles pushing through a grove of trees, heading for war. Perhaps the silent monolith from Kubrick’s 2001. Who will inquire of this Sphinx? And now I see an orgy of giant tarantulas back to back to back. Where are we going? Is this the herald of the death of God?
Stephen M. Ross, who is developing Hudson Yards, has a nickname for Thomas Heatherwick’s 15-story structure on the plaza: “the social climber.”
NYTIMES.COM|BY TED LOOS