Brazilian architect Oscar Niemeyer proposed this design for a museum of modern art in Caracas in 1955. He conceived it as a pyramid standing on its apex; the roof would be one vast skylight, and daylight would penetrate the levels inside thanks to spaces at the edges of the floor slabs. There are no side windows so as not to disturb the unity of the slanted walls.

The ground floor would house an auditorium; above that, successively, were a foyer, an exhibition gallery, a mezzanine exhibition space, and the roof, with a sculpture terrace. To free the exhibition halls of load-bearing supports, the mezzanine would be suspended from the four corners of the pyramid by perpendicular tensors.

The whole thing would have perched on a cliff overlooking central Caracas. A change in regime meant that it never got beyond the planning stage.

Chicago artist Jerzy Kenar put up this bronze statue in front of his East Village home as a gentle reminder: “I hoped it would motivate dog owners to pick up after their pets.”

When the water’s running it looks even more realistic than this. But both mayor Richard M. Daley and Father Michael Pfleger, pastor of St. Sabina Church, attended the unveiling in 2005.

Kenar says that the statue, at 1003 North Wolcott Avenue, is intended to be whimsical, and that most visitors take it in that spirit, posing and even drinking from the fountain. “Only one little old lady didn’t get the joke,” he said.

He also designed the Black History Fountain near St. Sabina … so this one is sometimes called his “number two fountain.”

(From Greg Borzo, Chicago’s Fabulous Fountains, 2017.)

This is just an image that I liked. In 1983, in preparation for an exhibition at New York’s Leo Castelli Gallery, architect B.J. Archer invited some of his friends to submit plans for a folly — “an object which embodies no function, save for demarcation, or is useful only for a small segment of daily life.”

Emilio Ambasz submitted the following. “I never thought about it in words,” he wrote, “It came to me as an image — full-fledged, clear and irreducible, like a vision”:

I fancied myself the owner of a wide grazing field, somewhere in the fertile plains of Texas or in the province of Buenos Aires. In the middle of this field was a partly sunken open-air construction. I felt as if this place had always existed. The entrance was marked by a three-column baldachino supporting a lemon tree. From the entrance a triangular earthen plane stepped gently toward the diagonal of a large, square sunken courtyard — half earth, half water. A rocky mass rose in the centre of the courtyard resembling a mountain. A barge made of logs floated on the water; it was sheltered by a thatched roof supported by wooded trusses resting on four square, sectioned, wood pillars. Using a long pole, the barge could be sculled into an opening in the mountain. Once inside this cave I could alight the barge on a cove-like shore illuminated by the zenithal opening. More often, I used the barge to reach an L-shaped cloister where, shaded from the sun or sheltered from the wind, I could sit and read, draw or just think. The cloister was defined on the outside by the water basin and on the inside by a number of undulating planes screening alcove-like spaces.

In the alcoves he stored childhood toys, school notebooks, a stamp collection, and an old military uniform. “Not all things stored in these alcoves were there because they had given me pleasure; they were things I could not discard.” In his imagination he would traverse the water basin occasionally to dress up in the uniform, “assuring myself I had not put on too much weight.”

One last thing: In place of one of the alcoves was the entrance to a tunnel leading to an open pit full of fresh mist. “I never understood how this cold water mist originated, but it never failed to produce a rainbow.”

(From Archer’s Follies, 1983.)

There’s an interesting detail in Jan van Eyck’s Arnolfini Portrait of 1434. The painting depicts Italian merchant Giovanni di Nicolao Arnolfini and his wife in their home in Bruges. In the background is a convex mirror over which is inscribed the legend “Johannes de eyck fuit hic 1434” (“Jan van Eyck was here 1434”). And curiously, reflected in the mirror, where we’d expect to see the painter and his easel, are two figures:

In 1934 art historian Erwin Panofsky offered a unique explanation for this: The painting is an “artistic marriage certificate.” Neither Arnolfini nor his new wife had any relatives at Bruges at the time of their marriage, and the custom at the time was to record two witnesses to the wedding. “So that we can understand the original idea of a picture which was a memorial portrait and a document at the same time, and in which a well-known gentleman-painter signed his name both as artist and as witness.”

Amused by the reflection, Hungarian graphic designer István Orosz set up his own arrangement in his 1997 etching Johannes de Eyck fuit hic, below. “Here I attempt to show the world behind the door with the help of two mirrors.”

For a thousand bucks you can buy your own Van Eyck mirror and investigate for yourself.

(Erwin Panofsky, “Jan van Eyck’s Arnolfini Portrait,” Burlington Magazine for Connoisseurs 64:372 [March 1934], 117-119.)