{"type": "Topology", "objects": {"data": {"geometries": [{"properties": {"name": "Broken Column 00", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Natvigs Minde", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [63289, 99999], "id": 0}, {"properties": {"name": "Broken Column 01", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Indre v\u00e5gen Fiskeutsalget", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [57371, 71684], "id": 1}, {"properties": {"name": "Broken Column 02", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Strandkaien Tilfluktsrom", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [45885, 81943], "id": 2}, {"properties": {"name": "Broken Column 03", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Breigata 14 Butikk", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [64726, 81269], "id": 3}, {"properties": {"name": "Broken Column 04", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Valberget Parkeringshallen", "fritekst": null}, "type": "Point", "coordinates": [59835, 78577], "id": 4}, {"properties": {"name": "Broken Column 05", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Arneageren", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [63274, 73913], "id": 5}, {"properties": {"name": "Broken Column 06", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Stavanger domkirke", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [64177, 68589], "id": 6}, {"properties": {"name": "Broken Column 07", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Kirkeg\u00e5rdsveien", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [70522, 41047], "id": 7}, {"properties": {"name": "Broken Column 08", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Haugesundsgata 3 Statoil", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [99999, 63911], "id": 8}, {"properties": {"name": "Broken Column 09", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Stavanger Sv\u00f8mmehallen", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [52977, 66491], "id": 9}, {"properties": {"name": "Broken Column 10", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Stavanger tinghus", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [70080, 66023], "id": 10}, {"properties": {"name": "Broken Column 11", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Jens Zetlitz gate St. Olav-str\u00f8ket", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\"\n"}, "type": "Point", "coordinates": [55369, 57211], "id": 11}, {"properties": {"name": "Broken Column 12", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Kjelvene", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [92908, 64852], "id": 12}, {"properties": {"name": "Broken Column 13", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Hetlandsgata 53 Privat hjem", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [76614, 64464], "id": 13}, {"properties": {"name": "Broken Column 14", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Musegata Bussholdeplass", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [61977, 43556], "id": 14}, {"properties": {"name": "Broken Column 15", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Madlaveien", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [51517, 41674], "id": 15}, {"properties": {"name": "Broken Column 16", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Henrik Steffens gate", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [47554, 68364], "id": 16}, {"properties": {"name": "Broken Column 17", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "St Svithun skole Klasserom 204", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [77171, 44015], "id": 17}, {"properties": {"name": "Broken Column 18", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Kiellandsmyr\u00e5 Fotball\u00f8kka", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [39751, 23862], "id": 18}, {"properties": {"name": "Broken Column 19", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Lars Hertervigs plass", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [39831, 79588], "id": 19}, {"properties": {"name": "Broken Column 20", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Solvang skole G\u00e5rdsplass", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [44634, 62277], "id": 20}, {"properties": {"name": "Broken Column 21", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Mosvannsparken", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [10522, 24709], "id": 21}, {"properties": {"name": "Broken Column 22", "kunstner": "Antony Gormley", "\u00e5rstall": "2003", "plassering": "Rogaland Kunstmuseum", "fritekst": "Broken Column er et skulpturprosjekt av den britiske kunstneren Antony Gormley.\nProsjektet best\u00e5r av 23 statuer i sandbl\u00e5st jern som er plassert p\u00e5 ulike steder i Stavanger. P\u00e5 folkemunne blir skulpturene gjerne kalt \u00abde rustne menn\u00bb eller \u00abjernmennene\u00bb. Skulpturene er identiske og er stiliserte avst\u00f8pninger av kunstnerens kropp, men med utjevnede kurver. Den rustne overflaten er resultatet av en lengre, kontrollert rustningsprosess. Skulpturene er 1,95 meter h\u00f8ye og er plassert slik at de danner en imagin\u00e6r s\u00f8yle ved at de er plassert etter hverandre i h\u00f8yde over havet, og utjevner h\u00f8ydeforskjellen mellom Stavanger kunstmuseum og Stavanger havn. Alle statuene er vendt i samme retning, mot nord.\n\nFra www.antonygormley.com: \"How can you make a work that becomes a way of looking again at a city rather than simply occupying it?\n\nMy solution was to repeatedly cast the same simple bodyform and put it around the town, one on every contour the height of the sculpture.\n\nSo the whole of downtown Stavanger has been mapped in 1.95 meter contours. One sculpture lies more or less anywhere on every contour line.\n\nThey are displaced vertebrae from an imagined column, the head of one connecting to the foot of the other. They are all facing out to sea, 8 degrees west of true north, the first one in the museum and the last in the sea.\n\nThese single-skin body forms are the simplest way to identify the space of the body as a contained space, by wrapping the body as a single surface.\n\nI think of them as uninscribed objects; they don't memorialise anyone in particular. Each one simply identifies a human space in space and shifts attention from the intrinsic qualities of the sculptures to the context that contains them.\""}, "type": "Point", "coordinates": [0, 0], "id": 22}], "type": "GeometryCollection"}}, "bbox": [5.7029, 58.9552, 5.750845, 58.976556], "transform": {"scale": [4.794547945479489e-07, 2.1356213562139992e-07], "translate": [5.7029, 58.9552]}, "arcs": []}