2018, when Eliasson divided a total of thirty ice-blocks between two locations in London: 24 blocks at the banks of the Tate Modern museum, and 6 blocks before the Bloomberg headquarters. Timothy Morton lists Ice Watch as an example of how art can help humans understand their relationship with nonhumans amidst ecological crisis, arguing that it "seriously stretched or went beyond prefabricated concepts, in a friendly and simple, yet deep way". Vertical Panorama Pavilion (2022) Commissioned by Mei and Allan Warburg for the Donum Estate winery in Sonoma, California, in 2019, the Vertical Panorama Pavilion is built to accommodate up to 12 guests and inspired by the history of circular calendars. The pavilion's roof features 832 laminated panels of recycled glass in 24 colors and is supported by 12 stainless-steel columns. From afar, only the translucent rainbow glass tiled canopy can be seen. Other projects In 2005, Olafur and classical violin maker Hans Johannsson began work on the development of a new instrument, with the objective to reinterpret the traditions of 17th- and 18th-century violin making using today's technology and a contemporary visual aesthetic. Commissioned by Louis Vuitton in 2006, lamps titled Eye See You were installed in the Christmas windows of Louis Vuitton stores; a lamp titled You See Me went on permanent display at Louis Vuitton Fifth Avenue, New York. Each deliberately low-tech apparatus, of which there are about 400, is composed of a monofrequency light source and a parabolic mirror. All fees from the project were donated to 121Ethiopia.org, a charitable foundation initially established by Olafur and his wife to renovate an orphanage. Cynthia Zarin of The New Yorker described Your wave is (2006) as a "major work". In 2007, Olafur developed the stage design for Phaedra, an opera production at the Berlin State Opera. In a 2008 review of the Take Your Time retrospective (at the Museum of Modern Art), Peter Schjeldahl described Olafur as far superior to other "crowd-pleasing installational artists" of his generation; he wrote that the retrospective has some filler but also "lovely, subtly disorienting effects". He praised the artist as avoiding excessive political activism and Matthew Barney's "implications of mystical portent". Schjeldahl interpreted the artist as raising awareness "of the neurological susceptibilities that condition all of what we see and may think we know.” Reviewing the same retrospective, Lauren Weinberg of Time Out praised Beauty (1993); the "discomfiting" works like 1997's Room