room within

public art enhancements for the vta santa clara – alum rock bus rapid transit project, san jose, ca
client: valley transportation authority (vta) in conjunction with the san jose public art program

pattern concept development, community outreach and research in collaboration with corinne takara
various pattern designs in collaboration with jose pimienta
king street stations in collaboration with rick moreno
story street sb ceiling by raul delgado

materials: glass, painted aluminum, concrete w/ inlays
size: art treatment in 18 shelters, ±12x8’x8’
glass: triview industries
metal fabricator: magnum companies
concrete: concreteworks
photos: gary shatan, merge

eighteen bus shelter along the santa clara-alum rock bus rapid transit line received art enhancements with the goal to reinforce a coherent identity of the transit line.

the art enhancements consist of three elements – a glass wind screen, metal ceiling panels, and concrete pavers that create a distinct space within each shelter. while the details and materials of these treatments remain the same at each shelter, the patterns vary to give each shelter a unique identity. each station location i.e. north and southbound is defined by one specific color to further strengthen each station’s geographical identity on the transit line.

patterns were derived from stories and elements related to the surrounding neighborhood of each station: detailed research and intense community input helped to select topics that are sometimes historic, and other times contemporary in their reference.

for example, one of the 18 shelters derived its story from the ice arena located at close proximity to the shelter. motifs were created from a flying puck, marks left at the hockey rink after a san jose sharks game (traces on ice, puck marks on bounds), and traditional figure skating instructions.

another station derived its story from local dairies, formerly a prime industry in the area, and now mostly vanished. historic images of dairies and artifacts related to them informed these patterns.

eastbound

17th street
24th street
jackson avenue
alum rock avenue
ocala avenue

westbound

17th street
24th street
jackson avenue
alum rock avenue
ocala avenue

sublimare

permanent installation for the new arrivals and departure plaza, terminal 2, san diego international airport, san diego, ca
light projection in collaboration w/ morgan barnard
client: san diego county regional airport authority

materials: glass, painted aluminum, light projectors
size: roadway ±800’x60’& 2 facades ±36‘x20’
glass: triview industries
metal fabricator: paragon steel
lighting components: martin lighting, els
photos: san diego airport, morgan barnard, merge
video: morgan barnard

the artwork for the new arrivals and departure plaza at the san diego international airport connects travelers to their current location – the san diego bay and the pacific ocean. two natural phenomena that occur in and around the san diego bay are the basis for the artwork: the unique giant kelp beds at point loma and the seasonal phenomenon of bioluminescence.

two distinct, but related art installations envelope the plaza: one visually enlivens the underside of the elevated departure roadway that runs alongside the plaza, the other one is located on two facades of the check-in pavilions facing the plaza.

a pattern of kelp leaves was applied to the pavilions’ façades’: the glass panes received a screen print treatment in two grades of translucency, and cut-out, painted aluminum panels were applied to the lower sections of two facades.

bioluminescence in the bay occurs due to a small marine-dwelling unicellular organism called noctilucales. these organisms produce small flashes of light stimulated by wave movement. this is the inspiration for a light projection onto the facades at night time. the projected light pattern is continuously generated from real time data drawn from a noaa buoy in the san diego bay, representing tidal motions and other wave characteristics of the bay.

a flowing pattern of kelp algae with schools of fish weaving in and out made from 1/8” painted aluminum panels are installed flat against the ceiling of the elevated departure roadway.

sign of the horse

public art installation on the orsini bridge, figueroa street at cesar chavez boulevard, los angeles, ca
client: gh palmer associates for the community redevelopment agency of the city of los angeles

materials: fritted glass, reflective traffic film, steel
size: two faces of pedestrian bridge, 110’x7’x6”
art consultant: beatrix barker & associates
glass contractor: glaspro
traffic film application: zumar
glass installation: crabtree glass
photos: larry hirshowitz, merge

the premise of the project was to design a scenic gateway to chinatown utilizing images related to the chinese zodiac at a pedestrian bridge across north figueroa street.

in our artwork we created the illusion of horses moving across the bridge, aiming at a poetic moment of surprise when the viewer experiences wild animals moving through urban space.

a 7’ high glass-steel structure was applied to the exterior sides of the bridge. to achieve the illusion of movement the structure consisted of two layers: the front layer acted like a screen, while the back layer was composed of overlapping motion phases. the screen layer let the viewer experience only one of these image phases at a time. through the motion of the viewer passing under the bridge, the relationship of the two layers shifted and a different motion stage of the animal became visible, thus creating the impression of a moving animal. this illusion worked similarly to a “moiré effect”, a phenomenon well known since the beginning of the 20th century.

the front and back layers of the installation were made of laminated glass. the front “screen layer” was installed as a continuous glass surface with a rhythm of opaque stripes printed onto it. the images on the back layer were applied with a reflective traffic film, thus making them especially alive at night, when a passing car’s lights hit the bridge.

the project was illegally decommissioned in 2012 after the community redevelopment agency of los angeles was dissolved. the client replaced it with a traditional coat of arms reflecting his personal aesthetic preferences.

out of sight

shade canopy and seating for a light rail station, metro blue line, willow station, long beach, ca
client: los angeles county metropolitan transportation authority

materials: glass w/ photographic interlayer, steel, concrete w/ relief
size: 9’x30’x1’
structural engineer: brad w. smith
steel contractor: paragon steel
glass contractor: arch aluminum and glass
concrete contractor: quickcrete
willow photograph: alexandr bravo
photos: courtesy of metro © 2006 lacmta, merge

willow station is a busy light rail station along the metro blue line, which links the areas of los angeles and long beach. the premise for this project was the need for platform seating elements as well as a shade structure. the canopy structure utilizes existing pillars for support.

the focus of our artwork is a passenger’s experience when looking out of a train car: watching the passing landscape, a traveler can observe an object from far away, slowly coming close, then for a moment see it almost as a still, frontal image before it disappears out of sight. the memory of a moment can stay in the mind of the observer, almost like a photograph, but the actual image has passed.

in our design we are working with the quality of fleeting images, similar to one’s experience in travel. two photographic images appear on a folded canopy construction. through the special structure of the canopy only one fragmented image can be seen from either platform direction as it is approached. upon approaching there is one moment when one image becomes perfectly aligned and perceivable. upon passing this view point the second image comes into view and fragments the first image. from underneath the canopy both images are equally in view, breaking each other into stripes. the viewer standing right under the canopy also perceives a stretch distortion to the images.

the choice of images is a play on the present and past conditions encountered at the site: the “urban canopy” of the train cables as opposed to the “natural canopy” of the willow trees that once grew right there.

in addition to the canopy, two precast-concrete benches were installed. the benches are inscribed with text fragments which cue the user to the thought process behind the canopy: posing questions about one’s experience of travel and relating to the history of the site.

passersby

permanent public art installation at a mixed-use building at lake avenue, pasadena, ca
client: the hanover company, commissioned for the pasadena public art program

materials: glass w/ photographic interlayer, concrete stain
art consultant: beatrix barker & associates
glass fabricator: cesar color
photos: merge

our installation utilizes four architectural steel/glass canopies that mark the primary entrances and spread out along the facade of the building. we transformed these architectural elements into a light-box construction that illuminates a continuous glowing band of photographs.

images of different people who responded to a public call for participants cover the bottom side of the glass canopies. the photographs show people walking and standing, as seen from above, and vary in scale according to the different installation height of each canopy.

we continued this topic with a corresponding element embedded in the side walk beneath the canopies: we constructed the “shadow” of each depicted “passerby”, as if each person that is shown on the canopies above was standing in exactly this position on the sidewalk right underneath it. the resulting fake “shadows” are traced and permanently captured by embedding the shadow shapes in the sidewalk using concrete stain and cutting shadow outlines into the concrete.

together the photographs and the shadows of these “passersby” created a hypothetical urban population, as might be found on such a busy intersection as lake avenue and green street.