Posts tagged with "Art Installations":
The duo Jessie + Katey, formed by Jessie Unterhalter and Katey Truhn, created the mural as a part of a Harvard-based initiative called Zone 3. The initiative aims to further activate and energize the buildings along Western Avenue, which include a former dry cleaning facility and auto body garage, by implementing creative programs, events, and retail.
Jessie + Katey are known for creating large-scale public murals that look to engage the public with their socially active art. The entire building’s facade is painted with bold colors and sweeping patterns that curve around the edges, along with recycled materials like beer cans and bottle caps attached to the walls. The pair also held community events where the public was invited to create their own screen prints, which were eventually inscribed onto the walls. It took them nearly one month to complete the mural, which explores themes of movement and symmetry. The two artists have been creating colorful murals since 2011 and have been making an impression on the East Coast. Two years ago they were selected for the New York Department of Transportation’s 191st Tunnel Beautification Project and that same year they worked with Philadelphia’s Murals Arts Program when creating the 400-foot-long mural pop-up park: "Summer Kaleidoscope." In addition to this, Unterhalter and Truhn have residencies with The Albright Knox Museum in Buffalo, New York, The Farnsworth Museum in Rockland, Maine and the John Micheal Kohler Art Center in Sheboygan, Wisconsin.
This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.
Work on a $295 million modernization plan for the Fort Lauderdale-Hollywood International Airport’s Terminal 1 by multiservice firm Gresham, Smith and Partners is nearly complete. The refresh, part of a slate of upgrades that will transform the regional airport into an international and domestic hub, will also host a 2,000-square-foot art installation and playground designed by architect Volkan Alkanoglu.
Alkanoglu’s Cloud Scape, commissioned by the Broward County Board of County Commissioners’ Cultural Division and located along a mezzanine level adjacent to one of the terminal’s busy ambulatories, is “inspired by the idea of aviation and literally translates it into a physical environment at the terminal” Alkanoglu explained. The playscape—made up of four discrete structures arranged linearly in a sky-blue-painted room—evokes the larger-than-life cumulus clouds one sees from an airborne plane and is, according to the architect, partially inspired by 1970s visionary designer Verner Panton’s Visona 2 installation, a “fantasy landscape” made up of a series of extruded, occupiable shapes.
Functionally, the caricatured shapes are designed to facilitate movement and play: They feature slides, portholes, and climbable surfaces all scaled to tot dimensions. The structures are for “playing in the clouds,” the designer explained. “Before you take off or after you land, you have the ability to immerse into this landscape of clouds.” Each is also designed to facilitate a different type of diversion. One takes the shape of a large donut, with a bubbly hole cut out of its center. Another is deconstructed, with each of the three constituent cloud profiles separated out to create a sitting shelf, another donut-hole-penetrated mass, and a small slide. The third is made up of cloud-shaped wedges that come together in a tight corner. And the fourth structure is more solid, with supple climbing surfaces, a rounded-step ramp, and another tunnel.
Of particular concern for Alkanoglu were the strict fire- and life-safety codes the project had to meet due to its airport setting and the fragile nature of its fledgling users. The structures are built out of Fire 1–rated Medite, a type of medium-density fiberboard, painted in white automotive paint and finished in clear polyurethane. Regulations by the National Recreation and Park Association also played a role in the design, dictating the spacing—six feet—between the structures as well as the detailing for various edge and corner conditions. Everything sits atop light- and dark-blue colored rubber flooring.
The project, currently in the permitting stages, will be fabricated by Indianapolis-based Ignition Arts and is expected to be complete May 2017.
Brooklyn, New York–based studio Chiaozza (pronounced like “wowza”) designed a garden installation consisting of a series of whimsical, desert-inspired plant structures. Like some type of Martian golf course, the stucco-clad, Dr. Seuss-ian masses—tall and knobby, in some cases, bulbous and squat in others—are wrapped in Memphis Group–inspired squiggles and dots and sit atop circular bases made of astroturf. Adam Frezza of Chiaozza explained in a statement that the group wanted “to create a visual bath, something you can explore and get lost in” with their acre-sized installation.
Nigerian-born, Brooklyn-based artist Olalekan Jeyifous created Crown Ether, an un-occupiable home supported by a series of angular, tree trunk-like pillars. The work, according to Jeyifous, is inspired by the artist’s longstanding interest in the intersection between public architecture and displacement, here symbolized by the tension resulting from the visual accessibility of the structure that cannot actually be occupied.Day ✌️ 📷: @ravivora A post shared by Coachella (@coachella) on
Lastly, United Kingdom–based artists Joanne Tatham and Tom O’Sullivan created a massive installation that works as a visual pun for the phrase “elephant in the room” made up of large masses of faceted, brightly-patterned elephants. The 75-foot tall herd stands in a rough circle, with various exposures of each creation wrapped in a different geometric, colorful pattern. The installations will be on view through April 23.Come thru 📷: @ari_fararooy A post shared by Coachella (@coachella) on
- Hyphen-Labs (Ashley Baccus-Clark, Carmen Aguilar y Wedge, Ece Tankal, and Nitzan Bartov) will showcase their NeuroSpeculative AfroFeminism NSAF Not Safe as Fuck art piece. The work is described in a press release as “a transmedia exploration told through a multi-layered possible future that transcends the constraints of the present using a roster of products thematically rooted in security, protection, and visibility.” The group is helmed by four women of color who, through their artwork, seek to use virtual reality to insert viewers into a “‘neurocosmetology lab’ where black women are the pioneers of brain optimization.”
- Los Angeles-based installation artist Refik Anadol will showcase an artwork called Infinity that consists of an immersive environment that translates the viewer’s perception of reality into a “three-dimensional space of visualization.” Anadol’s work also includes large-scale LED installations, including the artist’s Convergence installation for the Gensler-designed Metropolis project currently under construction in Downtown Los Angeles.
- Artists Raum Industries will exhibit their interactive light exhibition Optic Obscura at SXSW this year. That artwork translates inputs from a user interface into a gridded surface made up of hundreds of optical fibers. The resulting pixelated image is used to illuminate the installation and its surroundings.
- Artists Circus Family’s work TRIPH creates an immersive “light experience” that is generated by the physical proximity of viewers. Sensors on the artwork translate nearby movement into sound and colors of varying intensities.
- Akinori Goto strikes a similar chord through their toki - series #02 work, an installation that depicts time in relation to the movement of a dancer. The dancer’s rhythms are projected onto a 3-D printed mesh sculpture.