Posts tagged with "Coachella":
The Coachella Valley Music and Arts Festival kicked off today in the high desert outside of Los Angeles. This year’s artist installations include a who's who of contemporary architects and designers bringing bright and bold installations and pavilions to the Coachella Valley’s Empire Polo Club, where the music festival takes place. The 2019 artist lineup includes Francis Kéré, Los Angeles-based Office Kovacs, concert venue designers Do LaB, and more. See below for a full run-down of the installations. AN will continue to update the post with additional photos as they become available over the weekend. Sofia Enriquez Sofia Enriquez has designed a super-scaled garden made up of six larger-than-life paisley sculptures that includes a stepped relaxation platform. Francis Kéré Francis Kéré has crafted 12 colorful towers that reference the baobab trees that grow in the region of Burkina Faso where Kéré is from. Rising up to 60 feet in height, the colorful, conical shapes are filled with light displays and provide much-needed shade for concert goers. Poetic Kinetics For the 2019 run of the music festival, Poetic Kinetics has brought back its 2014 floating astronaut sculpture, Overview Effect. The battered spacesuit stands 70 feet tall and emits patterned light shows. Office Kovacs Office Kovacs’s Colossal Cacti consists of seven fluorescent cacti that range from 52 feet to 20 feet in height. The cacti are wrapped in mirrored spines that reflect sunlight and sit on a platform designed to reference the colors of Frank Stella’s Multicolored Squares. Debo Vabo Dedo Vabo’s Hazardous Interstellar Professional Operations is made up of a 72-foot-diameter base loaded with six performance spaces that highlight the trials and tribulations of a group of space-bound hippos.
Francis Kéré, Office Kovacs, NEWSUBSTANCE, and other artists, architects, and designers have been chosen to bring creative and immersive installations to the Coachella Arts and Music Festival later this year. In years past, the festival has hosted an eclectic cohort of rising and established designers and artists, including Los Angeles–based Bureau Spectacular, Italian artist Edoardo Tresoldi, Nigerian-born, Brooklyn-based artist Olalekan Jeyifous, along with many others. This year’s slate of creatives boasts several new and returning acts, including artist Robert Bose, whose kinetic balloon sculpture was present at the 2017 festival. United Kingdom–based installation artists NEWSUBSTANCE are also making a return this year. Their 2018 installation, Spectra, consisted of a seven-story sloping ramp tower wrapped in polychromic panels. Los Angeles–based Do Lab will also be participating again this year. The professional music festival venue creators have previously created installations for The Great Convergence at the Great Pyramids at Giza in Egypt, the Virgin Music Festival, and other large-scale events and music festivals around the globe. In 2018, Do Lab created a tent-like performance venue for Coachella that was fashioned out of yellow and blue triangulated panels. https://www.instagram.com/p/BsKcG6KHeJD/?utm_source=ig_web_button_share_sheet Absurdist art duo Dedo Vabo will also be returning to Coachella this year. In 2018, the team brought Corporate Office, a multi-story, LED-wrapped diorama to the festival. This year’s first-time acts are due to bring a breath of fresh air to the festival. Los Angeles–based Office Kovacs, helmed by Andrew Kovacs and Erin K. Wright, will be a part of the festival for the first time this year. Office Kovacs recently completed an installation at Woodbury University’s Wedge Gallery and also received an honorable mention designation for the Lima Art Museum New Contemporary Art Wing competition in 2016. Architect Francis Kéré will also be exhibiting his work at the festival for the first time in 2019. Kéré is currently working on a musical reflection pavilion for the Tippet Rise Art Center in Montana, among several other international projects. DKLA Design, a group of designers known for their life-like animal and abstract public art sculptures around the country, will bring their stand-alone pieces to this year’s festival, as well. Experiential designers Poetic Kinetics will bring one of their iconic works to Coachella. In 2016, the team partnered with the Architectural Association Visiting School Los Angeles (AAVSLA) summer program, the City of Los Angeles Department of Recreation and Parks, and the arts organization NOW Art L.A. to create Liquid Shard, a mesmerizing, iridescent wind-driven sculpture for L.A.’s Pershing Square park. Local artists Sofia Enriquez and Raices Cultura will also create installations for the festival, which takes place April 12-14 and again April 19-21. For more information, see the festival's website.
The Coachella Arts and Music Festival kicks off this weekend outside Los Angeles, bringing with it a wide-ranging program of colorful, sculptural artworks by a handful of local and international artists. Years past have brought dynamic artworks by designers like Bureau Spectacular, among others. This year's presenters include R&R Studios, a Miami-based duo made up of Roberto Behar and Rosario Marquart. The visual art-, architecture-, and design-focused creatives have brought their star-shaped sculpture, Supernova. This is the duo’s second year exhibiting at Coachella, following the 2016 show. Entertainment design studio NEWSUBSTANCE is making their Coachella debut with Spectra, a seven-story-tall sloped ramp structure clad in transparent orange and yellow panels. Artist Randy Polumbo will bring Lodestar, 35-foot triangular"saucer" made from a repurposed Lockheed Martin Lodestar jet that sits on a trio of 10,000-pound legs. Italian artist Edoardo Tresoldi will grace the High Desert with his Etherea sculpture, a massive mesh-based work that evokes Baroque architecture. El Salvadorian artist Simón Vega is presenting his Palm-3 World Station at the festival, a spherical sculptural work made up of repurposed components. American artist Katie Stout will debut Display This Oasis, an augmented reality-based sculpture "that's grounded in reality" and focuses on processing everyday objects through a special web-based app. Los Angeles-based artist Adam Ferriss brings his Meta & Ditto augmented reality installation to the music festival, another app-based installation that utilizes "manipulated source images, computer code, and algorithms to psychedelic effect." Photographs are not yet available for the two augmented reality-based installations. We will be updating this post throughput the weekend with more images.
The Coachella Arts and Music Festival kicked off this weekend in the desert outside Los Angeles with a bang, debuting a series of cute and colorful, large-scale art installations for concertgoers to revel among. One consisted of a “mirrored lighthouse for immigrants” by Brazilian artist Gustavo Prado. The work is expressed as a tall lighthouse for travelers—pivoting, curved mirrors sit every which way atop a series of metal armatures, reflecting views and sunlight in a multitude of directions. In a statement, Prado explained the structure as “a way to empirically present how the mind turns the continuous interconnectedness of phenomena into separate beings.”
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
Bureau Spectacular has designed the 2,000-square-foot flagship store for the Los Angeles–based Frankie, a high-end, ready-to-wear fashion house in L.A.’s Arts District. The retail space, which debuted Friday night with a red carpeted opening party, is the first store for the recently-rebranded label and is billed as a collaboration between Frankie's founder Kevin Chen and Bureau Spectacular's founding partner Jimenez Lai. For starters, Lai designed the store’s exterior facade, a black and white geometric abstraction spanning the post-industrial brick structure’s primary exterior wall. Bureau Spectacular also designed the store’s spartan interior, populating the space with one of the firm’s trademark "Super Furniture" pieces. The piece, when assembled into a single object, takes the shape of an eight-foot-tall staircase with a footprint of roughly 28 feet by 10 feet. This object is composed of nine geometrically complex components that are exploded across the store. Each piece houses some of the store's functional components, such as display areas for art books and trinkets, enclosed fitting rooms, storage spaces, and point of sale consoles. The project features the platonic geometries characteristic of Bureau Spectacular’s earlier work but marks a sharp shift for the designers—who are typically known for their designs' bold colors and graphic qualities—with its stark white material finish. Lai explained to The Architect's Newspaper (AN) that the monochromatic turn was a recent one for the firm, with Frankie and the recent Tower of Twelve Stories installation from this year’s Coachella music festival encompassing opposite ends of a new line of architectural inquiry. The Coachella project, with its stacked mass of tumbling geometric shapes collected over two pairs of pilotis, was also painted completely white but features an alternating array of colored lights projected onto it. With the firm’s Frankie piece, color is completely absent. Lai told AN via telephone, “In Southern California—or Los Angeles, anyway—when you paint something over with white, [the paint] deletes the materiality behind it. In both The Tower of Twelve Stories and Frankie, we are working with the idea behind ‘white.’” Lai described the contrasting geometric compositions of the pieces as embodying a tension between, “a ‘nice fit’ versus that of a ‘not very nice fit,’” with the visually dynamic Tower ascribing to the latter quality while Frankie, with its ability to explode and recombine back into a coherent form, aiming into the former. Lai summed up the project, saying, “[With Frankie], we are talking about a ‘nice fit.’”
2016’s Coachella Valley Music and Arts Festival kicked off this weekend in typical fashion: hit and under-sung musical acts playing late into the night, torturous sunshine interrupted by shade-giving monumental art. Amid the raucous tumult of teenagers and festival bros were a collection of large artworks commissioned specifically for the festival, running two weekends in a row. The seven monumental works by seven invited artists create interactive structures meant to complement the festival’s musical offerings and run the gamut from dank man caves to an ever-changing array of colorful balloons floating in the wind.
Jimenez Lai brings his The Tower of Twelve Stories to Coachella, a 52-foot-tall sectional model made up of a mess of stacked platonic bubbles. Inspired by the Lenoard Cohen song, “Tower of Song,” Lai’s work also takes inspiration from theories on the American skyscraper, from Rem Koolhaas’s notions of its genericism to Louis Sullivan’s prescriptions of classical proportioning for the type. The structure contains embedded lights and glows from within at night. Cuban artist Alexandre Arrechea’s Katrina Chairs utilize steel frames clad in plywood to create a sextet of bright yellow lawn chairs topped with stacks of Soviet-era, prefabricated apartment blocks. The monumental work takes its name from the disastrous storm that hit New Orleans in 2005 that gives the work resonant symbolism: it asks in surreal irony if one chair can hold an entire community above water. Phillp L. Smith’s Portals uses mirrored members to create a 85-foot-wide circular room around a large tree. This room is punctuated by fluorescently lit Space and Light era-inspired geometric niche sculptures. A planter containing the tree comes with incorporated seating. Wife and husband team Katrīna Neiburga and Andris Eglītis from Latvia repurpose scrapped wood and other building materials to create their two-storied The Armpit, an homage to the Latvian equivalent of the “man cave.” The installation fetishizes Latvian male’s tendency to crave time alone in the garage and upends a traditionally masculine space by allowing the view to peer into the cave and observe scenes of male solitude and domestic intimacy. Architecture-trained Argentine artists Roberto Behar and Rosario Marquardt take inspiration from the Mexican bolero song, ¡Bésame Mucho!, for their silk flower-clad monumental text sculpture of the same name. Coachella-based artists Armando Lerma and Carlos Ramirez, collaborating as The Date Farmers, evoke the Mexican migrant farm worker with their work, Sneaking into the Show, a Chicano Art-inspired totem showcasing a duo of migrant workers and their plow.Takin a break from my normal thing(s) to shoot @coachella ! @goldenvoice @instagram Art = @0super A photo posted by Jeff Frost (@frostjeff) on
Lastly, Robert Bose’s Balloon Chain utilizes variously colored balloons strung together with attached LED lights to create a responsive amorphous sculpture that billows along with the hot desert winds.
Forget a reformed LCD Soundsystem and Guns N’ Roses, the line-up for the Coachella Valley Music and Arts Festival keeps getting more architectural. First we heard of Bureau Spectacular, now AN’s ears picked up news that Turner Prize–winning social impact wunderkind Assemble could be part of the desert festivities one day.
L.A. designer Jimenez Lai of Bureau Spectacular recently discovered that he would be designing one of the large installations at Southern California music festival Coachella this summer. Announcing the exciting news on Facebook, he said “I want to kiss the earth Kevin Costner–style. I’m now able to say I’ve been on the same poster as Ice Cube, LCD Soundsystem, and Guns N Roses.”
Ever since Woodstock, music festivals have morphed into celebrations of eclectic hedonism and of course, all types of artistic expression. Indio, California's Coachella, which starts tomorrow, is no exception. In addition to three days of music, the festival offers dozens of art installations. This year the most prominent, right at the festival's entrance, is called Ascension, The Crane. It's just that: a giant white crane made of modular aluminum tubes and a mesh fabric called Textilene. It measures 45-feet-tall with a 150-foot wingspan, and the big bird's multi-colored LED lighting is powered by two adjacent photovoltaic stations that also serve as benches and canopies. The 35,000 pound crane, which was put together on site (all of its components fit into a single shipping container), was designed by Crimson Collective, a group of socially-oriented designers led by LA visionary Behn Samareh. The group works to "bridge the gap between art and architecture," through interactive installations. Check out a fantastic video detailing the construction here. It should be noted that the crane is a symbol of grace, wisdom and peace. This explains why all origami seems to be crane-based, including, apparently, gargantuan origami.