Artwork Proposals for the Lobby at the SFO Consolidated Administration Campus
Proposals for the Lobby at the SFO Consolidated Administration Campus
Public Art Project
Proposal Exhibition Dates: December 29, 2016 – January 12, 2017
SFO Business Center, Aviation and Parking Management, 3rd Floor
575 North McDonnell Road, San Francisco, CA 94128
Hours: Mon – Fri, 8a.m. – 5p.m.
The San Francisco Arts Commission is working with the San Francisco International Airport to commission a signature artwork for the lobby of the new SFO Consolidated Administration Campus (“CAC”) building. The suspended artwork will inspire and engage the approximately 575 airport staff and enhance their environment. Four artists were chosen as finalists by a Public Art Selection Panel to create proposals for the SFO CAC art opportunity: Adriane Colburn, Marc Fornes/THEVERYMANY, Iñigo Manglano-Ovalle, and Tim Prentice/David Colbert.
SFAC staff presented the qualifications of 20 artists selected from the SFAC’s 2015/16 Prequalified Artist Pool to a Public Art Selection Panel consisting of an Arts Commissioner, two members of the client agency, two arts professionals, and a member of the design team. The Panel reviewed and scored the artists on the short list and selected the four highest scoring artists to create proposals for the site: Adriane Colburn, Marc Fornes/THEVERYMANY, Iñigo Manglano-Ovalle, and Tim Prentice/David Colbert. The finalists then spent several weeks developing their proposals that are on display at SFO Business Center and on the Arts Commission website for public comment from December 29, 2016 to January 12, 2017. Comments will be summarized and shared with the Panel prior to the final selection. Please note that comments by interested members of the public do not constitute a vote.
The proposals presented in this exhibition are the finalists’ preliminary concepts. The selected proposal will be further developed and refined to determine the fabrication technique, and meet all feasibility, maintenance, safety and other requirements, as needed. All final designs are subject to approval by the Arts Commission prior to implementation.
OPPORTUNITY FOR PUBLIC COMMENT:
Please take a few minutes to review the proposals on display here and complete a comment form below.You may also email your comments to email@example.com, or hand deliver/mail comments to 401 Van Ness Avenue, Room 325 by Thursday, January 12, 2017, 5 p.m.
The Final Selection Panel meeting will take place on January 17, 2017, 1 – 5 p.m. at 401 Van Ness Avenue, Room 125. All Artist Selection Panel meetings are open to the public. An agenda for the meeting will be posted 72 hour in advance of the meeting on SFAC’s website under the Public Meeting section: www.sfartscommission.org/pubartcollection.
Click here to download the Public Comment Form as a Word document. Or, copy and paste the questions below:
1. Comment on the strengths (i.e. unique, beautiful, timeless, bold, etc.) of any/all of these artwork proposals.
2. Comment on the weaknesses of any/all of these artwork proposals.
3. Will any/all of these artworks be enjoyed by people of all ages and backgrounds?
4. How well do any/all of these artworks fit into the environment?
5. Please tell us your zip code for: where you live; where you work.
6. Additional comments:
Unbounded Sea is a suspended artwork that draws inspiration from the dynamic ecosystem of San Francisco Bay and the global network of ocean currents that it connects to. The work will consist of numerous richly colored waterjet cut aluminum panels, formed pipe and mirrored stainless steel structures that float in layers above the lobby. The artwork will span the 88’ x 15’ ceiling of the entry corridor and will occupy an area with a depth of 8 feet.
As one flies into San Francisco Airport they cross the vibrant hues of the SF BAY saltworks, the greens, ochres and reds of the marshlands, the contours of the edges of the bay as it meets land, and the water itself as it connects to the global system of currents that churns around the oceans. Unbounded Sea inverts the aerial view of the bay, turning it into a constellation that hangs overhead. The points or stars on the constellation are a deconstructed map of the bay- fragments of land, marshes and salt ponds connect in an array, linked by current lines. The color of the panels and lines are directly sampled from aerial photographs and the microorganisms that inhabit the bay- the bright pinks, reds and greens of the salt ponds that edge the south bay, along with the blues, grays and greens of the brackish water.
The artwork itself will be progressive in its imagery, moving from the micro to the macro as it spans the corridor. Beginning on one end, the forms will be drawn from the microorganisms of the bay that create the vibrant hues in the salt marshes. These will expand in magnitude to the forms of the map contours, tidal currents, global ocean currents and astronomical diagrams relating to the relationship between sun, moon, earth and tides.
These forms will fill the space while remaining airy, allowing for light to pass through the skylights and flood from the side entry doors. The shapes and lines will create dynamic patterns so that at any viewpoint, the viewer has a different experience of the artwork. In addition, ¼ of the forms will be mirrored polished steel. These parts will reflect the general surroundings of the lobby, nearby color and facets of the sculpture in addition to bouncing natural light, creating further illumination.
This work is inspired by Historic Constellation Maps, Current Maps from the Marshall Islands and the contemporary ocean current models being built at nearby Nasa, Moffett Field. As part of the design process, I will be working with the SF Bay Model in Sausalito and scientists at the Nasa Scientific Visualization Studio at Moffett field to determined the actual path of water from the airport into the global current system using the Perpetual Ocean Model.
Speed, slow, rise, drop, curl, stretch. Frozen in space and time, Hollow Flow is an energetic airshow that activates the spatial experience within the horizontal spine of the SFO administration building.
How would the pilot of an air show plane understand a long straight tunnel of space? What aerobatic gestures might he or she attempt within it? How would this sense of spatial interpretation transform a static, linear path into a wide-awake, dynamic experience?
This curiosity guides the design of Hollow Flow, an artwork that materializes the abstract trails of an energetic plane making its way through the horizontal space. Similar to sets of actual air flow analyses, colorful aluminum curves constructed in the corridor track a gestural performance of flight; the mark they leave sculpts an animated atmosphere for those passing through. At some moments the ceilings are lower. At others, corkscrews tighten and rise. Sometimes the piece stretches with momentum and sometimes it slow and wide. It pushes and pulls and points its way to different zones within the space, including the doors to conference rooms.
The dynamism of Hollow Flow is intensified by its coloration, which codes the different airflow ‘speeds’: long traveling moments are more desaturated, short exciting bursts are vibrant. Each aluminum stripe is actually only one color. It is the sum of stripes which makes a charismatic gradient that changes through time and direction to those who are passing through. The piece is made of aluminum, which means it is durable, long-lasting and low maintenance.
An air museum links all generations of planes — from old propeller planes to the most contemporary and impressive in jet technology. Rather than reflecting on specific era, Hollow Flow draws upon an abstract and timeless element of flight — performance and the act of spectacle — and honors it in frozen motion.
Size: 100′ x 15′ x 20′
Material: Aluminum + Powder Coated Paint
Lenticular Sky is a continuation of the artist’s series of cloud sculptures. For SFO the sculptures are modeled on California Coastal Mountain cloud formations known as Altocumulus lenticularis. This type of lens-shaped cloud forms at high altitudes, normally aligned perpendicular to the wind direction. If there is sufficient displacement of cool moist air ﬂowing over a mountain, waves of moisture produce lenticular clouds downwind of the mountain’s summit. As in some lenticular clouds the sculptures have central cavities formed by vertical displacement of cold air. Lenticular clouds have been mistaken for UFOs because they have a characteristic lens appearance and smooth saucer-like shape.
The artist’s meteorological sculptures use actual scientific data of natural phenomena such as storms and icebergs to capture ephemeral events. Frozen in time these three-dimensional works capture ﬂeeting moments in literal suspended animation. Meteorological cloud-point data is used to model vector forces of the clouds. The data is then digitally reproduced as an aeronautic shape similar to prototypes fabricated by the aerospace industry. The aerodynamic surface is then covered with ultra thin skin of aluminum-alloy tiles. The overlapping grid of tiles give the cloud sculptures a machine-like quality of a vehicles in ﬂight.
TIM PRENTICE/DAVID COLBERT
Our work is about movement and light.
For the new Administration Building we are proposing a procession of kinetic sculptures
to animate the long entrance lobby. The movement will appear as organic as that found
The continuous glass wall will bathe the floor in light. Clusters of polished aluminum
elements are designed to capitalize on this light. Each cluster will move slowly from a
clear order to apparent chaos and back with the lightest currents of air.
Twelve clusters of reflectors will be attached to the overhead beams at six-foot intervals.
Each cluster of 96 reflectors has a 4-foot diameter, a height of 8 feet and weighs 5
The presentation will be accompanied by a video showing the range of movement. Since
the possibilities are infinite no one working in the building will ever see a repeat pattern.
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