The 100-foot piece is being unveiled downtown today
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Everyone agreed: Andy Warhol would have approved.
Maurice Tuchman, 79, wound his way through a maze of darkened rooms inside Young Projects Gallery in West Hollywood as torrents of digital rain wooshed down around him. Embracing the virtual storm, Tuchman planted himself in the center of one room, arms outstretched as if to catch the falling “water” in his open palms. Classical piano music and the cacophony of rushing rain echoed throughout the gallery, as the sparkly droplets of light danced around him. They bounced off his silvery hair, his squared shoulders, the tips of his leather shoes, glinting as they cascaded from the ceiling.
Tuchman was founding curator of modern art at the Los Angeles County Museum of Art where, in the 1960s, he was a pioneer of experimentation in art and technology. On this walk-through of the immersive rain installation, he was speechless. The only thoughts that came to mind as he surveyed the room, eyes wide like an amazed child, were of his former collaborator, Warhol.
“Wow, Andy would have loved this,” Tuchman said in a New York accent reminiscent of Billy Crystal in its cadence. “He woulda gone nuts.”
In 1967 Tuchman created LACMA’s groundbreaking Art + Technology program, which during its four-year run paired contemporary artists with corporations innovating in technology to create boundary-pushing installations. As part of that initiative, Tuchman worked with Warhol and Cowles Communications on the artist’s then-cutting edge installation, “Rain Machine (Daisy Waterfall),” a wall of 3D lenticular panels with a daisy print in front of real water coursing from suspended spray nozzles.
The piece debuted in the United States Pavilion at Expo ’70 in Osaka, Japan. An updated version — one giant daisy per panel instead of four, accentuating the 3D effect — had its U.S. premiere at LACMA in 1971. It’s been exhibited extensively over the decades, most recently at the Mori Art Museum in Tokyo in 2014, but “Rain Machine” hasn’t been shown in L.A. in 45 years.
Tuchman and his wife, Adlin De Domingo, own “Rain Machine” and decided it was time to exhibit it in L.A. again — but with a twist. They collaborated with L.A.-based Turkish artist Refik Anadol, who re-imagined the piece with digital rain.
After working with Anadol remotely for months on the installation, which will be on view at Young Projects in the Pacific Design Center through February, Tuchman and De Domingo recently saw the finished piece for the first time during a late-night test run.
“It’s beautiful. I’ve always had a fascination with immersiveness in art, with the feeling of being in it,” De Domingo said. “Refik’s work is amazing. The way he does the rain — he really achieves it.”
Tuchman is more succinct: “Fan-tastic,” he said, surveying the room. “Andy woulda been blown away. Blown. Away.”
Warhol created four versions of “Rain Machine.” The first, from Expo ’70, and the updated incarnation, which showed at LACMA, were destroyed by the artwork’s falling water, which splashed on the 3D panels for the roughly six-month period each piece was exhibited. “No one, including me, was intelligent enough to put Plexiglas up,” Tuchman said. “There was no water protection at all. At the end of six months, it was scissored and trashed.”
In 1983, Tuchman purchased the remaining two “Rain Machines” — identical to what showed at LACMA — from Warhol. He donated one to the Andy Warhol Museum in Pittsburgh for its 1994 opening, but the piece was damaged in storage in the mid-’90s and no longer exists. The version now showing at Young Projects is the only “Rain Machine” left.
Except for the digital augmentation, the piece has been reinstalled almost to a T, complete with a front-facing trough to catch falling “water.” Anadol’s immersive rainstorm, however, covers more than just the immediate space in front of the 3D panels, per the original. It fills the entire 3,000-square-foot exhibition space.
The viewer must walk through multiple rooms of roaring rain, and down a long, mirrored hallway flanked by raging storms, to get to the Warhol piece, which sits at the far end of the last room, bathed in ethereal light behind a transparent wall of simulated cascading water.
“Warhol was looking for a ghostly effect, he was thinking a lot about light,” Anadol said. “We’re projecting onto pitch darkness, this nonspace. We’ve achieved ghostly.”
There’s also a small, self-contained Rain Room inside the installation. It’s 12 feet by 12 feet and mirrored on three sides. Much as it begs the nickname “the other Rain Room,” it’s not a nod to the British art collective Random International’s “Rain Room” at LACMA, which uses real, recycled water. If anything, it’s the counter version to it, Anadol said.
“I saw it in New York at MOMA, it was beautiful,” Anadol said. “They used real water. It’s more interesting, personally to me, using light as a material. It’s more magical and probably more the sense of what they were trying to do in the ’70s.”
Collaborating, posthumously, with Warhol, “is like a dream,” Anadol said. “It’s super meaningful. He’s one of those artists who [shapes] people’s minds and changes perceptions of contemporary art.”
De Domingo, a fan of virtual reality and digital augmentation in art, discovered Anadol’s work through a friend. She felt he was a natural fit for the project. With “Rain Machine,” Warhol was pairing photographic technology with organic matter. Anadol’s work, which has appeared in Walt Disney Concert Hall and the Hammer Museum in L.A., among other places, often merges digital art and the natural or architectural environment in which it’s staged.
After De Domingo watched Anadol’s 2014 Disney Hall multimedia presentation “Visions of America: Amériques” online, she and Tuchman visited his L.A. studio. Anadol, whose work debuted in the U.S. at Young Projects in 2013, brought the gallery in, which specializes in staging elaborate digital installations.
Paul Young totally reconfigured his gallery for the exhibition, removing walls and building new ones so that Anadol could use the physical space as his canvas, painting with light and computer code. His rainstorms aren’t on a loop; instead, Anadol created algorithms, with turbulence embedded into them, resulting in an infinite variety of computer-generated weather patterns. The five synchronized projections in the piece play on multipaneled scrims, walls and mirrors around the gallery, creating visual depth and an infinity effect. A multi-channel soundscape of rain, wind and music plays on 14 speakers throughout the gallery.
“None of the drops fall in exactly the same way,” Anadol said.
The installation’s especially precise laser projectors, donated by Epson America for the project, were key to realizing his vision, which is a history-meets-the-future gesture, Anadol said. Not only is the piece a digital update of Warhol’s 20th century work, it’s an ode to LACMA’s Art + Technology program itself, which the museum revived three years ago and which is considered a touchstone for new media artists today, Anadol said.
“So many artists who use technology in the media arts scene were inspired by that movement,” Anadol said.
Replacing real water with light is meant to be a statement about water conservation and to further the environmental dialogue Warhol broached with the piece.
“We really need the rain, the water is so precious,” Anadol said. “The beauty of this is it’s totally artificial, augmented reality. But it feels real.”
As the test run of “Rain Machine” wrapped up, Tuchman paused at the gallery’s exit, taking one last long look at the storm of light and shadows.
“Oh my goodness gracious. He woulda been happy,” Tuchman said of Warhol, shaking his head.
“Really? That’s so meaningful to hear,” Anadol said.
“No question,’ Tuchman said. “Andy woulda looked at this and just said: ‘Wow.’”
Where: Young Projects Gallery, Pacific Design Center, 8687 Melrose Ave. #B230, West Hollywood
When: 11 a.m.-5 p.m. Tuesdays-Friday, by appointment Saturdays and Mondays, through February
Information: (323) 377-1102, www.youngprojectsgallery.com
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When media artist Refik Anadol arrived at Los Angeles International Airport in 2012, the first thing he did was rent a car and drive to Walt Disney Concert Hall. Jet-lagged after his long flight from Istanbul, where he was born and was immersed from an early age in computing, cinema, and photography, he stood outside in awe. “I was dreaming of what would happen if this building was embedded with memories, intelligence, and culture,” says Anadol.
Like Hollywood’s TCL (formerly Grauman’s) Chinese Theatre, which once drew would-be starlets who imagined their handprints in the concrete, Frank Gehry’s icon enticed him with the hope of realizing a dream. Fame wasn’t part of the equation, exactly, just a desire to create a large-scale video artwork across the swooping facade.
After studying in Istanbul and creating digital and interactive artworks throughout Europe, Anadol moved to Los Angeles to pursue an MFA at UCLA’s Design Media Arts program. The Disney Hall project was part of his studies and led ultimately to a presentation at Microsoft Research’s 2013 Design Expo. As he spoke about the idea of architecture as a canvas and light as material in his eight-minute elevator pitch, Anadol caught the attention of Dennis Sheldon, chief technology officer of Gehry Technologies. Before Anadol knew it, Gehry Technologies offered the use of the original 3D model so he could create a full-fledged case study called “Ethereal.”
“They said, ‘Frank loved your idea, we’re giving you all the files,’” he recalls with the enthusiasm of someone who still can’t believe his good luck. The Los Angeles Philharmonic (LA Phil) later commissioned Anadol to create an immersive experience inside the concert hall that would be responsive to the architecture, music, and movement. With data from the Gehry model and a team of UCLA researchers, he created the 2014 Visions of America: Amériques. Inspired by Poème électronique, a 1958 collaboration between Le Corbusier, architect/composer Iannis Xenakis, and composer Edgard Varèse, he used real-time custom software to project images across the architecture, which changed and morphed according to the music and conductor Esa-Pekka Salonen’s movements (tracked by a Microsoft Kinect motion-sensing camera).
The collaboration with LA Phil continues in 2017 with Phenomena, a research project and performance by Anadol, the orchestra, and academics and scientists at UCLA and UCSF, underwritten in part by Microsoft Research. The concept will use Enobio neuroelectric sensors to collect brain-wave information from participants as they listen to music. Emotions like joy or wonder will change the visual environment of the concert hall—and the experience of the audience.
“We have complete control of poetry— the image, the sound,” explains Anadol. “You’re inside a complete idea that is way beyond the screen.”
Architecture, of course, lives in the brick-and-mortar or steel-and-glass world of gravity and materiality, and is resistant to transcending itself. One has only to look to Times Square or Shenzhen’s skyline to find the limitations of LED screens and digital facades. Yet Anadol is confident that the post-digital is possible. In 2015, he installed his first public-art commission for 350 Mission in San Francisco. In collaboration with high-rise architects SOM and Kilroy Realty Corporation, he placed the artwork Virtual Depictions: San Francisco in the building lobby. A 20- by 40-foot LED display wraps around two walls. On-screen, a 90-minute generative animation, including a 3D model of San Francisco, responds algorithmically to location data collected from Twitter. “The city itself is so intelligent already,” he muses. “What would happen when public art meets public data?”
He’ll find out when another permanent public-art piece opens next year. It will give him another chance to experiment with how to loosen architecture’s grip on reality. Developed in collaboration with Susan Narduli Studio for the mega-development Metropolis in downtown Los Angeles, the untitled artwork will be his largest to date.
Custom software will animate a 100-foot-long low-resolution screen that will be visible from the 110 Freeway. Anadol considers it site-specific sculpture, a foray into what he calls a “post-digital architectural future.” “Post-digital is what comes after the full digital immersion in everyday life caused by our devices, social media, and sensors,” he says. “Media architecture is bigger than cinematography or VR—people are so interested in virtual reality or augmented reality, but we haven’t fully explored the nature of reality.” —Mimi Zeiger
“Refik has an incredible lens through which he views and interprets data in the world. He has an uncanny ability to sift through complex data, create the digital tools and software to process it, and the creative vision to transform it into a beautifully immersive experience. His process allows for a high level of collaboration and communication with others that utilize digital tool sets. As a digitally driven manufacturer, we love this type of exchange as it strengthens the project throughout the entire process, yielding amazing results.” —Sebastian Munoz, director of project design and development, Arktura
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At 7:22 a.m. Saturday, crane operator Josh Wiggins received his instructions on the radio.
“All free and clear. Coming up.”
From his cab 1,000 feet above downtown Los Angeles, Wiggins pulled back the hoist level and began raising the last piece of steel at the Wilshire Grand job site.
The 58-foot, hollow cylinder, weighing 20,000 pounds, glided vertically into the space above the street, almost in levitation.
Eight minutes later, Wiggins lowered his 4-foot diameter load into position, bringing it to rest atop its partner, a 236-foot cylinder that had been raised earlier, one straw on top of another. The spire for the Wilshire Grand, 1,100 feet above Figueroa Street, was complete, and Los Angeles could claim title to home of the tallest skyscraper west of the Mississippi River.
Nearly 50 construction workers in yellow-and-orange fluorescent vests congregated on the high-rise’s unfinished floors, gazing skyward. A pair of helicopters circled beneath gray skies, photographers leaning through open doors to document the occasion, and on the roof of the nearby Aon Center, 62 stories high, architects, engineers, construction managers and media crowded the parapet, cameras poised.
Positioned inside the spire and out of sight, two iron workers, Eric Madrigal and Dan Cobbs, began torque-wrenching the nearly 70 bolts that would hold the two sections together. Wiggins held the crane’s load steady.
In addition to its height, the Wilshire Grand has the added distinction of changing the skyline of Los Angeles with a rooftop that is neither truncated nor flat. The spire, designed in tandem with a 10-story steel-and-glass crown, rises above an outdoor terrace on the 73rd floor. The architectural features of the spire, which is illuminated at night, are mostly ornamental and were developed in negotiation with city officials and the Los Angeles Fire Department.
Los Angeles’ flat-topped skyline had been required since the 1970s as a safety feature to accommodate landing sites for helicopters in the event of emergencies. Architects for the Wilshire Grand, however, proposed an alternative that reflected a more modern approach to high-rise design. It included a tactical landing platform, an elevator designed exclusively for firefighting and a video surveillance system to monitor each floor in the event of a fire.
With half the bolts in place, Wiggins began to let the weight of his load settle into place. Madrigal climbed the ladder inside the spire to the top, where he stepped through a small hatch. Standing on a narrow lip just beneath the tip — 18 feet of burnished and perforated stainless steel that soon will be lit red, blue, green or gold — he unfastened the spreader to the crane. The spire was in place.
At 8:06 a.m., Wiggins delivered two blasts from the crane’s air horn, and Madrigal lifted his arms over his head.
With a red navigation beacon glowing at its peak, the Wilshire Grand had entered the history books.
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By Holly Willis
Data is everywhere: we have big data, open data, data sets, data mining, data management, data visualization, data smog, the data deluge, and — if you can believe it — being a data scientist was dubbed the sexiest job of the 21st century by Harvard Business Review. We’re scolded to manage our data properly, we fret about our data trails and yet, in all this data, it’s sometimes hard to find good data. Data shows that data will be increasingly significant in the future. Data equals knowledge equals power. Data dominates.
If all of this sounds dreadful, take heart: the data artist (not celebrated by HBR) rejects the all-too instrumental uses of data, perversely employing it instead in the service of beauty and delight.
Enter Refik Anadol. The bespectacled, black-haired 30-year-old artist has established a bustling studio in Silver Lake dedicated to exploring the creative uses of data in a series of innovative art experiences that are grand. Not only that, the artworks strive to open up a conversation about the city and its complex and dynamic relationship to the people who inhabit it. What can visualizations of our city — its public transport, weather patterns, water usage and so on — tell us about who we are and what we’re doing?
“We have all this data,” Anadol says cheerfully, “but what does it mean?” He answers his own question by musing, “I think a new kind of storytelling can occur.”
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Jun 23, 2016
The Wilshire Grand’s crown is shaping up. Work has recently started on the latticework that will attach to the steel spire. The 1,100-foot-tall tower is designed by A.C. Martin, according to Urbanize LA. Once built, it will be the tallest tower west of the Mississippi. The $1.2B project will include a 900-key InterContinental Hotel, more than 45k SF of retail and restaurants, and around 360k SF of office space. The tower is expected to open in March of next year.
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Virtual Depictions:San Francisco is a public art project by media artist Refik Anadol, commissioned for 350 Mission Building in San Francisco. The installation consists of a series of parametric data sculptures that tell the story of the city and people around it within a unique artistic approach to the building’s architecturally integrated media wall.
Virtual Depictions:San Francisco was conceived to bring a 21st century approach to public art and define the new poetics of space through media arts and architecture. Through architectural transformations of the media wall located in the lobby of 350 Mission (home of Salesforce), Anadol’s installation sought to frame an abstract, cinematic site-specific, data-driven narration. The media wall turns into a spectacular public event, engaging and activating the building’s interior and exterior spaces.
“The project also contributes to the contemporary discourse of public art by proposing a hybrid blend of media arts and architecture in the 21st century,” notes Anadol.
Anadol’s goal was to make the invisible visible by embedding media arts into architecture to create a new way to experience a living urban space.
“Traditionally, architecture cannot produce buildings that transform themselves in response to a environmental data feed. The architecture of the future, however, is enticingly malleable and increasingly collaborative, gathering architects with media artists, designers, programmers and engineers. And for these collaborators, the media architecture offers a decidedly public canvas on which they can observe how their creations come alive.”
Anadol combined frozen data sets with contemporary architectural algorithms to create parametric sculptures that show how site-specific data sculpture can transform, create, expand and interpret existing urban spaces. He used publicly available frozen datasets at https://data.sfgov.org and Twitter’s real-time API service.
SF Data, a platform launched in 2009, contains hundreds of city datasets for use by developers, analysts, residents and more. The City of San Francisco believes open data has the potential to support a range of outcomes, from increased quality of life to more efficient government services, better decisions and new businesses and services.
Anadol also created a social network sculpture that transforms the virtual life of the city into a poetic digital sculpture. His team created a real-time data sculpture pipeline by combining geolocation-tagged Twitter activities and 3D point cloud data of the city. The result is an immersive and unique experience every single day fed by API. For this part of the project, Anadol collaborated with Schnellebuntebilder and Quadrature.
“Great to finally see digital that truly enhances a public space through interpretive art.”
“Our society is becoming more data-driven each and every day and Virtual Depictions brings that massive amount of data into an art form that people can relate to. The massive scale and movement of the experience activates not only the inside of the building, but outside at the street level as well.”
Refik Anadol, Efsun Erkilic, Raman K. Mustafa, Kian Khiaban, Toby Heinemann, Daghan Cam, Sebastian Neitsch, Johannes Timpernagel, Sebastian Huber, Kerim Karaoglu
Arup, Sensory Interactive, Sansi North America (SNA), Skidmore, Owings, and Merrill LLP, DPA Fine Art Consulting, Isenberg & Associates, Inc., DG Hunt & Associates, LLC
Nicole Stromsness, Sarah MacIntyre, Douglas Giesey, Craig Hartman, Michael Fukutome, Eric Cole, Josh Cushner, Eric Covrig, Jason Cox, Pat Green, Julie Goodwin, Amanda Brownlee, Shannon Knuth
Webcor Builders, WSP | Parsons Brinckerhoff, Sansi North America (SNA)
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SOURCE Epson America, Inc.
Art Installations Highlight Image Quality of New Epson Pro L1000-Series
Large Venue Laser Projectors and SureColor T-Series Wide-Format Printers
LONG BEACH, Calif., May 24, 2016 /PRNewswire/ — Epson, the number-one selling projector brand worldwide, today announced it has partnered with award-winning media artist and designer Refik Anadol to create two immersive projector installations blending light and art at the upcoming InfoComm Show in Las Vegas. Leveraging Epson’s new Pro L1000-Series large venue laser projectors, Anadol will demonstrate the new models’ high image quality and flexibility benefits in a unique and tangible way. The installations will be showcased at InfoComm in Las Vegas from June 8-10, 2016 at Epson’s booth, #C6333.
“Light is an important part of my work, used to create new spaces and blur and interconnect the boundaries between physical and virtual realms,” said Anadol. “Working with Epson’s new Pro L-Series laser projectors provides the image quality, reliability and flexibility I need to display my work, allowing me to focus on the art and design, and not worry about the technology.”
The Pro L1000-Series laser projectors and the Epson SureColor® T7270 wide format printer were leveraged for the creation of the two installations to be shown at InfoComm:
- Infinity: Using the Pro L1000-Series projectors, Anadol will construct an immersive environment designed to create a perception of presence in a non-physical world. The projectors allow Anadol to transform a conventional flat screen into a three-dimensional space of visualization.
- Cavity: Anadol will project images from the Pro L1000-Series on three printed surfaces, created with the SureColor T7270 44-inch wide printer. Exploring the ephemeral nature of space, this installation suggests that perhaps all spaces and facades have the potential to be used as artist canvases.
“Partnering with Refik Anadol provides a unique opportunity to showcase our new laser projectors while also providing InfoComm attendees with a memorable experience that brings projection and art to life,” said Sean Gunduz, senior product manager, Projectors,Epson America, Inc. “Through this experience, attendees can see firsthand how Epson’s Pro L-Series are ideal large venue applications, from a wide color gamut for brilliant and complex images to up to 20,000 hours of virtually maintenance-free operation3.”
More about the Pro L1000-Series Laser Projectors
The Pro L1000-Series are the first projectors to integrate a laser-light source with an inorganic phosphor wheel in combination with inorganic LCD panels and Epson’s proprietary 3LCD technology to deliver advanced performance, quality, reliability, and flexibility. The Pro L1000-Series comes in six models ranging from 6,000 to 12,000 lumens of color and white brightness1, and offers nine optional lenses, including the world’s first zero-offset ultra short-throw lens2. These Epson 3LCD laser projectors offer several advantages for large venue installations:
- Image Quality: With a highly efficient light engine, Epson’s 3LCD laser projectors can reproduce spectacular images with up to 12,000 lumens of color and white brightness1and are ideal for large venues such as auditoriums, concert halls, lecture halls, and sanctuaries.
- Reliability: Epson’s LCD panels and phosphor wheel are made of inorganic material with superior light and heat resistance; combining these in a laser projector results in bright, vibrant images and up to 20,000 hours of virtually maintenance-free use, including 24/7 operation3.
- Flexibility: Epson’s lineup of 3LCD laser projectors is designed for a host of venues and applications; supporting 360-degree installation, edge-blending, stacking, portrait-mode projection, mapping, and a large variety of lens options.
More about the SureColor T-Series Printers
The Epson SureColor T-Series wide-format printers leverage Epson’s latest PrecisionCore®TFP® printhead and Epson UltraChrome® XD pigment ink, to provide technical, corporate and marketing professionals an unprecedented combination of precision, performance and brilliance. Available in both single- and dual-roll models, the SureColor T-Series delivers extreme line accuracy with resolutions up to 2880 x 1440 dpi at incredibly fast speeds. In addition, the SureColor T-Series 36- and 44-inch printer models offer an optional multifunction (MFP) module, enabling PC-free full color copy and scan capabilities – up to 36-inches wide – at best-in-class speeds for added convenience.
More about Refik Anadol
Anadol is a media artist and director born in Istanbul, Turkey. Working at the forefront of digital art, Anadol’s work has been seen in exhibitions and projected on public buildings inLos Angeles; Santa Fe; Montreal; Geneva; Brussels; Herford, Germany; and Sydney, Australia. Anadol was born in Istanbul, Turkey and currently living and working in Los Angeles, Calif., he is a lecturer at UCLA’s Department of Design Media Arts. For more information, visit www.refikanadol.com.
Epson is a global technology leader dedicated to connecting people, things and information with its original efficient, compact and precision technologies. With a lineup that ranges from inkjet printers and digital printing systems to 3LCD projectors, smart glasses, sensing systems and industrial robots, the company is focused on driving innovations and exceeding customer expectations in inkjet, visual communications, wearables and robotics.
Led by the Japan-based Seiko Epson Corporation, the Epson Group comprises more than 67,000 employees in 90 companies around the world, and is proud of its contributions to the communities in which it operates and its ongoing efforts to reduce environmental impacts.
Epson America, Inc., based in Long Beach, Calif., is Epson’s regional headquarters for the U.S., Canada, and Latin America. To learn more about Epson, please visit: epson.com. You may also connect with Epson America on Facebook (facebook.com/Epson), Twitter (twitter.com/EpsonAmerica), YouTube (youtube.com/EpsonAmerica), and Instagram (instagram.com/EpsonAmerica).
1 Color brightness (color light output) and white brightness (white light output) will vary depending on usage conditions. Color light output measured in accordance with IDMS 15.4; white light output measured in accordance with ISO 21118.
2 Zero-offset ultra short-throw lens can be used with the Pro L1100U/NL, L1200U/NL, L1300U/NL, and L1405U/NL.
3 20,000 hours is the estimated projector life when used in Normal Mode. Actual hours may vary depending on mode and usage environment. The projectors come with a limited warranty of three years or 20,000 hours, whichever comes first.
Note: EPSON, SureColor, UltraChrome, PrecisionCore,and TFP are registered trademarks, Epson Exceed Your Vision is a registered logomark of Seiko Epson Corporation. All other product brand names are trademarks and/or registered trademarks of their respective companies. Epson disclaims any and all rights in these marks.
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May 12, 2016
Karen Jordan, Bisnow LA
Site preps have begun for new creative offices called Culver City Creative, or C3, being built in the area not far from the Westfield Culver City. IDS Real Estate Group is developing the mid-rise office complex on three acres of land (Hannum Avenue and Bristol Parkway). The 132-foot-tall, seven-story building will have 280k SF of office space designed by Gensler, according to Urbanize LA. It will feature amenities, including a basketball court, a high-definition projector screen with pavilion seating, a dog park and food trucks. There will be complimentary Uber service provided between C3, Downtown Culver City, the Culver City Expo Line Station and Runway at Playa Vista. Culver City Creative is expected to be completed by the end of next year, says JLL managing director Carl Muhlstein. JLL is handling leasing. [ULA] See Also: Integrated Product Delivery Approach: The Way Of The Future For Building Projects Related Topics: Gensler, JLL, Carl Muhlstein, Uber, IDS Real Estate Group, Culver City Creative
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Artists and artist teams include:
Refik Anadol + Peggy Weil (team)
Josh Callaghan + Daveed Kapoor (team)
Lucky Dragons (Luke Fischbeck + Sarah Rara)
Curatorial Committee Members include:
Ruth Estevez, Curator and Director of REDCAT
Rita Gonzalez, Curator and Acting Department Head in Contemporary Art at LACMA
Karen Moss, adjunct professor at OTIS, and MA Curitorial Practices and the Public Sphere at the Roski School of Fine Arts at USC
Marc Pally, Artist and Curatorial Advisor
Irene Tsatos, Gallery Director/Chief Curstor at the Armory Center for the Arts.
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Rick Smegelski pulled back the hoist lever with his right hand, calculating how fast his load was rising.
As operator of Tower Crane No. 1 at the construction site for the Wilshire Grand, Smegelski looks upon downtown Los Angeles from his cab, 900 feet above Figueroa Street. Below him stood the signature element of this $1-billion-plus project, the tower, soon to become the tallest structure west of Chicago.
“I’m getting toward the end of my career,” said Smegelski, 59. “So this building is a pretty big feather in my cap. This will be here forever. I can take my great-grandchildren here and show them that I built it.”
One day last week, Smegelski had a special audience, and though he couldn’t see or hear them, he knew applause was rising from the assembled dignitaries: architects, engineers, construction managers and representatives of the building’s owner, Korean Air.
“Hey up,” someone in the crowd shouted as the beam lifted by Tower Crane No. 1 cleared a latticework of steel that will one day support a skylight sweeping between the tower and adjoining ballrooms.
The 35-foot, 2,100-pound beam had been trucked in from Eloy, Ariz., and was tagged with signatures of the many people who had a piece of the project, from workers who poured the concrete foundation to executives who signed off on the plans.
Construction projects celebrate many milestones, especially ones as ambitious as the Wilshire Grand.
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LIGHT AS ART
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