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LAMag: This Huge New LED Wall Creates a Constantly Changing Portrait of Los Angeles

The 100-foot piece is being unveiled downtown today

March 2, 2017  ArchitectureArtBusiness 1 Comment

If you’ve been downtown recently, you’ve likely noticed Greenland USA’s massive Metropolis towers going up on Francisco Street. But you may not have seen the 100-foot-wide LED wall that’s been built along the exterior of one of the buildings.

The piece—titled ConvergenceLA—was created by Susan Narduli and Refik Anadol and uses historical and live data from various sources (including RSS feeds, weather activity, and transportation information) to create a living portrait of the city. It contains 435,200 LED lights and took more than 20,000 hours of work over the past three years.

“We developed custom software which takes in this data—what’s happening in the city—and, depending on the data, gives it back to the city in this new form,” says Narduli. “It’s layered with three years of documentation of the city as well.”


Photo courtesy Susan Narduli.

ConvergenceLA will be formally unveiled tonight, but you can check it out at any time at Francisco St. and 8th Place.

An interactive website launches today as well. “It focuses on the same data, but in a different way,” says Anadol. Visitors can use the website to explore the data and access two accompanying soundtracks—one directly related the on-site experience, and one meant to be heard while actually viewing the work.

The artists drew inspiration for the project from LACMA’s original Art + Technology program, which curator Maurice Tuchman ran from 1967-1971. “He envisioned a kind of a collaboration between artists and technology companies,” says Anadol. “So I think we are kind of in the same domain, the same inspiration.”

Over the course of the project, Narduli and Anadol worked with public art consultants Isenberg & Associates and more than 30 people, including animators, programmers, software developers, photographers, engineers, architects, and research assistants. “This was a real team effort,” said Narduli. “Not only between our studios, but also with the art consultants, and Greenland, the architects, the city people, and many studios globally. Refik and I are so grateful. You don’t always get to work with such extraordinary people.”


Artists Susan Narduli and Refik Anadol with the “brain” of ConvergenceLA. Photo by Julia Herbst.

In a press release, Greenland USA CEO Gang Hu called the piece a “stunning reflection of the city and its interconnections.” The first residents of the Metropolis towers began the moving-in process in January, and the adjacent hotel, Hotel Indigo, will soon open.



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LA TIMES: Warhol/Anadol Rain Machine
Deborah Vankin

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.’”

————

“Rain Machine”

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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Metropolis Magazine

Refik Anadol
Los Angeles

 


 

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?”

Virtual Depictions: San Francisco / Public Art Project from Refik Anadol on Vimeo.

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 

http://www.metropolismag.com/October-2016/New-Talent-Seven-Design-Innovators-to-Watch/index.php?&cparticle=2&siarticle=1#RefikAnadol

 



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With spire in place, Wilshire Grand stretches skyward to become tallest building in western U.S.
Thomas Curwen, LA Times

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.

thomas.curwen@latimes.com



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Urbanize LA: A Quick Trip Inside Metropolis

Earlier this week, we were afforded the opportunity to tour the Metropolis site in Downtown Los Angeles.  For a progress updated on the mixed-use complex, look below to the images from architectural photographer Hunter Kerhart.

The $1-billion development from Greenland USA consists of four high-rise towers designed by architecture firms Gensler and Harley Ellis Devereaux.  The buildings, ranging from 19 to 56 stories in height, will feature a combined 1,558 condominiums, 75,000 square feet of commercial space and a 350-key Hotel Indigo.

A full buildout is expected by 2018.

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The LA River is a Temporary Art Museum

Ask someone in Los Angeles where the city’s water comes from, and they might mention the Colorado River or the massive aqueduct that brings water hundreds of miles from the north. But some of the city’s water is also local. A new work of art called UnderLA, projected on the concrete sides of the L.A. River, shows the water hidden underground.

“We used the L.A. River as a canvas, and light as a material, and we project several visual stories,” says artist Refik Anadol, who collaborated with Peggy Weil on the project. It’s 1 of 16 installations up now around the city—on and around the river—as part of Current:LA Water, a new public art biennial.

 

Panic Studio LA, courtesy of City of Los Angeles Department of Cultural Affairs from its Current:LA Water Public Art Biennial 2016

Some of the projections in UnderLA show layers of sediment in local wells. “As you go down in depth, you’re also going back in time,” says Weil. “I think by 1,000 feet you’ve gone back a million years. There’s an emotional component to this, because it’s our history, and it’s also our future.” Another part of the visualization shows how water levels have risen and fallen with drought and overuse.

Over the next few decades, the city plans to dramatically increase the amount of local water it uses—partly by redesigning infrastructure so the little rainfall L.A. gets goes back into the ground, instead of draining down streets to the ocean. The artists wanted to make data about that groundwater accessible and interesting. “We tried to visualize this data by poetic connection,” says Anadol.

In another piece, artist Mel Chin presents a new drought-friendly landscape for the land near the river surrounded by the 5, 2, and 110 freeways. The design is available, free, for L.A. residents to take home and use in place of grass.

Next to another part of the river, Edgar Arceneaux’s gold-plated water fountains are designed to draw parallels with religious fountains. At another park, artist Kerry Tribe will be showing a 51-minute film that travels the 51 miles of the river. In Baldwin Hills, a performing arts group called the Los Angeles Department of Weather Modification will host events about how the arid city deals with water.

Unlike some major art shows, in galleries or museums, the new biennial—funded by Bloomberg Philanthropies Public Art Challenge—is deliberately set outside, and free to everyone.

 

“It’s not like a gallery experience where you expect a specific audience,” says Anadol. “Anybody in the city can experience this. It’s amazing.”

Scroll through the images above to see some of the other works of art in the biennial.

http://www.fastcoexist.com/3062107/world-changing-ideas/the-la-river-is-now-a-temporary-art-museum



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KCET: Big (Beautiful) Data; The Media Architecture of Refik Anadol

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.”

keep reading:

https://www.kcet.org/shows/artbound/refik-anadol-media-architecture-artist-disney-concert-hall-current-la



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Los Angeles Business Journal: L.A. Developers Take Part in Giving to Public Art

By HOWARD FINE

Monday, May 30, 2016

Developers in Los Angeles get hit with city charges for just about everything, and as the fees have multiplied, so have developers’ frustrations. But there’s one levy that some developers have embraced: a 1 percent fee on commercial projects exceeding $500,000 in value that is applied to fund public art projects.

Kilroy Realty Corp. of West Long Angeles is one of those developers. Last fall at its Columbia Square project in Hollywood, Kilroy unveiled a public art installation: a row of translucent panels featuring human figures by celebrity artist Dustin Yellin.

Kilroy was only obligated under the city’s 1 percent for public art mandate to pay about $600,000 for the work, but the developer ended up spending nearly double that to make sure it could be displayed to maximum effect – and spent the extra money willingly.

“We wanted to do more than just fulfill the funding requirement,” said Lauren Phillips, Kilroy’s director of construction services. “We wanted to bring something new and exciting to the project and have the art make as much impact as possible.”

The Columbia Square panels are among the more recent of several hundred public art displays around Los Angeles made possible by the city’s 1 percent mandate. Established in 1989, it’s one of the oldest in the country – and regarded as one of the better run programs with dozens of local artists as frequent participants.

According to the Cultural Affairs Department, the mandate has generated roughly $35 million for public art over the past decade. No cumulative figures were available for the total number of public art installations and programs funded, though department staff said the agency had completed 66 art projects that it managed over the past four years.

Los Angeles is not alone – 32 other cities in Los Angeles County have a levy for public art mandates, according to a 2011 report from the Los Angeles County Arts Commission. Of those, Culver City’s is the oldest, established in 1988. Other cities that have since set up programs include Alhambra, Long Beach, Beverly Hills, Santa Monica, Glendale, and Westlake Village.

Most of the other cities have a 1 percent set-aside requirement, though a few have slightly higher or lower percentages.

Malibu fine art consultant DeeDee Postil said that while the programs in these cities generally don’t have major problems, few match up to the quality and breadth of art and level of experience in Los Angeles.

“The city of Los Angeles has really emerged as the gold standard among these programs,” she said.

Increased involvement

In Los Angeles, the mandate is limited to commercial developments (in mixed-use projects, only the commercial component, not the residential). Developers have three choices: They can turn the funds over to the city’s Cultural Affairs Department and leave all the work to the city; they can hire their own team to select the artist and plan the installation; or they can work in tandem with the city.

In the mandate’s early days, many developers simply paid their fees to the city and wanted little more to do with it, according to Edward Goldman, a local art critic. Department of Cultural Affairs staff would then choose the artists and find nearby sites to place the art.

That practice has changed over time as more developers have taken it upon themselves – and hired consultants – to select artists and prepare their project sites.

Initially, some developers had to be dragged into the process, fearful that they might run into bureaucratic delays that could postpone the opening of their project, according to Michelle Isenberg, a local fine art consultant who has worked on percent for public art projects in downtown Los Angeles and Culver City, at Los Angeles International Airport, and elsewhere. Isenberg is advising Chinese developer Greenland USA on its public art installation at downtown’s Metropolis project and Korean Air Lines on its Wilshire Grand development.

More recently, though, as word has spread that delays are infrequent and city staff are relatively accommodating, an increasing number of developers have taken on the tasks themselves.

“The developer experience has opened up; early on it was really difficult,” Isenberg said. “There were lots of location and medium restrictions; those have loosened up over the years. Now, L.A. is considered a national leader in percent for public art programs.”



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Bisnow: Eying Wilshire Grand’s Crown

Jun 23, 2016 Karen Jordan, Bisnow, LA

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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Global Design Award for 350 Mission / Virtual Depictions:San Francisco
Honor Award 2016

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.

Jury Comments: 

“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.”

Design Firm: 

Skidmore, Owings & Merrill LLP Architects, Refik Anadol Studios

Client: 

Kilroy Realty Corporation / John B. Kilroy Jr.

Project Area: 

38’7” high by 68’6” wide

Open Date: 

November 2015

Project Budget: 

$3.5 million

Photo Credits: 

Refik Anadol

Design Team: 

Refik Anadol, Efsun Erkilic, Raman K. Mustafa, Kian Khiaban, Toby Heinemann, Daghan Cam, Sebastian Neitsch, Johannes Timpernagel, Sebastian Huber, Kerim Karaoglu

Consultants: 

Arup, Sensory InteractiveSansi North America (SNA)Skidmore, Owings, and Merrill LLPDPA Fine Art ConsultingIsenberg & 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

Fabricator: 

Webcor BuildersWSP | Parsons Brinckerhoff, Sansi North America (SNA)



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Epson Partners with Artist Refik Anadol to Create Immersive Displays Blending Light and Art with Laser 3LCD Projection at InfoComm

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; MontrealGenevaBrussels; 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.

About Epson
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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New Creative Offices Coming to Culver City

BISNOW

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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Mayor Eric Garcetti Announces Current LA 2016 Refik Anadol Among Artist and Curatorial Teams!

 

http://www.latimes.com/entertainment/arts/miranda/la-et-cam-garcetti-announces-artists-selected-for-public-art-biennial-20160412-column.html

http://www.laweekly.com/arts/come-july-the-la-river-will-become-a-public-art-museum-6817987

Artists and artist teams include:

Refik Anadol + Peggy Weil (team)
Edgar Arceneaux
Josh Callaghan + Daveed Kapoor (team)
Mel Chin
Chris Kallmyer
Candice Lin
Lucky Dragons (Luke Fischbeck + Sarah Rara)
Teresa Margolles
Kori Newkirk
Michael Parker
Gala Porras-Kim
Rirkrit Tiravanija
Kerry Tribe.

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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Three-year Wilshire Grand build reaches a new milestone: ‘topping out’
 
 
(Pictured: Ashley Calhoun, Isenberg & Associates, Inc., in attendance)
 
Los Angeles Times 
Thomas Curwen

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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Susan Narduli Featured in CODAmagazine

LIGHT AS ART

https://flipboard.com/@codaworx/codamagazine%3A-light-as-art-iii-paom665by



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