Gold Line Bridge The Art o f desi gn

Metro Gold Line Foothill Extension Construction Authority 406 E. Huntington Drive, Suite 202 Monrovia, CA 91016 (626) 471-9050 www.foothillextension.org

A Metro Gold Line Foothill Extension CONSTRUCTION AUTHORITY PROJECT The mother art is architecture. Without an architecture of our own we have no soul of our own civilization. Frank Lloyd Wright “The bridge Arts andArchitectureArts t ar A Works Progress signals ane in major infras ini F B designs of evokes and publisher, 2 ormer ime.” arbara Gold Line Bridge dminis t t is ia t t

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T schedule, thebridge was completed inDecember 2012. 2011 andsite preparation began inAprilofthatyear. Onbudget and on constructible reality. The designfor thebridge was approved inNovember firm for theproject andtransform the Construction Authority’s vision into a Los Angeles-based AECOM to bethelead architectural andengineering contractors andconstruction managers inthecountry. The company hired The GoldLineBridge was builtby Skanska USA, oneofthelargest general for amore conventional structure ofitssize. the creation ofasculptural bridge builtfor thesamecost originally estimated of thecommunity, pastandpresent. This pioneeringcollaboration resulted in Andrewartist Leicester, envisioned theGoldLineBridge asavividexpression The Construction Authority, withtheinvolvement ofaward-winning public the project’s planning,design,andconstruction. Construction Authority, anindependenttransportation agency responsible for The Foothill Extension isoverseen by theMetro GoldLineFoothill Extension existing Sierra Madre Villa StationinPasadena andthefuture Arcadia Station. light rail project from Pasadena to Azusa,providing aconnection between the first completed elementofthe11.5-mileMetro GoldLine Foothill Extension Pro The GoldLineBridge Freeway inArcadia, California. The $18.6 milliondual-track bridge isthe he GoldLineBridge isa584-foot bridge thatspanstheeastboundI-210 j e c t D et a ils C C millionpoundsofsteel rebar1.3 regional sources). The project required 6,500cubicyards ofconcrete and M E Arcadia, California along theI-210 Freeway between BaldwinandSantaAnitaAvenues in connectivity of thetransit system. found ontheWestern Diamondbacksnake andmetaphoricallyreference the contains casted grooves andhatch-marks whichsimulate thepatterns on theoutrigger beam.The superstructure’s serpentine mainunderbelly the mainsuperstructure, whichare tied together visuallyby therelief pattern the two 25-foot tall,17-foot diameter sculptural baskets flankingthesides of These inspirations permeate allelementsofthestructure. Mostnotableare with itsoversized architectural landmarks. peoples andwildlife, aswell astheroadside attractions ofnearby Route 66 works.public art Hisbridge designwas inspired by thelocalindigenous Andrewartist Leicester, whohascreated several international large-scale The designconcept for thebridge was developed by award-winning public D C H Width: 115feet between centerlines ofthetwo signature columnsth: (end-to-end): support 584feet L T eng xposure: 255,000 vehicles pass theGoldLineBridge daily, asthey travel ompletion dat ost: lear he Gold eight: Railvehicle wheelswillbe33feet above thefreeway surface esi aterials: Concrete withsteel reinforcement (92 percent from localand $18.6 million (funded by Los Angeles County’s Measure R) ance: The bottom ofthebridge is19 g n Con L ine Brid c e: December 15, 2012 e p t g e: S t a tis ti c s 1 / 2 feet over thefreeway surface

3 Gold Line Bridge 4 Gold Line Bridge 110 feet deepand11feet indiameter. large-diameter cast-in-drilled-hole (CIDH) foundations—each approximately the large vertical andlateral demandsofthestructure, AECOM designedthree a singlecolumn bentandoneoutrigger bentspanning thefreeway. Becauseof designed athree-span, cast-in-place post-tensioned box girder by supported a longspancrossing anactive seismicfault. To address theseissues, AECOM Adding to thechallenge designwas oftheuniqueartistic theneedto create many challenging construction issues for thebridge. developed by Leicester andtheConstruction Authority andaddressing the and engineering.The firm was responsible for takingthe conceptual design AECOM, aninnovator indesignconsulting services, ledtheproject’s design E conditions of the site. subtle reflective quality to thematerial which responds to theatmospheric contains black stone, aswell asclear, grey andmirrored glass to provide a mix developed specifically for theGoldLineBridge. The concrete blend The pre-cast segmentsfor thebasket are madeofauniqueaggregate features 16reeds atthetop whichrange from two to ten feet inheight. Each woven basket iscomprised of60individuallypre-cast segmentsand made ofwood andrubber, thatserved asmoldsfor theconcrete. on thesuperstructure were created usinghand-crafted primarycastingforms, The complex patterns ofweaving ontheoutrigger beamandribbedpattern D time-consuming traditional methodofdigginginspection trenches. below grade by usingelectronic dataassessed atthesite, rather thanby the allow engineers to make assessments aboutthe integrity ofthefoundations bridge. Ifastrong earthquake occurs, column” this“smart technology will in whatmay bethefirst applicationofthis technology ina reinforced concrete AECOM included timedomainreflectometry inthethree CIDH foundations, Sma n esi g ineerin g rt Col n D et um a g ils

a n nd T e S c eis hnolo m i c

Saf gy et y bridge project cost. team, representing more than12percent ofthetotal onthedesign-build Business Enterprises participating at moremillionwere than$2.3 awarded to certified Small local andregional sources. Additionally, contracts valued Gold LineBridge’s construction were acquired from ($2 millionworth) ofthematerials usedinthe in several ways. important More than92 percent The GoldLineBridge hasboosted thelocaleconomy L Ec midnight and5a.m. an active freeway andnearly100nightsofwork between because oftheuniquelyconfined site located adjacent to With theGoldLineBridge project, therisks were greater The risks onany majorconstruction project are significant. working toward aunified goal of zero workplace incidents. Authority andajobsite culture thatinvolved everyone and diligent oversight by Skanska andtheConstruction program istheresult ofcareful pre-construction planning were logged ontheproject. The success ofthesafety injury; approximately 95,000 incident-free work-hours The GoldLineBridge was constructed withoutarecordable Pro notion ofarrival atandpassage through auniqueplace. and stabilize thesoil.The landscapeplanaccentuates the native plantsto enhance thenatural beauty ofthesite median andshoulderare landscaped withavariety of the bridge designmay beappreciated atnight.The freeway The construction team installedaestheticlightingsothat L o i g ono ca htin j e l c S m t o g i Saf

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5 Gold Line Bridge “Through w w w cul c Construction Authority Chief Ex i i Metro GoldLine done before.” has everbeen efficien for Foothill Extension H t t 6 on abib F. Balian s residen be ork Gold Line Bridge e e’ve beenable t w t t tt ural legacy he region and ribu ere able ecutive Officer About theProject Team w er andmore t e’ve done, ly t t e t he t s, and t han o a t o do t o C e aboutthe F their staffappointees). (elected officials), andthe Technical Advisory Committee (city managers or advisory boards to theConstruction Authority: theJointPowers Authority In addition,citiesfrom SouthPasadena to Ontarioare represented ontwo or othergovernmental entity, andeachmemberrepresents acorridor city. directors, includingfive voting members. Eachmemberisappointed by acity The Construction Authority isgoverned by aneight-member board of segment includestheGoldLineBridge. more than$500million,to complete thePasadena to Azusasegment.This The Construction Authority ismanagingthree design-buildcontracts, totaling in Arcadia, Monrovia, Irwindale,andAzusa. Duarte, 11.5-mile segmentwillbecompleted inlate 2015 andwillincludestations and Azusa,isfundedby Los Angeles County’s Measure R.Work onthe Montclair intwo construction segments.The first segment,between Pasadena The Foothill Extension isa$1.6 billionproject thatwillconnect Pasadena to segments oftheline,collectively calledtheFoothill Extension. Pasadena in2003, ontimeandunderbudget. Work isunderway onthenext The Construction Authority builttheinitialsegmentfrom Union Stationto foothills oftheSanGabrielandPomona Valleys. in downtown Los Angeles to Montclair inSanBernardino County, alongthe purpose isto extend theMetro GoldLinelightrail linefrom UnionStation construction agency created in1999by theCalifornia State Legislature. Its The Construction Authority isanindependenttransportation planningand Metro Gold or mor onstr uc tion A L C ine Foothill onstruction u thorit A uthorit y E xtension y, pleasevisit:www.foothillextension.org. e about F serve clientsinmore than130countries. A market-leading Fortune 500company, AECOM andits45,000 employees built andnatural environments. technical excellence indelivering solutionsthatcreate andsustain theworld’s AECOM provides ablendofglobalreach, localknowledge, innovation, and energy, water, andgovernment. a broad range ofmarkets, includingtransportation, facilities, environmental, AECOM isa globalprovider oftechnical andmanagement services support for A e information about F members who are lifelong residents oftheregion. that serve thestate. Every Skanska office isstaffed by local teams with core Today, Skanska’s work inCalifornia ismanaged by four principaloffices local contractors inall of itswork. health, andSkanska’s California leadership remains committed to involving Skanska andYeager understood thatconstruction isacatalyst for economic household namestayed to steer Skanska into theCalifornia market. Both When Yeager joinedSkanska in 2002, thepeoplewhomadeYeager a SouthernCalifornia’ssupported growth. the state, Yeager’s work literally paved thefreeways andinfrastructure that Construction was founded. Oneofthepremier heavy construction firmsin Skanska’s history intheGoldenState dates backto 1919whenYeager has spannedAmerica. of New York City to thehistoric Pacific Coast Highway, Skanska’s experience contractors, developers, andconstruction managers. From buildingthebridges With 39offices nationwide, Skanska isoneofAmerica’s largest general S or mor or mor k E a C O nsk M a U S AECOM A , pleasevisitwww.aecom.com. S kanska USA , pleasevisitusa.skanska.com.

7 Gold Line Bridge Habib F. Balian Interview with Habib F. Balian Chief Executive Officer Metro Gold Line Foothill Extension Construction Authority Q: What was your vision for the As a part of the overall Foothill Extension Gold Line Bridge? project, including the bridge, public art makes up about one-half of one percent HB: I wanted the bridge to be sculptural, not of the budget, which is in accordance with just an embellished structure. I wanted us to federal standards. create something fantastic, something never done before. I wanted the artist to address the landscape—the mountains—as well as Q: Is the bridge on time and on budget? the community and its history and culture. abib F. Balian serves as chief executive officer of the Metro Gold Line HB: Yes, the project is on budget, and Ultimately, I wanted to meld art and the Foothill Extension Construction Authority. Balian oversees planning, Skanska USA, the design-build firm for H transit experience, and we did that. funding, and construction of the light rail line from Los Angeles to Montclair. the bridge, has done an outstanding job We wanted the bridge to represent the entire in reaching the target completion date of During Balian’s 12-year tenure, the Authority has managed construction of area—the San Gabriel Valley, the foothills December 15, 2012. the 13.7-mile segment of the Gold Line between Los Angeles and Pasadena. that surround it, and the indigenous peoples. This design-build program was completed on time and under budget. Balian Completing the Gold Line Bridge on time It needed to be organic and well-rounded— also has directed the preparation for construction of the Pasadena to Azusa and on budget is an important milestone. not mechanical and high tech. segment and the planning studies to prepare the segment from Azusa to The Construction Authority recognized that Montclair for construction. to keep the Foothill Extension project on Q: What is the Construction Authority’s schedule, the bridge completion had to be Prior to his appointment as CEO, Balian served as the chief administrative philosophy for its public art program? an early-action item. We knew the process officer of the Construction Authority. In both his current and former roles, would be extensive because Caltrans would Balian has worked closely with elected officials and government agencies at HB: We believe that art should be an need additional time to review and approve all levels to build support for the Foothill Extension Project. integral part of our projects, and it should the plans, especially with the unique design. represent the uniqueness of the area’s Before joining the Construction Authority, Balian served as chief of staff for the The bridge needed to be ready for the next history and culture. We use a standard set Los Angeles County Metropolitan Transportation Authority (Metro). Reporting contractor to install the utilities and track as of architectural elements as a baseline for to Balian were departments that managed planning and environmental part of the light rail construction. designing our projects, and then we include reviews and readiness of transit projects, management audit, board research, art for the stations and other key elements government relations, and labor relations. He also served for seven years with like the Gold Line Bridge, to serve as visual the Los Angeles County Board of Supervisors, advising on Metro and other overlays that provide a unique character to transportation issues. the work. Balian is a lifetime resident of the San Gabriel Valley, currently living in We are also very community focused. For Pasadena with his wife, Toni, and their two sons. that reason, we bring our artists in early in the process to connect with the community while they develop their designs.

That early role for artists also ensures that “I wanted the bridge to be sculptural, not just an embellished their designs can be more easily integrated structure. I wanted us to create something fantastic.” into the engineering for the project. The

e art is in place before the engineering, e g g rather than trying to fit it in later. We have accomplished this with the Gold Line Bridge project, as well as with the station art, and it

ine Brid ine has helped keep costs down while ensuring Brid ine L that the line is unique and interesting for L users and neighbors. Gold Gold Gold Gold

8 9 10 “There accom w some ins limi B u e could build t p

t ira w ed budge t w i r about $1million. percent ofthetotal cost ofthebridge— of thebridge make upapproximately five that thecustom architectural elements design andinto construction. We estimate the project as it moved from concept through concept andhiscontinuing involvement with which includesAndrew Leicester’s publicart construct thebridge was $18.6 million, projection. Skanska’s cost to designand about $25million,basedonanindependent estimated thecost for thebridge to be H Q: hing uniqueandfan t p t ealizing Andrew B: The Construction Authority originally h lished ourgoal.” ion, and ere H t ow muchofthebudget isdevoted to he righ t hose t , le t p he bridge t lanning, t w alone crea mixofcrea ho didn’ L eic ester’s vision? artistic w w t as t i e t believe t h a t t e ic. ivi t y, right team, andthecommunity’s support. very economically, withearlyplanning,the We learned thatmuchcanbeaccomplished, with allthestakeholders working together. coordinating andplanningeasier, especially proactive. Having therightchemistrymade collaboration andbecausewe were We were successful becauseofthis made ithappen. that vision;andthedesign-buildteam that girder; ourboard ofdirectors whosupported and allowed Andrew to thinkoutside thebox shared thevisionofsculptural design stafffromthe artist; multipleagencies that It includedthecommunity thatselected H in makingtheGold Q: public agencies. engineers, the builder, andmultiple process the thatincludedtheartist, Ultimately, thedesignwas forged from a go backto thedrawing board many times. determined, andAndrew was required to considered before thefinalone was dozen different designconcepts were functional andbeautiful.Inall,more thana understood thathisdesignhadto beequally He neededto bevery flexible. Andrew by Andrew ashedeveloped his design. In theend,there was alotofexperimentation provoking conversations. effort thatrequired many longandthought- develop organically. This was acollaborative be more fluidandallowed thedesign to the designprocess thisway enabledusto engineering andnotvice versa. Organizing very different inspired inthattheart the H process for thebridge? Q: Whatwas uniqueaboutthedesign B: This was atrulycollaborative process. B: Development ofthedesignwas H ow were thedifferent groups involved L ine Bridge areality? thousands ofpeoplepass by thebridge daily, has ever seenordonebefore. Hundreds of to thecommunity? Q: WhatwilltheGold residents. be apositive symbol for aregion andits feel welcome. Every transit system should vibrancy to aspace, andmake passengers anddesigncanimproveart appearance, give patrons andthecommunity atlarge. Quality systems hasaprofound impactontransit The visualquality ofthenation’s transit a story. region’s uniquecultural history. Ittells case ofthebridge, thestructure reflects the It’s astatement ofwhere you are. Inthe experience more memorable andenjoyable. H H have onpublictransit? community? Whatkindofimpactcanart Q: B: It’s something nooneinthisregion B: Publicmakes art thewholetransit H ow serve doespublicart the L ine Bridge mean ever been donebefore. to doitbetter andmore efficientlythanhas region anditsresidents, and we were able able to contribute to acultural legacy for the Through thework we’ve done,we’ve been of that. everyone whoexperiences it.I’mproud infrastructure changes thequality oflife for public space. Ibelieve thispiece ofinspired and itsboard share avisionofimproving environment. The Construction Authority and thepeoplewhopass through that interaction between thebuiltenvironment The GoldLineBridge represents an our goal. inspiration, andplanning,we accomplished fantastic. Butwiththerightmixofcreativity, let alonecreate somethinguniqueand could buildthe bridge withalimited budget, There were thosewhodidn’tbelieve we attention we gave to itsdesign. and Ithinkthey willappreciate thetimeand

11 Gold Line Bridge Andrew Leicester Interview with Andrew Leicester Design Concept Advisor

Q: Why did you choose to engage in public art?

AL: As a young kid growing up in the English countryside, I would explore abandoned ndrew Leicester is the design concept advisor for the Gold Line quarries, old canals, viaducts, industrial Bridge project. Leicester is internationally recognized for more A plants, and brick kilns. It was fascinating to than three decades of work as a public artist, lecturer, and panelist. “This monumental see this industrial archaeology in complete Leicester believes his art should exist in the public domain and form social, ruin and covered in ivy. Those forms had bridge is a historical, and environmental links between its specific location and the the look of ancient funerary and ritual symbolic gateway community. architecture and resulted in my first thoughts about a possible career focused on art and into the San Leicester has created public art projects in the United States, the United from the start. I could not believe it and architecture. Gabriel Valley, as Kingdom, and Australia that range in size from small courtyards to was intrigued that the artist was not an municipal transit plazas, park entrances, and water gardens. His work I studied physical geography—understanding afterthought—as is the case with so many well as a tribute often addresses the issues of sustainability—specifically reclamation and landforms and how humans have altered public projects. to those who wind and solar power. them, such as the redirection of rivers. I love I immediately started working on ideas landscape and its scale. I wanted to work on inhabited this Among Leicester’s other projects are “Parade of Floats,” 16 sculptures and researching the area before flying to a level where the artwork is commensurate spectacular lining pedestrian routes to the Civic Center in San Jose, California; Los Angeles for the interviews to present with the mass of the surrounding landscape, and “Flying Shuttles,” 27 elements integrated into the exterior facade my sketchbooks that demonstrated my landscape.” as well as with the urban infrastructure. and courtyard of the Bobcats Arena in creative process. Being involved from the Charlotte, North Carolina. How art functions in the context of a beginning really allowed me to impact the specific community and its environment is overall gestalt. I am deeply grateful to the Leicester has received numerous awards a particular interest of mine as seen in my Construction Authority for their leadership for his work, as well as fellowships earliest works, which were primarily land and commitment to quality, which ensured from the Bush Foundation, McKnight art and environmental installations that the bridge adhered to the original concept. Foundation and National Endowment document erosion over time. for the Arts. His projects have been featured in exhibitions at the Walker Public art is encountered in everyday life Q: What was the creative evolution of the Art Center in Minneapolis, Minnesota, and, as a result, has a huge audience without initial concept for the Gold Line Bridge? and the Serpentine Gallery in London, requiring the viewer to go to a specific space AL: The Construction Authority set the England. Leicester’s extensive to see it. Unwittingly, people experience art mandate for me to create a unique gateway sketchbook for the Gold Line Bridge in an environment oversaturated with other that reflected aspects of the San Gabriel project was selected as one of only visual stimuli. Valley region. As with all public art projects, a few dozen creative professional it involved many conversations with the works on view at the Art Center Q: How did working with the Construction community, listening to their responses, and College of Design’s “Pages” Exhibition Authority differ from your previous incorporating their input in my preliminary ongoing through January 13, 2013, in commissions? sketches. Pasadena, California.

e AL: This was an extraordinary opportunity. Understandably, people in the community e

g Leicester was born in Birmingham, g Within the Request for Proposals link have a better intuition about local history, England, and emigrated to the was a video of Habib Balian, CEO of the myths, and legends. Their responses and United States in 1970. He lives in Construction Authority, and art consultant reactions guided my steps. The crucial Minneapolis with his wife Mary and

ine Brid ine Lesley Elwood standing at the bridge site by synthesis for the design came from this Brid ine

L two sons. L the freeway, describing how they wanted an exchange of ideas and eventually led to a For more about Leicester and his work, artist to create the concept for the bridge final concept. please visit www.andrewleicester.com. Gold Gold Gold Gold

12 13 “As with most ceremonial portals, the symbolic and decorative elements of the simple arrangement creates a giant “post Q: What sort of inspiration do you hope the bridge serve a vital role and lintel” doorway for eastbound motorists. bridge will provide to the community? Adding to its immensity is the serpentine in conveying a message AL: Nearby Route 66 (now Foothill carriageway, representing the Western to anyone who passes Boulevard) basically parallels the entire Diamondback, above with its exposed “ribs.” Foothill Extension project from Pasadena to through. They announce Montclair. This “California Mother Road” has the beginning of the San Q: Can you explain your creative process had an indelible effect on the minds of many Gabriel Valley, and to for the Gold Line Bridge project? Americans as the quintessential American those who live there, AL: I did research for nearly a year, designing motorway with its larger-than-life figures and presenting preliminary ideas to the and quasi-architectural objects advertising a they say ‘you are not far local attraction. As history moves inevitably Construction Authority in person and from your destination.’ I drew my inspiration from two sources: the via emails and conference calls, while onward, cultural shifts will wipe out these region’s cultural history and its architecture. also including feedback from a group of cultural artifacts, as well as traces of earlier The bridge provides that The large baskets that adorn the bridge community stakeholders representing the peoples. warm, confident feeling of metaphorically represent the indigenous corridor’s cities from Pasadena to Montclair. This monumental bridge with its supporting heading home.” peoples of the region and the growth of The original concept for the bridge included columns is a symbolic gateway into the agriculture as a primary catalyst for the San using a variety of materials. Following a San Gabriel Valley, as well as a tribute to Gabriel Valley’s development. The baskets Caltrans and Metro review, however, it the earliest settlers who inhabited this also pay tribute to the iconic sculptural was determined that the bridge should be spectacular landscape. In addition, it traditions of nearby Route 66, with its constructed in concrete for maintenance and emphasizes to the traveler that they have oversize commercial architecture, such as safety reasons. (Soil borings had confirmed arrived in a unique place, which is one of the the windmill atop the Denny’s restaurant on the existence of the active Raymond Fault driving principles behind the art program for Huntington Drive (originally an iconic Van de running directly underneath the bridge.) the Foothill Extension. Kamp’s restaurant) and the Aztec Hotel on Special seismic engineering required sinking Foothill Boulevard north of the freeway. At night, lights will illuminate the baskets, foundations more than 100 feet down, creating spectral sentinels for those who It also seemed appropriate to reflect the beefing up the three main columns, and are driving along the freeway or taking centuries-old migratory history of the area. adjusting the profile of the baskets and main the train—something passengers can look Prior to the Spanish missions, these ancient crossbeam. forward to as a landmark on their journey. peoples traveled from the interior desert I presented half a dozen ideas before the As I mentioned before, the average person states and great basin areas along the San Construction Authority approved the final does not ordinarily encounter art in their Gabriel Foothills on their way to the ocean. design concept. everyday environment. I want people to Some of the most notable and recognizable be intrigued by the mystery of it. The next task was to engineer the various artifacts of these peoples’ cultures are their components—the reeds, baskets, and As with most ceremonial portals, the elaborately designed baskets, which served a serpentine skeleton of the bridge—to pass symbolic and decorative elements of the utilitarian purpose and were valuable trading a Caltrans’ review. The engineering crew bridge serve a vital role in conveying a commodities. Their creation remains an addressed these intricacies and understood message to anyone who passes through. e ongoing tradition to this day. They announce the beginning of the g how we would execute all of the elements, The basic bridge is comprised of a while still preserving the visual integrity. San Gabriel Valley, and to those who live carriageway (where the train will run) that is The advice and amazing skills of architect there, they say “you are not far from your supported by a cross beam across the I-210 Rivka Night were crucial when working on destination.” The bridge provides that warm,

ine Brid ine confident feeling of heading home.

L freeway. The cross beam is supported by two the many complex computer drawings and columns on either side of the freeway. This calculations. Gold Gold

14 15 Interview with RIVKA NIGHT

Rivka Night Q: What was AECOM’s role in the project? Lead Architect, AECOM RN: AECOM was responsible for ensuring that the bridge design met the structural Rivka Night and maintenance requirements of the Lead Architect, AECOM project stakeholders (the Construction Authority, Metro, and Caltrans) and that ivka Night serves as the lead architect for the Gold Line Bridge. Andrew’s original concept was implemented. RNight works for AECOM, the primary design and engineering firm To accomplish this, AECOM formed a for the project. team that included Patrick Nicholson, the project design manager, and the company’s Night specializes in the design and implementation of rail transit structural and civil groups, landscape projects—from concept to final construction. Night works with multi- designers, and me as project architect. disciplinary teams of planners, engineers, and architects to develop underground, at-grade, and aerial rail stations and support facilities. As the project manager, AECOM also served as the single point of contact for all the For the Gold Line Bridge, Night was responsible for translating the vision principals in charge, including coordinating of Andrew Leicester, the project’s design concept advisor, into a buildable with multiple agencies, Skanska, and our structure. Working with Leicester and the AECOM engineers, Night design team. Since this was not a traditional created a harmonious design with continuous lines—both horizontally Caltrans bridge, we worked very closely and vertically—which was a complex challenge because of the curved Q: What was your first impression of the with them. The design went through profile of the baskets and the horizontal wave design on the face of the design Andrew Leicester developed for the considerable scrutiny to ensure its safety superstructure. Gold Line Bridge? and constructability. Night has worked on several local rail projects, including the Metro RN: I had the same reaction as everyone Red Line segment to North Hollywood, the Metro Gold Line Eastside when they first saw it—Wow! It is very Q: What were some of the challenges? Extension, and the Regional Connector. Each station along these lines unusual and not at all a traditional design. has been developed with a theme, which resulted from the incorporation My immediate thought was, “Is it really RN: As the project evolved, the design binder of physical, cultural, and historical elements from the surrounding going to be constructed out of concrete?” It became thicker and thicker. I looked at the neighborhoods. seemed that it might be a very complicated first sketch I received compared to what was construction because of the unusual shapes. built and I saw a lot of changes—specifically Night worked for the Metropolitan Transit Authority of Harris County how we treated the different surfaces and It is not often that an architect is asked to in Houston and the Dallas Area Rapid Transit System while those how the top of the baskets and the reeds collaborate with an artist on a bridge. Since transportation systems were in the planning stages. Night has worked were handled. These went through several I was just completing work on the Gold Line for AECOM for 17 years. transitions, but we stayed very close to the stations in East Los Angeles, where every original design. That was our goal. canopy was unique and every platform had artwork, I thought this bridge project was a From the initial concept to the final design, you can see the path of adaptation of art “It was the ultimate professional experience to be so creative and natural continuation for me and very exciting. to the structure being buildable, functional, When I first met Andrew, we spent a whole contribute to the aesthetics of the bridge. Working on the bridge and structurally safe. The final goal was to e day touring the Gold Line, looking at those e g was an unusual opportunity and very gratifying.” achieve a successful “marriage” of art and g individual station designs and talking engineering. about how my moving from the stations to working on his large-scale artwork with its There were many interesting creative

ine Brid ine architectural and structural elements was challenges. Andrew and I worked Brid ine L L so exciting. together in front of the computer to see Gold Gold Gold Gold

16 17 18 Gold Line Bridge unconventional detailinthatbridge. Skanska alotofcredit. There isalotof agreed to allow it,andyou have to give the agency’s concerns. Intheend,Caltrans took alotofbackandforthto work through They are usedto smoothsurfaces, andit allow thegrooves underthesuperstructure. Finally, Caltrans was initiallyreluctant to proportionately goes alongthatline. reed,the shortest andeverything around it magic linethatgoes from thetallestreed to wider, columns. asdidthesupport There isa requirements. Therefore, thebaskets became needed to belarger becauseofseismic due to structural considerations. The baskets skinny, andthey couldn’t bebuiltlike that The reeds intheinitialsketches were talland are consistent. them into thehorizontal bent,sotheselayers horizontal layers ofthebaskets andblended bysupported thetwo columns. We took the horizontal piece, calledthe“bent,” whichis nine horizontal layers andisconnected by a make itonesmoothpiece. Eachbasket has continuous vertical line.Itwas ourgoal to and thegrooves onthecolumns are one complemented eachother. The reeds how thedifferent elementsofthedesign concept ofbasket-designed columns CAD allowed usto translate Andrew’s checking accuracy. physical model,andCAD isinstrumentalin we are tryingto do. You don’thave to builda us unlimited possibilities to visualize what design. Itspeedsuptheprocess andgives RN of theprocess? design (CA crucial. Q: Andrew saidyour advice andskillswere project’s stakeholders. is abeautifuldesignthatworks for allthe needed to beaugmented, theendresult although afew ofthedesignelements The entire process worked well and, of thiskind. collaboration, onabridge particularly project the designto improve. Ultimately, it’s about how thedesignprocess hadactuallyallowed Andrew saidhewas pleasantlysurprised design. The wholeteam was wonderful. envelope to accommodate theunusual understanding andwillingto pushthe Skanska’s project executive. Hewas very It was great working withLawrence Damore, : CAD changes everything inproject H ow didusingcomputer-aided D ) sof tware addto thesuccess Q: Andrew hopedthattheGold through to final construction. enabled usto take aconceptual design on theface ofthebridge. The technology profile ofthebasket andthehorizontal wave horizontally andvertically for thecurved structure withcontinuous lines,both many different angles, creating a harmonious of thebridge usingCAD to visualize itfrom superstructure. Iintegrated thevarious parts and curved shapesinto abuildable Line Bridge. Authority took thatchance withtheGold outside thenorm? I’mgladtheConstruction bottom lineis:how willingistheclientto go creative possibilities inbridge design. Butthe The can present artist ideasandpromote the the world. It’s allinthehandsofclient. beautiful bridges thathave beenbuiltaround you Googleiconic bridge,you canseemany RN possible paradigm? results, whatare your thoughtsonthis onthebridgewith anartist andseeingthe bridge buildinginCalifornia. After working aparadigmdesign mightstart for shift : Ihopethiscould prove If to beashift. “The ar t t t A chance crea clien in bridgedesign. ideas and L ho ine he he norm? he bo u t w hori C B t

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opportunity andvery gratifying. Working onthebridge was anunusual contribute to theaestheticsofbridge. professional experience to besocreative and to work ontheproject. Itwas theultimate wonderful, andIwas delighted to beinvited a bridge asanartwork, Ithoughtitwas When Iheard theAuthority was creating 19 Gold Line Bridge Interview with LAWRENCE DAMORE

Lawrence Damore Q: What is your role on the Gold Line and each had more stringent standards in Bridge project? response to the bridge being located over an Project Executive active fault. Skanska USA LD: As project executive for Skanska USA, the design-builder for the Gold Line This was something very different for Bridge, I am responsible for overseeing the my team to tackle. The design required design and construction teams, including the construction team to implement “The architectural AECOM, our engineering and architecture the architectural elements through their awrence Damore is the project executive with elements of the subcontractor. craftsmanship. All of the details seen on Skanska USA for the Gold Line Bridge project. the exterior of the superstructure and L bridge are unique. I have an on-site team that includes a Damore is responsible for managing the design and crossbeams, for instance, required crew superintendent, project engineers, a quality construction of the $18.6 million bridge, as well as Nearly everything members to install formliners one piece at a assurance and control management unit, coordinating with the Construction Authority. time by hand. They did an outstanding job, on this project was and others. Together we have managed more and I am very proud of the results. For the Gold Line Bridge, Damore heads a team of nine specially designed and than a dozen subcontractors and some 100 in-house superintendents, quality and safety managers, trades workers who put in approximately manufactured for the and project engineers—an especially challenging role 95,000 work-hours on the project since site Q: What advantages did you find working on a project with unique design elements and a small project, and required preparation began in April 2011. from the start of the project with Andrew Leicester, the project’s design concept construction site over an active freeway. our crews to install We are extremely proud that in that time advisor? Damore is a registered civil engineer with nearly two them using detailed we have been able to maintain an excellent safety record with no recordable incidents. LD: Andrew understood the constructability decades of construction management for highway craftsmanship unlike construction projects in Southern California. In the region issues, and our team, especially our any other bridge I have architect, worked collaboratively with him to he has overseen the Foothill/Eastern Transportation Q: What is Skanska’s history locally? Corridor Project in Orange County, the reconstruction of been involved with.” address these issues. Andrew listened to the I-5 in the cities of Orange and Anaheim, the extension of LD: With the merger of Yeager Construction concerns and made innovative changes to I-210 in the Inland Empire, and the Alameda Corridor. Co. with Skanska in 2002, that means our work through the challenges. company has worked in California since In San Diego, Damore managed highway improvement 1919. During that time, we have paved the projects on I-805, as well as the extension of California freeways and created the infrastructure that SR 905 to the international border. Recently, he also supported the growth of southern California directed site development work for the Pelican Hill Resort, and the Inland Empire. an Irvine Company project.

Damore served as an officer in the United States Army Q: You have built many bridges in your Corps of Engineers. He lives in Aliso Viejo with his wife, career. What made this project unique? Nora, and their two children. LD: It is always challenging to build over an active freeway. What made this project even more challenging was the small footprint for our working area and, of course, the unique e e

g design. In addition to the Construction g Authority, Caltrans and Metro had to review and approve the design for the bridge. Each agency had their own requirements ine Brid ine Brid ine

L and standards to take into consideration, L Gold Gold Gold Gold

20 21 22 Gold Line Bridge LD built into thebridge’s deepfoundations? column”especially the“smart technology building over the LD Caltrans andMetro? r Q: on singlelarge-diameter cast-in-drill-hole designed. The columns hadto befounded those columnssupporting and abutmentare design canproceed. Finally, foundations Fromlengths. there, column andabutment outbystart determining optimum span driven by theseismic criteria. Designers Q: very different—two shorter, widerbaskets. baskets andcolumns, theendresult was had envisioned four tall,relatively narrow deep into theground. And,where Andrew diameter concrete pilereaching 110feet just three columns founded onan11-foot could offer amore efficientstructure with worked through ourdesignwe realized we the southernshoulder. However, aswe three inthecenter medianandtwo on design concept envisioned five columns— columns andfoundations. Initially, Andrew’s of thebridge andreducing thenumberof esponse to specificcriteria required by : Every component ofthedesignwas : We proposed thespan lengthening H H ow didyour team accommodate ow didthedesignconcept change in “ t t t AE on board subcon done. p finall I ’m mos hey alldida he designengineersa ha u COM tt t could ge ing y ge St , t t t ar t rac hen ourvarious

p R oge tt t roud of t aymond Fault— o buildi ing ing ourcre t ors, and t t t her a errific job.” w

t he job i t h t — t eam t

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LD unique degree ofcraftsmanship? Q: any otherbridge Ihave beeninvolved with. them usingdetailedcraftsmanship unlike the project, andrequired ourcrews to install was specially designed and manufactured for unique. Nearlyeverything onthisproject The architectural elementsofthebridge are pieces ofwood, calledchamfer, to theform. hatching was accomplished by nailingsmall formliners, onto the curved forms. The cross- look by installing rubberpieces, called hoisted into place. We created theribbed curved exterior were fabricated offsite and eventually, theconcrete. The forms for the allofourformsthat supported and, began withbuildingthetemporary falsework LD present any specificchallenges? properly installingtheforms andformliners Q: into areinforced concrete bridge. domain reflectometry hasbeenincorporated We believe thatthisisthefirst time this concrete cracking. level to inspectfor any obvious signsof excavate upto 20feet below theground this system, aworking crew would have to below theground level ofthepile.Without determine ifsignificantbending took place can beattachedto theendsofthesewires to significant earthquake, a monitoring device embedded sensitive coaxial cables.After a Within thelarge-diameter piles,we have considerations. design challenges, especiallywithseismic (CIDH) piles,whichrepresent significant : Makingtheserpentinesoffitshape : Ourcrews didanoutstandingjobin D H id thecurved underside ofthebridge ow didyour team respond to the place by crews from MasonryConcepts. brought outto thesite andcarefully setin There are 120basket pieces thatwere the baskets andthereeds above thebaskets. turn, hired MoonlightMoldsto actuallycast Concepts, to perform that work. They, in brought onamasonrycontractor, Masonry to create andinstallthebaskets. Skanska One key was alsofindingtheright company truly uniqueandquite beautiful. how theireffortshave created something very proud oftheirwork onthisbridge and by theConstruction Authority. Ourcrews are line upandcreate theoverall effect desired as well asthegrooves andhatch-marks, to necessary to get theshapeofstructure, and withgreat attention to detail.This was form andformliner was installedindividually craftsmanship inthestructure itself. Each to ensure thehighestdegree ofquality and it happen. collaboration andteamwork thatmade noise anddust.Iamvery proud ofthe freeway traffic anddealing withthe of working adjacent to andabove live over 100 degrees. Add to thatthedangers summer whentemperatures reached well working outdoors, especiallythispast that was outthere. It’s incredibly tough We ultimately want to recognize thecrew it—they alldidaterrific job. and finally getting ourmenonboard to build AECOM, thenourvarious subcontractors, withthedesignengineersdone. Starting at together ateam thatcould get thejob LD this process andtheoutcome? Q: Whatare you most proud ofregarding : The thingI’mmostproud ofisputting 23 Gold Line Bridge Evolution of the Gold Line Bridge

24 25 26 Gold Line Bridge B B y askets: The S tephanie H W M world’s oldestcivilizations—from H knowledge andknow-how. by societiesand cultures, well before moderntechnology helpedusshare True symbols ofhumaningenuity, baskets have beeninvented andreinvented holding dailyessentials like food, tools, andmoney. nourished families andcommunities. They provided asecure vessel for The earliestbaskets solved problems. They collected thebounty that future would go abouttheirdailylives. their designswould influence the way people tens ofthousands years inthe ashagen andWintress istorians andresearchers have found evidence thatpeoplefrom someofthe iddle E B ast—were creating baskets more than10,000 years ago. ounty of O historical artifacts. They weren’t thinkingabouthow weren’t statements or thinkingaboutthemasartistic hen earlyhumansbegan weaving baskets, they dom H uman A sia to I A ngenuity frica, fr om C entr al A merica to the objects can. present, andfuture inways thatfew other that way, baskets weave together ourpast, tools andsymbols ofbounty andplenty. with society, baskets continue to beuseful A when shoppingfor goods online. basketspicnics, orthe“virtual” we use I baskets we fillwith food atthesupermarket. modern life: Think ofthemetalandplastic the time,thesewomen were alsoshaping A way oflife. responsible for preserving theirculture’s They becamestorytellers andhistorians who created baskets becameartists. became art—and thewomen andgirls create completely new designs. on existing designs andusedtheirskillsto E daughters. daughters grew upandtaughtitto their their daughters, andintime,those generation to generation. alive, passing theirtraditions down from Women alsokept ofbasket theart weaving were responsible for weaving baskets. I magine thewooden baskets we tote to n mostoftheseearlycultures, women ach new generation ofweavers improved lthough they’ve changed andevolved lthough they couldn’t have imagineditat

M others taught B askets I n “ t a cul and isdegrading ordying ou V C w changing cul is al moderniza has beendes M alerie he hange doesno useum of i t h cul w w t V eavers and a ure orcul erzuh ys I ndian t t ural loss.

ransforming t ion isno A t rts and rts royed by modernism t ural obliga t t al t ural C heir communi ultur w B t aske a synonymous e , p ys mean rac N t ew o fi t t

t w M ions of ice exico t eaving t

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27 Gold Line Bridge 28 Gold Line Bridge Michael Estrada Wei Koo Tanya Patsaouras Lesley Elwood John Skoury H Rodrigo Gonzalez S Lisa L Gary Bak Mitch Purcell Crandal Jue Chris Burner Habib F. Balian Metro Gold Daniel Evans Lara Larramendi Bill Bogaard John Fasana Keith Hanks Ed Reyes Sam Pedroza Doug Tessitor Bo Metro Gold like to provide credits for each,here isahighlightofsomethekey players: trades workers, professionals, support agency staffandothers. anartist, people helpedmake the Through thecollaborative process instituted by the Credits ylvia Beltran ill a rd o evy Buch I ntern

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ine Foothill ine Foothill c t ors a l, G I old n c . L T ine Gener Structur Station En P P Media R C Dir Dir Chief C Chief F Chief P Chief Ex C Gubernat Ma Ma C C C C e ublic Art Programublic Art Manager rogram Manager E E ommunity Relations ouncilman, City ofAzusa ouncilman, City ofLos Angeles ouncilman, City ofClaremont ouncilman, City ofGlendora ity ofSouthPasadena Appointee am B xtension Constr xtension Constr ector ofPublic Affairs ector ofConstruction yor, City ofPasadena yor, City ofDuarte ridge areality, includingplanners, designers, engineers, al Counsel, Richards, Watson &Gershon inancial Officer roject Officer ontracting Officer, In-House Counsel al Engineer ecutive Officer elations orial Appointee vironment Coordinator

C onstruction

uc uc tion A tion A A uthorit u u thorit thorit A

y, hundreds of lthough we would y y

S t aff AE Design Concept Advisor Skanska USA D esi COM g n B

want to sincerely thankour project neighbors for their patience during construction. ofthe support C the The I n it u y of Sp ilder D

C ivision of e onstruction c A i rcadia staffandPolice a l R e

G E c ngineering old o A g uthorit L nition: ine D Rivk P Andr Joseph Hernandez,C Glen C John Ostler T K Andr Justin W T Jeff Jonk John Y T Mik La revor Kelly, Project Engineer roy Marak, Superintendent at Nicholson,DesignTeam Manager im Wilson, Vice President Operations enny Glover, Project Engineer avid Yee, Bridge Structural Engineer B wrence Damore, Project Executive ridge project over thelastseveral years. y wants to recognize andthank e Aparicio, Executive Vice President a Night,Architect S ew Leicester, Artist ew Grubb, Project Engineer ervices, the en, Project Executive urtis, Inspector urtis, er, Superintendent D aguespack, Project Engineer epartment, forepartment, thesignificant effortprovided in , Quality Assurance and Control C alifornia ommunity Liaison

H ighway Patrol, aswell asthe C altrans A D dditionally istrict 7and , we