Ball, Benjamin 2160504614

San Francisco Arts Commission

Port Pier 92 Public Art Project

Benjamin Ball 2018 N. Vine Street Los Angeles, CA 90068, US 2135483673 [email protected]

Submitted: Jul 9 2012 10:15PM CST/CDT

Tags: Yes Port

Port Pier 92 Eligibility

1. Are you a professional practicing artist residing in one of the following states: Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington, or Wyoming? If you do not reside in one of these states, you are not eligible to apply to this call. Yes

Letter of Interest

1. Letter of Interest:

1 Ball, Benjamin 2160504614

To create a monumental artwork for Pier 92 is an opportunity to make more than an engaging kinetic installation or multimedia project; it presents a chance to engage residents of Bayview by means of a symbolic gateway to their community. Pier 92 is a visual hub, it connects vantage points along major roads and bridges, but it is not a setting that one typically associates with art. It is hiding in plain sight – a remnant of an era that is fading from collective memory. In contrast, a major artwork that engages the silos can be a potent symbol of change for the community: the artwork itself can be an axis on which the past pivots to become the future. If we understand the surrounding neighborhood as an organism, art can serve as “urban acupuncture” (a concept originated by urban theorist Marco Casagrande), a tactical needle prick to the body of the City, the effects of which will ripple through Bayview. Architecture and urban infrastructure typically dwarf public artworks in scale, but at Pier 92, an artwork made of fabric, netting or other lightweight materials could rival the silos and become a symbol. This is what we hope to achieve if awarded this commission. Ball-Nogues brings 30 years of experience to our art practice. Prior to collaborating, Gaston and I assisted architects on projects ranging from sculptures and installations, to public buildings and urban design. Our backgrounds prepared us to interface with community groups, contractors, engineers, architects, planners, and city officials. Our flexible organizational structure and experienced project managers enable us to work on multiple projects simultaneously without compromise. We are uniquely qualified to work with a team of professionals to create a work for Pier 92. Ball-Nogues explores the intersection of ephemeral art and architecture. We first explored this in 2005 with Maximilian's Schell. Located in Silverlake, it was a temporary spectacle that was visible throughout the neighborhood. It made a gathering place that was at once social and contemplative. During the day it provided soothing shade and projected colored light patterns onto the ground that were suggestive of mandalas. Air Garden, a new project will create a sense of repose amidst a cacophony of visual noise in a new terminal at Los Angeles International Airport. Cradle, in Santa Monica, hangs from a parking garage and, while it addresses motorists, it also engages the sidewalk by reflecting people walking below its mirrored surfaces. In 2010, Americans for the Arts Public Art Year in Review designated it as one of its top 50 public artworks. Each of these projects speaks to the public both aesthetically and socially. Each one addresses multiple modes of transport and incorporates emerging computational techniques to generate visual effects not possible a few years ago. Thank you for taking the time to learn about our interest in creating a new piece at Pier 92. We would be thrilled to work with you. Should you have any questions, don’t hesitate to contact us.

Annotated Image List

1. Annotated Image Descriptions

2 Ball, Benjamin 2160504614

IMAGE LIST 1. MAXIMILIANS SCHELL Artists: Benjamin Ball and Gaston Nogues Year: 2005 Media: polyester reinforced Mylar, cable, hardware, steel tube Dimensions: 45 ft long x 24 ft wide x 25 ft high Location: Materials & Applications, Los Angeles, California Budget: $45,000 Description: This vortex-shaped, temporary outdoor installation in the exhibition space of Materials & Applications, warped the flow of space with a featherweight rendition of a celestial black hole. Hovering over M&A's courtyard, Maximilian's Schell was a spectacle the size of an apartment building constructed in tinted Mylar resembling stained glass. The piece functioned as a shade structure, swirling overhead for the summer. Commissioning Agency: Materials & Applications 2. LIQUID SKY Artists: Benjamin Ball and Gaston Nogues Year: 2007 Media: polyester reinforced Mylar, netting, cable, hardware, untreated utility poles, earth anchors, steel tubing, gravity-induced water buckets Dimensions: 32 feet x 80 feet x 150 feet Location: PS1 Contemporary Art Center, Museum of Modern Art, New York Budget: $70,000 Description: Liquid Sky immersed its audience in kaleidoscopic pattern of color created by sunlight filtering through an array of translucent, tinted Mylar petals that resemble blossoming flowers of stained glass. Together, the petals form a tensioned matrix that reconfigures the horizon, cresting above the walls of the P.S.1 courtyard and visible from the surrounding streets. Six towers constructed from untreated utility poles support the array of petals while providing discrete spaces at their base for relaxing on enormous community hammocks made of brightly colored netting. Commissioning Agency: The Museum of Modern Art, New York 3. ELASTIC PLASTIC SPONGE Artists: Benjamin Ball and Gaston Nogues Year: 2009 Media: plastic tube, steel hardware, fluorescent tubes Dimensions: 125 ft long x 60 ft wide x 20 ft high Location: Coachella Valley Music and Arts Festival, Indio, California Budget: $30,000 Description: The Elastic Plastic Sponge was created by students from the Southern California Institute of Architecture (SCI-Arc) led by Benjamin Ball, Gaston Nogues and Andrew Lyon of Ball-Nogues Studio. It was a large scale installation that could be twisted, arched and curled to form different types of space including a lounge, a theater, or a large sculptural Mobius strip. In the desert heat of Indio, the architectural installation provided a respite from the sun by making shade and mist while at night, each cell supported a fluorescent tubethe tubes shifted in orientation relative to each other to create the effect of sweeping motion. Commissioning agency: Coachella Valley Music and Arts Festival 4. RIP CURL CANYON Artists: Benjamin Ball and Gaston Nogues Year: 2006 Media: cardboard, plywood, screws, hardware Dimensions: 44 ft long x 40 ft wide x 11 ft high Location: Rice Gallery, Houston, Texas Budget: $60,000 Description: Rice Gallery commissioned this installation in collaboration with The Museum Fine Arts in Houston exhibition, The Modern West: American Landscape, 1890-1950. We invited visitor exploration by extending the casual social terrain of the campus into the gallery, transforming it into a traversable rolling playground. On any given day one might discover a group of gallery goers studying, snoozing, climbing, sliding down the rolling terrain, or making-out in one of the darkened recesses below the cardboard surface. Commissioning Agency: Rice Gallery 5. FEATHERED EDGE Artists: Benjamin Ball and Gaston Nogues Year: 2009 Media: nylon twine, plastic coated mesh, steel, ink

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Dimensions: 24 ft long x 24 ft wide x 35 ft high Location: Museum of Contemporary Art, Los Angeles, California Budget: $57,000 Description: The project explores the convergence of digital technology and craft. Integrating complex digital computation, mechanization, and printing with traditional handcrafted production techniques, Feathered Edge explores our desire to alter a space with fluid architectural forms that require a minimal use of material while utilizing a new proprietary technique that yields the effect of three dimensional spatial constructs printed to resemble objects hovering in space. Commissioning agency: Museum of Contemporary Art, Los Angeles 6. CITY WALL Artists: Benjamin Ball and Gaston Nogues Year: 2008 Media: tooling board, brass Luminore finish Dimensions: 4.5 ft high x 25 ft long x 3 in deep Location: San Diego, California Budget: $41,000 Description: A low resolution analog aerial image of San Diego translated into a sculptural city map; the result approaches abstraction. The project was fabricated using a computer numerically controlled router and finished to look like brass. Commissioning agency: SE San Diego Hotel 7. VEIL Artists: Benjamin Ball and Gaston Nogues Year: 2011 Media: acrylic beads, cable, hardware Dimensions: 110 ft (11 floors) x 20 ft x 2 in Location: San Francisco, California Budget: $200,000 Description: Veil is a cascading diaphanous curtain attached to the inside of the tower's glass wall system. Cascades of color and form migrate from the bottom of the tower to the top. The tower faces south permitting light to pass through it on three sides while the veil - made of refractive beads - produces the effect of cathedral windows. At night, the work has a gentle glowing presence. The combined visual effect of the catenaries is similar to fabric; however space between the chains permits views into the stairwell and to the sky beyond. Commissioning agency: Mercy Housing California 8. CRADLE Artists: Benjamin Ball and Gaston Nogues Title: Cradle Year: 2010 Media: stainless steel spheres, cable, hardware Dimensions: 50 ft wide x 30 ft high x 8 ft deep Location: Santa Monica, California Budget: $162,000 Description: An aggregation of mirror polished stainless steel spheres, the sculpture operates structurally like an enormous Newtons Cradle - the ubiquitous toy found on the desktops of corporate executives. The project is an exploration in sphere packing. Each ball is suspended by a cable from a point on the wall and locked in position by a combination of gravity and neighboring balls while reflecting a distorted image of passersby both in cars and on foot. Commissioning agency: City of Santa Monica, Santa Monica Arts Commission 9. TALUS DOME Artists: Benjamin Ball and Gaston Nogues Year: 2012 Dimensions: 30 ft x 30 ft x 25 ft Media: stainless steel metal spheres Location: Edmonton, Canada Budget: $592,500 Description: The Talus Dome comprises approximately 900 stainless steel spheres that together create an abstracted mountain form. It is void in the center and it has spaces and gaps between the spheres, leaving the viewer to complete the shape of the mound with his mind eye. The viewer will see the surrounding landscape reflected within each of the spheres. Talus Dome embodies nature in two ways; One, because its shape quite literally suggests features in the natural landscape of the Edmonton region such as hills, talus cones below river bluffs, mine tailings, and snow drifts; And two, because the domed form is a hyperbolic shell structure where each

4 Ball, Benjamin 2160504614

individual sphere settles into a natural, self-organized relationship to its neighbors. Commissioning agency: Edmonton Arts Council 10. TABLE CLOTH Artists: Benjamin Ball and Gaston Nogues Year: 2010 Dimensions: 20 feet x 30 feet by 50 feet Media: Plywood, steel rings, hardware, prefab table legs, felt Location: Schoenberg Hall, Herb Albert School of Music, UCLA, Los Angeles, CA Budget: $50,000 Description: Table Cloth was a temporary performance space in the courtyard of Schoenberg Hall at the UCLA Herb Alpert School of Music in Los Angeles which served as an integrated set piece, backdrop, and seating area for student musical performance and everyday social interaction. It was made of hundreds of individual low, coffee-style tables and three legged stools which linked together collectively to form a fabric that hung from the east wall of the courtyard. After the structure served its use as a performance space, the components comprising the installation were dismantled to become smaller scaled commodities, immediately available as coveted products tables and chairs. Commissioning agency: UCLA Arts Initiative and The Graham Foundation for Advance Studies in the Fine Arts

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

5 Ball, Benjamin 2160504614

BALL-NOGUES STUDIO Benjamin Ball and Gaston Nogues Mailing address: 2018 N. Vine St., Los Angeles, CA 90068 3533 E. Olympic Blvd., Los Angeles, CA 90023 (P) 213.458.3673 www.ball-nogues.com

PERMANENT COMMISSIONS 2012 Euphony (working title), Music City Center, Nashville, TN (Untitled), Love Field Airport, Dallas, TX 2011 Waterline, San Diego County Operations Center, San Diego, CA Aura (working title), Public art commission, West Hollywood, CA Cloud (working title), Public art commission, West Hollywood, CA 2010 Air Garden, Bradley West Terminal, Los Angeles International Airport, CA Talus Dome, Edmonton, Alberta, Canada Cloud, Screen, Veil. Public art commissions, Mercy Housing, San Francisco, CA Cradle, Santa Monica Place, Public Artwork, Santa Monica, CA 2009 Drop In Distraction, Permanent Ceiling Installation, LA County Permit Office, Los Angeles, CA Bassett Teepee, Woodstock, New York, NY 2008 City Wall, Setai Hotel, San Diego, CA

TEMPORARY INSTALLATIONS, EVENTS & OTHER COMMISSIONS 2012 Yevrus 1, Negative Impression, SCI-Arc Gallery, Los Angeles, CA Pavillon Speciale, Ecole Speciale d'Architecture, Paris, France 2011 Yucca Crater, High Desert Test Sites, Near Joshua Tree National Park, CA 2010 Gravity's Loom, Indianapolis Museum of Art, Indianapolis, IN Table Cloth, Schoenberg Hall, University of California Los Angeles, Los Angeles, CA Double Back-to-Basics, LACMA gallery at Charles W. White School, Los Angeles, CA 2009 Elastic Plastic Sponge, Coachella Valley Music and Arts Festival, Indio, CA Built to Wear, Shenzhen & Hong Kong Bi-City Biennale of Urbanism and Architecture, Shenzhen, China Feathered Edge: A New Installation by Ball-Nogues Studio, MOCA Pacific Design Center, Los Angeles, CA Exposed, Arts Council of Long Beach, Long Beach, CA Spock's Blocks, The Urban Art Biennale, Bordeaux, France Bench, Edward Cella Art+Architecture Gallery, Los Angeles, CA 2008 Echoes Converge, Venice Biennale of Architecture, Venice, Italy Copper Droopscape, Coachella Music and Arts Festival, Indio, CA 2007 Unseen Current, Extension Gallery, Chicago, IL

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Liquid Sky, PS1 Contemporary Art Center, Long Island City, NY Store Window, Agnes B, Soho, New York, NY 2006 Rip Curl Canyon, Rice University Art Gallery, Houston, TX Tiffany and Company, Frank Gehry Jewelry Launch, Beverly Hills, CA Skin + Bones, Parallel Practices in Fashion and Architecture Fete, MOCA, Los Angeles, CA 2005 Maximilian's Schell, Materials & Applications, Los Angeles, CA

SELECTED GROUP EXHIBITIONS 2012 WBA3: Architecture in the Expanded Field, Wattis Gallery, California College of the Arts, San Francisco, CA 2011 Net Works: An Atlas of Connective and Distributive Intelligence in Architecture, Architectural Association, London, England Self Structure, Le Lieu du Design, Paris, France TIMEless, SUPERFRONT Gallery, Pacific Design Center, Los Angeles, CA 2010 Spontaneous Schooling Exhibition, London Festival of Architecture Event, Nous Gallery, London, England Room Mobile, See Line Gallery at the Pacific Design Center, Los Angeles, CA 2D3D: Fast, Cheap, and Out of Control, Woodbury School of Architecture Hollywood Gallery, Los Angeles, CA Contemplating the Void, Solomon R. Guggenheim Museum, New York, NY Cité de l'architecture et du Patrimoine, Paris, France 2009 From My Universe: Objects of Desire, See Line Gallery at the Pacific Design Center, Los Angeles, CA Urban Interventions, Boston Society of Architects, Boston, MA Flux, California College of the Arts, San Francisco, CA 2008 Beijing Biennale, Beijing, China Architects without Architecture, Shore Institute of Contemporary Art, Long Branch, NJ 2007 Young Architects Program, Museum of Modern Art, New York, NY

SELECTED AWARDS, HONORS AND GRANTS 2012 Americans For the Arts, Public Art Network Year in Review Finalist - Yucca Crater Work acquired by Los Angeles County Museum of Art permanent collection 2011 Americans For the Arts, Public Art Network Year in Review Finalist - Table Cloth, Cradle 2010 Interior Design Magazine Best of Year Awards Finalist - Built to Wear, Table Cloth Los Angeles AIA Design Award, Merit - Table Cloth 2009 Shenzhen Hong Kong Biennale, Innovation Award, Built to Wear UCLA Arts Initiative Grant 2008 Graham Foundation Exhibition Grant, Life Cycle Design in Temporary Spatial Installation through Cross Manufacturing. California Home and Design Magazine, 10 to Watch

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2007 United States Artists Target Fellowship Otis College of Art and Design, O Award and Grant Museum of Modern Art P.S.1., Young Architects Program – Winner Los Angeles AIA Design Award, Citation – Rip Curl Canyon Interior Design Magazine Best of Year Award – Rip Curl Canyon 2006 Durfee Foundation, Artist’s Resource for Completion Grant Los Angeles AIA Design Award, Honor Award – Maximilian’s Schell Installation I.D. Magazine Annual Design Review, Best of Category: Environments – Maximilian’s Schell LA Architect Magazine, 10 to Watch

ACADEMIC EXPERIENCE 2012 Visiting Professors, Pavillon Speciale workshop, Ecole Speciale d'Architecture, Paris, France 2011 Visiting Professors, Contested Seat, graduate studio, University of California, Los Angeles, fall term 2010 Visiting Professors, Paperwork Studies in Pulp, graduate seminar, University of California, Los Angeles 2009 Visiting Professors, graduate seminar, University of California, Los Angeles Visiting Professors, Southern California Institute of Architecture, Los Angeles, CA 2006 Lecturers, Fabric Structure Prototype, graduate seminar, University of Southern California, fall term

PROFESSIONAL HISTORY GASTON NOGUES [email protected] Date of Birth: 1967 Nationality: Argentina Education: Southern California Institute of Architecture, Bachelor of Architecture, 1993. Distinguished Student Award WORK 2004-present Ball-Nogues Studio, Los Angeles, CA 1994-2005 Gehry Partners, LLP, Los Angeles, CA : Product designer, prototyped development and fabrication, manufacturer interface Valli & Valli Fixtures and accessories New Cardboard Chair prototypes Fossil Watch Line Wyborowa Vodka Bottle Belux Cloud Lamps Heller Rotational Molded Outdoor Furniture Emeco Chair World Cup of Hockey Trophy Horses Head Sculpture Project with Gemini G.E.L. Numerous Architectural Projects: Model Team Captain

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1996-1997 Gemini G.E.L., Los Angeles, CA : Curatoration and quality control of print editions for Frank Stella, Robert Rauschenberg, Roy Lichtenstein, Richard Serra, Ellsworth Kelly and Allen Ginsberg

BENJAMIN BALL [email protected] Date of Birth: 1968 Nationality: USA Education Southern California Institute of Architecture, Bachelor of Architecture 1989-1994 Shibaura Institute of Technology, Tokyo, SCI-Arc Studio 1992 University of Colorado, Boulder, College of Environmental Design, 1986-1989 New College Oxford, Institute for British and Irish Studies, England, 1986 WORK 1996-present Ball-Nogues Studio (formerly Benjamin Ball Design Studio), Los Angeles, CA 2001-2004 Ramer Architecture, Santa Monica, CA : Project Manager, Designer, Technology Manager for healthcare, commercial and residential design practice. AAB Surgery Center Avcock Surgery Center Center for Dermatology Care Color Factory Manufacturing Facility Center for Inquiry West Headquarters Dunne Ossiander Residence Frankel Medical Office Garfield Medical Building Grabie Medical Office Haberman Sleep Center Korman Surgery Center Moelleken Medical Building San Francisco Endoscopy Center Santa Cruz Endoscopy Center Salus Short Hills Surgery Center Woodglen Medical Building 2000-2001 M. Charles Bernstein Architects, Los Angeles, CA : Project Designer Horton Lees Brogden Lighting Design Offices Klein Residence Zelluck Loft Residence 1999-2000 Du Architects, Los Angeles, CA : Project Designer ABS Store, Beverly Hills ABS Store, Westside Pavilion For Joseph Store, Miami Two (2) Residences, Los Angeles, CA 1992 Victoria Cassasco Studio, Los Angeles : Project Designer Booth Residence, Santa Monica, CA Residence, Chicago, IL 1991 Shirdel Zago Kipnis, Los Angeles, CA : Project Designer Factory Project for Princeton University Exhibit

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Sandmark and Urban Plan Competition Convention Hall for Nara, Japan Competition 1991 Frank Gehry & Associates, Santa Monica, CA : Team Member Disney Concert Hall Guggenheim Museum, Bilbao 1991 Tom Farrage & Company, Santa Monica, CA : Custom metal fabrication 1990 Lubowicki Lanier Architects, El Segundo, CA : Project Designer O'Neill Residence Stringfellow Residence 2001 Visual Consultant for Feature Films, Los Angeles, CA The Matrix Reloaded, The Matrix Revolution 1994-2001 Production Designer, Film, Los Angeles, CA Selected commercials, events and music videos: Panasonic, Sega, Janet Jackson Velvet Rope Record Release Party, Turner Network Television, Marilyn Manson and approximately twenty others 1994-2001 Art Director, Film, Los Angeles, CA Feature Films: The Mod Squad, Thursday Select Music Videos: Michael and Janet Jackson’s Scream, Janet Jackson’s Got ‘til it’s Gone, Liz Phair, Counting Crows Select Commercials: Audi, Chevrolet, MCI, Lexus, Pepsi and approx. 40 others

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"Maximilian's Schell"

45 ft long x 24 ft wide x 25 ft high polyester reinforced Mylar, cable, hardware, steel 2005

This vortex-shaped, temporary outdoor installation in the exhibition space of Materials & Applications, warped the flow of space with a featherweight rendition of a celestial black hole. Hovering over M&A's courtyard, Maximilian's Schell was a spectacle the size of an apartment building constructed in tinted Mylar resembling stained glass. The piece functioned as a shade structure, swirling overhead for the entire summer of 2005.

"Liquid Sky"

32 feet x 80 feet x 150 feet polyester reinforced Mylar, cable, hardware, poles 2007

Liquid Sky immersed its audience in kaleidoscopic pattern of color created by sunlight filtering through an array of translucent, tinted Mylar petals that resemble blossoming flowers of stained glass. Together, the petals form a tensioned matrix that reconfigures the horizon, cresting above the walls of the P.S.1 courtyard and visible from the surrounding streets. Six towers constructed from untreated utility poles support the array of petals while providing discrete spaces at their base for relaxing on enormous community hammocks made of brightly colored netting.

"Elastic Plastic Sponge"

125 ft long x 60 ft wide x 20 ft high plastic tube, steel hardware 2009

The Elastic Plastic Sponge was created by students from the Southern California Institute of Architecture (SCI-Arc) led by Benjamin Ball, Gaston Nogues and Andrew Lyon of Ball- Nogues Studio. The Elastic Plastic Sponge was a large scale installation that could be twisted, arched and curled to form different types of space including a lounge, a theater, or a large sculptural Mobius strip. In the desert heat of Indio, the architectural installation provided a respite from the sun by making shade and mist while at night, each cell within the Elastic Plastic Sponge supported a fluorescent tubethe tubes shifted in orientation relative to each other to create the effect of sweeping motion.

"Rip Curl Canyon"

44 ft long x 40 ft wide x 11 ft high cardboard, plywood, screws, hardware 2006

Rice Gallery commissioned this installation in collaboration with The Museum Fine Arts in Houston exhibition, The Modern West: American Landscape, 1890-1950. We invited visitor exploration by extending the casual social terrain of the campus into the gallery, transforming it into a traversable rolling playground. On any given day one might discover a group of gallery goers studying, snoozing, climbing, sliding down the rolling terrain, or making-out in one of the darkened recesses below the cardboard surface.

11 Ball, Benjamin 2160504614

"Feathered Edge"

24 ft long x 24 ft wide x 35 ft high nylon twine, plastic coated mesh, steel, ink 2009

The project explores the convergence of digital technology and craft. Integrating complex digital computation, mechanization, and printing with traditional handcrafted production techniques, Feathered Edge explores our desire to alter a space with fluid architectural forms that require a minimal use of material while utilizing a new proprietary technique that yields the effect of three dimensional spatial constructs printed to resemble objects hovering in space.

"City Wall"

4.5 ft high x 25 ft long x 3 in deep tooling board, brass Luminore finish 2008

A low resolution analog aerial image of San Diego translated into a sculptural city map; the result approaches abstraction. The project was fabricated using a computer numerically controlled router and finished to look like brass.

"Veil"

110 ft (11 floors) x 20 ft x 2 in acrylic beads, cable, hardware 2011

Veil is a cascading diaphanous curtain attached to the inside of the tower's glass wall system. Cascades of color and form migrate from the bottom of the tower to the top. The tower faces south permitting light to pass through it on three sides while the veil - made of refractive beads - produces the effect of cathedral windows. At night, the work has a gentle glowing presence. The combined visual effect of the catenaries is similar to fabric; however space between the chains permits views into the stairwell and to the sky beyond.

"Cradle"

50 ft wide x 30 ft high x 8 ft deep stainless steel spheres, cable, hardware 2010

An aggregation of mirror polished stainless steel spheres, the sculpture operates structurally like an enormous Newtons Cradle - the ubiquitous toy found on the desktops of corporate executives. The project is an exploration in sphere packing. Each ball is suspended by a cable from a point on the wall and locked in position by a combination of gravity and neighboring balls while reflecting a distorted image of passersby both in cars and on foot.

12 Ball, Benjamin 2160504614

"Talus Dome (construction/installation image)"

30 ft x 30 ft x 25 ft stainless steel spheres 2012

The Talus Dome comprises approximately 900 stainless steel spheres that together create an abstracted mountain form. It is void in the center rather than solid. It has spaces and gaps between the spheres, leaving the viewer to complete the shape of the mound with his mind eye while also enabling her to see between the spheres and through the mound. The viewer will see the surrounding landscape reflected within each of the spheres. Talus Dome embodies nature in two ways; One, because its shape quite literally suggests features in the natural landscape of the Edmonton region such as hills, talus cones below river bluffs, mine tailings, and snow drifts; And two, because the domed form is a hyperbolic shell structure where each individual sphere settles into a natural, self- organized relationship to its neighbors.

"Table Cloth"

20 feet x 30 feet by 50 feet Plywood, steel rings, hardware, prefab table legs, 2010

Table Cloth was a temporary performance space in the courtyard of Schoenberg Hall at the UCLA Herb Alpert School of Music in Los Angeles which served as an integrated set piece, backdrop, and seating area for student musical performance and everyday social interaction. It was made of hundreds of individual low, coffee-style tables and three legged stools which linked together collectively to form a fabric that hung from the east wall of the courtyard. After the structure served its use as a performance space, the components comprising the installation were dismantled to become smaller scaled commodities, immediately available as coveted products tables and chairs.

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"Maximilian's Schell" "Liquid Sky"

"Elastic Plastic Sponge" "Rip Curl Canyon"

"Feathered Edge" "City Wall"

"Veil" "Cradle"

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"Talus Dome (construction/installation image)" "Table Cloth"

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San Francisco Arts Commission

Port Pier 92 Public Art Project

Laura Haddad 1941 1st Ave S., Studio 3i Seattle, WA 98134, US 206-621-7333 [email protected]

Submitted: Jun 19 2012 11:56PM CST/CDT

Tags: Yes Port

Port Pier 92 Eligibility

Letter of Interest

1. Letter of Interest:

1 Haddad, Laura 2160501598

ARTIST STATEMENT. We have been collaborating as an artist team since 2000 and have completed numerous permanent and temporary commissions for civic spaces and structures. We work in the public realm because of our interest in using qualities of place as a departure point for artistic ideas. This is reflected in the diversity of our art. We seek to invent provocative experiences that intensify life in the present by inciting curiosity and wonder about both the past and the future, and hope that through interacting with our art people can reach new perceptions of their surroundings. We strive to create poetic artworks that can be perceived on one level as placemaking icons, but which are also layered with subtler meaning so they unfold in complexity and richness across multiple viewings. Our art often fuses sculptural compositions with graphic imagery and when possible is kinetically activated by elements like sun, wind, water, and light to create a dynamic tapestry of effects. CONCEPT FOR PIER 92. Having both lived in San Francisco, we are struck by how much it has changed in recent years, particularly with new construction and transportation lines making districts like Bayview more accessible. For the commission at Pier 92 we are interested in creating an illuminated super graphic that explores this transformation, expanding on our recent work using dynamically color-changing LED lights on large structures to enact a theatrical shift in appearance from day to night. Our concept for the Pier is to create a large- scale image using only the colors of RED, GREEN, and BLUE (RGB). Each color would abstractly depict an icon of the neighborhood, potentially from the past, present, and future. The three images will be overlaid and woven together. The image could be created either with paint or a textured dimensional material that shimmers in the sun and wind. During the day all three images would be visible simultaneously. At night the piece would be illuminated with LEDs that cycle through a color change from RED to GREEN to BLUE. When the lights are all red, the red graphic will pop and the blue and green graphic will recede into the background, and so on through all the colors. The image will thus be animated with the light, jumping from color to color to create a moving graphic illustrating the neighborhood in transformation.

Annotated Image List

1. Annotated Image Descriptions

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Image 1: Emerald City, 2011, Seattle-Tacoma International Airport, Port of Seattle Art Program, $1,300,000 50’ h x 300’ l x 100’ w stainless steel, gabion and stone walls, earthwork, concrete, plants, LEDs Emerald City is a landmark artwork for Sea-Tac Airport entry, portraying an ecotopia composed of illuminated and planted terraces and spires. Three stainless steel scaffolding-like towers are planted with flowering vines that will grow up over the years, and up-lit with green LEDs to convey a “green city.”

Image 2: Emerald City - Clock Tower, 2011, Seattle-Tacoma International Airport, Port of Seattle Art Program, $1,300,000 35’ h x 8’ l x 8’ w stainless steel, LEDs, photovoltaic panels Emerald City is a landmark artwork for Sea-Tac Airport entry, portraying an ecotopia composed of illuminated and planted terraces and spires. A clock tower composed of stainless steel fins has green crystalline photovoltaic panels on its south side of the tower tie the idea of renewable energy production to the “greening” of the city. The photovoltaic system powers LED light fixtures inside the clock tower that change color with the air temperature, ranging from blue (cold) to green (moderate) to gold (hot).

Images 3 & 4: Sun Spot, 2011, Denver, CO, Denver Arts and Venues Denver, $250,000 20’ h x 10’ w x 18’ d stainless steel pet tags and welded wire mesh over painted steel frame, LEDs Sun Spot is an iconic dog sculpture for an Animal Shelter that is covered with 90,000 stainless steel pet tags. The movement of the tags in the breeze coupled with sunlight and colored LEDs at night make the surface of the sculpture scintillate with constant light and movement. The dog sits on a raised berm planted with native shrubs.

Image 5: Cloud Chamber, 2011, Seattle Department of Transportation, Seattle, WA, $45,000 30’ h x 20’ l x 8’ w stainless steel, acrylic, LEDs Cloud Chamber is an unexpected, eccentric light pole. Suspended high in the air, stainless steel tubes form a cloud shape. Rain is represented by straight tubes radiating out from the central spine, each terminating with a blue acrylic cylinder that is illuminated at night.

Image 6: Garden Hat, 2006, Seattle, WA, 4 Culture $4,500 25’ h x 40’ diameter 1950s historic structure, carnations, sunflowers, laurel, greenhouse net, wire For this temporary installation Haddad|Drugan led community volunteers to cover the structure of Seattle’s largest and most beloved cowboy hat, previously the office of a gas station, with a veil of live carnations, laurel, and sunflowers. The installation was carried out in conjunction with the Georgetown Art & Garden Walk. The fantastic novelty of the Garden Hat brought media awareness to efforts to restore this historic landmark.

Image 7: Net, 2006, Astoria Riverwalk, Astoria, OR, Astoria Visual Arts, $40,000 25’ h x 10’ w x 18” d stainless steel cable, knit wire, and spinning sails; fishing lures and weights Net is a kinetic art installation proposed for the Astoria Riverwalk, along the Columbia River. The piece expresses the interconnectivity between Astoria’s unique marine environment and rich fishing and sailing heritage, and comes to life with energy incited from the wind. The sculpture is a suspended tapestry set in a historic artifact in the river, composed of three sections that abstract the forms of sails and nets used on Astoria’s early “butterfly fleet.” The top tier has reflective spinning “wind lures” shaped like sails, the middle tier is stainless steel wire knit into a diamond pattern like that of gillnets, and the bottom tier consists of strands of fishing beads

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and lead sinkers.

Image 8: Seattle Waterfront Marriott Rooftop, 2003, Seattle, WA, Marriott International, $480,000 45,000 sf concrete unit pavers with integral color and embedded glass cullet Over 45,000 custom-fabricated pavers create an artwork while also functioning as roof ballast. Embedded recycled glass cullet reflects sunlight. The design for the upper roofs abstracts the inherent qualities of the waterfront setting, and the two lower courtyard roofs create illusions of three-dimensional roof gardens.

Image 9: Undercurrents, 2010, Myrtle Edwards Park, Seattle, WA, 4Culture, $150,000 metal work 8’ h x 50’ l x 2” d stainless steel, concrete unit pavers, earthwork, plants Undercurrents is an artist-designed plaza at a stormwater outfall site. A mechanical vault is wrapped with a landscaped berm. One side of the vault is clad with stainless steel wall panels etched with a pictogram depicting stormwater collection, transport, and treatment. Mirrored vent pipes extend out of the vault, reflecting the environment.

Image 10: Water Pipe Construction Fence, 2001, Elliott Avenue, Seattle, WA, $7,500 6’ h x 450’ l x 1” d vinyl-coated polyester mesh fabric and chain-link fence During construction of the stormwater treatment project that resulted in the Undercurrents project (Image 9) a temporary utilitarian chain-link construction fence was woven with an abstract pattern of a pipe full of water cutting through the earth. The fabric and sunlight were such that the weaving simultaneously concealed and called attention to the construction behind the fence. The piece was up for over two years.

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

4 Haddad, Laura 2160501598

HADDAD|DRUGAN 1941 1st Avenue S., Studio 3i, Seattle, WA 98134 206.621.7333 [email protected] [email protected] www.haddad-drugan.com

HADDAD|DRUGAN PUBLIC ART COMMISSIONS Yakima Bridge Portals, Bins of Light, 2015, Yakima, WA, $750,000 - illuminated portal and tunnel wall enhancements referencing fruit-growing industry, for two downtown underpasses S. 200th Street Light Rail Station, 2015, SeaTac, WA, Sound Transit Art Program, $360,000 - solar-powered illuminated “cloud” composed of 1000s of glass discs suspended from cables, on elevated station platform Denver Museum of Nature & Science, Iridescent Cloud, 2013, Arts and Venues Denver, $425,000 - 70’-long suspended and prismatic “cloud” sculpture for a new plaza, with a 270’-long paving feature leading to it Alameda Corridor Rapid Transit System, 2013, City of El Paso Public Art Program, $340,000 - architectural screens and iconic sculptures for a 10-mile transit line with 28 bus stations Edmonton Valley Zoo, Grove of Light, 2013, Edmonton Arts Council, $180,000 - grove of 18-22’-high sculptural stainless steel stalks at zoo entry, illuminated in colors triggered by air temperature Charles Village Streetscape, Optical Gardens, 2013, Baltimore Department of Transportation, $250,000 - one-block streetscape environmental art installation featuring rain gardens, stone swale, sculpture, and illumination Acreage Library, Productive Light, 2012, Palm Beach County Art in Public Places, $187,000 - interactive LED environmental light sculpture and photovoltaic system Seattle-Tacoma International Airport Entry Gateway, Emerald City, 2011, $1,300,000 - gateway feature along highway and light rail entering airport Denver Animal Shelter, Sun Spot, 2011, Arts and Venues Denver, $310,000 - three linked artworks using pet tags 5th Avenue Streetscape, Cloud Chamber, 2011, City of Seattle Transportation, $45,000 - illuminated light pole sculpture Hubbard Homestead Park, Spring Source, 2011, City of Seattle Parks & Transportation, $30,000 - icarved stone water sculpture references a historic spring Colony Park Watercourt and Shelter, Las Zanyas, 2010, Anaheim, CA, $500,000 - integrated art depicts Anaheim’s agricultural history Indian Bend Wash , Water Mark, 2010, Scottsdale, AZ, Scottsdale Public Art, $350,000 - giant horse gargoyles and earthworks dramatize flood events Denny Way Combined Sewer Overflow (CSO) Project, Undercurrents, 2010, Seattle, WA, 4Culture, $400,000 - plaza, earthwork, plantings, and mural integrated over a storm water outfall Richmond Beach Saltwater Park, Reflex Solaris, 2009, Shoreline Public Art Program, $48,000 - sundial deck and a series of solar reflectors Southern Community Park, Elemental Landscape, 2009, Chapel Hill Arts Commission, $100,000 - environmental art installations made from salvaged materials Fremont Peak Park, 2007, Seattle, WA, City of Seattle Parks & Recreation, $450,000 - woodland park conceived entirely as an artwork

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Greenbridge Housing, Theatrum Mundi—Botanica—Landslide, 2007, White Center, WA, King County Housing, $160,000 three pieces integrated into plaza and parks Shilshole Bay Marina Water Feature, Groundswell, 2007, Port of Seattle Art Program, $500,000 - interactive water feature for a plaza at Shilshole Bay Marina Fire Station 35 Plaza, Lineage, 2007, San Jose Arts Commission, $125,000 - entry plaza art/irrigation feature and solar powered beacons Astoria Riverwalk, Net—Spar—Float, 2006, Astoria Visual Arts, $75,000 site-responsive environmental artwork Oxbow Park, Garden Hat, 2006, Seattle, WA, 4Culture, $4,500 temporary installation of flowers wrapping the structure of a 1950s iconic “cowboy hat” Oxbow Park, 2004, Seattle, WA, Georgetown Community Council, $500,000 - co-designed park that includes the 1950s iconic “Hat ’n’ Boots” Monument Square Bus Shelter, Jewel Box, 2004, Portland Public Art Program, $65,000 - sculptural steel and glass bus shelter in Portland’s Monument Square Seattle Waterfront Marriott Hotel Rooftop, 2003, Seattle, WA, Marriott International, $480,000 - 45,000 square foot rooftop paving artwork Art on the Outside, Starchief, 2002, West Hollywood Arts Commission, $6,600 - temporary “garden car” art installation Kent Commons Community Center, Millennium Plaza, 2001, Kent Arts Commission, $100,000 - plaza artwork with sculpture and time capsules HADDAD|DRUGAN ART PLANS South Link Light Rail Alignment Art Plan, SeaTac, WA, 2010-2015, Sound Transit Downtown Bellevue “Great Streets” Streetscape Art Plan, 2007, City of Bellevue Seattle-Tacoma International Airport Entry Art Plan, 2005, Port of Seattle Roosevelt/Green Lake Underpass Art Plan, Seattle, WA, 2002, 4 Culture Sound Transit Central Link Light Rail, Seattle, WA, 2000-01, Sound Transit HADDAD|DRUGAN AWARDS Americans for the Arts—Year in Review Award, 2012, Emerald City, Seattle-Tacoma International Airport Americans for the Arts—Year in Review Award, 2012, Sun Spot, Denver, CO California Park & Recreation Society—Award of Excellence, 2011, Colony Park Valley Forward Association Environmental Excellence Awards—Merit Award, 2010, Water Mark, Scottsdale, AZ Americans for the Arts—Year in Review Award, 2010, Elemental Landscape, Chapel Hill, NC Seattle Design Commission—Design Award Recipient, 2009, Fremont Peak Park, Seattle, WA Americans for the Arts—Year in Review Award, 2008, Fremont Peak Park, Seattle, WA WASLA Professional Award—Special Mention for Social Response, 2008, Greenbridge Parks, Seattle, WA WASLA Professional Honor Award, 2003, Oxbow Park, Seattle, WA HADDAD|DRUGAN TEACHING Rhode Island School of Design, 2011, Providence, RI, Haddad|Drugan taught wintersession “constructing ground” studio University of Washington, 2010, Haddad|Drugan taught studio on generating alternative energy through iconic landscapes Rhode Island School of Design, 2006, Haddad|Drugan taught elective studio on self-sustaining roadside attractions HADDAD|DRUGAN SELECT BIBLIOGRAPHY “Portal to the Emerald City,” Eco-Structure. January-February 2012.

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“Tour Fremont Peak Park,” Art Zone with Nancy Guppy. Seattle Channel, December 9, 2011. “Commissions—Groundswell,” Sculpture. Vol. 27 No. 6, July/August 2008. “New Fremont park is an eye-popper,” Seattle Times (front page headline). October 30, 2007. “Spillway make us proud,” Scottsdale Republic. March 28, 2007. “Hat awaits a crown of flowers,” Seattle Times. July 8, 2006. “Bus Shelter a public art triumph,” Portland Press Herald. December 2, 2004. “Insider—Undercurrents,” Sculpture. Vol. 23 No. 5, June 2004. “Itinerary—Edges & Hedges,” Sculpture. Vol. 21 No. 8, October 2002. “On the Edge: Art Installations Transform an Urban Artery,” Landscape Architecture. August 2002. “Millennium Art Project a favorite of public, 7-member jury,” South County Journal. January 2001. “Denny Way CSO Project,” Land Forum. June 2000. LAURA HADDAD EDUCATION University of California, Berkeley, CA, Master of Landscape Architecture, 1993 Harvard University, Cambridge, MA, Graduate School of Design, Landscape Architecture program, 1989-90 Bowdoin College, Brunswick, ME, Bachelor of Arts in History, 1988 Maine College of Art, Portland, ME, art coursework, 1987 Scuola Lorenzo de Medici, Florence, Italy, art coursework, 1986 LAURA HADDAD PROFESSIONAL ACTIVITIES & AWARDS Port of Seattle, Art Oversight Committee, 2012 University of Washington, Department of Landscape Architecture Professional Advisory Council, 2004-2011 WASLA Conference, 2009, Seattle, WA, presentation on “Productive Parks” Channeling Herbert: earthworks, artworks, public works, 2007, Kent Arts Commission 4Culture Special Projects, 2006, grant for a temporary art installation Seattle Monorail Project Art Committee, Seattle, WA, 2004-05 University of Washington, Department of Landscape Architecture, 2004, Studio Instructor Seattle Arts Commission, 1999 & 2001, slide lectures for “Public Art 101” seminars PONCHO & Centrum Arts Center, 1999, Port Townsend, WA, funded artist residency Seattle Arts Commission, 1996, From Here to There exhibit, Seattle, WA, prize Allied Arts Foundation, 1995, Seattle, WA, grant for a landscape installation LAURA HADDAD SET DESIGNS Heads Up Gorgeous, Taming of the Shrew, 1998, Seattle, WA Theater Schmeater, Medea, Volunteer Park, 1996, Seattle, WA Planet Girl Productions, Serene is 13, 1995, Seattle, WA Mad Horse Theatre, Kingfish, 1994, Portland, ME Zellerbach Theater, Abingdon Square, 1993, Berkeley, CA Durham Studio, Vinegar Tom and Safe Sex, 1992, Berkeley, CA LAURA HADDAD SELECT PUBLISHED WRITING “Art of Infrastructure,” Public Art by the Book, Barbara Goldstein (ed.), Seattle: University of WA Press, 2005. “A Mayday Reclamation Project,” Landscape Journal. 18:2. Fall 1999 (with cover photo of art installation). “Happening: Paradigms of Light aBlaze (A Dialectic of the Sublime and Picturesque),” Landscape Journal. 15:1. Spring 1996. “Olympic Sculpture Park” and “Indian Creek Water Weaving,” Arcade. 19.4. Summer 2001. “The Town Giant is a Cowboy,” Arcade. 19.3. Spring 2001. “The Enclosed Garden,” Arcade. 18.3. Fall 2000. “Richard Haag,” Arcade. 16.1. Spring 1998. TOM DRUGAN EDUCATION Harvard University, Cambridge, MA, Graduate School of Design, Master of Landscape Architecture, 1990 University of Colorado, Boulder, Colorado, Bachelor of Architecture, Minor Film Studies, 1986 TOM DRUGAN SET DESIGN PROJECTS Broken Theater, The Seagull (play), 1996, Seattle, Washington Wind River Productions, The Destroyer (feature film), 1986, Denver, Colorado Mind Productions, Mindkiller (feature film), 1986, Denver, Colorado

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MGM Productions, The Women’s Club (feature film), 1985, Denver Colorado

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"Emerald City"

50’ h x 300’ l x 100’ w stainless steel, gabion walls, earthwork, plants 2011

Emerald City is a landmark artwork for Sea-Tac Airport entry, portraying an ecotopia composed of illuminated and planted terraces and spires. Three stainless steel scaffolding -like towers are planted with flowering vines that will grow up over the years, and up-lit with green LEDs to convey a “green city.”

"Emerald City"

35’ h x 8’ l x 8’ w stainless steel, LEDs, photovoltaic system 2011

Emerald City is a landmark artwork for Sea-Tac Airport entry, portraying an ecotopia composed of illuminated and planted terraces and spires. A clock tower composed of stainless steel fins has green crystalline photovoltaic panels on its south side of the tower tie the idea of renewable energy production to the “greening” of the city. The photovoltaic system powers LED light fixtures inside the clock tower that change color with the air temperature, ranging from blue (cold) to green (moderate) to gold (hot).

"Sun Spot"

20’ h x 10’ w x 18’ d stainless steel pet tags and welded wire mesh over 2011

Sun Spot is an iconic dog sculpture for an Animal Shelter that is covered with 90,000 stainless steel pet tags. The movement of the tags in the breeze coupled with sunlight and colored LEDs at night make the surface of the sculpture scintillate with constant light and movement. The dog sits on a raised berm planted with native shrubs.

"Sun Spot"

20’ h x 10’ w x 18’ d stainless steel pet tags and welded wire mesh over 2011

9 Haddad, Laura 2160501598

"Cloud Chamber"

30’ h x 20’ l x 8’ w stainless steel, acrylic, LEDs 2011

Cloud Chamber is an unexpected, eccentric light pole. Suspended high in the air, stainless steel tubes form a cloud shape. Rain is represented by straight tubes radiating out from the central spine, each terminating with a blue acrylic cylinder that is illuminated at night.

"Garden Hat"

25’ h x 40’ diameter historic structure, flowers, greenery, net, wire 2006

For this temporary installation Haddad|Drugan led community volunteers to cover the structure of Seattle’s largest and most beloved cowboy hat, previously the office of a gas station, with a veil of live carnations, laurel, and sunflowers. The installation was carried out in conjunction with the Georgetown Art & Garden Walk. The fantastic novelty of the Garden Hat brought media awareness to efforts to restore this historic landmark.

"Net"

25’ h x 10’ w x 18” d stainless steel cable, knit wire, and spinning sai 2006

Net is a kinetic art installation proposed for the Astoria Riverwalk, along the Columbia River. The piece expresses the interconnectivity between Astoria’s unique marine environment and rich fishing and sailing heritage, and comes to life with energy incited from the wind. The sculpture is a suspended tapestry set in a historic artifact in the river. It is composed of three sections that abstract the forms of sails and nets used on Astoria’s early “butterfly fleet.” The top tier has reflective spinning “wind lures” shaped like sails, the middle tier is stainless steel wire knit into a diamond pattern like that of gillnets, and the bottom tier consists of strands of fishing beads and lead sinkers.

"Seattle Waterfront Marriott Rooftop"

45,000 square feet concrete unit pavers with integral color and glass 2002

Over 45,000 custom-fabricated pavers create an artwork while also functioning as roof ballast. Embedded recycled glass cullet reflects sunlight. The design for the upper roofs abstracts the inherent qualities of the waterfront setting, and the two lower courtyard roofs create illusions of three-dimensional roof gardens.

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"Undercurrents"

8’ h x 50’ l x 2” d stainless steel, concrete, earthwork, plants 2010

Undercurrents is an artist-designed plaza at a stormwater outfall site. A mechanical vault is wrapped with a landscaped berm. One side of the vault is clad with stainless steel wall panels etched with a pictogram depicting stormwater collection, transport, and treatment. Mirrored vent pipes extend out of the vault, reflecting the environment.

"RGB study"

2012

(Video)

This is a quick study with RGB color-changing LEDs on red, green, and blue images to demonstrate effects we are interested in exploring for Pier 92. We are interested in creating an illuminated super graphic that explores the recent transformation of the neighborhood. The graphic would use only the colors of RED, GREEN, and BLUE. Each color would abstractly depict an icon of the neighborhood, potentially from the past, present, and future. The three images will be overlaid and woven together. During the day all three images would be visible simultaneously. At night the piece would be illuminated with LEDs that cycle through a color change from RED to GREEN to BLUE. When the lights are all red, the red graphic will pop and the blue and green graphic will recede into the background, and so on through all the colors. The image will thus be animated with the light, jumping from color to color to create a moving graphic illustrating the neighborhood in transformation.

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"Emerald City" "Emerald City"

"Sun Spot" "Sun Spot"

"Cloud Chamber" "Garden Hat"

"Net" "Seattle Waterfront Marriott Rooftop"

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"Undercurrents"

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San Francisco Arts Commission

Port Pier 92 Public Art Project

Christian Moeller 2008 Hyperion Ave. Los Angeles, CA 90027, US 3104359564 [email protected]

Submitted: May 23 2012 9:05PM CST/CDT

Tags: Yes Port

Port Pier 92 Eligibility

Letter of Interest

1. Letter of Interest: Letter of Interest My interest in the Port Pier 92 Public Art Project can be describe as follows: First of all, I like the fact that this art project is temporary in nature. Life expectancies of twenty-five years or more exclude many interesting material and technology considerations. I have done many temporary works in public spaces in my past but mainly in Europe and Japan since those kinds of opportunities are still very rare in the United States. Secondly, I like the simple geometric shapes of the grain silos and the industrial setting close to the waterfront. Finally, I have not had the opportunity to do a work of public art in San Francisco and I would really love to have the experience. Sincerely, Christian Moeller

Annotated Image List

1. Annotated Image Descriptions

1 Moeller, Christian 2150495528

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

2 Moeller, Christian 2150495528

Resume Born 1959 in Frankfurt, Germany, I studied architecture at the College of Applied Sciences in Frankfurt and at the Academy of Fine Arts in Vienna. In 1990, I joined Peter Weibels Institute for New Media and subsequently founded my own studio and media laboratory in Frankfurt. From 1995 to 1997, I headed the ARCHIMEDIA Research Institute at the College of Design in Linz, Austria. I was a professor at the State College of Design in Karlsruhe until I moved to the United States in the year 2001. Currently, I am a professor in the Department of Design | Media Arts at UCLA (University of California Los Angeles) and operate my studio in Silver Lake, California. My media installations and art works have been exhibited worldwide. Works A-Line - Cinematoscope Installation, 1991, Frankfurt Space Balance, Brucknerhaus, ARS Electronica'92, Linz, Austria Kinetic Light Sculpture, together with Rdiger Kramm, 1992 at Zeilgalerie, Frankfurt The Virtual Cage, 1993 at the Theater am Turm(TAT), Frankfurt Electronic Mirror, 1993 in "The Intrinsic World of Apparatuses", Institute for New Media, Frankfurt Stations of the Image - Chapter 3, 1993 in the Carmelite Monastery, Frankfurt Chronolyse, 1993 in the Linden Tunnel, Berlin Surfaces of Variable Visibility, 1993 in the Stadtpark Gallery, Krems, Austria Algorithmic Habitat, Los Angeles, USA. Light Blaster, Naxos Hall, Frankfurt Sala, Audiovisual Project with Trautonium, together with Oskar Sala, Frankfurt Interactive Architecture, 1994 in the Aedes Gallery, Berlin "Electro Clips", 1994 at the Theater am Turm (TAT), Frankfurt, ARS Electronica 94 in Linz and Dance 95 in Munich. Networked Skin, together with Joachim Sauter, Landesmuseum Obersterreich, Linz Musical Pendulums, Helsinki, Finland Electronic Mirror, Press Enter-Between Seduction and Disbelief, 1995 in the Power Plant, Toronto, Canada Audio Park - The Party Effect, Openair Audiosculpture 1995 in the Museumpark, Rotterdam, Holland Fuge for Piano, KV 385k=154, 1995 in the Figarohaus, Vienna Autonomous Mirror, VISA, 1996 in Le Manege, Maubeuge, France and EXIT, Maison des Arts, Creteil, France Backbone, 1996 at the Kunsthalle Vienna and the Landesmuseum Obersterreich, Linz Autonomous Mirror 2, 1996 at the Kunsthalle Vienna The Expanded Chamber, at the exhibition Botschaft der Musik, 1996, Kunsthistorisches Museum Vienna Audio Grove, 1997, Spiral Art Center, Tokyo Virtual Lake, 1997 at Tochoji Auditorium P3, Tokyo, Japan The Voice of the People, May 1998 at the exhibition "1848 Aufbruch zur Freiheit", Schirn Kunsthalle, Frankfurt Audio Garden, 1998 at Centro Cultural de Belem, Lisbon Downlights, 1999 at Centro Cultural Candido Mendes, Rio de Janeiro, Brasil Insound Out, 2000 at the Science Museum, London, England dePictured Bitwall 3, 2001 at Alyce de Roulet Williamson Gallery, Art Center Pasadena Elbe-Bitwall, 2002 at the Federal Institute for Inland Navigation and Hydraulic Engineering, Ilmenau, Germany Polylog, 2002, Wrgl, Austria Turm zu Babel, at the Schlosspark Eggenberg, 2003, Graz, Austria On-Air, at Schloss Eggenberg, 2003, Graz, Austria Cheese, 2003 at Alyce de Roulet Williamson Gallery, Art Center, Pasadena, 2004 at the National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2004, at the 1st International Biennale in Beijing, 2006 at the Transmediale, Berlin, 2006, Centro Cultural Conde Duque, Madrid, 2007, STRP, Eindhoven. Do not touch, 2004 at the Science Museum, London Heaven, 2005, Frederieke Taylor Gallery, New York Looking at LA, 2005, at the Hermes Gallery, Beverly Hills, California Stream 2005 at the Phaeo Museum, Wolfsburg, Germany News Readers, Bit-Screen, 2006 Seattle, Washington Nosy, 2007 Video installation, Tokyo Mojo, Robotic Light Sculpture, 2007 in Los Angeles, California Daisy, Robotic Sculpture, 2008 Changi Airport T3, Singapore Restless, Kinetic Sculpture 2009 at the SEATAC Airport, Seattle, Washington Pushing, Bit Wall, 2010 in Hollywood, Los Angeles Shhh, Sculpture, 2010 in Walnut Creek, California Hands, Curtain Wall, 2010 in San Jose, California Sliver, Video Sculpture, 2010 Santa Monica, California The Baggage Handlers, Bit-Wall, 2011 Sacramento, California Verdi, Sculpture, (2012 in Bothell, Washington

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4 Moeller, Christian 2150495528

"Virtual Lake"

60’ x 90’ Laser light, sound, video, custom software 1997

Interactive sound and light installation in the basement of the Tochoji Temple in Tokyo. Visitors are listening to 3D soundscape of a moving swarm of micro insects under water.

Video: https://vimeo.com/42081768

"Hands"

62' x 1250' Chain-link fence, injection-molded vinyl chips 2010

400,000 white, circular, plastic chips snapped onto a curtain wall made of a mesh of chain -link fence, create a collage of hands of individuals from the community (from a homeless person to the chief of police side by side) reaching for the skies in bit-map graphics.

"Kaleidophone"

120' x 120' x 120' Steel, fabric, lights, sound, phone-interface 1999

Interactive sound and light installation. Using their own cell phones, visitors control the light and shadow structures and the ambient sound of this cubic sculpture.

"Daisy"

h=40', ø pedestal 4', ø propellor 15' Fiberglass, robotic arm, camera, custom software 2008

A robotic arm randomly moves a cargo ship propeller made of fiberglass in the air. Video cameras embedded in the base of the sculpture capture the presence of passers-by allowing the piece to move and interact with the viewers.

Video: https://vimeo.com/42050565

"Audio Grove"

36' x 36' x 36' Steel, lights, touch sensors, sound 1997

Interactive light and sound installation. Within a grid of touch sensitive steel posts surrounded by profile spotlights, visitors compose shadow structures and ambient sound.

Video: https://vimeo.com/42053522

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"Mojo"

h=40', ø pedestal 4' Robotic arm, camera, light, custom software 2007

A robotic arm holding a theater spotlight shines a perfect circle of light onto the sidewalk. Two video cameras attached to the roof of the building survey the area around the sculpture while Mojo tries to follow the passers-by with his light beam.

Video: https://vimeo.com/42083377

"Shhh..."

27' x 8.5' x 1' Powder coated steel, books 2010

A total of 3,960 empty sketchbooks in 12 shades of gray are placed in a 2-story tall bookshelf. The spines of the books create the image of a librarian asking for silence. A small number of additional books are available through the library’s gift shop and when filled can be exchanged with a new book from the sculpture. Eventually the sculpture becomes a container of the notes and memories of the community.

Video: https://vimeo.com/42741223

"Nosy"

43’ x 43’ x 15’ Frosted glass, LEDs, robotic light and camera 2007

An automated, “intelligent” video camera randomly captures the surrounding landscape and people, which are then displayed in bitmap graphics onto three ventilation towers covered with white LEDs behind frosted glass panels.

Video https://vimeo.com/42081336

"Nosy"

43’ x 43’ x 15’ Frosted glass, LEDs, robotic light and camera 2007

Video https://vimeo.com/42081336

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"Verdi"

h= 65', ø 4' Concrete, stainless steel, water bottles

Made out of ~5000 San Pellegrino water bottles attached to a polished stainless steel support structure, "Verdi" reflects sunlight during the day and halogen light at night resulting in a vibrant play of green color.

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"Virtual Lake" "Hands"

"Kaleidophone" "Daisy"

"Audio Grove" "Mojo"

"Shhh..." "Nosy"

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"Nosy" "Verdi"