ART of the JOURNEY the Foothill Gold Line

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Andrea Myklebust + Stanton Sears Duarte/City of Hope Station: Spirit of the San Gabriel River, 2015 CONTENTS

Foreword 4

Introduction 6

Artists 9

Gold Line Bridge — Andrew Leicester — Gateway to the 10

Arcadia Station — Michael Davis — Arcadian Zephyr 18

Monrovia Station — Cha-Rie Tang — River of Time 26

Operations Campus — Christie Beniston — Field of Poppies and Gold 34

Duarte / City of Hope Station — Andrea Myklebust & Stanton Gray Sears — Spirit of the San Gabriel River 42

Irwindale Station — Robin Brailsford — Pioneros de la Rivera de San Gabriel 50

Azusa Downtown Station — José Antonio Aguirre — A Passage Through Memory 58

APU / Citrus College Station — Lynn Goodpasture — Azusa Horticultural Paradise 66

Acknowledgements 74

1 2 3 FOREWORD

Reclaiming the historic Santa Fe railroad and capitalize on new opportunities presented by corridor for public transit use has provided the the future segment. In addition to six stations in Foothill Gold Line Construction Authority a distinct community environments, the segment from unique opportunity to once again work with the Pasadena to Azusa also included a new maintenance communities along its project path to reinvigorate hub for a nearly 100-vehicle light rail fleet and a and renew their plans for a more prosperous and 584-linear-foot bridge that would take passengers “connected” future. Doing this artfully however, across the I-210 Freeway and into San Gabriel Valley required thoughtful planning and design of various cities with hundreds of years of history. project elements so that each light rail station would fit within the community to foster growth So what could have been a standard concrete and each would tell a unique story. This outcome freeway overpass has become an iconic freeway took the cooperation and support of our city sculpture and what could have been an institutional partners, community stakeholders and Gold Line maintenance yard is now a field of poppies. Generic Station Art Committee members, each of whom ticket area canopies are palm fronds and peacock worked closely with the Construction Authority and feathers made of glass, and metal handrails are the selected artists to detail the history, values, and song sheets. Each offered different possibilities attributes of the community; ultimately informing to enhance the project for the users and the the development of the final design and public art surrounding communities, and I am pleased to say plan for each station. we took advantage of them all. I hope you’ll agree.

Similar to the methodology used with the initial The Journey Continues. 13.7-mile Gold Line phase from Union Station () to Pasadena, where the line runs through several diverse communities, each artist was asked Habib F. Balian to integrate relevant and meaningful artwork into CEO, Foothill Gold Line Construction Authority and around the stations. As planning began for the six-station Foothill Gold Line from Pasadena to Azusa, the Construction Authority wanted to build on successes from the first segment of the line Inspired by the artist Christo, Balian sought to bring color to what could have been a sea of grey by hanging bright orange off-the-shelf electrical transmission line safety markers along the wires over the storage tracks at the Foothill Gold Line Operations Campus. The pattern of spheres may seem random to those passing by, but in fact spell in Morse code, what else — “The journey continues” — Balian’s signature phrase.

4 5 INTRODUCTION

“Art of the Journey” was developed to While this journey began more than a decade design-build teams — Kiewit and Parsons, Skanska celebrate the partnership between five cities, nine ago for most of the artists, the bulk of their work and AECOM and Webcor — to meet the challenge renowned public artists, three design-builders, took place over the last five years, following the of collaborating with artists and integrating their the Foothill Gold Line Construction Authority, official ground breaking of the Foothill Gold Line ideas into the overall project plan, so that aesthetic and the hundreds of men and women that made from Pasadena to Azusa in June 2010. During experiences and functionality generate a seamless it happen. This book provides a glimpse into the that time, each artist was commissioned by their and cohesive infrastructure. As with the Gold Line ‘behind-the-scenes’ collaborative process and respective design-build team to work alongside Bridge, where the art and the bridge structure itself creative practice of the artists of the Foothill Gold engineers and contractors to finalize the artwork were wholly united, you will see in the pages of this Line from Pasadena to Azusa — Michael Davis design, and then fabricate and install their book the impressive assimilation of artwork and (), Cha-Rie Tang (), artwork. All of the artists were challenged to work infrastructure throughout the 11.5-mile Pasadena to Andrea Myklebust & Stanton Gray Sears (Duarte/ within the limits of a stringent design criteria; Azusa project — sometimes in the most unexpected City of Hope Station), Robin Brailsford (Irwindale while staying committed to a vision for their art of places. Station), José Antonio Aguirre (Azusa Downtown to be central to the fabric of the project without Station), Lynn Goodpasture (APU/Citrus College impacting the line’s long-term functionality. Through this effort, the artists, design-builders Station), Christie Beniston (Foothill Gold Line and Construction Authority have enriched the Operations Campus), and Andrew Leicester (Gold Each of these experienced and professional Foothill Gold Line with a sense of place and legacy, Line Bridge); and showcases their vibrant, relevant, artists found distinct ways to incorporate artwork revealing interesting and significant historical and beautiful artwork. that will leave enduring impressions on future aspects of the line’s diverse and culturally rich riders and capture the spirit of the community, past communities, and instilling community pride that is These highly regarded and experienced artists and present. Through their work, riders will find sure to endure. were selected through a rigorous, competitive references to the art and craft traditions of the process. More than 300 artists from across the ancient Gabrielino-Tongva peoples, early Mexican country were considered. Five artists (Aguirre, settlers, and purveyors of the twentieth-century Brailsford, Davis, Goodpasture, Tang) and one artist Arts and Crafts Movement. The region’s landscape, team (Myklebust & Sears) were selected by a station flora and fauna are highlighted and memorialized art committee representing the city in which their in metal, ceramic, stone, bronze and glass; artwork is now viewed. Leicester was selected by a and local commerce is honored with motifs of committee of corridor-wide representatives from horseracing, basket weaving, and citrus growing. Arcadia to Montclair to provide the design concept for the Gold Line Bridge. The ninth and final artist, This important outcome is the result of an Beniston, was added to the project later in the intentional and mindful process by the Construction process to include artwork at the Foothill Gold Line Authority to integrate the art effort into the Operations Campus. agency’s planning, design, and contracting practices. It required the cooperation of the project’s three

6 7 ARTISTS

Andrew Leicester — Gateway to the San Gabriel Valley

Michael Davis — Arcadian Zephyr

Cha-Rie Tang — River of Time

Christie Beniston — Field of Poppies and California Gold

Andrea Myklebust & Stanton Gray Sears — Spirit of the San Gabriel River

Robin Brailsford — Pioneros de la Rivera de San Gabriel

José Antonio Aguirre — A Passage Through Memory

Lynn Goodpasture — Azusa Horticultural Paradise

8 9

Andrea Myklebust + Stanton Sears Duarte/City of Hope Station: Spirit of the San Gabriel River, 2015 Gold Line Bridge

10 11 GOLD LINE BRIDGE Gateway to the San Gabriel Valley by Andrew Leicester

The 584-linear-foot Gold Line Bridge was grooves and hatch marks simulating the intricate completed on time and within budget in December patterns found on the Western Diamondback snake 2012 and stretches diagonally across the eastbound and metaphorically referencing the connectivity of lanes of the I-210 Freeway in the City of Arcadia. The the transit system. “This monumental bridge is $18.6 million dual track bridge closes a gap created when the former bridge was removed following the Construction of the Gold Line Bridge required custom steel and rubber forms to create the various relief patterns a symbolic gateway into the 1994 Northridge Earthquake and provides a critical Andrew Leicester is a on the bridge, support structure, and basket bases. San Gabriel Valley, as well as a connection between the operational Gold Line and public artist born and the new stations in Arcadia, Monrovia, Duarte, tribute to those who inhabited educated in England. Irwindale, and Azusa. He immigrated to this spectacular landscape. As Award-winning public artist Andrew Leicester was the United States in with most ceremonial portals, selected by a committee of community representatives 1970 and resides in Minneapolis, Minnesota. the symbolic and decorative following a competitive national call initiated in 2009 by the Construction Authority. Leicester was For three decades, he elements of the bridge serve a hired as the Design Concept Advisor before the has created public art vital role in conveying a message contractor and architect were selected to conceive an projects that range in size and scope from to those passing through. They aesthetic vision for the Gold Line Bridge; a strategic move in re-imagining the design process for a large- small courtyards to announce the beginning of the scale infrastructure project. This groundbreaking municipal transit plazas, park entrances, and water gardens throughout the United States, United San Gabriel Valley, and to those collaboration resulted in the creation of a sculptural bridge that is quickly becoming an iconic landmark for Kingdom, and Australia. Recent projects are installed who live there, they say ‘you are the San Gabriel Valley. at the Civic Center in San Jose, California and the not far from your destination.’” Bobcats Arena in Charlotte, North Carolina. Leicester Leicester’s bridge design was inspired by the has received numerous awards for his work as well as craft traditions of local indigenous peoples, native fellowships from the Bush Foundation, the McKnight wildlife, and the oversized architectural landmarks Foundation, and the National Endowment for the and roadside attractions of nearby Historic Route 66. Arts. Leicester’s extensive sketchbook for the Gold These inspirations permeate the bridge’s structure Line Bridge project was selected as one of only a few with the most notable being the two 25-foot tall, dozen creative professional works at the Art Center 17-foot diameter sculptural baskets flanking the College of Design’s “Pages” Exhibition in 2012, which sides of the main superstructure. These elements are included sketchbooks, manuscripts and rough drafts tied together visually by the relief-pattern on the from the fields of art, science, and literature. outrigger beam that crosses the freeway. The main underbelly of the bridge itself is branded with cast

12 Andrew Leicester, Gateway to the San Gabriel Valley 13 The Gold Line Bridge is steel reinforced concrete and the basket elements are made with pre-cast sections that include a specialty aggregate mix. The pre-cast sections include pyrite to create a subtle shimmer to the surface most visible later in the day.

14 Andrew Leicester, Gateway to the San Gabriel Valley 15 16 Andrew Leicester, Gateway to the San Gabriel Valley 17 Arcadia Station

18 19 ARCADIA STATION Arcadian Zephyr by Michael Davis

Michael Davis’ artwork for the Foothill Gold The City of Arcadia generously provided Line Arcadia Station, Arcadian Zephyr, is inspired betterment money to enhance the environment for by natural and designed elements from two of the the Arcadia Station. With this additional funding, “My artwork for the station City of Arcadia’s major destinations: the race track Davis also created two signature lighting art pieces and the lighting elements for at Santa Anita Park and the Los Angeles County installed at the nearby Santa Anita Avenue Bridge. Arboretum and Botanic Garden. Researching the Their design features an historic Arcadia letter font the bridge are designed to be a history of the city and these sites, Davis has created a and connects the nearby bridge and station artworks gateway for the City of Arcadia. thoughtful and playful experience for the transit rider in a seamless experience from street to Station. by appropriating, abstracting, and layering motifs The images are a curated gleaned from the area. collection inspired by Arcadia’s Michael Davis was born At the station, passengers find galloping and raised in Los Angeles history and lore and a short tale racehorses cut into stainless steel panels as a direct and resides in the coastal of my own. My grandmother compliment to the landmark friezes found at nearby community of San Pedro. Santa Anita Park. A lucky number ‘7’ is hidden in had a secret drawer. As a boy, I He received a Master of the frame of the sandblasted black granite and Fine Arts from California opened it and found a book filled signature green painted benches. This motif and the State University, Fullerton colors black and green pay homage to racing history with dried flowers, letters, and and is internationally and the waging that takes place at the racetrack. known for his studio and an iridescent eye from a peacock Contrasting the dark granite and stainless steel, public art throughout feather. Peacocks roam Arcadia. Davis worked closely with the Arboretum in the the United States and selection of local plant and animal images for a tall An Arcadian is defined as a Japan. Davis brought weathervane sculpture donning delicate butterflies, an extensive knowledge of materials and fabrication person who lives a simple life.” hummingbirds, and native flowers as a central focal processes to the development of his artwork for the point to reveal the “zephyr” or gentle breeze of this Arcadia Station. His public art transit projects are Arcadian landscape. installed in stations in Seattle, Los Angeles, Dallas, San Davis also designed the steel canopy structures for Jose, and San Diego. His artwork has been featured in the ticket vending machines located at the entrance numerous publications including Artforum, Art News, to all six new Foothill Gold Line stations. At Arcadia, Art in America, Public Art Review, and was showcased he created an abstracted design made of glass to line in L.A.Rising, SoCal Artists before 1980 — the first the roof of the canopy. The design was derived from comprehensive book to document the legacy of artists an early Art Deco logo for the City of Arcadia that whose lives and work in Los Angeles enabled the city featured peacock feathers. Davis extrapolated the to become the international contemporary art capital eye of a single feather and infused the glass panels it is today. with bold pigments to create a radiant beacon for the Arcadia Station.

20 Michael Davis, Arcadian Zephyr 21 Images of the handmade copper weathervane components show intricate detail and personality of each character living on the sculpture.

22 Michael Davis, Arcadian Zephyr 23 The Arcadia Station art consists of four major components: (1) Weathervane: copper, stainless steel, and paint; (2) Custom Benches: black granite, steel, and paint (3) Ramp Panels: stainless steel with brushed finish; (4) Glass Ticket Vending Machine Canopy: digital printed safety glass panels. Davis designed the standard canopy structure for the ticket vending machine area seen at each Station along the Foothill Gold Line from Pasadena and Azusa.

24 Michael Davis, Arcadian Zephyr 25 Monrovia Station

26 27 MONROVIA STATION River of Time by Cha-Rie Tang

Artist Cha-Rie Tang’s Monrovia Station artwork River of Time combines a treasure trove of sumptuous Cha-Rie Tang is materials and is a thoughtful meshing of natural a Pasadena-based elements and handcrafted design. Calling forth the artist who combines power of earth, water, and light, Tang uses ceramic her artistic and “We are travelers, both literally tiles, glass, and a monolithic rock to invite and architectural training envelope transit riders in an environment designed to to form exquisite and metaphorically. We celebrate Monrovia’s rich architectural heritage and compositions out of experience the world depending natural beauty. ceramic tile and glass to on our frame of reference and by At the base of the entrance ramps leading to celebrate humankind’s the train platforms stands a treasure from China via relationship with the time we have. On foot or by Rosemead Gardens, a sculptural rock carved by eons nature. Tang received train, looking down or looking of flowing water. This monument is the “mountain” a Bachelor of Science ahead, close up or from afar we to the artist’s “glittering stream.” The stream is a in Art and Design from pool of water made of thousands of tiny, reflective Massachusetts Institute bring ourselves, our histories with glass triangles handcrafted by Tang. As the artist of Technology and a us. At the Monrovia Station the says, “running water is a potent force guided by the Master of Architecture from the University of Colorado, Boulder. Her public art reveals patterns and layers of esthetics of chance,” and Tang has created a light- filled tribute to this essential element. art commissions span Los Angeles and Orange meaning as you experience it in Counties and include Pasadena’s A.R.T. Bus, the The suggestion of water is carried throughout City of Los Angeles Public Library at Exposition your travels.” her station artwork. Along the ramps leading up Park, Los Angeles County Kenneth Hahn Hall of to the station platforms, Tang has placed a field of Administration, and the City of Mission Viejo Arts “watercolor tiles” hand-glazed to suggest a river Alive Festivals. She was nominated for the 1996 flowing up/down the ramps. Once on the station Computerworld/Smithsonian Award for Excellence platforms, riders will find the column bases lined with for her work as principal on the Direct Imagination decorative relief tiles associated with the California team that published the Grammar of Ornament Arts and Crafts Movement — Batchelder, Claycraft, CD-ROM. Tang was named by Pasadena Foothills CALCO, Alhambra Kilns — along with Tang’s own Magazine as one of the top 50 Creative People in contributions. Tiles by Ernest Batchelder (1875-1957) Above: The custom fused glass bricks create the illusion of water rippling out from the 2011 and was also called out as one of the Best of are well known and are especially treasured by feature rock near the platform entry ramp. Worldwide Glass Artists (Kennedy Publishing). Monrovians. Many residents generously invited Tang to make impressions of their original Batchelder tiles, Left: Tang created molds from the existing tiles at the Monrovia historic Santa Fe depot. which she then used to make molds, so the station’s collection of tiles would be a comprehensive display of Batchelder’s renowned designs.

28 Cha-Rie Tang, River of TIme 29 The station’s ‘river’ on the platform ramps is made of hand-glazed quarry tiles.

30 Cha-Rie Tang, River of TIme 31 Above: The column bases feature hand-glazed and cast ceramic tiles made from molds created by the artist. Many of the tiles are based on Ernest A. Batchelder’s renowned designs from the 1920s and 1930s.

Left: Tang’s original bear tile is inspired by the mural “Grizzly Bear and Cubs” (1940), orig- inally painted by artist Helen Katherine Forbes and commissioned by the Treasury Section of Fine Arts for Monrovia’s Ivy Avenue Post Office. The Aztec tile designs are appropriated from existing tiles found at the historic Monrovia Santa Fe depot.

32 Cha-Rie Tang, River of TIme 33 Operations Campus

34 35 OPERATIONS CAMPUS Field of Poppies and California Gold by Christie Beniston

In developing the Foothill Gold Line Operations Campus located in the City of Monrovia, the Christie Beniston is Construction Authority decided to incorporate art and a public artist based design into the maintenance and operations facility in Solana Beach, “Training in communication — a behind-the-scenes site usually camouflaged and California and has had hidden from view. When asked to create art for the design has had significant a thriving art practice 24-acre campus, Christie Beniston began her design for over 25 years. Her influence on my work as a fine process by researching the history of transportation public, residential, and artist working in the public space. in California. She locked onto the eighteenth-century commercial commissions Spanish explorers who sailed the coast of California are located throughout For the viewing plaza and building and described the region as “a land of fire,” noting Southern California in at the Operations Campus, the deep orange-colored hillsides. Once on land, the Los Angeles, Orange, explorers realized the source of the “fire” was the I recognized the importance and San Diego counties. poppy, thus giving California its state flower and the Her desire and technical of California history and its nomenclature “The Golden State.” ability to innovate with relationship to the site. Ultimately Beniston used the California Poppy as her central new materials and my hope is that my contribution image and inspiration and created artworks in two tackle unusual sites were locations on the site. For the main building, the artist essential components for the installation of the Field is a visual representation of has taken the micro view of a cluster of golden flowers of Poppies and California Gold commissions at the what is important to the broader for a grand mural in the lobby. Using a grid system as Foothill Gold Line Operations Campus. Recent works by Beniston are permanently installed at the San community as well as the legacy a base structure, she has produced a large, colorful, graphic mosaic composed of hundreds of flowers Diego Airport Commuter Terminal, Huntington Valley of the city’s new facility.” comprised of 140,000 10mm glass tiles. Little League field in Huntington Beach, and the Glendale Adventist Hospital. She has also exhibited In contrast to the close detail of the lobby mural, her work in museums and galleries across the country the artist created a large-scale field of poppies within and has received numerous awards including an the fences lining the public plaza on the northwest International Council of Shopping Centers (ICSC) corner of the campus. Design and Development Silver Award in the category Beniston, who likes a challenge, was delighted of Renovation/Expansion of an Existing Project. to design an artwork using a new material. The Field of Poppies fence was created with an architectural fabric that employs traditional lace weaving Above: Field of Poppies is an exterior architectural fabric made of steel mesh. The fenc- Above: The interior mural, California Gold, located in the lobby of the facili- techniques into a material that is functional and ing separates Evergreen Plaza, a public viewing area at the corner of the facility, from ty’s main building, is made of 140,000, 10mm glass Bizazza tiles. practical for exterior fencing applications. The the Operations Campus. artwork allows visitors to Evergreen Plaza to enjoy views of the light rail facility and serves as a vibrant backdrop to this new community amenity. 36 Christie Beniston, Field of Poppies and California Gold 37 38 Christie Beniston, Field of Poppies and California Gold 39 The ‘poppy’ accent color was used intentionally through- out the campus on select exterior structures — water tank, building entry, and solar canopy — to tie these architectural forms to the artwork and integrate their presence within the overall design of the maintenance and operation facility.

The three story, 132,000 square foot Main Shop Building was designed and built to meet the U.S. Green Building Council’s Leadership in Energy & Environmental Design Gold standards. The building was architecturally designed to maximize the use of natural light and provide an interesting façade for the surrounding neighborhood. Poppy orange was used to highlight interior and exterior building details, corresponding with the artistic motif created for the campus, and was also used as the color palate for the drought-tolerant landscaping.

40 Christie Beniston, Field of Poppies and California Gold 41 Duarte / City of Hope Station

42 43 Sketches created by the artists became the visual reference to sculpt low relief molds for the bronze pavers that are installed on DUARTE/CITY OF HOPE STATION the platform. Spirit of the San Gabriel River by Andrea Myklebust & Stanton Gray Sears

Artists Andrea Myklebust and Stanton Gray Sears were inspired by the extensive research they Andrea Myklebust and conducted at the local historical society and their long Stanton Gray Sears are the “Our work explores the natural and walks along the San Gabriel River wash for their design principal artists of Myklebust cultural histories of the place for of the Duarte / City of Hope Station artwork Spirit + Sears studio located in rural of the San Gabriel River. The layout of this station which it is designed. In the City of Pepin County, Wisconsin. They presented some challenging space problems and the began working collaboratively Duarte, this meant working within artists chose to site three tall sculptural columns with in 1993 and have created more the context of the San Gabriel oblong limestone capitals down the center of the than sixty sculptural works for platform and one in the nearby parking facility. This sites across the country. As with River, and an examination of the placement allows for train passengers and car travelers previous projects, the artist history and artifacts of the many on Duarte Road to enjoy the artwork from multiple team thoughtfully addressed vantage points as the light shifts throughout the day. people who have lived and worked issues of scale, placement and Fascinated with the idea of who has traversed and viewing opportunities as they in the area over time, from the benefited from this rich landscape over the centuries, developed the final sculpture native Gabrielino-Tongva, through the artists chose four visual elements to hand-carve designs for the Duarte / City of Hope Station. Their award- successive waves of immigration in relief on each of the limestone capitals topping the nearly seven-foot high columns. The first relief winning work has been featured and industry, to the high-tech is a topographical map of the area to give a visual in Americans for the Arts Year in campus across the street from overview of the region and landscape. California Live Review, Landscape Architecture Oak leaves are a reference to the native flora. The Magazine, Sculpture Magazine, the station. We worked in durable basket-weaving image is derived from the Gabrielino- and Public Art Review. sculptural materials selected to Tongva peoples who gathered acorns along the river. Myklebust received her Bachelor complement the forms and colors of An intricate saddle design is borrowed from traditional of Arts from Macalester College Mexican leather carving as a tribute to Mexico’s history in St. Paul, Minnesota and studied sculpture at the the natural landscape of Duarte.” and influence in the area. University of Minnesota, Minneapolis. Sears is an Associate Professor of Art at Macalester College Surrounding the column bases on the ground, and holds a Master of Fine Arts in Painting from Myklebust and Sears have laid an intricate design of Penn State University, State College, PA. Highlights square cast-bronze pavers donning low-level reliefs of their collaborative work include installations for depicting orange blossoms, branches, and fruit. The light rail stations on the Minneapolis-St. Paul Central floral imagery is derived from the colorful crate labels Corridor line; at the Microbial Sciences building at the used by the local citrus industry in the late 1800s and University of Wisconsin, Madison; and at the historic early 1900s to brand and transport their fruit across Fox Theater in Stockton, California. the nation. This final element grounds the 11’ tall vertical sculptures and weaves an expansive footprint around the sculpture bases on the platform like a 44 citrus grove spreading towards the horizon. Andrea Myklebust & Stanton Gray Sears, Spirit of the San Gabriel River 45 The four vertical sculptures feature hand-carved capitals made from Indiana Limestone supported by painted steel bases.

46 Andrea Myklebust & Stanton Gray Sears, Spirit of the San Gabriel River 47 48 Andrea Myklebust & Stanton Gray Sears, Spirit of the San Gabriel River 49

Ruelas Gregorio Fraijo Facundo Ayon Martinez Islas Chavez Alva Gauthier Luna Forester Hernandez Kurovsky Thayer 1860 Miranda — Dean Pioneros Lopez Gallardo de Campa la Diaz Rivera Johnson Vrigoyen Salazar Castellanos Aguayo Gomez McLain Zavala Breceda Zepeda Henry Cook Villalobos Martinez Guerrero Oatisde Figueroa San MuroGabriel Ambriz Delgado — 1960 Chico Barbosa Vsais Reyes Norton Stievo Castor Kuhns Saiz Ross Miles Duran Thompson Cudmore Lara Rodriguez Self Ruelas Leyva Herrera Cagle Acosta CampasTyler Pulido Martinez Haro Allen Pickering Jefferson Fraijo Garcia Malacara Lee Perrona Lazano Hann Gregorio Rivers Mitchell White-Bear Ortiz Sanchez Chico Fraijo Zamora Medina Fuentes Carr Vallencia Chambers Grijalva Henderson Meisner Burgs Islas Chavez Burrola Ayon Davila Warnock Rubio Soto Esparza Kuhns Scott Grammer Solis Tapia Moreno Ramirez Burger Padilla Ornelas Sosa Baca Sierra Silva Murdock Vrigoyen Campbell Feucht Torres Lara SchiroRuelas LeeCarrillo Suarez Camacho Fields Nides Toscano Brower Hunter Hann Grijalva Rogers Lee Stewart Ceballos Esquivel Williams Barragan Guadarrama Moctezuma Salazar Walters ArivizuMartinez Gallego Aguilera Ogaard Perez Ortega Bernal Dozois Keiffer Miranda Dean Lopez Gallardo Campa Diaz Johnson Vrigoyen Salazar Castellanos Aguayo Gomez McLain Zavala Breceda Zepeda Henry Cook Villalobos Martinez Guerrero Oatis Figueroa Muro Ambriz Delgado Chico Barbosa VsaisFacundo Chavez Alva Johnson Vrigoyen Duran Stievo Ayon Castor Kuhns Thompson Allen Sanchez Chico Davila Warnock Baca Sierra Toscano Brower Salazar Walters Vallencia Chambers Grijalva Campa Diaz Campa Diaz Feucht

50 51 IRWINDALE STATION Pioneros de la Rivera de San Gabriel by Robin Brailsford

Irwindale’s contemplative views of snow-capped platforms include the surnames found in the city’s mountains and golden California sunrises are the centennial city directory. The founders’ names headline setting for station artist Robin Brailsford’s Pioneros de this ‘parade’ of international surnames framed by the la Rivera de San Gabriel (Pioneers of the San Gabriel dates 1860 and 1960. “In the City of Irwindale, River Bank). Her work is about the town’s legacy that reads like a fable. I found the integrity of Robin Brailsford, of purpose with staff, residents, In the 1800’s, five families from Mexico came to Brailsford Public Art, the Los Angeles Basin. Again and again, other settlers and ancestors to create an likes to think big. From followed, forcing the Mexican families to move on. At her modern home and last they found peace, but not wealth, along the San unprecedented opportunity for studio on the U.S./ The entry ramps to the station Gabriel River. The nearby mountains provided them an exciting integration of art, Mexican border, with platforms are flanked by cut metal with an overabundance of fresh water and beautiful her partner, artist Wick painted panels which bare the history, and light rail transit at black and white “sal y pimento” river cobble. Here, Alexander and many names of the original city founders a significant scale. As a public they raised families, farmed, and founded a town that trusted fabricators, she and the residents who lived in the city during the 100th anniversary of is the City of Irwindale today. The founders’ heirs still creates environmental artist, I look for the potential in its founding. live here and prosper in the Jardin de la Roca (Garden artworks for major people, places, and things, and of the Rock). In the 1950’s, the scarcity of aggregate transit, education and then help realize that potential for freeways and water for a growing population led parklands projects to the establishment of Irwindale’s current economic with a vibrant conceptual and throughout the United States. Raised on the North engines: stone quarries and the food industry. Shore of Massachusetts, her hometown’s joyous, tactile experience.” Inspired by the presence of stone aggregate, community-wide Fourth of July celebrations inspire the station platforms are set with 200 handmade the scale, scope and vigor of her civic work. Brailsford LithoMosaic pavers made of glass, mosaic, stone, and is co-patent holder (with Ron Shaw of Shaw & Sons) micro-mosaic pieces. Although each paver repeats of LithoMosaic, a relatively new process for public art. a singular form, the composition for each design is Their process allows for mosaics to be cast in concrete unique. In blue, they allude to the San Gabriel River’s at a vast scale. For the Irwindale Station Brailsford alluvial fan, and in green, they are an abstraction of employed a new casting technique with LithoMosaic each resident’s Árbol de la Vida (Tree of Life). The allowing small pavers to be created. Brailsford has a triangular layout of Brailsford’s custom pavers on the Bachelor of Fine Art in Metalsmithing from Syracuse station platforms, visually enhance the experience of University and a Master of Art and Master of Fine movement for train riders. Pierced into the platform’s Arts in Sculpture from the University of New Mexico. steel guard hand-railings, passengers will find the Past and current clients include the United States words of Axis Mundi, A Song of Irwindale, composed National Forest Service, the Desert National Wildlife by Brailsford that poetically conveys (in English, Refuge, Miramar Water Treatment Plant, and the Spanish and Aztec) the Irwindale milagro (miracle). cities of Los Angeles, Santa Monica, Phoenix, El Paso, The hand-railings located on the entry ramps to the and Albuquerque. 52 Robin Brailsford, Pioneros de la Rivera de San Gabriel 53 The process of creating and casting LithoMosaic pavers requires detailed handwork. Each paver is an individual composition of glass tiles, natural stone, and texture.

54 Robin Brailsford, Pioneros de la Rivera de San Gabriel 55 56 Robin Brailsford, Pioneros de la Rivera de San Gabriel 57

58 59 AZUSA DOWNTOWN STATION A Passage Through Memory by José Antonio Aguirre

Station artist José Antonio Aguirre worked closely with the City of Azusa and the community José Antonio Aguirre to transform the Azusa Downtown Station into a was born and raised in prominent gateway and landmark through his artwork Mexico City and currently The Azusa Downtown Station art consists of “For the Azusa Downtown A Passage Through Memory. Aguirre’s overall artistic resides in Pasadena, CA. three major components: (1) Entry Portals: cast design reflects an integration of motifs drawn from Station, I was inspired by the He holds a Bachelor of glass fiber reinforced concrete (GFRC) with ancient Native American traditions, California Spanish- local expressions of cultural Fine Arts from the Art Byzantine and Venetian glass mosaic tiles and Mission style, and early 20th century American design. Institute of painted metal; (2) River Bed: custom Stepstone, identity and how ancient The fusion of these histories captures the cultural and a Master of Fine Inc. pavers with specialty aggregate and integral images that have been painted significance of the area and beautifully reflects the Arts from the California colors; and (3) Column Bases: Byzantine and City of Azusa’s rich historic and cultural diversity. Institute for the Arts. Venetian mosaic tile. on rocks in the area or woven The most ambitious of the design elements at the Over the past 30 years, into vessels centuries ago by Azusa Downtown Station is a pair of grand Spanish Aguirre has actively contributed to his community as this region’s tribal ancestors colonial-style arched portals placed at the entry an internationally respected exhibiting artist, cultural ramps leading to the station platforms. The arched worker, journalist, and educator. He has designed and have survived as sacred icons portals are made from architectural concrete and fabricated more than 35 permanent public artworks and still resonate today. They supports with a metal header announcing “Azusa” in for civic, educational, and private entities in Southern California, Chicago, Denver, , and Mexico. have the power to collapse large illuminated letters. Topping the sign is a crown motif that was inspired by the city’s original Azusa His most ambitious glass mosaic mural, Our Legacy: time and space between the sign installed at Foothill Boulevard in 1923 and later Forever Presente, is installed at the East Los Angeles generations and create a portal removed in 1946. Public Library and was commissioned by former First District County Supervisor Gloria Molina. In 2010- Aguirre has also created a distinct image for the for new discoveries.” 11, Aguirre was awarded a Fullbright-García Robles mosaic panels inset into the two portals at the station fellowship to research community public art at the entry by appropriating and abstracting elements Universidad Autónoma Metropolitana-Azcapotzalco from pictographs drawn by local Gabrielino-Tongva in Mexico City. ancestors. To complete his design, Aguirre worked over a four-week period with students from nearby Azusa Pacific University and visitors to The Mexican Cultural Institute at El Pueblo Historical Monument to create a series of glass mosaics inspired by native basket weaving and drawing traditions of the region’s indigenous peoples. These mosaics encircle the base of each canopy column adding vibrant bursts of color visible to those waiting at the station and passengers on the train.

60 José Antonio Aguirre, A Passage Through Memory 61 62 José Antonio Aguirre, A Passage Through Memory 63 Each of the 36 column base mosaics are as unique in composition and color as the individuals who came to volunteer to create them.

64 José Antonio Aguirre, A Passage Through Memory 65 APU/Citrus College Station

66 67 The translation of two-dimensional designs created by the artist into specific materials becomes a collaborative conversation between artist and fabricator as the work evolves. APU/CITRUS COLLEGE STATION Azusa Horticultural Paradise by Lynn Goodpasture

Station artist Lynn Goodpasture was inspired by “the stones surrounding each bench. Goodpasture’s use of land that surrounds the station, and the transformation these familiar images and materials is intended to create of this land by innovative people who owned it, worked a welcoming environment that feels “I was deeply inspired by the it, and loved it.” After thorough research she chose to like home. beauty of the San Gabriel celebrate the area’s horticultural history with her art- work Azusa Horticultural Paradise, by creating a glass Mountains that sit so close to the canopy and four mosaic-tiled benches with imagery that Lynn Goodpasture of station. The fertile foothills that recalls the towering California Fan Palms (Washingtonia Goodpasture Art & Design surround the station were home filifera) along nearby Palm Drive, the legacy of early specializes in large-scale art for California growers, and the botanical contributions of public, private, and commercial to a wide variety of indigenous former land-owner — The Monrovia Nursery. environments. Her commissions plants and innovative horticulture Four custom mosaic benches are located on the plat- are often developed in collab- developed by key landowners form and feature distinctive plants that are historically oration with architects, fabri- linked to the site. The honeybee and orange motif pays cators, and installers, which al- starting in the mid-1800s. During homage to Henry Dalton. In 1867, Dalton imported or- lows for maximum integration this period the City of Azusa took ange trees and the first Italian honeybees to the United of her artwork into the archi- tecture. The mosaics for the APU/Citrus College Station root itself and grew. I chose to States, launching local citrus growing and supplying honey throughout the country. By 1880, Jonathan Sayre were developed in close collaboration with Mosaika, honor this rich history of Azusa Slauson acquired the property and established the Azusa the mosaic fabricator, with the goal of translating the with artistic interpretations of Foothill Citrus Company, which earned international painterly quality of the original artworks into smalti awards and worldwide recognition for its superior fruit. glass tiles. Similarly Goodpasture worked closely with the the flora and fauna from this Peters Studio to translate the original art for the glass bountiful landscape.” Slauson’s daughters each inherited a portion of canopy (rendered in small-scale models) into the 28-foot the Azusa Foothill Citrus Company land. Kate Slauson hand-painted glass canopy. Recent projects include an Vosberg named her ranch, Rancho del Alisal (Ranch of interior glass wall for the Cone Health Cancer Center at the Sycamore) for the indigenous trees, while Louise Alamance Regional Medical Center in Burlington, North Slauson Macneil called her home Rancho los Cacomites Carolina; an interactive tile and stone labyrinth for the (Ranch of the Hyacinth) for the once prolific wild flow- Robert F. Kennedy Community Schools in Los Angeles, ers. For the station’s main imagery, Goodpasture ren- California; and a large-scale gate for the children’s dered in mosaic these two symbols, the Sycamore and garden in the Botanical Garden at the University of Hyacinth, along with Rosedale’s Beauty, a popular camel- North Carolina / Chapel Hill. Goodpasture attended the lia propagated in the 1950’s by Monrovia Nursery. Corcoran School of Art in Washington, DC. In 2013 and Goodpasture also depicts a fan palm frond in mosaic 2015, she was a presenter at the Public Art Network’s on the sides of the benches and in the glass panels for annual conference at Americans for the Arts, addressing the canopy covering the ticket vending machine area. “Ethics in Public Art: Best Practices,” and “Professional The use of the palm motif in various ways connects the Standards in the Public Art Field.” station’s primary design elements, as do the paving 68 Lynn Goodpasture, Azusa Horticultural Paradise 69 The ticket vending machine canopy features hand-painted safety glass panels,inspired by the California Fan Palm.

The artist selected sculptural pre-cast benches to install each detailed smalti mosaic design. She considered the “carpet” area beneath the bench to designate its special place on the platform.

70 Lynn Goodpasture, Azusa Horticultural Paradise 71 72 Lynn Goodpasture, Azusa Horticultural Paradise 73 Foothill Gold Line Construction Authority Board of Directors Metro Board of Directors Doug Tessitor Appointee, City of Pasadena Mark Ridley-Thomas, Chair Sam Pedroza Mayor Pro Tem, City of Claremont Los Angeles County Supervisor Second Supervisorial District ACKNOWLEDGEMENTS Marisol Rodriguez Appointee, City of Los Angeles Paul S. Leon Mayor, City of Ontario John Fasana, First Vice Chair Council Member, City of Duarte John Fasana Council Member, City of Duarte Eric Garcetti, Second Vice Chair Gene Masuda Vice Mayor, City of Pasadena Mayor, City of Los Angeles Carrie Bowen Director, Caltrans District 7 The Foothill Gold Line journey began more than a decade ago. Michael Antonovich Daniel Evans Appointee, City of South Pasadena Los Angeles County Supervisor Over those years, elected officials, the community, stakeholders, students and others rallied and wrote in support of the project Alan D. Wapner Council Member, City of Ontario Fifth Supervisorial District that would transform the San Gabriel Valley and the quality of life for its citizens for generations. Habib F. Balian Chief Executive Officer Mike Bonin Most important, it took the vision and dedication of elected officials representing the corridor’s past, present and future to Council Member, City of Los Angeles Former Foothill Gold Line Directors ensure the journey continued; and the hard work and service by thousands of individuals — including planners, designers, Diane DuBois engineers, trades workers, support professionals, and artists — to make the vision a reality. Bill Bogaard Vivien Bonzo Council Member, City of Lakewood On the following pages are individuals representing the principals, team leaders, and key staff who worked on the planning, Lara Larramendi Dennis Bertone Jacquelyn Dupont-Walker Appointee, City of Los Angeles design, and construction of the Foothill Gold Line from Pasadena to Azusa. Under the direction of the Foothill Gold Line Ed P. Reyes Cliff Hamlow Construction Authority and assistance by Metro, three design-build teams, Hill International staff and consultants, agencies at Keith W. Hanks Paul E. Little Don Knabe all levels of government (city, county, state, and federal), local utility companies and the railroads came together and built the Los Angeles County Supervisor Jon Blickenstaff Algrid G. Leiga Foothill Gold Line on-time and on-budget. Fourth Supervisorial District Rob Hammond Dick Stanford We thank them all for their dedication to the journey. Paul Krekorian Council Member, City of Los Angeles The Foothill Gold Line from Pasadena to Azusa was fully funded by LA County’s Measure R half-cent sales tax, approved by voters Sheila Kuehl in 2008 and was turned over to Metro on September 23, 2015. Metro opened the line for passenger service on March 5, 2016. Los Angeles County Supervisor Third Supervisorial District Ara Najarian Council Member, City of Glendale James Butts Mayor, City of Inglewood Hilda L. Solis Los Angeles County Supervisor First Supervisorial District Carrie Bowen Caltrans District 7 Director Non-Voting, Appointed by the Governor of California Phillip A. Washington Chief Executive Officer

74 75 Gold Line Phase II Joint Powers Authority Gold Line Phase II Technical Advisory Committee San Bernardino Associated Governments Foothill Gold Line Construction Authority Staff and Key Consultants Carrie Schindler, Director of Transit & Rail Programs City of Arcadia City of Arcadia Habib F. Balian Chief Executive Officer Nessa Williams, Project Delivery (Alternate) Tom Beck, Council Member Dominic Lazzaretto, City Manager Chris Burner Chief Project Officer Sho Tay, Council Member (Alternate) Phil Wray, Deputy Director of Development Services/City Engineer City of South Pasadena Sergio Gonzalez, City Manager Crandal Jue Chief Financial Officer City of Azusa (Alternate) Margaret Lin, Principal Management Analyst (Alternate) Uriel Macias, Council Member City of Azusa Mitchell S. Purcell Chief Contracting Officer & In-House Counsel Angel Carrillo, Council Member (Alternate) Troy Butzlaff, City Manager John Skoury Program Manager Daniel Bobadilla, Public Works Director/City Engineer (Alternate) City of Claremont Denis Cournoyer Director of Engineering Sam Pedroza, Mayor Pro Tem (Chair) City of Claremont Reky Hiramoto Director of Facilities Larry Schroeder, Council Member (Alternate) Anthony Ramos, City Manager Lisa Levy Buch Director of Public Affairs City of Duarte Colin Tudor, Assistant City Manager (Alternate) (Vice Chair) Liz Reilly, Council Member City of Duarte Lesley Elwood Public Art Program Manager Tzeitel Paras-Caracci, Council Member (Alternate) Darrell George, City Manager Phil Dinets Director of Systems Jason Golding, Senior Planner (Alternate) City of Glendora Chris Lowe Board Clerk and Personnel Manager Gene Murabito, Mayor Pro Tem Karen Herrera, Deputy City Manager (Alternate) Richard Espinosa Project Controls Manager Gary Boyer, Council Member (Alternate) City of Glendora Dan Osorio Quality Manager City of Irwindale Chris Jeffers, City Manager H. Manuel Ortiz, Council Member Sean McPherson, Assistant Planner (Alternate) Jack Clapp Construction Manager Justine Garcia, Transportation Programs Analyst (Alternate) Mark A. Breceda, Mayor (Alternate) Connie Levinson Design Manager City of Irwindale City of La Verne Tanya Patsaouras Station Environment Coordinator Robin Carder, Mayor Pro Tem (Secretary & Treasurer) John Davidson, City Manager Rodrigo Gonzalez Media Consultant Charles Rosales, Council Member (Alternate) William Tam, Public Works Director (Alternate) Sylvia Beltran Community Relations City of Monrovia City of La Verne Larry J. Spicer, Mayor Pro Tem Robert Russi, City Manager Albert Ho Media Relations Candice Bowcock, Associate Planner (Alternate) Gloria Crudgington, Council Member (Alternate) Dan Goods Contract Manager City of Monrovia City of Ontario Jerry Sims Administration Manager Paul Leon, Mayor Oliver Chi, City Manager Debra Dorst-Porada, Mayor Pro Tem (Alternate) Lauren Vasquez, Senior Management Analyst (Alternate) Biggen Raney Quality Assurance Auditor City of Pasadena City of Montclair Zareh Baghdassarian Quality Assurance Auditor Mike Hudson, Public Works Director Gene Masuda, Vice Mayor Juan Alvery Quality Assurance Auditor City of Ontario City of Pomona Habib Charbel Project Engineer Elliot Rothman, Mayor Tom Danna, Traffic/Transportation Manager Natasha Craig Project Coordinator Debra Martin, Council Member (Alternate) Raymond Lee, Assistant City Engineer (Alternate) John Quintanar Fire Life Safety Consultant City of San Dimas City of Pasadena Denis Bertone, Council Member Michael J. Beck, City Manager Brian Bussey Systems Consultant Mark Yamarone, Director of Transportation (Alternate) Marissa Esguerra Accountant San Bernardino Associated Governments Jenny L. Cristales, Associate Planner (Alternate) Paul Eaton, Mayor, City of Montclair Linda Manning Administrative Assistant Curt Hagman, County Supervisor, 4th District (Alternate) City of Pomona Linda Lowry, City Manager (Chair) Claudia Ramirez Project Administrator City of South Pasadena Rene Guerrero, City Engineer (Alternate) Margaux Vogel Submittals Coordinator Robert S. Joe, Council Member Michael A. Cacciotti, Mayor Pro-Tem (Alternate) City of San Dimas Blaine Michaelis, City Manager Mark Mickelson, Gary Baker, Laura Langford, and Bill Lucci all played key roles on the project; and are now working on other projects in Southern California.

76 77 Metro Staff Key Staff from the Corridor Cities

Bryan Pennington Sharleen McLaughlin Greg Wasz Arcadia Duarte Rick Meade Georgiana Artiga Mauro Arteaga Dominic Lazzaretto, City Manager Darrell George, City Manager Frank Alejando John Johnson Samuel Mayman Jason Kruckeberg, Assistant City Manager/Development Craig Hensley, Community Development Director Bruce Shelburne Elizabeth Ponce Nathanial Jones Services Director Jason Golding, Senior Planner Michael Harris-Gifford Sandra Perez Sandra Perez Phil Wray, Deputy Director of Development Services/City Engineer Dominic Milano, City Engineer (Consultant) Rich Lozano Alfred Ong Elizabeth Ponce Linda Hui, Transportation Services Manager Rafael Casillas, Public Works Manager Russell Homan Wyman Jones Rodolfo Arellano Kevin Merrill, Associate City Engineer Teresa Renteria, Public Works Inspector Julie Owen Vijay Khawani Tom Zhao Ken Herman, Principal Civil Engineer Karen Herrera, Deputy City Manager Joyce Chang Brandon Farley Shahrzad Amiri Clement Flores, Street Improvements Inspector Irwindale Steve Lino Patrick Preusser Philbert Wong Chief Kurt Norwood, Arcadia Fire Greg Kildare Evgeniy Bachinov Angelene Campuzano Battalion Chief Barry Spriggs, Arcadia Fire John Davidson, City Manager Ricardo Moran Abdul ZohbiAndroush Danielians Mark Krikorian, Fire Marshall William Tam, Public Works Director Los Angeles County Fire Chuck Weissman Chris Liban Captain Larry Goodman, Arcadia Police Francisco Carrillo, Civil Engineering Associate Nick Duvally Winston Dixon Colins Kalu Sergeant Brian Ortiz, Arcadia Police Edgar Rojas, Engineering and Mining Manager Tim Knorr Erric Wright Craig Remley Bernard Li, Traffic Engineer (Consultant) Monrovia Bob Fischer David Chong Samir Khoury, Engineer (Consultant) Oliver Chi, City Manager Kay Koopman-Glass George Grein Casey Morales, Public Works Inspector Tina Cherry, Public Works Director Kelvin Zan Lee Hetherington Sergeant George Zendejas, Irwindale Police Steve Sizemore, Community Development Director Kent Chow Michael Thomas Camille Diaz, Assistant City Manager (Retired) Lauren Vasquez, Senior Management Analyst Adremi Omotayo Rupert Bicarme Brad Merrell, City Engineer (Consultant) Azusa Paul Squires Shane Allen Buffy Bullis, City Finance Department Troy Butzlaff, City Manager Tom Jasmin Than Win Alice Atkins, City Clerk Daniel Bobadilla, Public Works Director/City Engineer Dan Bigno Velma Marshall Mark Alvarado, Assistant City Manager Richard Gardea, Public Works Inspector Claire Reyes Zoric Sheynman Craig Jimenez, Planning Manager Hien Vuong, Azusa Light and Water Jeff Mumolo Thomas Eng Richard Cortez, Public Works Inspector Melissa Barbosa, Azusa Light and Water Aspet Davidian Alex Lampros Chief Chris Donovan, Monrovia Fire Ken Godbey, Azusa Light and Water Dan Levy Bijan Bootorabi Laura Bednar, Fire Inspector George Morrow, Azusa Light and Water Leonid Bukhin Michael Ratnasingham Captain Alan Sanvictores, Monrovia Police Martin Quiroz, Neighborhood Improvement Coordinator Brady Branstetter Lena Babayan Chief Jim Hunt, Monrovia Police Captain John Momont, Azusa Police Denise Longley Frances Impert Captain Nels Ortlund, Monrovia Police Kurt Christiansen, Economic and Community Development Director Louis Campos William Balter Chief Ron Pelham, Monrovia Fire Brian Rydell Douglas Sing Johnathan Hofert Holly Shields Greg Parvin Maria White Brian Boudreau Ann Kerman Jorge Pardo Duane Martin Kim Bueno Paul Briggs 78 79 Station Design and Art Review Committees Gold Line Bridge Artwork Program Committee Members Hill International, Construction Authority Program Manager Precast concrete used to create the basket City of Arcadia City of Irwindale Phil Wray, City of Arcadia Hill International provided the Construction Authority with invaluable forms for the bridge Tom Beck Camille Diaz Carl E. Hassel, City of Azusa professional assistance throughout the planning, design, and included specialty construction process. In addition to bringing to the project many key aggregate to create Jackie Raymond Loretta Corpis Peter Yao, City of Claremont staff members (identified previously) to augment the Construction a variable surface Caroline Bell Phil Wrap Tonya Pace Mark Wood, City of Duarte Authority’s full-time staff, Hill International also provided industry texture and subtle Martha Eros Rosemary M. Ramirez Lynn Hendricks, City of Glendora expertise as needed through their sub-consultants. sparkle. Camille Diaz, City of Irwindale Don Penman Mark A. Breceda Key sub-consultants that supported the project include Daniel Oyler Arlene Andrews, City of La Verne (in alpha order): City of Monrovia Robert Harbicht Dan Bell, City of Monrovia Atomic Ant Models Vicki Novell George Fasching Joy McAllister, City of Pomona ATS Consulting Becky Shevlin Dahlia Persoff, Caltrans CH2M Hill City of Duarte Tito Haes H. Javier Chavez, Caltrans Douglas E. Jamieson Darrell George Bill Beebe IBI Group Jason Golding Joe Garcia ISIS LLC Ed Cox Coulter Winn Jacobs Engineering Mark Wood City of Azusa JL Patterson & Associates Karen Herrera Christopher Dodson KOA Corporation John Fasana Joe Hsu Kurt Kroner Environmental Sue Winineger Jeffrey Cornejo Leighton Consulting, Inc. Saralyn Lowenstein Guy Kinnear Maxima Group Dominic Milano Jennifer Kinnear McLean & Shultz Partners Consulting Rosa Lowinger & Associates Smith-Emery Laboratories Steven Davis Consulting V&A Consulting Engineers Wagner Engineering WKE – Wei Koo Engineers and Planners WPC – Walker Parking

Nossaman LLP

Brian G. Papernik Alfred E. Smith Nancy C. Smith Robert D. Thornton Geoffrey S. Yarema Lloyd W. Pellman

80 81 Three design-build contractor teams completed elements of the Foothill Gold Line project. Constructors, a Kiewit-Parsons Joint Venture, designed and built the alignment project made up of all elements of the Foothill Gold Line project with the exception of the Gold Line Bridge (designed and built by the Skanska USA team) and the intermodal parking facilities (designed and built by the Webcor team).

Foothill Transit Constructors, a Kiewit-Parsons Joint Venture Foothill Transit Constructors Team Skanska USA Team The Webcor Team

Kiewit Infrastructure West Co. Mass Electric Construction Co. Art and Architecture Sub-Consultants Skanska USA Webcor Brian Fujimoto, Project Engineer Bill Westland Rohit Sharda Gizmo Art Production – Art Fabricator Lawrence Damore, Project Executive Mark Turner, Vice President Adriana Griffith, Project Engineer Andy Peplow Rich Burgos Barazani Stone – Paving Installer Mike Aparicio, Executive Vice President Barry Choy, Senior Project Manager Chad Harden, Structural Engineer Steve McFadden Rajesh Prajapati Coastal Tile – Tile Installer Tim Wilson, Vice President Operations Cicely Rice, Senior Project Manager Craig Johnson, Project Engineer Jim Holmes Ron Kinney Cor-Ray Painting Co. – Painting John Yen, Project Executive Ryan Isbell, Senior Superintendent Brad Losey, Project Engineer Dennis Onstott Carl Manchester Paramount Metals & Supply Co. – Structural Steel / Jeff Jonker, Superintendent Eric Moritz, Superintendent Sal Sheikh, Structural Engineer Art Fabricator Ron Robison Matt Kelly Troy Marak, Superintendent Jimmy Clements, Superintendent Greg Valdez, Project Surveyor St. Martin Construction, Inc. – Station Canopies Gary Sanders Benny Plunkett Justin Waguespack, Project Engineer Wade Holden, Project Manager Lisa VanDorpe, Project Engineer GGI / General Glass International – Art Fabricator Rob Farrell John O’Neill Andrew Grubb, Project Engineer Carlos Hurtado, Project Engineer Juan Zavela, Design Engineer Wellington Sign Company – Art Fabricator Julien Jeannel Shannon Crilly Kenny Glover, Project Engineer Greg Hollingshead, Project Engineer Merril Morris Partners Battaglia Inc. – Art Fabricator Rich Cincotta Dan Weaver Trevor Kelly, Project Engineer Pedro Delgado, Project Engineer Daniel Morris – Landscape Architect John Bley Moorhead Machinery & Boiler Company – Art Parsons John Ostler, Quality Assurance and Control Gregg Clark, Quality Control Manager Nick Johnson – Landscape Architect Fabricator Wes Wegner Glen Curtis, Inspector Jason Sellers, Safety Manager David Warnock IPS / Industrial Painting Specialists – Art Fabricator Ninyo & Moore Dan Kulka Joseph Hernandez, Community Liaison Leticia Rosales, Project Administrator Tom Sardo American Bronze Casting – Art Fabricator Tino Rodriguez, Principal/Construction Services Jeff Rowland Roland Genick Shaw & Sons Concrete – Art Fabricator AECOM Watry Jasmin Kelley, Project Manager Craig Martin Kurt Pedersen Mosaika Art and Design, Inc. – Art Fabricator Pat Nicholson, Design Team Manager John Purinton, Principal in Charge Daniel Chu, Chief Geotechnical Engineer Bruce Applegate Damien Jackson Lawrence Studios – Art Fabricator Rivka Night, Architect Michelle Wendler, Architect of Record Michael Mowen, Senior Project Engineer Kevin Goodman Carl Rogers Peters Studios – Art Fabricator David Yee, Bridge Architect Derek Beaudoin, Structural Engineer of Record Dennis Brown, Inspector Jared Ruzicka Polo Ramirez Cinco Iron Works – Art Fabricator Matt Davis, Third Party Coordinator Andy Medina, Inspector Paul Gerrity Skanska USA Team Justin Leung Bisazza Mosaic – Tile Fabricator Michael Pendergrass, Architectural Project Manager Rich Parker Art and Architecture Sub-Contractors: Webcor Team – Art and Architecture Sub-Contractors: Mary Real Lace Fence – Specialty Fence Fabricator Jessica McInerney, Structural Engineering Project Manager Arron Mountjoy Moonlight Molds – Supplier of specialty pre-cast basket weave Cupertino Electric Inc. – Electrical Carmen Cham Mission Tile West – Tile Fabrication segments Mahal Antiporda, Architectural Assistant Project Manager Adam Knoll Architectural Glass and Aluminum – Glazing Barry Sam Tuo Sogno Design Center – Art Fabricator Masonry Concepts, Inc – Installation of the casted segments Quoc Nguyen, Architectural Assistant Project Manager Mark Van Patten Mitsubishi – Hydraulic Elevators Ali Hamza Randy Montgomery – Decorative Sandblasting Anderson Drilling – CIDH Installation Jose Oseguera, Job Captain Matthew Worland Masonry Concepts – Masonry Walls Scott Arnold Stepstone Inc. – Custom Paver Fabrication CMC Rebar –Reinforcing Steel Installer Hannah Brooks, Marketing and Business Development Gabriel Gayton Beck Steel – Metal Fabrication James Eshbaugh The Sheridan Group – Interior Furniture Dywidag – Bridge Post Tensioning Mike Flowers RBF Western Painting – Painting Sheri Soldatke Group Delta – GeoTech Phil Musick Gary Miller, Project Manager SiteCon – Architectural Concrete National Ready Mix – Concrete Supplier Brian Anderson, Project Engineer Sierra Landscape Development Inc. – Landscaping Fitzgerald Formliners – Formliners Jared Bernard, Project Engineer ISEC – Specialties Ricky Chan, Traffic Engineer ProSpectra Tile – Decorative Tile Installer Steve Conner, Project Engineer Solar Art – Anti-Graffiti Film Bill Cox, Land Surveyor

82 83 www.foothillgoldline.org

This commemorative book, Art of the Journey: the Foothill Gold Line, is published in conjunction with inauguration of passenger service for the Foothill Gold Line light rail project from Pasadena to Azusa on March 5, 2016. All rights reserved. No part of this book may be reproduced in any form by an electronic or mechanical means (including photography, recording, or information storage, and retrieval) without permission in writing from the Foothill Gold Line Construction Authority (aka, Metro Gold Line Foothill Extension Construction Authority). Each station artist retains copyright of the design images and artwork for their station.

Editor: Meg Linton Designer: Jim Cokas Design Printer: Typecraft, Pasadena, CA Photography: Douglas Hill, Gary Leonard, Albert Ho, Brian Valez, Walt Mancini (LANG News Group)

Special Thanks: Lesley Elwood and Lisa Levy Buch

Foothill Gold Line Construction Authority 406 East Huntington Drive, Suite 202, Monrovia, CA 91016 p 626-471-9050 www.foothillgoldline.org

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