Upload
emily-appelbaum
View
6
Download
0
Embed Size (px)
Citation preview
Concept Development
Emily Appelbaum, Intertextural*
Developed for
LOVE BURN Overview of Project Approach
Concept Imagery
Preliminary Design
Overview of Comparable Projects and Budgets
* All contents herein, unless otherwise noted, are original works by Emily Appelbaum and Intertexture,
and no piece of this document, or the intellectual content represented, may be reproduced, sold, or otherwise used without permission. It should be
considered confidential, and may not be shown to any third party without prior written consent.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Guiding Principles
Designating a space
The design should appear less as “object” and more as something that defines a space, visually, both
from afar and as viewers move nearer – a habitat.
Environment
This piece is as extension of the environment, both visually and thematically; it will appear to grow out
of the ground and will celebrate Florida’s ecosystems and protect them through use of
recycled materials.
Interactivity
The design will welcome users to participate in some way, whether by sitting, lounging, being
shaded or through more complex features such as a misting system.
Step-‐wise Construction
The design is intended to be phased, using an event such as the Love Burn to jump-‐start construction, with the opportunity for further development and
ornamentation to occur over time, especially through a collaborative process of community
engagement. Phasing may be considered at the scale of a single installation, from framing to details like upholstery, or over a longer time span during which elements are added to create an art garden
or park.
Earnest Neto’s Anthropodino, upper le�, and Slow is Good. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Guiding Principles
Designating a space
Environment
Interactivity
Step-‐wise Construction
Natural forms and a sense of growth from the environment. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Project Budget and Scope
Aspirational Design
This conceptual design packet represents inspiration and a jumping off point. At this point of design
development, many elements, including materials and labor processes, have not been priced. Final
design will depend on budget considerations, availability of labor, site and infrastructure, but with
careful planning, many unique effects can be achieved.
Budget
Large scale sculptures of this kind can range from $20,000 to $200,000 or more, with around $25,000
-‐ $30,000 starting as a reasonable base-‐line to include artist’s fee, engineering, materials, and
fabrication, with transportation and install ranging in cost. It is possible that depending on size,
recycled materials, volunteer labor and reducing pricing on professional fabrication from community partners, total costs can be mitigated, but amount is hard to predict at the outset of the project. Budgets
for comparable projects are included, though smaller projects may be achieved for less.
Phasing
Completing the project in stages will prove important to a satisfying final result, with
permanent installation demanding a different set of considerations than immediate installation for an
event.
Top L: Brolly Flock by the Flaming Lotus Girls contains misters and fire; these interactive effects can be complicated or simple, and would factor into budget and timeline. Top R: Ornate metal detailing and installed lights may be
added later. Bottom: Site Design Group’s misting sculpture in Adams-‐Sangamon Park. © Emily Appelbaum / i n t e r t e x t u r e
Not for distribution
Project form
Whimsical, Curvilinear, Organic, Filigree
Open shapes welded from rod, wire, and structural tube will form the bulk of the piece, with sheet
stock and found objects adorning it to mimic natural forms.
Top: Wooden sculpture by Charlie Whinney, $18,329. Bottom: Chair by Konstantin Grcic for Moroso, $3,900.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Project form
Whimsical, curvilinear, organic, filigree
Parallel sections of pinrod create form.
Sculpture by Byeong Doo Moon in Sydney. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Project form
Whimsical, Curvilinear, Organic, Filigree
Repetition, self-‐same parts, and rounded forms create inviting and dramatic environments inspired
by nature.
Top L: Swing Chair by Fletcher and Myburgh. Top R: Sculpture by Earnest Neto. Bottom: willow branch sculpture. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Concept Imagery
Ocean Reef
Inhabitation, multiple types of shapes coming together dynamically, varying textures, nooks and
crannies to cradle life.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Concept Imagery
Corals
Can form a base or vertical form, creates structural bulk.
Top L: Plywood sculpture at Burning Man. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Concept Imagery
Sea Grasses
Dramatic, vertical height, freeform fabrication, many interesting shapes.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Concept Imagery
Seashells
Lend themselves to chairs, upholstery, small ledges and ornamentation.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Concept Imagery
Fish and Seahorses
Sculptural details. These are harder to fabricate with community labor, but my be cnc milled or built
individually, locally, by the artist. Lend themselves to decorative materials such as copper or expanded
steel.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Materials Overview Recycled Metal
To be used wherever possible; researching material availability, pricing, and designing concept to available materials will factor into artist’s fee.
Rod Steel
Easily manipulated, by hand in a jig or with torch; different sizes can be used to “web in” sculptural planes, sketch contours, and outline details. Sizes vary from pencil-‐thin pinrod to one inch or more.
Rebar
More cost effective than rod steel, texture can be a benefit.
Structural Square and Round Pipe
Provides bulk, structural support, can be ordered pre-‐bent to specs from supplier or bent on pipe roller with matching dies; can be expensive new.
Sheet Metal
Solid sheets of decorative metal (copper, stainless) can provide details in an assortment of finishes,
while different textures (expanded steel, perforated) supplement solid sheet steel, can be
cheaper and more forgiving to manipulate.
Found Objects
Add complexity and visual interest, especially in order to create organic, reeflike forms.
Found Object Horse Sculptures by ar�st Dixie Jewet: “Stormy Bay” and “Midnight with Silvery Moons,” top, and
"Sun Dancer," © Emily Appelbaum / i n t e r t e x t u r e
Not for distribution
Typologies and Components Hollow Vertical Forms
Coral-‐like structures sketched with linear rods.
Hollow Horizontal Forms These shapes provide structure and serve as the base
for seating or climbing.
Wrapped Concentric Forms
Hanging Seats and Hammocks Made from fabric, mimic seaweed and plant pods.
Seaweeds and Grasses Ornamental or possibly structural, from flat stock and
tube, sleeved and bolted.
Upholstered Mussels, Corals and Shells Mimic tube sponges and open clamshells, would likely
be finished after Love Burn.
Creatures Ranging from large to small, these can be CNC milled
and pieced together or sculpted.
Stockade A strategy where vertical pipes are placed close
together to create a wave-‐like form.
Composites Combinations of various typologies to create reef-‐like
groupings
Flowing, concentric lines carve out organic forms. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Hollow Vertical Forms Coral-‐like structures are large and eye-‐catching, and
lend themselves well to lighting and painting.
Charlie Gadekan’s Aurora at Burning Man, Le., u/lizes pipe and rod construc/on in a similar manner to the technique that can be used to sketch out hollow tubes of coral.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Hollow Vertical Forms Shapes can be made strong and stable, etched with
parallel or hatched lines, and have tubes and openings for sitting and climbing. The structures can be adorned
with chain, gears, auto parts, motorcycle parts, horseshoes and other found objects embedded between the bars to evoke encrusted sea life.
Thin rod and Rebar can be bent and welded to sketch these forms. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Hanging Seats and Hammocks Made from fabric, can mimic seaweed and plant pods.
Hanging fabric hammocks and individual seat “pods” can be hung from scrolls or other types of frames © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Hanging Seats and Hammocks
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Hanging Seats and Hammocks
Fabric pods as integrated components in seaweed structure. © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Sleeved moun+ng for base.
Typologies and Components
Hanging Seats and Hammocks
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Seaweed and Grasses Both decorative and structural, seaweeds and grasses
are versatile in fabrication and ornamentation, allowing for the mounting of lights, decorative metals, and
different textures.
Lightbulbs, LEDs and string lights, small metal ornaments and found objects can create detailed seaweed . © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
�
�
�
�
�� ������������� ��������
��� ��������������������� ��������������������������������������������� �
�������� ����������������������������������������������������� �� ������� ���
�
��� �������� ���������������� �������������������
`
Typologies and Components
Upholstery: Mussels, Corals and Shells All sorts of fleshy seating can be fashioned to line shells, mimic sponge corals, and invite guests to make couch
their oyster. Different gathering techniques can be employed on a range of fabrics, either throw-‐away, heavy duty, weather-‐proof or anything in-‐ between,
time and availability permitting.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Metal forms surround and hold sea0ng; groupings are made combining all project elements; Plan, top le: and Eleva&on, top right.
Typologies and Components
Mussels, Corals and Shells
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Mussels, Corals and Shells Seashell detailing can be achieved with solid rod,
making shells sturdy and decorative.
Lightbulbes, LEDs and string lights, small metal ornaments and found objects can create detailed seaweed . © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Shell Construction Shells can be constructed out of large rod hoops, small
rod cross hatches and square tube to create a snug base.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Centralized design with structural members running through midlines, bo%om right. Construc)on techniques include cu#ng tabs, folding, and skinning with irregular or lacy cuts pieces of sheet metal over a frame..
Typologies and Components
Adding Life Inhabitants of the coral reef can be CNC cut from artist-‐
developed patterns; the artist will put the finishing touches and expressive details on. Mounting will occur on a set of central structural members that continue
straight through the bodies; mounting will take place by welding to the animals’ frame and to the exterior of the piece, or animals will be incorporated into the base of
the piece and skinned later.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Composites and waves Using a series of pipes bent to follow a wave-‐like
contour; assembling the components together like a stockade into one integrated piece.
View from the top (Bo"om L), front (Center L), back (Center R) and front (Top). © Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Typologies and Components
Composites Various combinations of elements arranged depending
on budget, time and materials.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Approx. Size 10’lx8’wx12’h. Includes 2 built in benches, 2-‐3 hanging pods.
Approx. Size: 12’lx86’wx8’h.
Typologies and Components
Composites Various combinations of elements arranged depending
on budget, time and materials.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Additonal TypologiesPods
Pods made fPods made from bent pipe create inhabitable environments that can be scaled to seat from 1 to 8 people. Their freeform shape is something of a cross between a gazebo and an imitation of a coral reef.
Additonal TypologiesPods
Large and small pods would allow for a variety of seating options, such as freeform couches contoured to the interior.
Budgeting Example Reading Nest: Mark Riegelman/LAND studio
A 22-‐foot diameter walk-‐in habitat made from recycled pallets.
Materials and labor for this project were unnaturally low due to large amount of volunteer labor and donated or almost free materials; a good strategy to emulate!
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Budgeting Example Drawing Lines: Ivan Juarez/LAND studio
An environment threaded from rope and 2” powder-‐coated steel.
Artist fee installment (1) and (2) (1): $2500
(2): $3500
Engineering $1000
Permits $500
Cubes, fabricated and powder coated Made from 2” structural tube, 8 @ $1650 ea.
$16,028
Rope $100/100 ft. span $2500
Lighting $1500
Labor to assemble and weave $15/300 hours $4500
Travel 2-‐round trip tickets @$450 and 12 nights @$100
$2100
Contingency $2500
Total: $36,628
Three-‐sec�on lightweight environmental sculpture from structural steel tubing and nylon rope; fabricated off-‐site and assembled on-‐site.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Budgeting Example RotaFlora: Jake Beckman/LAND studio
An environmental marker at the head of a bike trail, height 30’ . Site preparation and footer
6,685.25
Fabrication
14,630.99 Fabrication, additional (to add third paint color) 500.00 LED illumination
2,000.71
Installation
3,300.00 Permit preparation, submittal, and inspections
125.00
Permit costs, additional 340.00 Engineering
425.00
Adjustment 1.00
Total, fabrication and installation
28,007.95
Artist fee (Jake Beckman)
Artist fee
3,900.00
Total, artist fee
3,900.00
Other costs
60 26-by-1.75 front bicycle wheels @ 5.00
300.00 Electrical hookup
1,000.00
Electrical hookup, additional, based on quote 428.88
Total, other costs
1,728.88
TOTAL COSTS
33,636.83
Flower sculpture, resembling a dandelion that has gone to seed, composed of steel, bicycle wheels, and LED ligh�ng.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution
Estimated Budget Breakdown* $9,500
Artist’s fee, incl. drawings and engineering: $2,250
Materials, including cut lists and bending: $4,250
Lighting: $500
Shop Labor and Fabrication: $2,000
Consumables: $500
Likely a small project, seating for 2-‐3 people on one main body, some decorative elements, approximate size: 6’wx6’lx8’h .
$14,500 Artist’s fee, incl. drawings and engineering: $3,000
Materials, including cut lists and bending: $6,650
Lighting: $850
Shop Labor and Fabrication: $3,000
Consumables: $1,000
Substantially larger project: seating for 3-‐4 in branching design, more complex decorative elements, approximate size: 6’wx8’lx10’h.
$22,500 Artist’s fee, incl. drawings and engineering: $3,500
Materials, including cut lists and bending: $10,000
Lighting: $1,000
Shop Labor and Fabrication: $4,500
Consumables: $2,000
Contingency: $1,500
Large, impressive project, possibly in multiple sections, seating for 4-‐8 people, more decorative elements and expensive materials, approximate size: 8’wx10’lx12’h.
*Estimates based on preliminary research and will vary widely depending on actual design. In no way a guarantee.
© Emily Appelbaum / i n t e r t e x t u r e Not for distribution