Item 11 - AIPP_TEPII_WGE_KatQuay_AUS_AIPP_FinalDesignV4reduced_20240327.pdf — original pdf

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KAT QUAY AUS WESTGATE EXPANSION: FINAL DESIGN REVIEW PROPOSAL- MARCH 2024 ARTIST STATEMENT Spatial Weaving is an analog deconstruction of a Cartesian-coordinate (3D XYZ planar grid) digital space. The wall installation is an exploration of the shared binary origin that underscores and intertwines both physical and virtual ontologies. All communication is inherently dependent on a binary system. From analog languages, such as Morse code, operating within an electric signal on/off functionality, to the digital’s binary code expression through a 0 versus 1 digit system, and our visual discernment of objects in an expanse by the contrast of positive to negative space, we rely upon distinctions made by the isolation of a differential that distinguishes itself from background noise. The meaningful gestures, sounds, or actions viable for identification provide the foundation of messaging. Specified materials within the work act as visual metaphors, from gridded metal as background to woven perforated metal’s moiré effect as image artifact. Weaving is reliant upon a construction of over/under, a binary itself, and reference to oscillating between flat planar surfaces and dimensionality. The comparison of weaving, an ancient craft tradition, to interference patterning, further underscores the influence of analog’s binary base on the digital realm. Austin is technology-oriented community, and in my studio practice, I explore the permeability, intertwining, and subsequent entanglement of physical/digital realities. When traveling through the Austin Bergstrom Airport, I'm struck by how “rendered” the high-ceiling, open-plan constructed space feel. The seriality of build via the repetition of windows, ceiling trusses, and gates leave an impression of digitally-generated order. Spatial Weaving provides an opportunity for linkage from the AUS West Gate Expansion’s virtually created origins to its future actualized space and the subsequent visitors’ physical experience of the terminal. SUMMARY Spatial Weaving is a 48’W x 12’H x 18”D wall installation that is to be located above the rest area within the new West Gate Terminal Expansion at the Austin Bergstrom International Airport (AUS). The artwork is housed within an overall open steel framework that attaches to the Terminal’s struc- tural beams. This framework is the primary weight-bearing structure that houses and supports the (8) approxi- mately 6’W x 12’H x 1’D “art bays” that altogether form the installation composition. Each art bay has a background pattern of various attached square and rectangular perforated metals that allow the white wall behind it to show through, while also serving as a backdrop to the intricate dimen- sional patterning spanning the entirety of the 48’ x 12’ structure. This dimensional patterning is composed of six unique “dimensional forms” made of perforated “mesh-like” sheet metal and edged with stainless steel strap. The forms are scalable, and appear at different sizes throughout the overall patterning. The layering of the background square/rectangular patterning, dimensional forms, and 6” space between the art bays/terminal wall creates a moiré effect, providing a dynamic quality to the sta- tionary installation. SPATIAL WEAVING STRUCTURAL DIAGRAM Lorem ipsum FABRICATION AND INSTALLATION METHODS The overall 48’wide x 12’ high x 18” deep artwork will be located above the rest area in the West Gate Terminal at AUS. Hensel Phelps will be welding/constructing/attaching the overall structural steel frame containing the artwork to the wall of the West Gate Terminal. Stephen Marchio, of Marchio Standard, and I will be constructing (8) 6’W x 12’H x 1’D “art bays” using stainless steel 1” x 1/8” thick angle iron.The (8) ~ 6’W x 12’H x 1’D “art bays” (accounting for interior dimensions from the overall frame structure) will slip into the overall 48’wide x 12’ high x 18” structural frame. On the bottom of the structural frame, there is an additional steel bar that sits 12” back from the face of the artwork which will bear (additionally with the bottom front bar at the face of the artwork) the weight of the artwork.Each art bay’s overall framework will be welded, with the internal dimensional forms and framework using welding vs. cold connections where most appropriate. Each art bay will contain a portion of the dimensional form patterning created using the perforated “mesh”-like metal. This metal will be bent to shape and edged with ½” wide x 1/8” thick stainless steel strap primarily using cold connections (likely 8-32 NF screws) but minimal welding to avoid material warping while adding structure/stability to the forms. The forms them- selves will attach to the art bay frames using McMaster Carr Steel 1/4”-20 ¾” long Roundheaded Screws and 1/4”20 1” long Steel Binding Barrels. The square and rectangular perforated metal will attach to the backs of the artbay frames to create a flat, additional layering of patterning to that will create the moiré effect seen by the viewer. The art bays will be attached to the overall structural frame using 1/4-28 Thread, 3/8” long Passivated 18-8 Stainless Steel Pan Head screws (into holes that Stephen and I will pre-drill). The art bays themselves will be interconnected using the same connection method as the dimensional forms to the art bay frames (McMaster Carr Steel 1/4”-20 Roundheaded Screws and 1/4”20 Steel Binding Barrels) but with different lengths to account for the final thickness of the joined materials. FRAMEWORK AND ART BAY INTERCONNECTION LIGHTING SPECIFICATIONS 48’-2”W x 12’4”H x 18”D Dimensional Forms fit within the each Art Bay and are fastened to the Art Bay Frame PERFORATED METAL LEXICON SKETCH MODEL: FRAMEWORK AND ART BAY INTERCONNECTION Space Between Art Bay and Wall DIMENSIONAL FORMS COMMUNITY ENGAGEMENT 1) Singular Events: In-Person Guided Tour at AUS and/or Artist Talk at Southeast Branch Public Library Once the work is installed, I could lead an onsite AIPP event at AUS discussing the work, from concept to construction and installation details. An event more accessible to the community could be an artist talk at the local library. During the talk, I would have the opportunity to share technical drawings, behind-the-scenes construction and installation photos while discussing the concept and build of the AIPP/AUS commission. I can also share where this project fits within the context of my studio practice. An additional supplementary activity geared towards a younger audience could be an art education event also held at the library (described below) that would also promote community awareness and engagement with the Spatial Weaving installation. 2) Public Interaction via Social Media I will be promoting the project via my artist Instagram account, katquay. However, I’d can provide a more active engagement through collaborative polls, typed Q&A story responses, video tours during construction and install that I would share as stories/post as reels for people to follow along. I would also be glad to collaborate with the cityofaustinarts account. 3) Children’s Art Education Activity Inspired by MoMA’s Art Education “Teaching: Weekly Lessons” program, I created a collage activity that relates to my AIPP/AUS Installation geared toward primary and secondary students. The sheet could be utilized as a part of a lesson plan within the Greater Austin School District, and/or also accessible as QR code at the AUS Airport encouraging continued engagement. Necessary supplies would include patterned paper (I can design the pattern to imitate my perforated metal sheets and have it be part of the PDF), paper, scissors, glue, and perhaps as a bonus window screen mesh (a material I used early in the design process for installation mockups). ART EDUCATION ACTIVITY SAMPLE SHEET ART EDUCATION ACTIVITY: COLLAGE PROGRESS & COMPLETION BUDGET GENERAL CONDITIONS •Insurance •Tool Rental/Site Protection •Mobilization HARD COST •Structural Steel Frame (48’W x 12’H x 18”D)* •Perforated Metal (Background and Dimensional Forms) •Internal Steel Framing (Art Bays, Dimensional Forms, Hardware) •Lighting Design Fee** •Labor (fabrication + installation) •Artwork Transportation (Detroit to Austin) SOFT COST $2,500 $3,500 $1,500 $67,413 $12,400 $5,500 $2,000 $45,000 $3,060 $15,127 $205,000 •Artist Fee (15%) $23,500 •Bercy Chen Studio Architectural Fee $13,500-23,500 $10,000-12,000 •Structural Engineer TOTAL COST Contingency TOTAL *** * Cost may decrease upon re-estimate and final fabrication ** Ultimately we did not illuminate the artwork due to the cost of the Hensel Phelps-fabricated Structural Steel Frame *** Total assuming lower end of Architectural Fee and Structural Engineering Ranges TIMELINE August 2023 May-August 2024 •Mid-Design review by AIPP Panel •Hensel Phelps fabricates and installs overall Structural Frame August 2023- April 2024 •Concepts refined post Mid-Design review •Artist and Marchio Standard measure Frame onsite. Based on measurements produce Art Bay 1 as prototype. •Final materials and finishes reviewed/approved September 2024- January 2025 •Artist Maternity leave November 2023-January 2024 •Final shop drawings & fabricated art installation staging plan reviewed/approved/coordinated by Bercy Chen Studio, StructuresTX, Marchio Stan- dard, Hensel Phelps, Page Architects and AIPP •Final-Design review by AIPP Panel •Fabrication is completed on Art Bays 2-8 with regular AIPP progress check-ins, along with inspection and final approval by AIPP February- May 2025* •Final site preparation reviewed/approved •Artwork delivery •Installation over 7 day period during12AM-6AM •Final Structural inspection •Site Restoration/Clean Up *Pending Terminal Construction Timing ARTIST BIO Kat Quay’s research-based practice incorporates her interdisciplinary art/technology background into explorations of boundaries and shifts in spatial realities. Her work was recently aboard the International Space Station via Sojourner 2020, an art payload sent by MIT Media Lab’s Space Exploration Institute on Space-X’s Dragon Vessel. She has previously shown work at ArtPrize, Texas Vignette, UT Visual Arts Center, Austin City Hall, Socrates Sculpture Park, BHQFU’s “Last Brucennial”, Galerie Protégè, TEMP Art Space, Trestle Project Space, and AES/Repetti Gallery. She was a 2018 nominee for the Louis Comfort Tiffany Foundation Biennial Award and selected as a 2017 artist-in-residence at A-Z West and Studios at MASS MoCA. She has previously participated in the SOMA Summer, Atlantic Center for the Arts and Gullkistan residencies. Quay was a speaker on the 2017 SXSWedu panel session “The Art and Science of Spatial Perception”, and her work has been highlighted in the e-flux/Serpentine Gallery AUP Archive. She received her MFA in Sculpture + Extended Media from the University of Texas at Austin and a BA in Art & Art History from Colgate University. Quay has a forthcoming solo exhibition at ATELIER Sea Grandon in May 2024.