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W li A ' e st a e P u c rt P ro e ct J Embracin social cultural and g � economic res onsibilities b p y enhancin civic education and 9' develo ment o the communit . p y From the initial public art presentation, 2017 Advantages of the Westlake art project process : I n n o va ti ve i n s te a d o S u ccess i ve • Many cities "follow the crowd" by purchasing expensive artworks by famous artists. • Pursuing that direction, besides being extraordinarily expensive, only accomplishes comparison, not recognition . • A city as innovative as Westlake should be recognized for redefiningtheparametersof publicart. • The artist gains fame because he was selected by Westlake, not the reverse. From the initial public art presentation, 2017 Reasons for selecti n the Sola na Blvd . site : g 1. The intent of the work: This artist has been selected for his international work which � manifest a continuous theme derived from tectonic expressions of a �� � subsurface geology that breaks through (and is intermingled with) � � surface vegetation . The subsurface geology is expressed in a brutal � treatment of concrete and the surface is expressed as vegetation and/or water. The intent is to create a more complex landscape in { � . ,� which geologic elements (having a more structured geometry) push " Ik 1 - through a more drifted and organic pattern of vegetation. The Committee felt that the space needed to bring this union of surface � and sub-surface together would be greater than the corner site of the Fire Station would permit. Also, the site is dominated by the buildingwhich tendsto makethe landscape (an importantelement � �. if the artist's vision) a compliment of the architecture...not a natural mosaic• t61�,. 5 � r ` ti ^ _� r��i 1Y f .. . .L IEL' 'II'���- � 1 2. The form of the concept: This artist addressed the challenge put forward by the RFQ �x .� � :� ,,_ - _ (interpret a dynamic of the natural system) by seeking to -�� � �J� S � Y,vl i y��� ti remember the form and expression of the Cross Timber Plant ` �� r"-� ��= -:=-:: � - ��� community (historically significant to Westlake) . This concept ::-�- a ;:,.= � � .- -. ._ - �� �r:�'�=.�` led the artist toward a solution which distributes sculptural -���� .. � �����` =� -��-���- �f= �_ .� _ �� - - �:�= -f � � •y .—. { .%w. �.ff t. . ` .Y y"'� - _ _ _ .� . , ._ elements in a "linear drift". The Fire Station Location identifies '" �' . � �-=� . ���`���� _ _ ..,��. . ; �� ,�;. �t. a site, not a field . . .the artist's conce t seeks a field in which � - �rt ���- ._ .q. z5.K� y :� ,� � =� d-� � � ' � . p �,.�Y�,.::� . �..� � ,�n� �_� �. �__ ` ^,. — : � _-- , the linear drift can be defined as if defined by nature, not _ � �-- " � : ��� �� . �,w,. .� -- � - �:"`� n��, R:-,.W � ��,,,,� _" � , ;��* �_ ��� ,+> �.:, ���, architectural boundaries. x ��, �.� J�,�,.�� �- .�f . � ���-� �- _ _ _ ��, F. �„� �y: �"'� � � � � . � , _ °" ,;,�� �� _ ';�� �,t � ;���� : .-� � � -s . . - , ,,,�," r: . .y x�`""R,�,,,��. `4��:, 3. The sequential engagement of the viewer: ��_�° �� �F .��;�. � . r ,.,,, ;; . � The linear drift, ro osed b the artist invites en a ement b ����r � � � - ��' �� _ � '����`��i p p Y g g Y � � passing through, alongside, or otherwise circumscribing the k�� ;a .Y� � � . � ,�.�.;�`-. �:•.: x � �'� drift in its totality. This would be difficult on the Fire Station � � � ���� -p�_ � ����� � � _ �_,; � � : �� _ `Y..�. r��,;' r�•� �� �`�, '��; -��"�� ' �� -. �' .,;, .�• • .,, ��:. �•' � ��rr• � . �, _ �;: t • �,. , •-. . ;' Site as such en a ement could conflict with Fire Station ���- �=��� ��>� � '� -= _-��`�;�,y�k � �` '{` '� z�- g g :�� �.��-. �� % �} . '� r'.. •�.,� .. �.r� '. � ' ...�.. .. �+ �. : ..;e. :;i' - . ; . .:.` �' v E, �_. . �;' -r'..� �. 2 �".�` ;�� E�:: "� ;Ix n �.`: "i,'- �� '•7��i�N';�. �.�,1+K}' �J•;�:.:' Ei •� r� secu rity. ���.�� �:�= � . 4 , ,� ;� ,; , .,� `' �;• , k�'', .br t :� ,�_: I��y`.,:;; `�° � `i r .�i- �:,.►� >:.� ��.s ..i ..� � ! r J. �. ' .. � - .��'.�.�In�i . . ' .rM� . !. ..��.. .�� • . . .__. . � • '���H�' � 4. The Importance of the Artist: . . __;,, _ , This artist has done works around the world which bring ���`- �� forward the above described qualities in powerful installations. � � The Committee felt that pushing the artist's intent and concept �� into a space that cannot host the fullness of his expression ���,�;�.r; would result in a lesser work by this artist. . . not the superior ��``�`�� �"���'� .�y- � � , T�---,�.----.R. ��-�I���: example of his work that Westlake would desire. Therefore, the _ � �.�;'y����=�'�;_��'� ���;"T' Y �� �'-�`=� �-ti � Committee recommends the work of Michael Singer for ��� --- �= - ��� - -� - - , � � ,� �' � , - _ �r � Westlake's first Public Art installation if that work can be � � � �� �`�� ��-�- � '��� , �. �.�� �. installed on a site better suited to the artist's intent and � � ��' ��r���.-� _ ;� . concept. - 5. The Aesthetic Value Created for the Entrance to Solana: Jr � Solana Blvd . is the first impression for many visitors. The installation selected by the committee will transform this primary "vein" of the Town into a pulsing, vibrant artery that speaks to the history, culture and objectives of Westlake. n riinll in So a a a s o a es e � y � �� � � : �� # �� �� � + — •�� - ��y ' - } � 1 � � �� - — •� � f e f' � • ;� Ir . ti ■ • ,�■ f . . ��' , , J +• •� � ' " � � x � � .:�r F '� _ �F - � � � ` _. , - ''r L �� ��� _ ' ��R r � � � . � ` i � � r •J � 1 ��� � � . . � ��7. � � ��� � �t y ..' �i r ti�'r ti � i'' J •�= .� ti, � , . i` � �. r , •_ � , � � t ti f• r�• �1• � ������ --k -��} '� �' - � �k r - ' ,� r -� -� . ' • - � - � ' � - � - - - r � � ,�. - � � 1 3 •I � � �f F ~ � •'�"���^'� � ' ... �. '•� L• 1 . —�, ' i � � , , � _ � _ �• • ' - • L . • � 7 1' •��. � ' 1 � � � . 1 - �Z { ' •� f• � ••� ' - .. � � ' _ .� I � ��1 1 ' • • + L*1 � 1�� i � ,. .... — . - --; J .. . � � � ����.� �-. 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'. . _ 'ta..:y_ , •i..- ._+�G�. ��;�Y..�F ��3��- , _ -i��:d!� I. . - ' � - �t. �*•.-'�r� :: , - _ , . _ . ,. , • . . ��r.'- i"s�?'°",'�`•.•yTt.."`�,��';' } _'s, .� . .� . ' � •�?'� . -��':'� :- .�I -.i�;r-' nii:1.�: L, r'r, - . :�F , .. - . .. .' _ _�� ��y� ',.�.���_S'r ,'C'..� �. S . . � � . '� r.. �ti+�� .�-7.'• .. — . � -� ' �r .' .�' ' ,.... • r r. . �_ . �, .�r:, . r::�. �' � :� � .. . , - .`�'. t'-,.a�..,, F �'�s a S �'e�5�t«±a:'� � . . . , �y 1. .�r J'�, �` + �_+.'• ' -' - . ��7 r ''Pr r �'�ri;i.�����[r�'y�,•�r��}� � -.- r ���v •�..t� i���Y-,�S'hJ'��+�t+��5.�'. - -- i, � _ _,��,.',�. ; - _ �'�+� "'� ,- ��"� M1 l "i.; J . •� ' ' , - y�r - � r I -_� i .M� v� �= �•ti. _5`[ , l :1�. :Y -- � . �297�..�popl�. 3Y58'St"N 97°10'39"W 67fl!t rOSS IIrYI erS at Solana Boulevard "1 shall not easily forget the mortal toil, and the vexations of flesh and spirit, that we underwent occasionally, in our wanderings through the Cross Timber. It was like struggling through forests of cast iron. " .� ,� f,l �R '�,� �,- � � ., ,l � ,�y, ,� ti i r ,. � �-� i ,,�. ' , R, � t i Washin ton Irvin 1832 ����{ Y �:�����, �- � a: �� °�;.�-�. ��� 1��`� ; �h',� �-� g g � - .�� � �.. �,�.�.. ��. � � ,z� �� � ,� � _ _�. f �}��� �i - ' �"`�J f ,� •`� �� y� � _r� �✓ 1h: �,y' 'S, „7�w�� .�5. �. '��' .'� �' �� �� �I�, �1�a ; 4 -'� } ��Yfi � �'�;��. _ ; _�`s y� ."i� s+ �,- J � .�i'� �'i .i� ."y�� } 5 .M . �5f' �\ r- -'�..�'neyir \S '�:�., �4 b�, �� �,i U � y y ,.��� i`v ��. � €�,�y �'°--,l�i 1 Fyr�: � Y;�� �`'�,' �,,:_ .<,\ k �5', �'3�]{'.".�'r�• � 'g��µ lh�:' ! ^i "�r'. 'i%�' y '.,�9,rY �;'.5 �! .�,. ���' ...qA.i}. � � l y., j}[�e ,i � V ` yy' � �t `�:� t�'�r fii ` 1 � � �"1e*° � �����b_ `„��. ?x� � i_'4 l. � �F fi t 1� _�i � ��." �.�� � ���� {,.: f �. .�. � �.. _{o �`� � ♦ S l r� �J. �.�y.�� � � y� i'�—.,, � Y� �4 h `f .# d ,� �t � �3.Pi s� � {'g• y �i � ��e , i � � �R: ��: "'4�' t � a���{ ¢��'�"�f� i:��F � �i � ik�'I ,.:� 7.'i�,� _ � �: .�r � "r �� ._ i=,;��lti �.`k 'ri r � � { � �^` � �.� � ���f` r � � { j � '�.'^ � i L �' � ��� �„_� ,� 4S� r 't ��-pt ..t� f� �. �a �� ��� , �.., Y� � � � ��� .� �: r ; �� � ����. � "' � �`j�t� �`S;, �I+ � q. %�,l�,�, ���,, � `-��' ' �, �`' '3 _ �.J � 5�4r i� � ?A��,'�3}�C�*_ II Y 5_�. 4 t ��' ' � ����'y� �k a" ��M,+A'�. '�.��� 1�� �. . . � ' � � NW t 1 � ^�.' T� : �L �. w' � A�i j� .s ° � �� ¢,_y�I � - T�L �m': � .. .��`�'t�lrt4y� , . . .;� .�5� � . ��,.;�..�. Yt ,� . . - - . .-.rr3� .��t' . ` Westlake's natural environment is defined by a landscape known as the Cross Timbers Region, named as such due to the bands of dense low growth forests encountered by early travelers as they headed west. The dominant trees are the post oak and blackjack oak; some early travelers noted that the trees were so dense they could not easily pass through. American Forests in its article The Cross Timbers: The Ancient Forest at America's Crossroads notes: "the Cross Timbers represent a stark transition zone, marking the westernmost limit of the Eastern deciduous forests, and the eastern border of the Great Western Plains." The Cross Timbers speaks to the very nature of Westlake and is immortalized by one of America's greatest authors. Cross Timbers, as a site specific work of art, takes Washington Irving's "forests of cast iron" as a point of departure. The project is imagined as a field of sculpted metallic pillars creating a patch of this historic forest. During the day the pillars will shimmer and cast linear patterns over the ground; in the evening these vertical forms will subtly glow from within. The pillars emerge within the pine woods and then expand into the open space of the 60' wide median, creating a direct relation with the "forests of cast iron" and the surrounding prairie. The columns will be sculpted utilizing forms and patterning similar to other sculptures produced by the Studio; the Uplifted Ground project in Austin, Texas perhaps being the most related example in terms of form and lighting (see page 10). Color will be in the form of integral colorizing of the metal (anodized aluminum, colorized steel- nothing painted), to maintain the metallic character and shimmer. The metallic pillars are intended to be under-planted with native grasses and/or wildflowers, representing the prairie adjacent to the Cross Timbers forests. The initial concept drawings for Cross Timbers at Solana Blvd depict 30 sculpted vertical elements, some eight feet tall and others twelve feet tall. Due the large scale of the Solana Blvd site the layout is conceived as a field of elements; depending on the budget and infrastructure available the density of elements could be increased, or the project area could be extended east or west as may be desired. For Solana Blvd the Cross Timbers have been conceptualized as triangular forms- a reference to the triangular tower a short distance away. Two sides of the Cross Timbers are sculpted aluminum with cast aluminum details, the third side is a golden or copper toned anodized aluminum plate with perforated patterns. The triangles have two nominally 10"-12" wide faces that are square to each other. The third face is therefore wider, increasing visual variety and causing the pillars to appear wider from certain points of view. 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As a part of its place-making work the Studio has replanted many sites with native grasses, wildflowers and other vegetation, enhancing the aesthetic beauty of public spaces while also improving local ecology, soil health and water quality. The Cross Timbers project at Solana Blvd is envisioned to have a similar transformation with a mix of native grasses and wildflowers.