Over the last couple of years it has been my fortune to collaborate on public art projects with two exceptional artists, Brian Perry (Port Gamble S’Klallam Tribe) and Preston Singletary (Tlingit) These projects have made me become a better artist and it has been a dream come true to work on a large scale with artists that I have admiration for.
When I was a kid in Colorado, my family would travel almost every weekend to my grandparents’ antique shop in Silver Plume or to the family cabin in Pine. Those drives into the Rocky Mountains always took us through tunnels that marked our ascent into a different world from the plains below. That memory played a role in my choosing the pedestrian underpass in the Sand Hills Prairie Park at Denver’s Stapleton Airport as the site for this installation with my friend and co-designer, Aaron Whelton. Located in a relatively cold, windy, and unwelcoming part of the park, this tunnel seemed like the perfect setting to create an inviting, engaging space. Our challenge was to develop a concept that related to the natural history of the area.
Long before Stapleton’s runways and facilities transformed the area into a busy urban landscape, this particular corner of the Denver metro area was covered in sand dunes. They were my inspiration for “Drift Inversion,” a 23′ x 128′ installation that turns the original landscape upside-down to create a surreal experience for any visitor who happens upon the underpass.
In a previous post I shared some of the preliminary design renderings that Aaron and I created for the project proposal. Once those were approved, we focused on working out the endless details with the City of Denver’s engineers, my engineers at IDE, and my fabricator Kurt Nordquist at DaVinci’s Workshop.
Each of the sculpture’s 258 aluminum “fins” is unique. To keep track of their specific locations, we assigned a number to each piece to identify its place in the length of the tunnel, and a corresponding letter to identify whether it went on the north or south side. These identifiers were added as each fin was water-jet cut, and we took great care to keep consecutive numbers in groups to make the installation process easier.
Once the cutting was complete, Jonathan Arreola, Juan Sanchez and Joshua Arreola, at Northwest Custom Auto Body in Burien did the painting.
While Jonathan finished the painting and we readied the fins for transport to Ship/Art in Denver for warehousing, Rio Grande Co. (also in Denver) was busy gathering all the hardware and fabricating the 1,548 galvanized steel brackets we would need for the installation. In the end, the project required nearly 12,400 individual elements (nuts, bolts, washers, bushings, and other hardware) including the fins, which, by themselves, weighed nearly 16,000 pounds.
The pedestrian underpass that houses “Drift Inversion” provides a glorious window to the Rockies in the West and a portal for viewing incredible rainbows in the East. It also seemed to focus and intensify the weather we experienced during installation. Every kind of Colorado spring storm imaginable passed through during that two weeks: heavy snow and bitter cold, a downpour with jawbreaker-sized hail, steady rain, 80-degree days…you name it, we had it.
Work began on a frigid, windy Friday morning that evolved into a very snowy weekend. Despite the enormous challenges of working overhead in the biting cold, Mike Adcock of Adcock Concrete in Grand Junction, CO, and his helper, Alexandro, did an incredibly accurate job installing all of the structural elements that ultimately would support “Drift Inversion.”
Over three days, the crew installed 1,500 brackets and nearly 1,000 feet of Unistrut.
Once all the structural elements were in place, it was up to the Franklin family and some devoted friends to install the sculpture’s 258 fins. It was a truly epic process, supported from the sidelines by many folks bearing hearty lunches and words of encouragement, including my high school friends Chris Flores and Heidi Gartland, Bruce and Tricia Gallagher, my mom, and my sister in-in law, Brooke.
Two weeks later, after installing tons of aluminum and tightening thousands of nuts and bolts, “Drift Inversion” was complete. After two weeks of installing tons of aluminum, and tightening thousands of nuts and bolts, the project was complete.
There were so many helping hands involved in this project. I acknowledged some people earlier in this post, but would be totally remiss if I didn’t mention the invaluable support of these folks, too: My truly amazing wife, Joanne; the quintessential art professional, Barbara Neal; Alexander Abel with Adcock Concrete; and all of the members of the Park Creek Metropolitan District Public Art Committee who made this installation possible. Thank you all!
David
“And it never failed that during the dry years the people forgot about the rich years, and during the wet years they lost all memory of the dry years. It was always that way.”
John Steinbeck-East of Eden
For the past couple of years I have been working on a major project for the Lane Field North Development in the Port of San Diego. The theme is water, and for this place it could not be a more powerful symbol. The lack of water, and at times the raging overabundance of water has been a force that has shaped California, moved its populations, created riches and hardships, and at time battles between neighbors. It is also the same story through the West and has driven people in desperation to California for its dream of the promised land. It could not be a more timeless and powerful symbol, and developments like this could not exist without out it. The Port of San Diego itself exists because of it.
When complete the sculpture will be three stories tall on the South side of the building and four on the North and divided into two 220 foot lengths. Monumental in scale, it has the Pacific Coast Highway on one side and Harbor Avenue on the other. Cruise ships and aircraft carriers park nearby and trains pass through the station across the street as well. It is a great honor to be working on this project with John Portman Associates who designed the building and LFN Developers who are making it all happen, and also to Clark Steel Fabricators who is fabricating and installing the project..
Special thanks to Aaron Whelton, Kurt Nordquist and IDE Engineers who help me realize major projects like this.
Friday March 6, 2015 was the open house for Portland, Oregon’s Fire Station 21 named for former Commissioner Randy Leonard. Both he and Fire Chief Erin Janssens spoke about the successful bond measure that funded the station, and Station Captain Marty Getch and his great crew that man it. She also spoke about the great team that worked so hard to build the station, which I was fortunate to be a part of.
Also in attendance was current Commissioner Dan Saltzman, the team at Whelton Architecture Aaron Whelton, David Suttle, and Mollie Buhrt who designed such an amazing facility and were instrumental in helping me with my project. Connie Johnson the project manager with the City of Portland, David Dwyer with Skanska, the contractor, Ian Eikanas with KPFF the project engineer, were there, as well as Peggy Kendellen from the Regional Arts and Culture Council who was my teammate and ally through the process. Kurt Nordquist, of Davinci’s Workshop was also in attendance, who is my good friend and fabricator extraordinaire.
The last Piece of the Fire Station 21 project is up. It is a brand new dock gate at the Madison St. Pier on the East bank of the Willamette River in Portland, Oregon. It also shares the ripple treatment similar to the Rippling Wall, the facade of the station, but serves the purpose of being a fully functional security gate to protect access to the new boathouse and rescue boats used by the firefighters at Portland Fire and Rescue Station 21.
.
