Love Burn Concept Development _Compressed

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.


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.


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.


Concept Imagery

Seashells

Lend themselves to chairs, upholstery, small ledges and ornamentation.


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.


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.



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


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


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.





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

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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.


Metal forms surround and hold sea0ng; groupings are made combining all project elements; Plan, top le: and Eleva&on, top right.


Mussels, Corals and Shells



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


Shell Construction Shells can be constructed out of large rod hoops, small

rod cross hatches and square tube to create a snug base.


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..


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.



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


Composites Various combinations of elements arranged depending

on budget, time and materials.


Approx. Size 10’lx8’wx12’h. Includes 2 built in benches, 2-‐3 hanging pods.

Approx. Size: 12’lx86’wx8’h.


Composites Various combinations of elements arranged depending

on budget, time and materials.


Gazebo Examples

Modern and ornate metalwork.

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!


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.


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.


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


Lighting: $850


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


Lighting: $1,000


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.


Love Burn Concept Development _Compressed

Documents

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