2016 - 2021 Rio del Rey Pedestrian Bridge. Phoenix, AZ. 202 So. Mountain Freeway, Phoenix, AZ.
A 425’L steel truss covered bridge. Ramps at either end form a “Z” configuration. The bridge connects Rio Del Rey Community students with safe passage over the freeway to schools. Aesthetic goal - collaboration with sunlight creating unique, ever-changing, daytime lighting with pattern and colors, distracting attention from the long passage. Materials are random pattern perforated aluminum panels and ceiling polycarbonate - colored panels. The project was community driven. Commission: Phoenix Office of Arts & Culture / Public Art Program; Street Transportation Department. Collaboration: Keith Crawford, architect; Magnum Companies, Phoenix; DH Lighting Solutions; Stinger Bridge & Iron.
2015 Patrick Park Plaza. South Phoenix, AZ. Redesign of 1993 Park due to new construction. Updated planting plan; gabion walls for safety, sound baffle for traffic noise; seating. Plan based upon original concept of double spiral. Motif traces cultural and agricultural history of South Phoenix from first canal builders, the Hohokam, to present. Collaboration: local community group; Art Commission; City, to preserve unique character of South Phoenix. Sponsor: Phoenix Art & Culture Commission.
2014 Land Buoy Washington Avenue Pier, Philadelphia, PA. Restoration of Pier, on Delaware River. “Land Buoy”, marks end of the great journey, a tribute to one million immigrants who landed at this alternative to Ellis Island, 1875-1915. A spiral stair coils around 55’H mast, with solar-powered beacon, ending at viewing platform 16’H, in a “crow’s nest”. One climbs the spiral viewing land, sea, land and sea, at different elevations. Collaboration: Keith Crawford, Architect; Applied Ecological Services. Sponsor: Delaware River Waterfront Corporation; The William Penn Foundation Public Art Grant.
2013 Arizona Multi-use Canal Path Master Plan. Chaparral Rd. to Indian Bend Wash, Scottsdale, AZ. Completion 17-mile regional pathway system with public art components: bridge, shade structures, lighting. Collaboration: Keith Crawford, Architect; City design team; Olsson Associates, engineers. Commission: Scottsdale Public Art, AZ.
2012 Museum Without Walls Sculpture Trail-Audio. Recording for Fingerspan, Association for Public Art (formerly, Fairmount Park Art Assoc.) Philadelphia, PA.
2010 Museum Without Walls Sculpture Trail-Audio. Recording for Frederic Remington’s “Cowboy”, Association for Public Art, Philadelphia, PA.
2009 Light Station. 3rd Street Light Rail Station, Charlotte, N.C. Design of 20 translucent illuminated canopies, seating and paving design. Collaboration: Keith Crawford, AIA, Brandston & Partners Lighting Design, Commission: Charlotte Area Transit System Art-in-Transit Program.
2008 Master Plan, Craig Ranch Regional Park. North Las Vegas, NV. 130 acres. Member of multi-discipline design team with MIG (Moore Iacofano Goltsman, Inc.), Landscape architects and planners. Sponsor: City of North Las Vegas.
2005 Master Plan, Avenue of the Arts. Philadelphia, PA. Three team Design Charrette for Broad Street, Philadelphia. Led by Alan Greenberger, MGA PARTNERS Architects. Commission: Center City District Business Association & Avenue of the Arts, Inc.
2003 Belgrade Public Art/Urban Planning Project (PaPs). Yugoslavia. NYC Team: Charlotte Cohen (Dir. NYC % for Art) Todd Bressi (Planner), Jody Pinto (Artist) Belgrade: Zoran Djukanovic, Belgrade Univ. School of Architecture/Planning; Univ. of Fine Arts; City Theater; City Depts. Collaboration implemented by students. Goal – to engage artists in public art/ urban design process, to design specific sites, contributing to City master planning. NYC sponsor: ArtsLink-CEC International Partners. Projects completed 2003. PaPs is an ongoing program.
2003 Boone Sculpture Garden. Pasadena, CA. 7 1/2 acres. Design responds to students, faculty, community. Includes three forms: Plaza, Linear Water Trough, Amphitheater. Garden is staging ground for contemporary sculpture, installation, performance, collaboration. Night lighting outlines Garden’s forms and path system, revealing a galaxy framed by surrounding buildings. Collaboration: Maris Peika and Morris l Sato, Architects. Sponsor: Pasadena City College.
2002 Light Cylinders. Ft. Lauderdale/Hollywood, FL. International Airport Garage Expansion. Housing escalators, four 88'h x 34’w fiberglass cylinders rise through all floors, canopied by translucent tensile fabric structures. Vertical events of light and movement, they are locator and facilitator. Cylinders are solar/lunar lanterns of various colors. Moving from garage to terminal the traveler becomes part of the interior spectacle of color and light. Collaboration: Morris l Sato Architects. Sponsor: Broward County Cultural Affairs Division, Public Art and Design.
2001 Public Art Master Plan Intercontinental Airport & International Services Program- Houston, TX. Identify architecturally integrated public art opportunities to unify International Service Buildings. Sponsor: Cultural Arts Council Houston; Harris Co.; Houston Department of Aviation.
2001 Riverside South Project. New York City. First phase, continuation of Riverside Drive Park,
65th - 69th Streets. Includes restoration of 750’ pier, ball courts, playing fields, promenades, lawns. Pier design, Entry Stair, Shade Shelter, Lighthouse Beacon introduce dramatic yet compatible contemporary design. Collaboration: Tom Balsley & Assoc.; Lee Weintraub Landscape Arch.; Morris l Sato Architects. Sponsor: Riverside South Corporation, NYC.
2002 B.I.G. (Beach Improvement Group Project). Santa Monica, CA, Three-mile Coastal Area of Santa Monica. Redesign/refurbishment State Beach; Palisades Park. Included historic pergola; 5 restroom designs, benches, paths, “Beacon Overlook”; landscaped, engineered restoration of Palisades. So. Beach Promenade: paving, seat walls, lighting, playground exercise/exhibition area, chess court. Collaboration: Wallace, Roberts Todd; Maris Peika; Morris l Sato Architects. Sponsor: City of Santa Monica; Cultural Affairs Division. National ASLA Design Award.
2000 Vallejo Downtown/Waterfront Master Plan. Vallejo, CA. Waterfront design includes esplanade, ”Floating Lantern” barges, plaza, major streets visual connection to waterfront, open public spaces, lighting elements. Design emphasized Vallejo’s unique culture, historic relationship to Mare Island, ship building in WWII. Collaboration: Wallace, Roberts Todd; Auerbach & Assoc. Sponsor: City of Vallejo & Redevelopment Agency.
2000 Kakaako Waterfront Park Master Plan. O'ahu, Hawaii. Park design includes major play area and fountain. Land-formed amphitheater with architectural tensile fabric structure. Collaboration: Wallace, Roberts & Todd. Sponsor: Hawaii Community Development Authority.
2000 Light Islands. Tokamachi City, Niigata Prefecture, Japan. Tinted fiberglass, fiber optics, concrete. Area 60'W x 320'L. Six oval, concrete islands represent Echigo-Tsumari. Within each island a thicket of tinted fiberglass tubes of various sizes, is illuminated by interior fiber optics. At night they are lanterns. In winter tinted shadows play on snow. As snow rises, one sees fiberglass shafts of light piercing the drifts. Curator: Fram Kitagawa, Art Front Gallery, Tokyo. Collaboration: Morris l Sato Architects. Sponsor; Tokamachi City.
2000 Schuylkill Bridges/ Gateways Master Plan. Philadelphia, Pa. Lighting plan for bridges, development of park areas, elevated pedestrian esplanade, design strategies giving major connecting streets visual definition. Collaboration Wallace, Roberts & Todd; Grenald Waldron Assoc., Lighting. Sponsor: Schuylkill River Development Corporation.
1999 Rio Salado Park & Open Space Master Plan. Tempe, AZ Restoration of six-mile stretch of Salt River and development of linear Park system along its banks. Master Plan topographically represents ripple or echo effect of pebble dropped in water. Form emphasizes river as both source and stimulus. Encourages environmental planning, outdoor recreation, while incorporating economic development. Commission: City of Tempe; Tempe Art Commission of Arizona.
1996 Washington State Univ. Tri-Cities Campus. Richland, WA. Consultant on master plan relating to location on Columbia River, adjacent to Hanford Nuclear Reservation in semi-arid desert rich in Native American history. Commissioned by Washington State Art in Public Places Program.
1995 San Antonio Convention Center. San Antonio, TX. Member of design team to develop Public Art Master Plan for Center, including the River Walk. Central to MP design intent is “Mestizo”— a mix of Mexican/American cultures, local building types and the blurring of indoor/outdoor boundaries. Collaboration: Kell/Muñoz/Wigodsky Architects.
1995 Public Art Master Plan. Broward County, FL. Member o f Artist Design Team. Created concept for Public Art opportunities for Ft. Lauderdale/Hollywood International Airport & Port Everglades. Sponsor: Art in Public Places, Aviation / Port Departments Broward County, FL.
1994 Perseverance Park. Syracuse, NY. Design of an urban park providing step-seating, performance/activities area and landscaping. Collaboration: M. Paul Friedberg, Landscape Architect. Sponsor: City of Syracuse.
1993 Southern Avenue Streetscape (24th - 40th Sts.) & Patrick Park Plaza. Phoenix, AZ. Concrete, copper tube inlay, river stone, native plant palette. Design of two-mile streetscape. Pilot project generated by community groups, art commission and City to preserve unique character of South Phoenix. Within Plaza double spiral channel draws water from and returns it to its source - San Francisco Canal. Motif traces cultural/agricultural history of South Phoenix from first canal builders, the Hohokam, to present. Sponsor: Phoenix Art Commission.
1993 Metro-Link. St. Louis, MO. Light rail metro system. Artist-team consultant to architects and engineers to integrate system into city's fabric. Includes entire right-of-way, landscaping, station canopy, rail car and Light Rail bridge pier design. Commission: Metro-Link Arts-in-Transit.
1992 Grand Center Master Plan Extension. St. Louis, MO. Plan develops extension linking St. Louis Arts District, University, new Metro Link Transit System. Includes landscape plan, footpaths, pedestrian bridge, outdoor theater. One-mile plan defines Grand Avenue access to District and St. Louis community. Collaboration: Robert Powell, Artist; Phillip Holden, Arch. Sponsor: NEA Grant through Grand Center & Arts-in-Transit.
1992 Papago Park/City Boundary. Phoenix, AZ. 2 acres. Stone markers, dry-stacked field stone terraces, plant materials. Symbolic yet functional construct of alignment, regeneration. Seven stone markers of varying heights, indicate axial alignment of cities and ancient monuments. The axis is the point from which a plant form originates whose seven branches become desert farming terraces. Central to the project is the fact that the park has a dying ecology. The design calls attention to and celebrates the basic life forces of the desert and its timeless methods of survival. Collaboration: Steve Martino, Landscape Architect. Sponsor: Phoenix Arts Commission; Scottsdale Cultural Council. National ASLA Design Award.
1991 East/West Arbor & Gift Gardens. Spokane, Washington International Agricultural Trade Center, Spokane. 140’ x 220’. Cedar, plant material. Structures function as reception, display, performance, seating areas. Plantings indigenous to Spokane international sister cities are planted within areas formed by pathways. “Gift Gardens” is based on ancient tradition, of sharing culture and home with gift of plants to a visitor. Sponsor: Percent for Art Program, Spokane Arts Commission; WA State Arts Commission. Deaccessioned 2015 due to new construction.
1987 Fingerspan Bridge. Fairmount Park, Philadelphia. PA. 9’h x 4’ x 59’. Weathering steel enclosed pedestrian bridge connects cliffs separated by a chasm. Shaped like a bent finger, “Fingerspan” is a practical and symbolic reach. Walking along a popular nature trail in Fairmount Park, the pedestrian passes over the bridge continuing the physical experience of a hike, metaphorically becoming the muscle of “Fingerspan”. The bridge skin is perforated steel, permitting light to penetrate entire structure while protecting the hiker from the dangers of falling. Collaboration: Samuel Y. Harris, Engineer. Commission: Association for Public Art (formerly, Fairmount Park Art Association). Philadelphia. AIA Award, “Art in Public Places”.
1987 Watch Tower for Hallett’s Cove. Socrates Sculpture Park, Long Island City, NY. 13’h x 5’ x 5’. A wooden platform and chair on the bank of the East River.
1986 Structure for Dürer’s Barn Hand. Dag Hammarskjold Plaza, NY. 16’h x 2’ x 52’. Based on a Dürer print, the structure connected the two plaza levels. Two wooden bars 52’ long provided seating. At midpoint they become arcing trusses.
1983 River Run. Promenade Park, Toledo, Ohio5’h x 20’ x 120’. Cedar. Located on Maumee River. Structure designed for children’s play and investigation. Sponsor: Kiwanis Foundation. Deaccessioned, due to new construction.
1982 Seeded Catherine Wheel. Kutztown State College, Kutztown, PA. 7’h x 56’ sq. Cement block with seeded roof and walls. Structure could be entered.
1982 Colorado Corridor. University of Colorado, Boulder. 8’h x 3’ x 104’. Timber, pigment. A wooden zigzag-shaped passage with a red interior. Walking through the constructed passage, upon emergence, the retina is charged with red, transforming light, space and landscape.
1982 Widows’ Perch. Battery Park Landfill, NYC. 30’h. Timber. Located on waterfront on diagonal with Statue of Liberty. A braced telephone pole 30’h. imbedded at 60° angle with seat-perch notched into its top. Angle allowed perch to sway and rock in time with tide. Facing the sea, aligned with the Statue of Liberty, a structure for waiting. Sponsor: Creative Time, NYC.
1982 Springboard (For Icarus): A Device for A High-Flying Dive. William Land Park, Sacramento, CA. 8’h x 14” x 24’. Timber. Situated at the edge of a lake, the structure functioned as a play/performance area. Sponsor: Sacramento Public Art Commission.
1981 Project for The Origin of the Ohio. Three Rivers Arts Festival, Pittsburgh, PA17’h x 28’ x 230’. Timber, steel. Three piers and a tower.
1980 Seeded Sight Wall. “Tel-Hai 80”, Upper Galilee, Israel. 5’h x 3’ x 90’. Dry-stacked field stone, seed. On a hill in an olive grove, two walls rose like wedges to high point where a 3’ opening occurred. Standing within the wall’s center, one could sight themselves in time and space, in reference to mythology, history, geography of Israel. Curated by Amnon Barzel.
1980 Split Tongue Pier. Swarthmore College, PA. 2’h x 2’ x 48’. Timber. A truncated pier extending 48’ across a creek, its end split like a forked tongue. The pier stops short of its goal and the user’s progress is checked or stuttered.
1980 Flood Piece. University of Oklahoma, Norman, OK10’ x 10’ x 60’. Cement block, red earth, rain.
1980 Double Corridor (Interior/Exterior). California State University at Northridge, Northridge, CA.
7’h x 3+1/2’ x 120’ & 7’h x 3+1/2’ x 80’. Cement block, earth, seed, hay.
1980 Serpentine Corridor for an Ohio Landscape. Wooster College, Wooster, Ohio. 7’h x 3+1/2’ x 55’. Cement block, earth, seed, hay.
1978 Heart Chambers for Gertrude and Angelo. Institute of Contemporary Art, Philadelphia, PA. 7’h x 6’ x 58’. Cement block, organic pigment, timber, metal, rain. "Dwellings", curated by Suzanne Delehanty, Director.
1978 Heart Chamber for H.C. Art Institute of Chicago, IL. 8’ x 8’ x 40’. Cement block, metal, rain.
1977 Underground Chamber. “Rooms” Exhibition. Institute for Art and Urban Resources, P.S.1, Long Island City, NY. 7’h x 10’d. Cement block, organic pigment, hay, timber. Ladder entrance/exit through sidewalk.
1976 Three Open Wells. Dayton, Ohio. (Interior/Exterior). 4’ - 5’ x 10’ sq. Cement block, organic pigment, hay. Three well structures, of varying dimensions, in abandoned building, basement and yard. Sponsor: Dayton City Beautiful Council; Wright State Univ. Curator: Edward Levin.
1974-76 Well Pieces. Pennsylvania Department of Transportation Landfills, Philadelphia, PA. Series of excavation works in 19th century wells and cisterns.
1975 5 Black Ovals. Artpark, Lewiston, NY. 20’h x 4’ x 36’. Timber, resin treated paper, rope.
Bleed Pockets. 20’h x 4’ x 90’. Canvas, earth, rope, rain.