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Search results for Owner: Emerging Terrain

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....that Hourglass Figure.... , 2010

by Bob Trempe

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton Street Omaha, N

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: Perhaps the most simply articulated submission of all, ‘………that Hourglass Figure’ by Bob Trempe, Professor of Architecture at Temple University, was a jury favorite both for its 2D manipulation of a 3D surface, and the method by which he achieves the illusion. Manipulating a convex concrete silo with only an exterior surface is likely a frustrating constraint for an architect. But with a series of simple black dots, Trempe’s submission virtually modifies the geometrical quality of one silo through the draping of a simple gradient pattern. This pattern, designed in the shape of an hourglass, perceptually “tapers” the middle of the silo inward through the patterned shadow image. The pattern of dots creates the shaded quality one would find on a tapered, cylindrical surface. Bob Trempe’s work as an architect and educator focuses on new methods of information visualization and how resultant emergent information can serve as instruction for architectural production. Thought of as the study of process itself, Bob’s works are typically articulated through repetitious systems, exploiting time-based qualities to notate, visualize, and analyze changes-in-state.


80 Feet of Tomatoes , 2010

by Tinca Joyner

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton Street

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: A neighbor of the towering grain elevator, 10-year old Tinca Joyner found inspiration for her submission from the plants she cultivates in her own backyard. Both a productive farmer and artist, Tinca has lived in Omaha for all of her 10-year life and has been making art and planting seeds for most of it. The Stored Potential jury found the intersection of these two things especially noteworthy in Joyner’s use of reds and oranges to depict the juicy fruit (or is it a vegetable?) in a style representative of Art Nouveau, especially in its tenet of applying artistic design to everyday utilitarian objects, in order to make beautiful things available to everyone. Although Tinca intended for the tomatoes in her drawing to be oriented to the bottom, as a tomato plant often looks like when supporting large bunches of fruit from a plant that commonly out-produces the needs of the grower, Tinca says the guy at Kinkos accidentally scanned her drawing with the tomatoes to the top. Perhaps he knew that placing the bunch of tomatoes at the top of the elevator would maximize their exposure.


A Friendly Reminder , May 2012

by Ashley Byars; Bill DeRoin

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain silo 3417 Vinton St. Omaha NE

Owner: Emerging Terrain

Series: Stored Potential Two

Additional Information: ‘A Friendly Reminder’ by architectural designers Ashley Byars and Bill DeRoin seeks to graphically illustrate the gasoline consumption of an average daily Omaha commute. The purpose of the banner is not to incite or inflame, but to make visible something not typical seen. As suggested by the common phase “A picture is worth 1000 words”, seeing a statistic graphically can be more profound then reading it. Bill and Ashley hope the illustration encourages discussion about fuel consumption, commuting, and transportation in Omaha. The banner attempts to answer the question: “How much of a silo would be filled with all the gas used in Omaha’s typical daily commute?” The quickest place to start was determining the volume capacity of a single grain elevator. For the sake of simplicity, the silos were perceived as perfectly hollow cylinders with thin exterior walls and an average dimension of 12.5’ radius and 101’ height. With these dimensions the volume (V=[pi]R^2 x H) was calculated to be 49,553 cubic feet. The next (and more difficult) calculation to find was a quantifiable value for how much gasoline Omaha commuters use on a daily basis. Employing various methods including online resources and actually driving typical commute routes, the following criteria was determined: No. of Omaha Passenger Vehicle Commuters = 273,936 (1) Average Passenger Vehicle Fuel Efficiency = 21 mpg (2) Average Omaha Commuting Time = 17.3 Minutes (3) Average Omaha Commuting Distance = 13.3 miles 273,936 commuters x 13.3miles / 21 mpg and reached the value of 172,188 gallons, or 23,018 cubic feet. This volume was placed into the elevator volume capacity, and resulted in a final value of the daily gasoline consumption equaling roughly 46.5% capacity of a typical silo.


Aerial Production , 2010

by Geoff DeOld; Emily Andersen

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton Street Omaha. NE

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: ‘Aerial Production’, by DeOld Andersen Architecture, a partnership between Nebraska natives Emily Andersen and Geoff DeOld, depicts the transformation of the Midwest landscape at the city edge from farmstead to suburban and exurban development. Focusing on a swath of land at the edge of Omaha two miles long by a half mile wide, three different stages of land use are captured simultaneously; productive farmland, former farmland in the process of being re-formed into suburban tract development, and a completed and occupied residential development. This abstracted representation of a literal condition unifies the fits and starts by which land development occurs through a lens of production – land that once produced agricultural crops now produces homes and the infrastructures that support them.


Ant Trails , May 2012

by Bethany Kalk

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton St. Omaha NE

Owner: Emerging Terrain

Series: Stored Potential Two

Additional Information: By intertwining the networks of constructed roadways in Omaha with ‘transport’ formations produced by insects – ant trails and bee honeycombs – Ant Trails is a visualization of the similarity and interconnection between human and natural realms of movement. It is always interesting to find out how submission ideas come into being; while Bethany was pondering her entry, she was babysitting her nieces and took them on a walk. They were overturning rocks on a hunt for insects to lessen their fear of “bugs.” Under many rocks were ant trails and the correlation became obvious; ants and humans transport food (and goods) with similar methods of networked systems. The honeycomb form of ‘food storage’ layers yet another important process into the overall image and idea. All these networks represented here at the same scale blurs the hierarchy of our often competing worlds and renders them equal in importance.


Around The Bend (This Exit) , May 2012

by Bob Trempe

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton St. Omaha NE

Owner: Emerging Terrain

Series: Stored Potential Two

Additional Information: ‘Around the Bend (This Exit)’ employs statistical information as an organizational strategy towards a trans-formative image, a composition that morphs from an iconic image of the Omaha city skyline to over 10,000 icons depicting transportation usage in Omaha. From a distance, eastbound drivers on I-80 will see a hazy depiction of the Omaha skyline, a precursor, billboard, or advertisement for their exit onto I-480 North towards downtown Omaha. In closing the gap between image and viewer, the iconographic image of skyline decomposes into the 10,000 representative icons of transportation, with the percentage of each icon type relational to its employment by the people of Omaha. Upon reaching the base, inquisitive drivers and users of the park system will see individual icons ranging in size from one to six inches that represent: 76.7% of Omaha drives alone as a daily mode of transportation 10.5% of Omaha carpools on a daily basis 7.7% of those visiting and returning to Omaha do so by airplane 2.2% of Omaha walk to destinations on a daily basis 1.8% of Omaha employs public transportation as a primary method of transport 0.7% of the people in Omaha use their bikes as a daily method of transportation Less than 1% of the people in Omaha use rail as a method of travel


Bacon , 2010

by M. Brady Clark

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton Street Omaha, NE

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: M. Brady Clark’s image is striking, simple, and speaks volumes about the Midwest. Although it isn’t the ‘beef’ Nebraska is most identified with, nor is it condoned by vegetarian friends, it is nonetheless symbolic and representative of the place and certainly the landscape. M. Brady’s ‘Bacon’ is less about specific species of animal, but more about place, consumption, and culture. According to M. Brady, “My work is simply to use my God-given gift to make things better and more beautiful.” Representing Bacon at nearly 80′ tall, on a grain elevator, might be the perfect combination of literal (grain transfer to animal protein) combined with scale to create abstract beauty.


concreAte synergies , 2010

by Brian Kelly

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton Street, Omaha, 68105

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: Brian Kelly, an Omaha architect and educator approached his submission as a prime opportunity for initiating dialogue about the issues affecting the population both locally and globally. Rather than attempting to resolve an architectural design problem, he is interested in encouraging an exchange of ideas about the possible reuse of agricultural and industrial relics such as these, and the catalytic change that urban infill can generate. His idea seeks to simultaneously celebrate the silo’s history and suggest a rejuvenation of the edifice that points to a synergetic contemporary culture and its lifestyles. As an architect, educator, and amateur photographer, Brian has a deep fascination with the power of the image and the ability of Montage Theory to create, as Sergei Eisnstein called it, “tertium quid” or third thing. This theory suggests that the assemblage of various, unrelated sequences in a film may be combined to produce a situation where the sum is greater than its parts. In concre(A)te synergies, a series of images of unrelated building components were assembled to create a visual alluding to something outside itself.


Corn as Commodity , 2010

by Jeremy Reding

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton Street Omaha, NE

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: Corn is undeniably the heart of the ‘Cornhusker State’. Aside from the moniker of college football where on game days, Memorial Stadium is referred to as the third largest ‘city’ in the state, the seasonal landscape is ruled by the growing cycle of ‘The King Crop’. For Omaha native, Jeremy Reding, his submission not only expresses the importance of the plant to the State of Nebraska but also its role in the transformation of our farms, livestock, grocery stores, and beyond. By conveying the corncob as a scannable barcode, the simple image attempts to connect viewers to corn as a commodity. Viewers can use the scanner on a smartphone and be directed to a website currently being built by Reding that will list the derivatives of the crop, many of which are surprising and will undoubtedly further the conversation about the pervasiveness of corn in our lives, and impact throughout the world.


Corn Cob , 2010

by Mary Day

 

Mediums: Mural, Mixed Media

Location: Downtown; Grain Silo 3417 Vinton St. Omaha, NE

Owner: Emerging Terrain

Series: Stored Potential

Additional Information: Omaha artist Mary Day scanned an ear of corn for what she calls a ‘cliche’; to be in Nebraska is to be surrounded by corn, literally and figuratively. And the image of the corn cob is a most obvious recall of the identity and function of the grain elevator as a structure that originally stored the grain. But Mary’s scan lead her to a submission that is anything but cliche, and rather a re-composition of an iconic symbol of farmland in Nebraska and the Midwest, based on an implicitly recurring unit of measure. A corn kernel to a corn row to a corn cob to the rows of corn to the fields of corn is an exponentially increasing unit of measure. Mary used her scanned ear of corn as the structural equivalent of “mathematical” divisions in the picture plane, similar to those that strike her each time she flies over the Omaha landscape. The conceptualization of the rows of kernels parallel the larger concept of rows of corn in the field to fields of corn in the landscape, and so on. Breaking the corn cob into informational lines which converge back to an image of corn parallels the artistic process of contextualizing images into information. The handmade mark is important to the concept because it is a visceral response to visually perceived information. Drawing is about the connection of head to heart to hand. The finished drawing on the silo shows the gestural mark held within the structural division of the corn cob. The drawing of the corn cob into informational bits is an equivalent for patterns perceived from an airplane, or Google earth, or NASA satellite photos.


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