We are really excited to announce the addition of 100 new works of art to our online Print On Demand Collection. These stunning artworks range from photography and paintings to drawings and digital art.
Healthcare Design magazine features Studio Art Direct in article about art in architecture and the trends in healthcare.
Art Plays Starring Role at Permanente’s New Oregon Hospital by Anne DiNardo, Senior Editor Healthcare Design Magazine
The importance of artwork in the healthcare environment and its role in the healing process has become more widely accepted over the years. But that still doesn’t mean it’s always part of early design discussions.
Rather, art programs are often addressed later on in the project schedule, maybe even after the drywall is up, leaving art consultants and interior designers to scramble to find appropriate pieces that fit on existing walls and ceilings.
It’s a practice that Janelle Baglien, president, Studio Art Direct (Portland, Ore.), calls “plunk art.” “It’s when the building’s all done and somebody says ‘oh, we have to plunk something here.’” READ MORE link to article.
To read a general article about this new Kaiser Permanente template hospital in Healthcare Design Magazine, click here.
Art in architecture is a growing trend in healthcare, hospitality and government buildings. It is the custom integration of art into casework, ceilings, floors, walls, glass and more. Here are 5 easy installation ideas and how they were created.
Art on Glass – direct to glass Artwork such as photography, paintings and digital arts can be reproduced on glass by printing with archival pigment inks with a high viscosity. Printing direct to the surface shows brush strokes and is very luminous. For this installation, a super high-resolution scan of an original acrylic painting I commissioned specifically for the project was done. This scan was expensive, but worth it as it is the single most important step in any large-scale installation because if an image is pixilated, it looks cheap and amateurish. This image was res’d up to 9’0″ high, printed direct to the seconds surface of glass. Another glass layer was then painted with a soft, translucent white and then both were laminated together so that the glass was tempered for safety. The effect is that the image provides some privacy, and yet light floods through it from the inside.
Art on Glass – vinyl Any high-resolution scan of artwork can be reproduced on vinyl using archival inks and then mounted to the second surface of glass. However, photography and graphics are best suited for this type of installation because the nature of a print to vinyl is better suited for large swaths of rich color that are not meant to show the subtleties of brush strokes or depth. When using photography, such as the image shown here, you need to start with a very high-resolution image preferably shot in large format so that when the image is enlarged (9’0″x9’0″ in this case) it holds the resolution (at least 150 dpi at full size) and is not pixilated. Pixilation is a vexing problem when an image is meant to be seen up close. In this installation, custom 2″ aluminum standoffs were fabricated to add an architectural element and to hold secure the three 3’0″x9’0″ glass panels. The wall required 3/4″ backing to withstand the weight.
Art on Laminate Just like your mother’s counter tops, laminates are extremely durable. But with today’s technology, it can be used on vertical surfaces such as walls, casework, cabinet fronts, doors and dividers. And any artwork can be made into laminate. The advantage of a laminate is that the material is extraordinarily durable. It doesn’t scratch and is cleanable. This is of special concern for healthcare projects where gurneys can slam into them and solvents are used to clean bacteria off surfaces for infection control. Laminates are created by first creating super high-resolution scan of artwork. You need to know the fabrication process to understand what the best DPI output is at full-scale and the preferred color profile so work closely with the fabricator to prep the files correctly. The image is then printed on a heat sublimation paper, and this paper is heat infused unto the second surface of a clear laminate.
Art on Vinyl + PVC protection One of the most cost-effective ways to create large and dramatic art in architecture installations is with wallpaper-like murals. The best material for high traffic locations is vinyl (the same material used to put logos on vehicles and signage on windows.) Most sign companies can create this type of graphic. But not all sign companies are sensitive to the color adjustments and subtleties of art that is required prior to printing. So be careful who you choose. Ask to see samples of their work. Be sure that the costs include running a swath of the image for your approval prior to final printing. In this image, huge 9’0″x14’0″ photographs of outdoor activities were installed in a stairwell to encourage people to use the stairs. Stairwells, like many other large wall surfaces in buildings, require that the material be fire rated according to code requirements. Make sure that the specs for the vinyl meet code. Also, the walls must be prepped to receive the vinyl. In most cases, the wall should be smooth and painted with a semi gloss paint. This ensures the best adhesion. In most applications of vinyl, where the image can be touched by the public, I recommend a PVC over laminate to protect it. Regardless, if a vinyl installation is in a high traffic area, it will show wear and tear quickly. Expect to replace it every couple of years.
Art on Plex
Plexiglas is a more affordable alternative to glass yet gives that translucent feel. It comes in varying thicknesses so there are nice options depending on the application. The downside is that it will scratch over time. So this is an excellent application for areas that are somewhat protected. In the picture shown here, the wall is slightly curved so I used a thinner, more pliable plexiglas that had just enough bend to handle the curve. The most crucial issue in this installation was collaborating early on with the interior designer and architect to design an installation system that worked seamlessly into the casework and was durable. Just like a frame can enhance a piece of art, the finish carpentry on an installation makes all the difference. In this case, an aluminum U channel system was used as well as stand-offs. To give it a three-dimensional look and hide the seams, 3-Form overlays float over the plex background. For the artwork, I commissioned an artist to paint an abstracted landscape incorporating the interior color palette. The painting was done in pastels and acrylic on paper at less than quarter of the actual full size. I then photographed the painting in quadrants and then stitched them together so that the final output had extremely high resolution at 300 dpi at the full size of 6’0″ x 36.0″.
1. There must be collaboration in the early phases of design with the architect, interior designer, owner and contractor. This is not a “plunk art” approach – you must design for it prior to completion of the building, preferably in the design development phase, because it may require structural, electrical, or unique fabrication and installation considerations that can be very costly or prohibitive if done too late.
2. The design ideas above require digital use of original photography or paintings, so you must license the use of the image or pay a royalty to the artist. This is typically negotiated based on size, placement and other factors.
3. It is very important artwork is pre-pressed by a professional who understands your chosen fabrication process. You need to know the preferred DPI (at full size), color profile, and file type that the fabricator needs for the best compatibility and results. There is no room for error when creating large expensive installations – color, resolution and other concerns will be glaringly obvious upon completion.
4. Whenever possible, put the fabrication of the art in architecture installations in the GC budget, not the art budget. The artwork, scanning, pre press, and project management can go in the art budget, but the materials and installation can be easily integrated into the construction documents as they can be considered part of the building.
5. Lighting is the icing on the cake for art in architecture installations. Plan for it.
TUALATIN — A year from now, Tualatin’s entrance on Tualatin-Sherwood Road and Nyberg Street will be graced with a fountain adorned with large bronze geese. The Tualatin City Council approved the project Monday night and authorized the city to enter into a $367,987 contract for the final design and installation of the art feature. Article by
By Angela Webber / The Tualatin Times, Dec 15, 2010 – The art piece will cost an additional $5,000 per year to maintain and should be completed by Dec. 15, 2011. The art installation was intended to be part of a larger renovation of the city’s main entrance on Tualatin-Sherwood Road and Nyberg Street. In addition to the art installation contract, $1.2 million was budgeted for landscape design and construction along the road. All of the funds for this project come from Tualatin’s Central Urban Renewal District Plan.
In July, the city sent out a call for artists to submit ideas for the gateway art piece. The call resulted in 25 proposals, which were all reviewed by a selection committee that included city councilors and citizen volunteers.
At the council meeting Monday night, Councilor Donna Maddux said most of the committee members preferred the flying geese design, which stood out as a representation of Tualatin.
The winning concept was designed by Janelle Fendall Baglien, President of Portland-based Studio Art Direct. Studio Art Direct is a corporate art consultant firm which connects regional artists to projects for governments, hospitals and other organizations and businesses. Baglien has 25 years of experience in art and signs that include entryway signs in Sherwood and art pieces in Happy Valley and Portland.
What is certain is that the art piece will include geese, hand-sculpted in bronze by Troutdale artist Rip Caswell. The geese will have wingspans of 5 to 6 feet. According to a project proposal, the geese intend to evoke not only a tie to nature, but more symbolic meanings about teamwork.
The geese will appear to be taking off from a water feature, which will represent Tualatin’s wetlands, and will have lights to illuminate the installation at night. Oregon City-based Coffman Excavation will serve as the general contractor for the entire project, including the installation of the water feature.
In Monday night’s council work session, The City Council discussed the possibility of shifting some or all of the $1.2 million that was budgeted for additional landscaping at the city’s “main entrance” to a different project. This project would address complaints about parking spaces by businesses in Tualatin’s central district. The project might include a parking structure. The City Council will discuss that possibility at a work session in early 2011.
(Rendering by Wayne Chin)
About the Sculpture by designer Janelle Baglien
I chose geese because they are artistically elegant in their curves and movement, they are a reflection of nature, and most importantly, they are symbolic of what it means to live as a community.
The influence and spirituality of geese has a long history. They were revered as a sacred bird in the Roman temples of Juno, associated with the North Wind in Greek Mythology and are a powerful totem and spirit guide for the Native Americans including the indigenous Kalapuya tribe of Tualatin.
According to Native American’s, geese teach us that the value of community is not an exclusive privilege or a burden but a shared opportunity.
The Kalapuya looked to geese as the spirit guide of cooperation and belonging. They believed that they embodied the spirit of communication, dedication, compassion and shared leadership.
For Tualatin, there are lessons to be learned from the goose’s communal demeanor. They don’t ever leave behind an ill or wounded fellow bird. Should a goose become injured during a trek, another goose will leave the migrating flock to stay with its fallen comrade. The goose will stay with the injured until he has recovered or until its final breath. This compassion and selflessness teaches us that caring is a natural behavior and strength lies with in the power of two or more.
In flight, members of a flock alternate leadership roles. This teaches us that when we are balanced and in harmony with our community we will also know when to lead and when to follow.
Native lore says that if geese show themselves as your totem; consider your role in your family, workplace, or community. It tells you to reach out for help or support and work together to accomplish more than double what you can do alone. The Goose Totem is influenced by the element earth, which stands for steadfastness and stability. They are a sign of versatility, tenacity and focused energy. Guided by the motto “In silence lies strength,” geese have big plans and, by climbing steadily, go far.
Further, geese have intricate methods of communication – not only do they sense when their brethren are in trouble; they also work as a team to communicate warnings.
The time when geese migrate announces the passages of the Great Circle of the Year, reminding us of the sanctity of the cycles of our lives and our relationship to nature.
Like Tualatin, geese congregate in groups that can reach the tens of thousands and together they strive for the greater good.
Daily Journal of Commerce awards Studio Art Direct first place in the TOP PROJECTS 2009 by Women/Minority/Emerging (DMWESB) businesses for the permanent art collection at Happy Valley City Hall. Nomination submitted by Howard S. Wright Constructors
BY: DJC Staff
Its successful strategy lay in a juxtaposition of historic art and images showcased by modern techniques. Ninety percent of the art on display was created by local artists and purchased below gallery and retail pricing.
Completed in 2009, the project involved the design, art selection, project management, historic research, archival image curation, production, printing, framing and installation of 36 pieces.
“I pushed the limits of art and technology on this project,” Janelle Fendall Baglien, the company’s president, said. “I did custom reproductions of both contemporary and historic art using archival pigmented inks printed directly to frosted Plexiglas, bamboo and sintra. These are not traditional art surfaces, so I had to step out of the fine art world and into the arms of local fabricators who could use the newest printing technologies from the commercial retail side and apply them to fine art.
“It was an experiment for us all. Frankly, it was a gamble,” she added. “But it turned out very well, and we are now working on creating a custom line of art using some of these ideas.”
Jason Tuck, Happy Valley city manager, complimented Baglien for enhancing the building’s unique lobby with a historic display that serves as a centerpiece.
“Janelle was able to integrate our needs for having a historic display that would not impede the flow of visitors in the lobby,” Tuck said. “We are very pleased with the results and have heard many times from visitors about how much they like the art and historic display.”
Established in 2006, Studio Art Direct specializes in art programs for hospitality, health care, institutional and corporate environments.