2008-26924 ResoRESOLUTION NO. 2008-26924
A RESOLUTION OF THE MAYOR AND CITY COMMISSION OF THE CITY OF
MIAMI BEACH, FLORIDA, APPROVING THE SELECTION OF A PUBLIC ART
COMMISSION FOR THE 1100 BLOCK OF LINCOLN ROAD, BY THE ARTIST
DAN GRAHAM, ENTITLED "PAVILION" (WORKING TITLE), AS
RECOMMENDED BY THE ART IN PUBLIC PLACES COMMITTEE, DESIGN
REVIEW BOARD AND NEIGHBORHOODS/COMMUNITY AFFAIRS
COMMITTEE; FURTHER AUTHORIZING THE CITY MANAGER TO
NEGOTIATE AND EXECUTE AN AGREEMENT WITH UTA MANAGEMENT,
LLC (WHICH IS ALSO THE DEVELOPER UNDER THAT CERTAIN
DEVELOPMENT AGREEMENT WITH THE CITY FOR THE DESIGN,
DEVELOPMENT, AND CONSTRUCTION OF CERTAIN IMPROVEMENTS TO
THE 1100 BLOCK OF LINCOLN ROAD) FOR THE DESIGN, FABRICATION,
INSTALLATION, AND CERTAIN ONGOING MAINTENANCE OF SAID PUBLIC
WORK; AND APPROVING FUNDS, IN AN AMOUNT NOT TO EXCEED
$75,000, FROM FUND - 147 ART IN PUBLIC PLACES (FROM THE 1100
BLOCK OF LINCOLN ROAD PROJECT), PREVIOUSLY APPROPRIATED AS
PART OF THE FY 2007/08 CAPITAL BUDGET.
WHEREAS, on December 6, 2006, the City Commission adopted Resolution No. 2006-
26422, approving a conceptual plan for the closure of Lincoln Road to vehicles, between Lenox
Avenue and Alton Road, and construction of a pedestrian mall; and
WHEREAS, on March 14, 2007, the City Commission adopted Resolution No. 2007-
26494, approving a Development Agreement between the City and UTA Management LLC for
the design, development, and construction of certain improvement to the 1100 Block of Lincoln
Road (in conjunction with the project being developed by an affiliate of UTA at 1111 Lincoln
Road), and UTA agreed to match the City's AiPP contribution, in an amount not to exceed
$75,000, for a public art work; and
WHEREAS, at its regular meeting on April 12, 2007, and in conjunction with its
established criteria, the Art In Public Places Committee (AiPP) passed a motion establishing a
Professional Advisory Committee (PAC) for the selection of a work of public art (to be sited on
Lincoln Road, between Lenox Avenue and Alton Road); and
WHERAS, the members of the PAC were AiPP members Mariangela Capuzzo and
Heather Urban; Jeremy T. Chestier, representing the Lincoln Road Merchants Association;
Leonardo Francis, Senior Project Coordinator, Public Works Department; Raymond Jungles,
Principal, landscape architect, Raymond Jungles, Inc.; Clotilde Luce, member, Design Review
Board; Thomas Mooney, Preservation and Design Manager, Planning Department; and Robert
S. Wennett, principal of UTA Management, LLC; and
WHEREAS, on August, 22, 2007, the PAC met and members made presentations on
the following artists: Daniel Buren, Olaffur Eliasson, Dan Graham, Jeppe Hein, Carston Holler,
Jenny Holzer, Anish Kapoor, Bruce Nauman, Damian Ortega, Tony Oursler, Roxy Paine, Franz
West, and Rachel Whiteread; and
WHEREAS, at the October 23, 2007, PAC meeting, the PAC discussed the following
artists, who had responded to the inquiry and were interested in the project: Dan Graham,
Jeppe Hein, Jenny Holzer and Rachel Whiteread; and
WHEREAS, the artist, Dan Graham, said he was interested but would not participate in
a competitive process; and
WHEREAS, the PAC felt very strongly that, of the four artists that were willing to
respond to the City's request for a site specific art work, Dan Graham was the most
internationally recognized; his sense of aesthetics and conceptual nature of his body of work
would respond best to the architectural environment; and his works have an interactive
component, and
WHEREAS, at the November 27, 2007, PAC meeting, the members spoke to Dan
Graham, who discussed his concept for the project; the PAC unanimously agreed to proceed
with a direct selection and recommended Dan Graham for the 1100 Block of Lincoln Road
public art project; and
WHEREAS, on May 20, 2008, the AiPP Committee discussed the following issues with
regard to the artist's (Dan Graham) proposed art work for the 1100 Block: cleaning of the piece;
removal of graffiti; establishing a maintenance program and compliance with all regulatory
requirements related to the building of the piece; and
WHEREAS, the AiPP Committee asked the Developer to address these issues; and
WHEREAS, at the June 17, 2008, AiPP meeting, the Developer agreed: 1) that the glass
component of Mr. Graham's proposed art work would be designed to meet the requirements of
the Florida Building Code; 2) that the Developer would be responsible for cleaning, as frequently
as it cleaned the storefront glass for the 1111 Lincoln Road Project; 3) that the Developer would
be responsible for graffiti removal on the proposed art work; and 4) that the Developer would
develop an annual maintenance program for the proposed art work, with the City being
responsible for carrying it out (other than cleaning and graffiti removal); and
WHEREAS, all of these requirements would be memorialized into a covenant running
with the 1111 Lincoln Road building/land; and
WHEREAS, additionally, the City Administration would recommend (and UTA agrees) as
follows: 1) that the City enter into a ten (10) year agreement with UTA for the maintenance of the
entire work of art; 2) that UTA will provide the City with three (3) additional sections (1 of each
type) of glass, at no additional cost to the City; 3) that UTA will store the three (3) additional
sections of glass at its location; 4) that UTA will coordinate the installation of glass when needed,
and the City will reimburse UTA for the cost of labor; and 4) that, once the three (3) additional
sections of glass are used, the City will reimburse UTA for the purchase of additional sections of
glass (if needed); and
WHEREAS, on June 17, 2008, the AiPP Committee again discussed the proposal at
length and unanimously selected the preliminary proposal for the "Pavilion" (working title), as
submitted by the artist, Dan Graham; and
WHEREAS, on July 30, 2008, the Neighborhoods/Community Affairs Committee
reviewed and recommended approval of the aforestated proposed art project; and
WHEREAS, on August 20, 2008, a presentation was made to the Lincoln Road
Merchants' Association Board of Directors, and the Board voted unanimously in support of the
proposed art project; and
WHEREAS, on September 2, 2008, a presentation was made to the City's Design
Review Board and the Board unanimously approved the proposed art project; and
WHEREAS, the Administration concurs with the respective recommendations of the
AiPP Committee, Lincoln Road Merchants' Association, Design Review Board, and the
Neighborhoods/Affairs Committee, and would recommend that the Mayor and City Commission
approve the proposed public art work, and authorize the City Manager to negotiate and execute
an agreement with UTA, for design, fabrication, installation, and certain ongoing maintenance of
the aforestated work of art, subject to the conditions in the Resolution; and
WHEREAS, the City's portion of funding for the proposed project, in an amount not to
exceed $75,000, is available from Fund 147 -Art in Public Places, from the previously
appropriated FY 2007/08 Capital Budget (as part of the 1100 Block of Lincoln Road Project).
NOW, THEREFORE, BE IT DULY RESOLVED BY THE MAYOR AND CITY
COMMISSION OF THE CITY OF MIAMI BEACH FLORIDA, that the Mayor and City
Commission hereby approve the selection of a public art commission for the 1100 Block of
Lincoln Road by the artist Dan Graham, entitled "Pavilion" (working title), as recommended by
the Art in Public Places Committee, Design Review Board, and Neighborhoods/Community
Affairs Committee; further authorizing the City Manager to negotiate and execute into an
agreement with UTA Management, LLC (UTA) (which is also the developer under that certain
Development Agreement with the City for the design, development, and construction of certain
improvement to the 1100 Block of Lincoln Road), for the design, fabrication, installation, and
certain ongoing maintenance of said public work; and approving funds, in an amount not to
exceed $75,000, from Fund 147 -Art in Public Places, (from the 1100 Block of Lincoln Road
Project), previously appropriated as part of the FY 2007108 Capital Budget.
PASSED and ADOPTED this 7th
ATTESTED BY:
day of October, 2008.
A OR
Matti Herrera Bower
Cl~i. C~.t~.
CITY CLERK
Robert Parcher
APPROVED AS TO
FORM 8~ LANGUAGE
8~ FOR EXECUTION
~_ q o u~
COMMISSION ITEM SUMMARY
Condensed Title:
A Resolution approving the selection of a public art commission for the 1100 Block of Lincoln Road by the artist Dan
Graham, entitled "Pavilion" (working title); and further authorizing the City Manager to negotiate and execute an agreement
with UTA Management, LLC (UTA), the Developer of the adjacent 1111 Lincoln Road project, for the design, fabrication,
installation, and certain ongoing maintenance of said public work.
Ke Intended Outcome Su orted:
Increase community rating of cultural activities.
Supporting Data (Surveys, Environmental Scan, etc.):
The 2007 Community Satisfaction Survey indicated that 60% pf residents and 60% of businesses feel the city has the right
amount of cultural activities.
Issue:
Shall the City Commission approve the Resolution?
item 5ummarylKecommenaat~on:
On December 6, 2006, the City Commission passed Resolution 2006-26422, approving a conceptual plan for the closure
of Lincoln Rd. to vehicles between Lenox Ave. and Alton Rd., and construction of a pedestrian mall. Susequently, on March
14, 2007, the City approved a development agreement between the City and UTA for the development of improvements to
the 1100 Block of Lincoln Road. The approval included the inclusion of a public art project to be partially funded by the
developer.
On April 12, 2007, with direction from the Dept. of Tourism & Cultural Development, the Art in Public Places (AiPP)
Committee passed a motion unanimously establishing a Professional Advisory Committee (PAC). On August 22, 2007, the
PAC met and short listed thirteen artists who had experience completing a public art projects and had an international
reputation.
Based on the established requirements of the committee, on November 27, 2007, the PAC unanimously agreed to proceed
with a direct selection and recommended the artist Dan Graham to the AiPP. At the June 17, 2008 AiPP meeting, the AiPP
reviewed the proposal and unanimously recommended Dan Graham for the project. The approval followed discussion on
how the proposed public art was to be maintained, especially in regards to graffiti. The developer agreed and this
agreement shall become a covenant to be responsible for certain maintenance of the public art, to include graffiti.
On August 20, 2008, the Lincoln Road Merchants Association Executive Board met and unanimously passed a motion
accepting the AiPP recommendation. It is recommended that the Commission approve the proposed public art for the 1100
block of Lincoln Road, as submitted by artist Dan Graham.
Aavisory tsoara rcecommenaaiion:
Art in Public Places on June 17, 2008; Neighborhoods/Community Affairs on July 20, 2008; and Design Review Board on
Sept. 2, 2008; have recommended in favor of the selected art project respectively.
Financial Information:
Source of Amount Account
Fun s: 1 $75,000 Art in Public Places Fund 147 -Funding was previously appropriated
in the FY 2007/08 Capital Budget as part of the 1100 Lincoln Road
between Lenox and Alton Pro~ect.
Total $75,000
Financial Impact Summary:
Ci Clerk's Office Le islative Trackin
Max Sklar, Tourism & Cultural Development Director
Si n-Offs:
Department Director s _istapt City Manager _City Manager
AGENdA ITEM ~ ~~
~ ~~i~~ ~~~ DATE l~'~~y4
m MIAMIBEACH
City of Miami Beach, 1700 Convention Center Drive, Miami Beach, Florida 33139, www.miamibeachfl.gov
COMMISSION MEMORANDUM
TO: Mayor Matti. Herrera Bower and Members of the City Commission
FROM: Jorge M. Gonzalez, City Manager
DATE: October 7, 2008
SUBJECT: A RESOLUTION OF THE MAYOR AND CITY COMMISSION OF THE CITY OF
MIAMI BEACH, FLORIDA, APPROVING THE SELECTION OF A PUBLIC ART
COMMISSION FOR THE 1100 BLOCK OF LINCOLN ROAD, BY THE ARTIST DAN
GRAHAM, ENTITLED "PAVILION" (WORKING TITLE), AS RECOMMENDED BY
THE ART IN PUBLIC PLACES COMMITTEE, DESIGN REVIEW BOARD AND
NEIGHBORHOODS/COMMUNITY AFFAIRS COMMITTEE; FURTHER
AUTHORIZING THE CITY MANAGER TO NEGOTIATE AND EXECUTE AN
AGREEMENT WITH UTA MANAGEMENT, LLC (UTA) (WHICH IS ALSO AN
AFFILIATE OF THE DEVELOPER UNDER THAT CERTAIN DEVELOPMENT
AGREEMENT WITH THE CITY, DATED MARCH 14, 2007, FOR THE DESIGN,
DEVELOPMENT, AND CONSTRUCTION OF CERTAIN IMPROVEMENTS TO THE
1100 BLOCK OF LINCOLN ROAD) FOR THE DESIGN, FABRICATION,
INSTALLATION, AND CERTAIN ONGOING MAINTENANCE OF SAID PUBLIC
ARTWORK; AND APPROVING FUNDS, IN AN AMOUNT NOT TO EXCEED $75,000
FROM FUND - 147 ART IN PUBLIC PLACES, (FROM THE 1100 BLOCK OF
LINCOLN ROAD PROJECT), PREVIOUSLY APPROPRIATED AS PART OF THE FY
2007108 CAPITAL BUDGET.
ADMINISTRATION RECOMMENDATION
Adopt the resolution.
BACKGROUND
In December 6, 2006, the City Commission adopted Resolution 2006-26422, approving a
conceptual plan for the closure of Lincoln Road to vehicles between Lenox Avenue and Alton
Road, and construction of a pedestrian mall. The Lincoln Road pedestrian mall, between
Washington Avenue and Lenox Avenue is the best known commercial corridor in the City, which
promotes economic development and quality of life in the South Beach area. When the Design
Review Board approved the new parking garage with ground level accessory commercial uses
at the intersection of Lincoln Road and Alton Road, the applicant was encouraged to enter into
discussions with the City relative to exploring the possibility of closing this block of Lincoln Road
to vehicular traffic, and construction of a pedestrian mall all the way through to Alton Road. The
Administration believed the extension of the very successful pedestrian mall would benefit this
portion of Lincoln Road and reinforce the pedestrian experience of Lincoln Road from
Washington Avenue to Alton Road. In addition, the Finance and Citywide Projects Committee
approved the concept plan and recommended forwarding it to the City Commission for
consideration and approval as a funded City Project.
Page 2 of 6
AiPP -Dan Graham
On March 14, 2007, the City Commission adopted Resolution No. 2007-26494, approving a
Development Agreement between the City and UTA for the design, development, and
construction of certain improvements to the 1100 Block of Lincoln Road, in conjunction with the
project being developed by an affiliate of UTA at 1111 Lincoln Road, and the City to match
funds, in an amount not to exceed $75,000 from the AiPP Fund 147, for a public art project. The
approval of this project by the City Commission resulted in the Art in Public Places (AiPP) Fund
147 receiving a contribution from the City Center RDA Capital Fund 365 as part of the FY
2007/08 Capital Budget as established by the City Code in Chapter 82, Article VII, Divisions 1
through 4, Sections 82-501 through 82-612.
At its regular meeting on April 12, 2007, and in conjunction with its established criteria, the AiPP
committee passed a motion establishing a Professional Advisory Committee (PAC) for the
selection of a work of public art to be sited on Lincoln Road, between Lenox Avenue and Alton
Road. The AiPP representatives to the PAC were Mariangela Capuzzo and Heather Urban;
Capuzzo served as PAC Chair. The other members of the PAC were: Jeremy T. Chestier,
representative, Lincoln Road Merchants Association; Leonardo Francis, Senior Project
Coordinator, Public Works Department; Raymond Jungles, Principal, landscape architect,
Raymond Jungles, Inc.; Clotilde Luce, member, Design Review Board; Thomas Mooney,
Preservation and Design Manager, Planning Department; and Robert S. Wennett, principal of
UTA Management, LLC (Developer). The total AiPP project budget would be $'(50,000, with the
City contributing $75,000 from the AiPP Fund and the Developer contributing $75,000.
At their first meeting on July 17, 2007, the PAC agreed on an artistic direction for the project
which would encourage a work that could add an element of surprise or a sense of discovery,
and for the artist to consider the South Florida weather conditions. The PAC also agreed to
move forward with selecting an artist using the "hybrid" competition call to artist format. The Art
in Public Places Guidelines define this process as a call to artists sent to a specific and qualified
artist list to submit their qualifications according to the specifications provided.
On August 22, 2007, the PAC met and members made presentations on the following artists:
Daniel Buren, Olaffur Eliasson, Dan Graham, Jeppe Hein, Carston Holler, Jenny Holzer, Anish
Kapoor, Bruce Nauman, Damian Ortega, Tony Oursler, Roxy Paine, Franz West, and Rachel
Whiteread. The presentations included the resumes, images of public art projects, solo
exhibitions, group exhibitions and public collections. The PAC directed staff to find out which
artists were interested in responding to a call to artists for this project.
By the October 23, 2007, PAC meeting, the following artists had responded to the inquiry and
were interested in the project: Dan Graham, Jeppe Hein, Jenny Holzer and Rachel Whiteread.
Dan Graham said he was interested but would not participate in a competitive process. The
PAC felt very strongly that of the four artists that were willing to respond to the City's request for
a site specific art work, Dan Graham was the most internationally recognized, his sense of
aesthetics and conceptual nature of his body of work would respond best to the architectural
environment, and his works have an interactive component. The PAC also knew that Dan
Graham and Herzog et de Meuron (the architects for the garage) had been interested in
collaborating with each other and thought this would be a once in a lifetime experience. The
PAC directed Staff to contact Dan Graham and schedule a conference call with Dan Graham for
the next scheduled PAC meeting on Tuesday, November 27, 2007.
Page 3 of 6
AiPP -Dan Graham
At the November 27, 2007, PAC meeting, the members spoke to Dan Graham who discussed
his concept for the project: specifically that the work will have movement from the inside to the
outside, curves which will- create morphed distortions, double sided glass would be more
transparent and reflective on one side less transparent on the other with changes in the sky
being reflected, and that the project would be inter-active.
The PAC discussed the conference call and unanimously agreed instead to proceed with a
direct selection and recommended Dan Graham for the 1100 Block of Lincoln Road. Staff was
asked to meet with the Artist and the Developer and bring back to the PAC a detailed budget
and information on all matters related to realizing the proposed art work. On December 6, 2007
Dan Graham met with Mariangela Capuzzo, PAC Chairperson, and staff. All of the issues and
requests made by the PAC were addressed and a timeline of five months was determined on
when he could have all the information they were requesting. Also, on December 6, 2007, a
separate meeting took place between Dan Graham and Robert Wennett, President, UTA, to
discuss how to best proceed with the project in conjunction with the larger development.
The PAC met on May 12, 2008 and reviewed the following documents submitted by Dan
Graham: Artistic Vision, Production and Installation Plan, Project Budget (which included
fabrication, delivery, site preparation and installation of the Work), Location of Work, Foundation
Plan, and the Ground Plan of the proposed Work.
On May 20, 2008, the AiPP committee met and PAC chairperson Mariangela Capuzzo gave an
update on the proposed public art project. She stated that at the PAC meeting of May 12, 2008,
a motion was made approving and recommending moving forward on the project submitted by
Dan Graham for the 1100 Block of Lincoln Road. She also said that the PAC had requested, in
writing, information regarding the following issues: 1) Maintenance of piece; 2) All aspects of
graffiti and how it needs to be addressed; and 3) All regulatory requirements related to the
building of the piece. The AiPP members discussed at length the proposed project and the
above mentioned issues and asked the Developer to please address them at the next AiPP
meeting.
At the June 17, 2008, AiPP meeting, UTA agreed: (i) that the glass component of Mr. Graham's
proposed artwork would be designed to meet the requirements of the Florida Building Code; (ii)
to be responsible for cleaning, as frequently as UTA's affiliate (the developer of the 1111 Lincoln
Road project) cleans its storefront glass; (iii) to be responsible for graffiti removal on the
proposed artwork; and (iv) to develop an annual maintenance program for the proposed
artwork, with the City being responsible for carrying out the maintenance of the proposed
artwork (other than cleaning and graffiti removal). All of these requirements would be added as
a Covenant running with the 1111 Lincoln Road project being developed by an affiliate of UTA. A
motion was subsequently made and unanimously passed recommending in favor of the project
and the proposed artwork.
Staff met with the City Attorney's Office, and if approved by the City Commission, recommends
language be added to the Development Agreement between the City and UTA which binds UTA
to the following:
Page 4 of 6
AiPP -Dan Graham
• Contract for design, fabrication and installation of the Work with the Artist;
• Responsible for supervision and administration of the artwork, from inception to
installation and final acceptance by the City;
• Upon acceptance by the City the artwork shall be owned by the City and be part of the
AiPP permanent collection;
• Notwithstanding the foregoing, UTA shall be responsible for: (i) cleaning, as frequently as
UTA's affiliate (the developer of the 1111 Lincoln Road project) cleans its storefront
glass, (ii) graffiti removal on the proposed artwork; and (iii) developing an annual
maintenance program for the proposed artwork, with the City being responsible for
carrying out the maintenance of the proposed artwork (other than cleaning and graffiti
removal); and,
• The Developer's obligations shall be memorialized in a covenant running with the land
and recorded, binding all future owners of 1111 Lincoln Road.
In addition to the recommendations from the City Attorney's Office, the City and UTA have
agreed to the following, if approved by the City Commission:
• City entering into a 10 year agreement with UTA for the maintenance of the entire work of
art;
• UTA will provide the City with three additional sections (1 of each type) of glass at no
additional costs to the City;
• UTA will store the additional sections of glass at their location;
• UTA will coordinate the installation of glass when needed and City will reimburse the cost
of labor;
• Once the three additional sections of glass are used the City will have to reimburse UTA
for the purchase of additional glass sections if needed.
Furthermore, UTA provided the following information on the artwork: it is comprised of 11
sections of glass; each section of glass costs $3,000, and the cost of labor to remove and install
a section of glass is approximately $1,000.
Also, the City's Risk Management Department will add the artwork to the current insurance
policy that covers the Bass Museum and other public art, once the artwork has been installed
and professional appraisal has been done. The insurance premium is expected to cost from
$3,000 - $5,000 annually with a $5,000 deductible.
NEIGHBORHOODS/COMMUNITY AFFAIRS COMMITTEE
On July 30, 2008 the Neighborhoods/Community Affairs Committee met and unanimously
passed a motion accepting the Art in Public Places Committee's recommendation.
DESIGN REVIEW BOARD
On August 5, 2008 and September 2, 2008, the Design Review Board met and unanimously
passed a motion accepting the Art in Public Places Committee recommendation.
Page 5 of 6
AiPP -Dan Graham
LINCOLN ROAD MERCHANTS ASSOCIATION
On August 20, 2008, the Lincoln Road Merchants' Association Executive Board met and
unanimously passed a resolution in support of the Art in Public Places Committee
recommendation.
PROPOSAL
Dan Graham: "Untitled"
(The following description of the project is taken from Mr. Dan Graham's proposal.)
My project for the new pedestrian part of Lincoln Road in Miami Beach recalls the `kidney'
shapes of 1950's Miami hotel swimming pools. Both concave and convex lenses, the pavilion's
surfaces create mirroring anamorphic 'fun house' reflections of people inside perceiving
themselves and others superimposed of people outside. The surfaces are simultaneously
reflective and transparent.
The pavilion's form is more baroque than minimal - as people move, their bodies are distended
and in motion.
The work is child friendly, as well as providing photo opportunities for parents and tourists.
SCOPE OF SERVICES
DELIVERABLES: The ARTIST and UTA shall provide the following deliverables:
I-A Design Development. The ARTIST and UTA shall complete the design development of
the approved artwork conceptual design and shall secure its approval from the
CONTRACT ADMINISTRATOR. Approval and notice to proceed on fabrication shall
occur after an architectural coordination review and submittal of all artwork design
development deliverables. Based on the requirements of the approved artwork
conceptual design, the CONTRACT ADMINISTRATOR may, at his discretion waive the
submittal of any unnecessary design development deliverables or postpone the
submittal to the fabrication and installation phase.
UTA shall submit final design drawings for fabrication, artist proofs, material
samples, artwork and artwork support specifications for inclusion in site
construction documents, verified cost estimate, sub-contractor list, building
permits, and a fabrication and installation schedule.
2. If the City's share of the verified cost exceeds $75,000 of the contract sum under
the Development Agreement, UTA shall have the right to either pay the excess or
terminate the agreement with the City regarding the design, fabrication,
installation and maintenance of the artwork. No feasibility to City.
3. This phase includes a site visit for coordination and presentation purposes.
Page 6 of 6
AiPP -Dan Graham
I-B Fabrication and Installation. UTA will contract for the fabrication, delivery and installation
of all the artwork and artwork support components as per the approved design
development drawings.
I-C Final Conservation Documents. Upon completion and installation of the artwork UTA
shall submit copies of all photographic documentation and completed cataloguing forms
received from the Artist and the Artist's architect that are in UTA's possession. If UTA
utilizes computer technology in the fabrication of the artwork, UTA will submit electronic
copies of any computer files that will support on-going operations or future repairs and
conservation of the artwork.
COMPLETION AND INSPECTION: Upon completion and installation of all designed and
fabricated components, UTA shall be responsible for obtaining final approval from the
CONTRACT ADMINISTRATOR.
TIMELINE FOR COMPLETION: ARTIST and UTA shall be aware of site design and
construction timelines and shall ensure that all artwork components are completed and installed
according to the established schedule.
PERMITS: It shall be UTA'S responsibility, where applicable, to obtain all necessary permits as
required by City through Contract Administrator ,and provide proof of same to the Contact
Administrator prior to fabrication. The CITY agrees to pay for any required permit fees.
CONCLUSION
The Administration recommends the Mayor and Members of the City Commission of Miami
Beach, Florida, approve the selection of a public art commission for the 1100 Block of Lincoln
Road by the artist Dan Graham, entitled "Pavilion" (working title), as recommended by the Art in
Public Places Committee, Design Review Board and Neighborhoods/Community Affairs
Committee; and further authorizing the City Manager to negotiate and execute an agreement
with UTA Management, LLC (UTA) (which is also an affiliate of the Developer under that certain
Development Agreement with the City, dated March 14, 2007, for the design, development, and
construction of certain improvements to the 1100 Block of Lincoln Road) for the design,
fabrication, installation, and certain ongoing maintenance of said public artwork; and approving
funds, in an amount not to exceed $75,000, Fund 147 -Art in Public Places, (from the 1100
Block of Lincoln Road project); previously appropriated as part of the FY 2007/2008 Capital
Budget.
Attachment
T:/agenda/regular/100708/Comm Memo Dan Graham. doc
DAN GRAHAM
Bom: Urbana, Illinois, 1942
Awards: Coutts Contemporary AR Foundation Award, 1992
Skowhegan Medal for Mixed Media, Skowhegan School of Painting and Sculpture, New York, 1992
French Vermeil Medal awarded by the City of Paris, 2001
SELECTED SOLO EXHIBITIONS
2007 Dan Graham, Marian Goodman Gallery, Paris,
"Dan Graham's New Jersey", Arthur Ross Archtecture Gallery, Columbia University, New York
2006 Dan Graham, Castello di Rivoli, Museo D' Arte Contemporanea, Torino, Italy
"Don't Trust Anyone Over Thirty", Dan Graham in collaboration with Tony Oursler and Rodney Graham, Walker Art Center, Minneapolis; UCLA Hammer Museum, Los
Angeles, California
2005 "Don't Trust Anyone Over Thirty," Entertainment by Dan Graham, Tony Oursler, Rodney Graham and other Collaborators, Festival of Vienna, Vienna;
Staatsoper Berlin (Berlin State Opera)
2004 "Don't Trust Anyone Over Thirty," Entertainment by Dan Graham, Tony Oursler, Rodney Graham and other Collaborators, Art Basel, Miami Beach
"Ext. 17,"The Swiss Institute, New York, New York
2003 Contemporary AR Gallery, Vancouver, Canada
"Dan Graham by Dan Graham," Chiba City Museum of Art, Chiba, Japan;
Kitakyushu Municipal Museum of Art, Fukuoka, Japan
2002 Marian Goodman Gallery, New York, New York
2002-01 "Dan Graham Works 1965-2000," Museu Serralves, Porto, Portugal; ARCI MusAe d'Art Modeme de la Ville de Paris, Paris, France; Kroller-Muller Museum,Otterlo, The
Netherlands; Kunsthalle Dusseldorf, Dusseldorf, Germany
2001 "Dan Graham: Reflective Glass Moon Windows," Shima/Islands, Shigemori Residence, Kyoto
2000 "Dan Graham: Children's Day Care Center, CD-Rom, Cartoon, and Computer Screen Library Project," Marian Goodman Gallery, New York, New York
1999 "Dan Graham, Architektunnodelle," Kunstwerke Berlin, Berlin, Germany
1998 "Dan Graham," Fundacib Antoni Tapies, Barcelona, Spain
"Dan Graham: Recent Works," School of the Museum of Fine Arts, Boston, Massachusetts
1997 "Dan Graham," Centro Galego de Arte ContempoNanea, Santiago de Compostela, Spain
"Dan Graham, The Suburban City," Neue Galerie am Landesmuseum Joanneum, Graz, Austria
"Dan Graham, Models to Projects, 1989-1997," Marian Goodman, Paris, France
Johnen & Schottle, Cologne, Germany
°Architecture 1," Camden Arts Centre, London, England
"Architecture 2,"The Architectural Association, School of Architecture, London, England
1996 "Dan Graham-The Suburban City," Museum fur Gegenwartskunst, Basel, Switzerland
Marian Goodman Gallery, New York, New York
"Dan Graham, Detumescence," Wooster Gardens, New York, New York
1995 "Dan Graham, VideolArchitecturelPerfomtance," EA-Generali Foundation, Vienna, Austria
Kunstwerke, Berlin, Germany
Marian Goodman Gallery, New York, New York
1994 "Dan Graham," Villa Stuck, Munich, Germany
"Dan Graham, New American Film and Video Series; Whitney Museum of American Art, New York, New York
1994-93 "Dan Graham: PubliclPrivate," Goldie Paley Gallery, Moore College of Art and Design, Philadelphia, Pennsylvania; List Visual Arts Center, Massachusetts
Institute of Technology, Cambridge, Massachusetts; Art Gallery of Ontario, Toronto, Ontario; LACE (Los Angeles Contemporary Exhibitions), Los Angeles, Cal'rfomia
"The Children's Pavilion" (a collaborative project with Jeff Wall), Museum Boijmans-van Beuningen, Rotterdam, The Netherlands
1994-92 "Walker EvanslDan Graham," Witte de With Center for Art, Rotterdam, The Netherlands; Muse Cantini, Marseilles, France; Westtalisches Landesmuseum, Munster,
Germany; Whitney Museum of American Art, New York, New York
1993 "Art in Relation to ArchitecturelArchitecture in Relation to Art," Stedelijk Van Abbesmuseum, Eindhoven, the Netherlands
1993-92 "Dan Graham: Travaux, 1964-1992," Le Nouveau Musee-Institut d'Art Contemporary, Villeurbanne, France
"House and Garden," Marian Goodman Gallery, New York, New York
1992 "Modelle, Grafisches Kabinett and Ver Sacrum Zimmer'TriangularPaviliom'" Wiener Secession, Vienna, Austria
1991 Architektur Galerie Fenster, Frankfurt, Germany
Castello di Rivara, Turin, Italy
"Dan Graham. Photographs 1966-1987," Le Case d'Arte, Milan, Italy
1990 "Photographs 1965-1985 ° Marian Goodman Gallery, New York, New York
1990-89 "The Children's Pavilion" (a collaborative project with Jeff Wall), Marian Goodman Gallery, New York, New York; Santa Barbara Contemporary Arts Forum, Santa Barbara,
Califomia; Galerie Roger Pailhas, Marseilles, France; Fonds Regional d'Art Contemporai Rhbne-Alpes, Lyons, France; Galerie Chantal Boulanger, Montreal, Quebec
1988 Kunsthalle zu Kiel, Kiel, Germany
"Pavilions," Kunstverein, Munich, Germany
1987 ARCIMus~e d'Art Moderne de la Ville de Paris, Paris, France
Le Consortium, Dijon, France
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
Marian Goodman Gallery, New York, New York
1986 Storefront for Art and Architecture, New York, New York
"Interior Design for Space Showing Videotapes," Het Kijkhuis, The Hague, the Netherlands
1985 Art Gallery of Western Australia, Perth, Australia
1984 Todd's, New York, New York
1983 "Pavilions," Kunsthalle, Bem, Switzerland
Amelia A. Wallace Gallery, Old Westbury Campus, College of New York State, Old Westbury, New York
1982 Gewad 23, Ghent, Belgium
Johnson State College, Johnson, Vermont
Parachute, Montreal, Quebec
Hotel Wolfers, Brussels, Belgium
Plan B, Tokyo, Japan
1981 Renaissance Society of the University of Chicago, Chicago, Illinois
°Pavilion/Sculpture," Center for the Arts, Muhlenberg College, Allentown, Pennsylvania
"Video at 30~ St. Station," Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania
P.S.1llnstitute for Art and Urban Resources, Long Island City, New York
"Two Viewing Rooms' Museum of Modem Art, New York, New York
1980 Central Library, City of Los Angeles, Los Angeles, Califomia (sponsored by F.A.R.)
Museum of Contemporary Art, Lisbon, Portugal
Museum of Modern Art, New York, New York
1979 "Dan Graham, Videotapes and Diagrams," Center for Art Tapes, Halifax, Nova Scotia
1978 Corps de Garde, Groningen, The Netherlands
Museum of Modem Art, Oxford, England
1977 Stedelijk Van Abbemuseum, Eindhoven, The Netherlands
"Video Piece for Two Glass Buildings," Leeds Polytechnic Gallery, Leeds, England
Studio Terelli, Ferrara, Italy
"Two Rooms Reverse Video Delay," Museum van Hedendaagse Kunst, Ghent, Belgium
1976 Salle Simon I. Patino, Geneva, Switzerland
New Gallery, Institute of Contemporary Art, London, England
1975 "Video Project," Griffiths Art Centre, St. Lawrence University, Canton, New York
Lucio Amelio, Modem Art Agency, Naples, Italy
Palais des Beaux-Arts, Brussels, Belgium
International Cultural Centrum, ICC, Antwerp, Belgium
Otis Art Institute Gallery, Los Angeles, Califomia
1974 Royal College of Art, London, England
"Performance and Films," Epson School of Art, Surrey, England
1972 Project Inc., Cambridge, Massachusetts
SELECTED GROUP EXHIBRIONS
2008 "The Puppet Show," ICA, University of Pennsylvania, Philadelphia; Santa Monica Museum of Art, Santa Monica, Califomia
"Color Chart: Reinventing Color, 1950 to Today," Museum of Modem Art, New York, New York
"Modernism: On and Off the Grid," Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
2007 "Edit! Photography and Film in the Ellipse Collection," Ellipse Foundation, Cascais, Portugal
2006 "Strictment confidentiel. Q partir de la collection de Marc et Jose Gensollen "Centre Intemation d'Art et du Paysage de file Vassivi8re, France
The Second Guangzhou Triennial: Beyond an Extraordinary Space Experimentation for Modernization, Guangdong Museum of Art, Guangzhou, China
"Don't Trust Anyone Over Thirty," in collaboration with Tony Oursler and Rodney Graham, Walker Art Center, Minneapolis, Minnesota; UCLA Hammer Museum, Los
Angeles, Califomia
"Day for Night", Whitney Biennial, New York
Sao Paolo Biennial, Sao Paolo, Brazil
"Public Space/l wo Audiences", Museu d' art Contemporan de Barcelona, Spain; Kunsthaus Graz, Graz, Austria
"Draft Deceit", Office for Contemporary Art Norway, Oslo, Norway
"Hacia el Espaciol Towards Space", Communidad de Madrid, Madrid, Spain
"Minimalism and After IV: Daimler Chrysler Collection", Berlin, Germany
"Gartden", Centro Sperimentale per le Arfl Contemporanee Convento di Cappuccini, Caraglio, Italy
"The Early Show: video from 1969-1979", The Bertha and Karl Leubsdorf AR Gallery at Hunter College
"Emilio Prini: Manifesto Bianco", Diapason, New York; RAM, Rome, Italy
2005 "Strtctement Confidentiel", Centre Intemational d' Art et du Paysage de I'lle Vassivi~re, Vassivi8re, France
"Beyond an Extraordinary Space of Experimentation for Modemizaflon,"
The Second Guangzhou Triennial, Guangzhou, China
"Open Systems: New art in the 1960s and 1970s,"Tate Modem, London
"Contradicting Architecture," Galerie Marian Goodman, Paris
"The Experience of Art," 51st Venice Biennale, Venice, Italy
"Occupying Space: The Generali Collection," Witte de With Center for Contemporary Art, Rotterdam, The Netherlands
2004 "Behind the Facts (Interfunktionen)1968-75," Museu de Serralves, Porto, Portugal; Fundacio Joan Miro, Barcelona, Spain; Kunsthalle Fridericianum, Kassel, Germany
"Ombre du temps," Jeu de Paume, Paris, France
"Uses of the Image: Photography, Film and Video in The Jumex Collection ; Malba - Colection Costantini and Fundacion Telefonice, Buenos Aires, Argentina
Friedrich Christian Flick Collection, Hamburger Bahnhof Museum fur Gegenwart, Berlin
"Beyond Geometry: Experiments in Form,1940s-70s,"Miami Art Museum, Miami, Florida
"The Last Picture Show: Artists Using Photography 1960 -1982," Fotomuseum, Winterthur, Switzerland
"A Minimal Future? Art as Object 1958-68,"The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles, Califomia
"Metemorph: 9th Intemational Exhibition of Architecture, La Biennale di Venezia," Venice, Italy
"Reflecting the Mirror," Marian Goodman Gallery, New York, New York
2004-03 "The Last Picture Show: Artists Using Photography, 1960-1982," Walker Art Center, Minneapolis, Minnesota; UCLA Hammer Museum, Los Angeles, Califomia
2003 "Dreams and Conflicts -The Viewer's Dictatorship," La Biennale di Venezia, Venice, Italy
"Space Time Intervention, Video from 1968 - 79," Parsons School of Design, Department of Architecture, New York
"The Fourth Sex: The Extreme People of Adolescence," Fondazione Pitti Imagine Discovery, Florence, Italy
"Spiritus," Magasin 3, Stockholm, Sweden
"The Big Picture: Recent Acquisitions from the Collection of Alison and Alan Schwartz," Vancouver Art Gallery, Vancouver, Canada
"A Sculpture Show," Marian Goodman Gallery, New York, New York
"Art Lies and Videotape," Tate Liverpool, Liverpool, England
"Happiness," Mori AR Museum, Tokyo, Japan
"Video Acts: Single Channel work from the Collection of Pamela and Richard Kramlich and the New Art Trust," Institute of Contemporary Art, London, England
"Collection," Generali Foundation, Vienna, Austria
"Fotografie, Video, Mixed Media," organized by Daimler Chrysler Contemporary, Galerie der Stadt Sindelfingen, Sinde~ngen, Germany
"7"' Art Series: Process into Film," San Francisco Museum of Modem Art, San Francisco, Califomia
2002 "Passenger. The Viewer as Participant" Astrup Feamley Museet for Modeme Kunst, Oslo, Norway
"I Promise it's Political" Ludwig Museum, Cologne, Germany
"Public Affairs" Kunsthaus Zurich, Switzerland
"Video Acts: Single Channel Work from the Collection of Pamela and Richard Kramlich and the New Art Trust," P.S.1 Contemporary Art Center, New York
"Comer o no Comer" (To Eat or Not to Eat), Salamanca 2002, Centro de arte de Salamanca, Spain
"My Head is on Fire but My Heart is Full of Love", Charlottenborg, Copenhagen, Denmark
"Fundamentalisms of the New Order," Charlottenborg, Copenhagen, Denmark
"Artists Imagine Architecture" Institute of Contemporary Art, Boston, Massachusetts
"The 1970s: Art in Question ;The Bordeaux cape Museum of Contemporary Art, Bordeaux, France
2001 "Into the Light," The Whitney Museum of American Art, New York, New York
"Cntrl Space," ZKM, Karlsruhe, Karlsruhe, Germany
"Dan Graham, Reflective Glass Moon Windows; Shimallslands, Shigemori Residence, Kyoto, Japan
2000 "Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Works from the Collection of Annick and Anton Herber.," Casino Luxembourg-Forum
d'art contemporain, Luxembourg
"Artisti a Arohitetti: La collezione Del FRAC Centre di Ortlans," Palazzo Belle Papesse Centro Arte Contemporanea, Siena, Italy (2000)
"L'oeuvre Collective," les Abattoirs, Toulouse, France
"Quotidiana, The Continuity of the Everyday in 20~^ Century Art," Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy
"In The Midst Of Things," Boumville, Birmingham, England
"Dream Machines," Royal Festival Hall, Hayward Gallery, London, England
"Post media, Conceptual Photography in the Guggenheim Museum Collection," The Solomon R. Guggenheim Museum, New York, New York
"Hausschau," Deichtorhallen, Hamburg, Germany
"Insites, Interior Spaces in Contemporary Art," Whitney Museum American Art at Champion, Stamford, Connecticut
"La Ville/Le JardinlLe Memoire," Acadrmie de France 8 Rome, Villa Medicis, Rome, Italy
Hamburger Kunsthalle, Hamburg, Germany
"Media City Seoul 2000 ;Contemporary Art and Technology Biennial, Seoul, Korea
1999 "Nobodies Home," Momenta Art, Brooklyn, New York
"Seeing Time: Selections from the Pamela and Richard Kramlich Collection," San Francisco Museum of Modem Art, San Francisco, Califomia
"Circa 1968," Serralves Museum of Contemporary Art, Porto, Portugal
"American Century: Art and Culture (1950-2000)," Whitney Museum of American Art, New York, New York
"The Self is Something Else: Art at the End of the 20"~ Century," Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany
"Tomorrow For Ever, Photographie als Ruine "Kunst Halle Krems, Basel, Switzerland
"ART in Living Room' arkipelagTV, Stockholm, Sweden
"Isla des Esculturas," Xacobeo'99, Galicia, Spain
"Rewind to the Future,° Bonner Kunstverein August-Macke-Platz, Bonn, Germany
"New Art. New Ideas. New Walls," Contemporary Museum, Baltimore, Maryland
1998 "Breaking Ground," Marian Goodman Gallery, New York, New York
"I Love New York," Museum Ludwig Koln, Cologne, Germany
1997 Skulptur Projekte Munster, Wesffalisches Landesmuseum, Munster, Germany
Documenta 10, Kassel, Germany
"In Visible Light" Museum of Modem Art, Oxford, England
Whitney Biennial, Whitney Museum of American Art, New York, New York
"Citta' Natura " Mostra Intemazionale di Arte Contemporanea, Rome, Italy
"Unite de Production & de Creation Contemporaine," Encore Bruxelles, Brussels, Belgium
"Rooms with a View: Environments for Video," Guggenheim Museum SoHo, New York, New York
"Kunst in der Leipziger Messe," Leipziger Messe GmbH, Leipzig, Germany
"Paper Trail " Pierogi 2000, Brooklyn, New York
"P.S. 1," P.S.111nstitute for Art and Urban Resources, Long Island City, New York
1996 "Everything That's Interesting is New: The Dakis Joannou Collection; an exhibition organized by the Deste Foundation, Athens, Greece, in conjunction with the Museum of
Modem Art, Copenhagen, Denmark
"Light Construction," Museum of Modem Art, New York, New York
"Project for Survival," National Museum of Modem Art, Kyoto, Japan; National Museum of Modem Art, Tokyo, Japan
"Home Show II," Santa Barbara Contemporary Arts Forum, Santa Barbara, Califomia
"City Space' Copenhagen, Denmark
1996-95 "1965-75: Reconsidering the Object of Art," Museum of Contemporary Art, Los Angeles, Califomia
1995 "Intervenciones en el espaciollnterventions in Space," Museo de Bellas Artes, Caracas, Venezuela
"ArtisteslArchitects," Le Nouveau Musee-Institut d'Art Contemporain, Villeurbanne, France
"Mapping," American Fine Arts, New York, New York
ARS 95, Museum of Contemporary Art, Helsinki, Finland
"Public Information: Desire, Disaster, Document," San Francisco Museum of Modem Art, San Francisco, Califomia
"Dan Graham and Moriko Mori' American Fine Arts, New York, New York
Lyon Biennial, Lyon, France
"L'Effet Cinema Quand I'Image Raconte," Musee d'Art Contemporain, Montreal, Quebec
Maison de Lyon, Lyon, France
1994 "House Rules," Wexner Center for the Arts, Ohio State University, Columbus, Ohio
"Radical Scavenger(s): The Conceptual Vernacular in Recent American Art," Museum of Contemporary Art, Chicago, Illinois
"Films on Art," National Gallery of Art, Washington, D.C.
"Public Domain," Centre d'Art Santa Monica, Barcelona, Spain
"East of Eden," Museum Schloss Mosgkau, Dessau, Germany
"Corpus Loquendi-Body for Speaking," Dalhousie University, Halifax, Nova Scotia
"Multiple Dimensions,° 0 Museu Temporarto, Lisbon, Portugal
"Inaugural Exhibition," Musee d'Art Modeme et Contemporain, Geneva, Switzerland
"Don't Look Now," Thread Waxing Space, New York, New York
"Crash," Thread Waxing Space, New York, New York
1993 "Passageworks," Rooseum, Malmo, Sweden
"American Art of the Twentieth Century," Martin-Gropius-Bau, Berlin, Germany; Royal Academy of Arts, London, England
5~^ Semaine Internationale de Video, Saint-Gervais, Geneva, Switzerland
1992 "Transform," Kuntsmuseum and Kunsthalle, Basel, Switzerland
Marian Goodman Gallery, New York, New York
Documenta 9, Kassel, Germany
"Cameres Indiscretes," Generalitat de Catalunya, Department de Cultura, Barcelona, Spain
"Queues, Rendezvous, Riots: Questioning the Public," Walter Phillips Gallery, Banff, Alberta
"Manette et Jacques Reprtels. Vega 20 ans," Anciens etablissements sacres, Liege, Belgium
1991 "Passage de I'Image," Museum of Modem Art, San Francisco, Califomia; Fundacib Caixa de Pensions, Barcelona, Spain; Power Plant, Toronto, Ontario; Wexner Center for
the Arts, Ohio State University, Columbus, Ohio
1991 "In anderen Raumen," Museum Haus Lange and Haus Esters, Krefeld, Germany
Carnegie International, Carnegie Museum of Art, Pittsburgh, Pennsylvania
"A Dialogue about Recent American and European Photography, Museum of Contemporary Art, Los Angeles, Califomia
"Little Things Mean a Lot (Slice it Down to Size)," Warmoesstraat 12, Amsterdam, The Netherlands
"Konzept au Papier," XPO Galerie Ida Kaufmann Anton Rotger, Hamburg, Germany
"Juste en Dessous 6," Villa Arson, Nice, France
"A Group Show," Marian Goodman Gallery, New York, New York
"Enclosures and Encounters: Architectural Aspects of Recent Sculpture," Storm King Art Center, Mountainville, New York
"Inscepes," Foundation De Appel, Amsterdam, The Netherlands
1990 "A New Necessity," First Tyne Intemational Exhibition of Contemporary Art, Newcastle, England
"Interventions. An Exhibition from the Collection of Delfryd Clelf,"Art Gallery of Ontario, Toronto, Ontario
"Une Collection pour la Corse; Fonds RAgional d'Art Contemporai Corse, La Citadelle, Corsica, France
"Conceptual Art. Conceptual Forms," Gallery 1900-2000 and Gallery de Poche, Paris, France
"Affinities and Intuitions: The Gerald S. Elliot Collection of Contemporary Art," The Art Institute of Chicago, Chicago, Illinois
"Some Seventies Work," Marian Goodman Gallery, New York, New York
"Pas A cStA. Pas n'importe ou 4 "Villa Arson, Nice, France
1990-89 "Image World: Art and Media culture," Whitney Museum of American Art, New York, New York
"L'Art Conceptuel en Perspective," Muse Nationale d'Art Modeme, Paris, France; Caja de Pensiones, Madrid, Spain; Musee d'Art Contemporai, Montreal, Quebec;
Deichtorhallen, Hamburg, Germany
"Wittgenstein, Ilet Spel van hel Naamloze/The Play of the Unsayable," Wiener Secession, Vienna, Austria; Palais des Beaux-Arts, Brussels, Belgium
"The Presence of Absence: New Installations," The University of Illinois at Chicago, Chicago, Illinois; University of Arizona Museum of Art, Tucson, Arizona; Laumeier
Sculpture Park and Garden, St. Louis, Missouri; Albany Institute of History and Art, Albany, New York; Oakville Galleries in Gailroch Gardens, Oakville, Manitoba; University
of Kentucky Art Museum, Lexington, Kentucky; Longview Museum and Arts Center, Longview, Texas; Prichard Art Gallery, University of Idaho, Moscow, Idaho; Museum of
Art, The Pennsylvania State University Park Campus, University Park, Pennsylvania; The University of Iowa Museum of Art, Iowa City, Iowa; University Art Museum,
University of New Mexico, Albuquerque, New Mexico
1989 "Some Detached Houses," Contemporary Art Gallery, Vancouver, British Columbia
"Exactement pas ~ cbt@ 3," Villa Arson, Nice, France
"A Photo Show," Marian Goodman Gallery, New York, New York
"23. Intemationaler Kunstmarket"ART Cologne, Cologne, Germany
"Outdoor Projects," Ulla Klot, Hamburg, Germany
"Effets de Miroir," Gare de Paris-Austerlitz, Paris, France
"Theatergarden Bestiarium," P.S.111nstitute for Art and Urban Resources, Long Island City, New York; Confort-Modeme, Poitiers, France; Casino del Teatro Lope de Vega,
Seville, Spain
"Les Graces de la Nature," Fonds Regional d'Art Contemporai des Pays de la Loire, Glisson, France
"Balkon mit Facher,"Akademie der Bikienden Kunste, Berlin, Germany
"Hier Wird Getanzt," XPO Galerie Ida Kaufmann, Anton Rotger, Hamburg, Germany
Kunstraum Buchberg 1989, Schloss Buchberg am Kamp, Vienna, Austria
"Not Photography," MeyerslBloom, Santa Monica, California
Skulpturen fiir Krefeld II, Museum Haus Esters, Krefeld, Germany
"Suburban Home Life, Tracking the American Dream," Whitney Museum American Art at Federal Reserve Plaza, New York, New York
1988 "A Group Show' Marian Goodman Gallery, New York, New York
"Cultural Geometry," Deste Foundation for Contemporary Art, Athens, Greece
"New Urban Landscape," 2 World Financial Center, New York, New York
"Balkon Mit Facher,"Akademie der Bildenden Kunste, Berlin, Germany
"The Viewer as Voyeur," Whitney Museum American Art, New York, New York
"Future of Storefront," Storefront for Art and Architecture, New York, New York
"Accrochage I, Dennis Adams, Dan Graham, Louise Lawler," Galerie Meert Rihoux, Brussels, Belgium
"Schema," Baskerville and Watson, New York, New York
"1967: At the Crossroads," Institute for Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania
"Bilanz Balance," Krefelder Kuntsmuseum, Krefeld, Germany
1987 "77-78," Muse National d'ARModeme-Centre Georges Pompidou, Paris, France
Skulptur Projekte Munster, Westfalisches Landesmuseum, Munster, Germany
Whitney Biennial, Whitney Museum American Art, New York, New York
"L'Epoque, la mode, la morale, la passion," Muse National d'ARModerne-Centre Georges Pompidou, Paris, France
"Group Exhibition," Marian Goodman Gallery, New York, New York
1986 "Chambre d'Amis," Museum van Hedendaagse Kunst, Ghent, Belgium
"Nouvelles Acquisitions " MusAe National d'Art Modeme-Centre Georges Pompidou, Paris, France
"Off-Off Festival ° Museum van Hedendaagse Kunst, Ghent, Belgium
"Cinema Objects," New York Cultural Center, New York, New York
"Videowochen im Wenkenpark," Basel, Switzerland
Sonsbeek'86. Intemational Sculpture Exhibition, Arnhem, The Netherlands
A.P., Comune di Marciana, Elba, Italy
"Arts Electroniques, Videomorphies Dan Graham," La Crire, Halle d'Art Contemporai, Rennes, France
"Video by Artists," Art Metropole, Toronto, Ontario
"Video,° Hallwalls, Buffalo, New York
"Le Temps: Regards sur la Quatri2me Dimension," Le Nouveau Musee-Institut d'AR Contemporai, Villeurbanne, France
"Ludger Gerdes, Dan Graham," Kaiser Wilhelm Museum, Krefeld, Germany
1985 "Doch, Doch," Klapstuk'85, Arenberg Institute, Louvain, Belgium
"Les ImmatAriaux," Musre National d'Art Modeme-Centre Georges Pompidou, Paris, France
"New Video Aquisitions," Museum of Modem Art, New York, New York
"Nouvelle Biennale de Paris," Villette, Paris, France
The Art of Memory: The Loss of History," New Museum of Contemporary Art, New York, New York
"Le Temps," Le Nouveau Muse-Institut d'Art Contemporai, Villeurbanne, France
1984 "Repertoire (oeuvres de la Collection Anton Herbert)," Stedelijk Van Abbemuseum, Eindhoven, The Netherlands
"Vanishing Points," Modema Museet, Stockholm, Sweden
"Skulptur im 20. Jahruhundert," Merian Park, Basel, Switzerland
"L'Art et le Temps," Palais des Beaux-Arts, Brussels, Belgium
1983 "1, 2, 3, etc. "Musee des Beaux-Arts et d'Aroheologie Autun, Musee Rollin d'Autun, Autun, France
"Scenes and Conventions in Architecture by Artists," Institute of Contemporary Art, London, England
1982 Documenta 7, Kassel, Germany
74th Americen Exhibition, Art Institute of Chicago, Chicago, Illinois
Sydney Biennial, Sydney, Australia
"Thoughts and Actions," Japan Foundation at La Foret Museum, Tokyo, Japan
"Extended Photography "Wiener Secession, Vienna, Austria
"Live to Air, Artists' Sound Works," Audio Arts, London, England
"Speigel-Bilder," Kunstverein, Hanover, Germany; Haus am Waldsee, Berlin, Germany
"60-80 AttitudeslConceptsllmages," Stedelijk Museum, Amsterdam, The Netherlands
"Rock Religion: Architecture by Artists," Institute of Contemporary Art, London, England
Sydney Biennial (sound section), Sydney, AusValia
1981 "Artist as ArohitecUArchitect as Artist," Ohio State University Gallery, Columbus, Ohio
"Construction in Process," Stowarzyszenie Tworcow Kultury, Lodz, Poland
"Video Classics," Bronx Museum of Arts, New York, New York
"Westkunst," Museen der Stadt Koln, Cologne, Germany
1980 "Radio by Artists," A Space, Toronto, Ontario
°Video," P.S.111nstitute for Art and Urban Resources, Long Island City, New York
1979 "Oeuvres Contemporaines des Collections Nationales," Accrochage III, Musee National d'Art Modeme-Centre Georges Pompidou, Paris, France
"12 Films, Beeldende Kunstenaars," Stichting de Appel, Amsterdam, The Netherlands
"An Exhibition of Smaller Works by the Faculty of the Studio Division of the Nova Scotia College of AR and Design," Nova Scotia College of Art and Design, Halifax, Nova
Scotia
"Perceiving Time and Space Through Art," Hartnett Gallery, University of Rochester, Rochester, New York
"Map met 12 Werken ;Museum van Hedendaagse Kunst, Ghent, Belgium
"Concept, Narrative, Document," Museum of Contemporary Art, Chicago, Illinois
"5 Artists Using Video," Gallery of the University of Western Ontario, London, Ontario
73~d American Exhibition, The Art Institute of Chicago, Chicago, Illinois
1978 "In Video," Art Gallery of Ontario, Toronto, Ontario
"Videotapes and Diagrams," Centre for Art Tapes, Hal'rfax, Nova Scotia
"Video Pieces for Shop Windows and Arcades," Groningen, The Netherlands
1977 "Opening Exhibition of the Permanent Collection "Musee National d'Art Modeme- CenUe Georges Pompidou, Paris, France
Documenta 6, Kassel, Germany
"Time," Philadelphia College of AR, Philadelphia, Pennsylvania
"In Video," Dalhousie University, Halifax, Nova Scotia
"American Art in Belgium," Palais des Beaux-Arts, Brussels, Belgium
1976 "Ambiente Arte," Venice Biennial, Venice, Italy
"Dan Graham, Lawrence Weiner," Kunsthalle Basel, Basel, Switzerland
"Video Art," Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania; Contemporary Arts Center, Cincinnati, Ohio; Museum of Contemporary
Art, Chicago, Illinois; Wadsworth Athenaeum, Hartford, Connecticut
"A Space: A Thousand Words," Royal College of Art, London, England
"Painting, Drawing and Sculpture of the'60s and '70s from the Herbert and Dorothy Vogel Collection," Institute of Contemporary Art, Philadelphia, Pennsylvania
1974 "New Acquisitions," Tate Gallery, London, England
"Art VideolConfrontation; ARCIMusee d'Art Modeme de la Ville de Paris, Paris, France
Kunst bleibt Kunst: Projekt'74, Kunstverein, Cologne, Germany
1972 Documents 5, Kassel, Germany
"Body," Loeb Student Center, New York University, New York, New York
Fourth Floor Gallery, Halifax, Nova Scotia
1971 7~ Paris Biennial, ARCIMusee d'Art Modeme de la Ville de Paris, Bois de Vincennes, Paris, France
Prospect'71, Stadtische Kunsthalle, Dusseldorf, Germany
"Art de Sistemas," Museo de Arte Modems de la Ciudad, Buenos Aires, Argentina
"The Boardwalk Show," Convention Hall, Atlantic City, New Jersey
"Earth, Air, Fire, Water: Elements of Art," Boston Museum of Fine Art, Boston, Massachusetts
Sonnsbeek'71. International Sculpture Exhibition, Arnhem, the Netherlands
1969 "Information," The Museum of Modem Art, New York, New York
"955, 000," Vancouver Art Gallery, Vancouver, British Columbia
"Art in the Mind," Allen Art Museum, Oberlin College, Oberlin, Ohio
"Artists and Photography," Multiples Gallery, New York, New York
"Recorded Activities," Moore College, Philadelphia, Pennsylvania
1969 "Konzption-Conception," Stadtisches Museum, Leverkusen, Germany
"557-067," Seattle Museum, Seattle, Washington
"Time Photography," Visual Arts Gallery, School of Visual Arts, New York, New York
1967 "Artist-Writers," Fordham University, New York, New York
"Focus on Light," New Jersey State Museum, Trenton, New Jersey
"Art in Series," Contemporary Wing of Finch College Art Museum, New York, New York
"Fifteen Artists Present Their Favorite Book," Lannis Museum of Normal Art, New York, New York
"Cre-action," toucher College, Baltimore, Maryland
1966 "Projected Art," Contemporary Wing of Finch College Art, New York, New York
"Working Drawings and other Visible Things on Paper not Necessarily Meant to be Viewed as Art," Visual Arts Gallery, School of Visual Arts, New York, New York
COMMISSIONSIPUBLIC PROJECTS
2003 "Double Exposure," Serralves Foundation, Porto, Portugal
"YinlYang Pavilion," MIT Dormitory, (building by Steven Holly, Cambridge, Massachusetts
"Waterloo Sunset," Hayward Gallery, London, England
2002 "Bisected Triangle, Interior Curve," Public Art Fund, Madison Square Park, New York, New York
2001 "Stoffels Maze," Stoffels Skulpturenpark, Cologne, Germany
"S-Curve," Sammlung Hauser & Wirth, St. Gallen, Switzerland
2000 "Curved Two-Way Mirror Triangle, One Side Perforated Steel," Museum of Contemporary Art, Tokyo, Japan
"Two-Way Mirror, Curved Hedge, Open Parallelogram," Kirishima Open Air Museum, Kagoshima, Japan
"Two Different Anamorphic Surfaces" (a collaboration of the Wani3s Foundation and the Kulturboro 2000 Foundation), Wanfis Park, Knislinge, Sweden
"Rivoli Gate Pavilion "Castello di Rivloi, Brescia, Italy
1999 "Pavilion for Intemational Garden Year," Mageburg, Germany
"Walkway for HypaBank," Bayerische Hypotheken and Wechselbank AG, Munich, Germany
"Elliptical Pavilion," Neubau der Berliner Kraft and Licht (bewag) AG, Berlin, Germany
"Star of David Pavilion," Tel Aviv Museum, Tel Aviv, Israel
"Truncated Garden Pyramid; Museum modemer Kunst Stiftung Ludwig, Vienna, Austria
"Two-Way Mirror Curved and Straight Open Shoji Screen Triangle," Museum Ludvg, Cologne, Germany
1998 "Cafe Bravo," Kunstwerk, Berlin, Germany
"Two-way Mirror Curved Hedge Zig-Zag Labyrinth," Middlebury College Center for the Arts, Middlebury, Vermont
1997 "Triangular Solid With Circular Insert," Chiba City Museum of Art, Hikari, Areba
"Empty Shoji Screen PergolafTwo-Way Mirror Container," Naoshima Cultural Village, Naoshima Island, Seto Inland Sea
1996 "Two-Way Mirror Punched Steel Hedge Labyrinth," Minneapolis Sculpture Garden, Walker AR Center, Minneapolis
"Parabolic Triangular Pavilion I ° Stadtische Galerie Nordhom, Nordhom, Germany
"Two-way Mirror Triangle With One Curved Side," Lofoten Islands, Norway
"Cylinder for Benesse,"Naoshima, Japan
"Two-way Mirror and Punched Aluminum Solid Triangle," Skydebanehaven, Copenhagen, Denmark
"Cylinder Bisected by Plane (Star of David Pavilion,)" Schloss Buchberg, Austria
1995-96 "Double Cylinder (The Kiss)," San Francisco Museum of Modem Art, San Francisco, Califomia
1994 "Nouveau Labyrinth pour Nantes' Place du Commandment Jean I'Herminier, Nantes, France
1993 "Gate of Hope,' Intemational Garden Year Exhibition, Stuttgart, Germany
1991 "Two-Way Mirror Cylinder Inside Cube and Video Salon: Rooftop Urban Park,° Dia Center for the Arts, New York, New York
1990 "Gate of Hope," Internationale Gadnen-Ausstellung, Stuttgart, Germany
"Open Two-Way Mirror Pyramid for Gunther Steinle," Ulm, Germany (private collection)
"Triangle Solid with Circular Inserts, Variation I," Nexus Contemporary Art Center, Atlanta, Georgia
"Heart Pavilion ;Bryn Mawr, Pennsylvania (private collection)
"Bob Mangold Pavilion," Marseilles, France (private collection)
"Two-Way Mirror Triangular Pavilion With Shoji Screen," Yamaguchi Prefectorial Museum, Yamaguchi, Japan
"Triangular Bridge Over Water," Laumeier Sculpture Park, St. Louis, Missouri
1989 "Two Triangles/1-wo Levels," Hamburg, Germany
"Two-Way Mirror Bridge and Triangular Pavilion in Relation to Existing Mill House," Romaine de Kerguehennec, Brittany, France (proposal)
"Triangular Solid with Circular Inserts," Nexus Contemporary Art Center, Atanta, Georgia
"Triangle for Circular Inserts, Variation II," Muse d'Art Contemporai, Lyons, France
"Newstand" (collaboration with Tod Williams, Bille Tsein and Associates, Architects), New York, New York (proposal)
"Two-Way Mirror Hedge Labyrinth," La Jolla, Califomia (private collection)
"Star of David Pavilion," Fahrhausstrasse, Aussenalster, Hamburg, Germany
1988 "Triangular Two-Way Mirror Walkway for Fort Asperen," Fort Asperen, UVecht, The Netherlands
"Pyramid over Goldfish Basin," Villa Arson, Centre National d'Art Contemporain, Nice, France
1987 "Altered Two-Way Mirror, Revolving Door, and Chamber with Sliding Door (for Loie Fuller)" Consortium Dijon, France
"Two-Way Mirror Pergola Bridge I," Fonds Regional d'Art Contemporain Pays de la Loire, Glisson, France
"Two Cubes, One 45° Rotated," Fonds Regional d'Art Contemporain Norde, Lille, France
"Three Linked Cubes," Galerie Isy Brachot, Brussels, Belgium and Nicole Klagsbum Gallery, New York, New York
1984 "PavilionlSculpture II" Modema Museet, Stockholm, Sweden
1981 "Two Adjacent Pavilions " Rijksmuseum Kroller-Muller, Otterlo, The Netherlands
1978-81 "PavilionlSculpture for Argonne," Argonne National Laboratory, Argonne, Illinois
FILMOGRAPHY
"HelixlSpiral," 1973,16mm, color, 3 minutes (2 films to be projected simultaneously)
"Body Press," 1970-72, 16mm, color, 20 minutes (2 films to be projected simultaneously)
"Roll," 1970, super-8mm, color, l minute (2 films to be projected simultaneously)
"Two Correlated Rotations," 1969,16mm, black and white, 3 minutes (2 films to be projected simultaneously)
"Binocular Zoom," 1970-69,16mm, color, 40 seconds (2 films to be projected simultaneously)
"Sunset to Sunrise," 1969,16mm, color, 8 minutes
VIDEOGRAPHY
"Six SculptureslPavilions for Pleasure" (collaboration with Apolonia Sustersic), 2000, color, sound, 21 minutes and 21 seconds
"Two Pavilions in Italy," 2000-99, color, sound, 45 minutes
"Outdoor Pavilion," 1999, color, 26 minutes
"VideolArohitecture/Performance," 1996, color and black and white, sound, l2 minutes and 32 seconds
"LaxlRelax" (video of performance at Lisson Gallery, London, England), 1995, color, sound, 24 minutes
"Two-Way Mirror Cylinder inside Cube and a Video Salon " 1992, color, sound,19 minutes and 34 seconds
"Rock My Religion," 1984-82, color and black and white, stereo sound, 55 minutes and 27 seconds (with original music by Glenn Branca and Sonic Youth)
"Performance and Stage-Set Utilizing Two-Way Mirror and Video Time Delay" (collaboration with Glenn Branca), 1983, black and white, stereo sound, 45 minutes and 45 seconds
"Minor Threat," 1983, color, sound, 38 minutes and 18 seconds (interview with Craig Bromberg and Ian MacKaye)
"Westkunst (Modem Period): Dan Graham Segment" (collaboration with Emst Mitzka), 1981$0, color, sound, 7 minutes and 10 seconds
"PerformerlAudiencelMiror" (video of performance at Video Free America, San Francisco, Califomia),1978, black and white, sound, 22 minutes and 52 seconds
"Past Future Split Attention" (video of performance at Lisson Gallery, London, England)1972, black and white, sound, 17 minutes and 3 seconds
SELECTED THEATERIPERFORMANCE WORKS
"PerfomterlAudiencelMirror," 1977, De Appel, Amsterdam, The Netherlands
"Identification Projection," 1977, Leeds Polytechnic, Leeds, England
"PerformerlAudience Sequence," 1975, San Francisco Art Instltute, San Francisco, California
"Past Future Split Attention," 1972, Lisson Gallery, London, England
"Two Consciousness Projection(s)," 1972, 98 Greene SUeet Loft, New York, New York
"Intention Intentionality Sequence," 1972, Lisson Gallery, London, England
"Like," 1971 (This work was never realized before an audience. It was performed by Dan Graham, Ian Murray, and others at the Nova Scotia College of Art and Design, Halifax, Nova
Scotia, and documented with photographs.)
"TV CameralMonitor Performance," 1970, Nova Scotia College of Art and
Design, Halifax, Nova Scotia
9
Dan Graham
Project for City of Miami Beach
PRODUCTION AND INSTALLATION Stimpfig company client
client:
UTA MANAGEMENT LLC
1111 Lincoln Road Suite 760
Miami Beach, Florida 33139
t.305 538 9320 x102
contractor:
Bernd Stimpfig Stahl.- and Metallbau
Poststr.64 alb
D-70190 Stuttgart
Germany
t. +49 711 264395
fax +49 711 2624500
e-mail bernd.stimpfig~metallbau-stimpfig.de
ublic ermission if necessa x
foundation
ca. 4 weeks before installation
temporary hoarding during work for foundation, installation and x
landsca in
excavation for foundation x
foundation
- 12x single foundation x
concrete,
ca. 6 x 6 feet,
deepness according to ground, minimum 1 feet,
with hole diameter 8" for footin
- after installation x
fillip holes with shrinka Bless concrete
page 1 / 5 Martin Schuettpelz 25.03.2008
Dan Graham
Project for City of Miami Beach
PRODUCTION AND INSTALLATION Stimpfig company client
avilion roduction + trans ort to Miami ort FOB
ca. 8' 6 1 /2" x 21' 1 /2" x 7' 6"
descri tion see followin tans:
- round Ian
- foundation Ian
- section
- isometric view
engineering on pavilion construction
ca. 1 month
execute drawin s x
eomet of foundation x
avilion construction ca. 2 month
stainless steel frames and columns
AISI 316 / EN 1.4571
satin finish
assembled in sin le feces
- bottom + top frame
with laser cut flat bars,
connectin bars, lass beads etc. x
- 4 x column diameter ca. 4" x
- 12footin s x
- connections b screws x
- screwdriver x
glass
laminated, curved
8 mm (1/3") + 1,5 mm PVB (1/16") + 8 mm (1/3")
both glass layers:
Glaverbel / AGC
Stopsol Supersilver Clear
with silver coloured hardcoating
on osition 2+3
- radius ca. 63", development ca. 51,1", hight ca. 85"
8 x + 1 extra x
- radius ca. 45,3", development ca. 62,8", hight ca. 85"
2 x + 1 extra x
- radius ca. 40,9", development ca. 51 ", hight ca. 85"
1 x + 1 extra x
- silicon (material) x
trans ort to Miami ort FOB ca. 4 weeks
transport and shipping from workshop in Stuttgart, Germany to Miami
port FOB
b 20 or 40 ft container
- ackin x
- loadin x
- insurance (declared as art __ x __ ______
- shi in x
TOTAL 75.000 Euro net
118 500 USD
page 2 / 5 Martin Schuettpelz 25.03.2008
Dan Graham
Project for City of Miami Beach
PRODUCTION AND INSTALLATION Stimpfig company client
payment:
50% by order,
30% after finish of production before shipping,
20% b delive to Miami ort FOB
page 3 / 5 Martin Schuettpelz 25.03.2008
Dan Graham
Project for City of Miami Beach
PRODUCTION AND INSTALLATION Stimpfig company client
trans ort Miami Port to site
toll taxes x
trans ort from Miami ort to the site x
installation
- unloadin container x
- crane x
- installation stainless steel x
- installation lass includin silicon x
landsca in ,floor
floor / avin after installation of the avilion x
T TAL DELIVERY ASSEMBLY AND INSTALLATION 25 000 USD
page 4 ! 5 Martin Schuettpelz 25.03.2008
Dan Graham
Project for City of Miami Beach
PRODUCTION AND INSTALLATION Stimpfig company client
TECHNICAL CONSULTING
on avilion roduction Martin Schuettpelz client
client:
UTA MANAGEMENT LLC
1111 Lincoln Road Suite 760
Miami Beach, Florida 33139
t.305 538 9320 x102
contractor:
Martin Schuettpelz
Konstanzer Strasse 9
D-10707 Berlin
Germany
c. +49 172 733 9311
fax +49 30 2045 2293
Conce tual desi n assed x
Su ervisin roduction
- consultation x
- ex enses (fli hts Berlin - Stutt art) x
u ervisin installation
- consultation x
- ex enses site visit fli ht Berlin -Miami + hotel x
TOTAL 3.000 Euro net $4750
USD
technical consultin on foundation and avement work x
TOTAL COST OF PIECE 148250 USD
page 5 / 5 Martin Schuettpelz 25.03.2008
Dan Graham: Project for City of Miami Beach
Foundation Plan
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GEOMETRY
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Dan Graham: Project for Miami Beach
GROUNDPLAN
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Martin Schuettpelz 28.01.08
Dan Graham: Project for Miami Beach
ISOMETRIC VIEW
Martin Schuettpelz 28.01.08
Dan Graham: Project for City of Miami Beach
Ground Plan
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Dan Graham: Project for City of Miami Beach
Isometric View
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Dan Graham: Project for Miami Beach
SECTION
glass canter line see geometry
curved bar ca. 38,1x38,1 mm
curved glass bead ca. 6,35 x 63,5
mm (1/4" x 2 1/2")
length according to glass sheets
fixed by recessed screws
black silicon sealing
curved 2-way-mirror glass
2 x 8 mm + PVB 1,52 mm
laminated
both glass layers:
Glaverbel / AGC
Stopsoi Supersilver Clear
with silver coloured hardcoating
on position 2+3
laser cut flat ca. 177,8 x 12,7 mm
(7" x vr')
curved bead ca. 6,35 x 63,5 mm
(1/4" x 2 1/2")
column diameter ca. 101,6 mm
(4„)
all metal parts:
atainless steel
AISI 3161 EN 1.4571
satin tlnish
(note: seaside climate)
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