Doesn’t it look constellational? That’s exactly what Miki Iwasaki was aiming for with Astralgraph. We are standing in Terminal 1 at the San Diego International Airport. Right in front of a tactile sculpture.
Astralgraph comprises 700 pieces. These include graphic blocks textured with powder-coated steel. Wood and ceramic add to the visual and tactile appeal. Miki Iwasaki created this wall sculpture. He has a team of eight people supporting his art.
The airport authority commissioned Astralgraph for $155000. Constance White managed the project. She emphasized that this amount wasn’t just a check to Iwasaki. The money covers much more than just materials.
White said that they commission artists to respond to opportunities. They create work specific to sites and spaces. Buying art focuses mostly on materials. Commissioning considers what makes the work unique to its location.
The artist receives a fee for their intellectual genius. This fee is usually 10 to 20 percent of the total project cost. The scale of the project determines the exact amount. Around 40 percent goes towards design and development. This covers materials fabrication labor and transportation. It also includes code review and permitting.
White explains that design involves mechanical engineering. It is not just a drawing. Installation is another factor. A construction document details how everything fits. This allows others to rebuild and reconnect the pieces. The artist is responsible for the first year of maintenance.
Iwasaki responded to a call for proposals in 2012. The original plan was for art on one side of a column. It was in the Terminal 1 food court. He worked with architects and the construction team. This allowed him to create a larger project. It included modifying the ceiling. Complementary lighting was added. They created a multifaceted wall. The sculpture could wrap around it.
Iwasaki mentioned it was difficult to work with an airport. There are specific working hours. Many people and components are involved. The process is rigorous. It involved many meetings and coordination. He visited the construction site when it was rubble.
Astralgraph is Iwasaki’s second piece at Lindbergh Field. In 2010 he created Signalscape. It is a light sculpture over the Terminal 1 baggage claim.
Iwasaki’s team constantly sends out proposals. They track them using spreadsheets. He estimates they are considered for 1 out of 100 proposals. It involves a lot of rejection.
The end of 2013 and early 2014 were very busy. Iwasaki took a semester off from teaching. He teaches at Woodbury School of Architecture. This allowed him to complete Astralgraph. He also worked on another installation at the Children’s Museum.
Of the $155000 Iwasaki took home an estimated $30000. This was for 24 months of work. Approximately $75000 went to his staff and consultants.
White studied various art forms. These included painting ceramics and 2D design. She doesn’t envy the artists. She prefers the administrative side. Artists manage their creativity and business. Her job involves creativity but not product creation.
White often checks in with the artists about their finances. She asks if they need help. The worst thing is when they have spent half their budget during design. And they haven’t bought any materials.
Sometimes she fights the airport authority for artistic vision. She cited an example of restroom mosaics. The chosen artist worked in digital media. He proposed virtual glass with video images. A project manager rejected it. White argued it was digital mosaics. She refused to choose a decorative project.
The issue went to White’s superiors. They reviewed the artist’s work. It showed the simplicity and technical aspects of his project.
So next time you are in the Terminal 1 pre-security food court, be sure to take a closer look at the Astralgraph. You might even be tempted to touch it.