#Architectural Visualization Company Los Angeles California

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Case Study of A Stunning Bathroom Rendering Visualization Project in Los Angeles California

This is an example of Photorealistic Architectural 3D Rendering Services for Interior Design of Bathroom Los Angeles California carried out for a for A Stunning Bathroom CGI Visualization by JMSD Consultant Team.

Overall, creating a stunning bathroom rendering requires attention to detail, creativity, and a good eye for design. By following these tips, you can create a beautiful and realistic visualization of your dream bathroom.

Working directly with me is easy! Here's what you need to do:

✅ Go to: https://www.jsengineering.org/contact-us/ Fill out the complete Form.

🗣 Ready to Talk? Reach us out with DM here | Email us at: info@jsengineering.org | Website : https://www.jsengineering.org and https://www.astrologyon.com

✅After receiving your Requirements, We will provide you with a Detailed Quote for your project. Our typical turnaround time is 1-2 business days.

[air1movingandstoragela]

Discovering the Magnificent Art Deco Design at Paramount Theatre Oakland

Undoubtedly, the Paramount Theater in Oakland is a flawless treasure in the collection of impressive architectural achievements.

This gem, snuggled in the heart of downtown Oakland, California, is not simply a sign for performing arts however likewise serves as a testimony to the grandeur and refinement of Art Deco style.

The Paramount Theatre, a magnificent framework constructed throughout a duration of wonderful excitement for technology and elegance, completely records the spirit of its era within its intricate layout.

Exploring this building marvel's history supplies a captivating journey via durations replete with social development and imaginative revolutions.

The Paramount Theater's creation dates back to 1931 when it was conceived as a movie palace by distinguished designer Timothy L. Pflueger.

Over time, it developed from being a motion picture sanctuary to ending up being a representative symbol that exemplifies America's Golden Age.

This write-up aims to discover the elaborate information embedded within its style elements while checking out exactly how these attributes reflect upon Art Deco aesthetic appeal widespread during its formative years.

Background Of The Paramount Theater

Constructed in the midst of the Great Depression, The Paramount Theater stands as a testimony to the strength and creative spirit of its period, serving as a long-lasting monolith of Art Deco style because of its inception in 1931.

Even with the financial troubles, this amazing architectural achievement was built in downtown Oakland by the popular San Francisco engineer Timothy L. Pflueger. With an incredible budget of $3 million, which was a huge quantity during that period, Pflueger created a structure that captured the splendor and hopefulness of Hollywood's Golden Era, while also standing for the transforming perspectives in the direction of innovation and progressivism in culture.

The grand opening of the theater on December 16th, 1931 was a momentous event not only for Oakland but also for the world of architecture. The building's special fusion of numerous artistic aspects, including intricate murals, luxuriant geometric patterns, and extravagant gold-leaf accents, made it an instant icon in California and the past.

The qualities showcased symbolize the essential Art Deco layout, known for its vibrant hues, striking shapes, and opulent decorations.

The Paramount Theatre has actually undergone various restorations to preserve its initial grandeur while improving it for modern efficiencies, and it still enthralls target markets with its dynamic Art Deco style, which has actually ended up being a vital part of Oakland's cultural legacy and character.

Style Functions of the Framework

Among the striking attributes that right away gets hold of focus is the lush use of gold fallen leave throughout the building, personifying 1930s opulence and glamour. The Paramount Theatre Oakland is a building wonder defined by its art deco style which is evident in every information of its structure.

The substantial use of gold leaf, combined with elaborate geometric patterns and elegant themes, creates a visually stunning spectacle that harks back to a period identified with grandeur. It deserves to be kept in mind that this was a time when movie theaters were made to be 'palaces for individuals', offering normal people a sense of deluxe and getaway from their day-to-day lives.

One-of-a-kind features of the theater.

A grand entryway waits for site visitors, identified by a multistory entrance hall flaunting gold murals, mirrored wall surfaces, and marble stairs that emanate luxury. The adjoining auditorium is an artwork, including scalloped walls decorated with intricate molding and ornate plasterwork that mirrors the elaborate layouts on the ceiling. The highly formed art deco carpeting complements the style, while an abstract cityscape curtain made of silver and gold threads includes a touch of modernity to the stage. Majestically climbing from under the stage floor, a large Wurlitzer body organ stimulates a feeling of drama, moving site visitors back in time to an era reminiscent of Hollywood's Golden Age.

When you see The Paramount Theatre Oakland, it is not just about valuing the structure's design. It becomes an experience that takes you back to America's movie background, where every visitor can really feel a sense of splendor and inclusiveness.

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The Best And Unique Film Locations In Los Angeles

Universal Locations is a film location agency located in Los Angeles that has been in business since 1982. Our company offers a vast online library of potential film location, media locations, and movie location sites for use by the film, television, and special event industries. Our team of Film Location Professionals has over 30 years of experience in real estate sales, leasing, and management, and we specialize in film location rentals, leasing, and real estate transactions.

Universal Locations represents thousands of film, special event, and wedding locations globally, with our clients ranging from feature film production firms in Los Angeles to fashion photographers in London. We are highly regarded and widely used scouts film location rentals in Los Angeles, as well as the most highly recommended location firm by Location Managers. Mark and Bonni Siezega founded and own the business, and we keep in touch with government entities engaged in filmmaking to stay up-to-date on film permits, fire and safety standards, and new legislation about film locations in Los Angeles

Our online film location gallery, internet movie locations library, and special event location images library are constantly updated with potential locations, including outstanding settings, elite locations, mansions, and architecturally unique film locations. We represent Hollywood film location sites, sound stages, production offices, film-friendly places, and movie locations throughout California.

We cater to film location managers, television location managers, location scouts, commercial location scouts, special event, and wedding planners looking for movie locations, webisode film sites, commercial film locations, or filming sites in Los Angeles and surrounding areas.

As one of the earliest Film Location Services and Event site businesses, Universal Locations, Inc. offers a wide range of architecturally unique and visually stunning settings to location scouts and managers. Based in California, our focus is on marketing and advertising Hollywood film location sites, sound stages, production offices, film-friendly venues, and movie locations to licensed real estate agents, image scouts, and professionals in the film and television industry.

Universal Locations, Inc. is the best location agency in Los Angeles, offering thousands of office spaces, filming locations, video shoot locations, special event venues, and wedding locations. We continuously update our collection of new film locations, catering to a diverse range of clients, from Hollywood feature film production firms to fashion photographers in London, England.

Our service covers various areas in Los Angeles, including Long Beach, Chatsworth, Northridge, Ladera Heights, Pasadena, Burbank, Century City, Downtown Los Angeles, Duarte, Bradbury, Hollywood, Newport Beach, El Segundo, Encino, Tarzana, Studio City, Woodland Hills, Chapman Woods, Lynn (LA), Los Angeles Metro, Los Feliz, Los Feliz Airport, and Malibu.

Founded by Mark and Bonni Siezega, Universal Locations is the go-to location agency for Location Managers, who strongly recommend our services. We work closely with government organizations involved in filmmaking, such as Film LA, to stay updated on film permits, fire and safety regulations, and new decisions and legislation related to location filming in Los Angeles.

Our online location collection showcases spectacular settings, elite locations, mansions, and other architecturally unique film sites. We cater to location scouts and managers, offering Hollywood film location sites, sound stages, production offices, film-friendly venues, and movie locations. Our clientele includes location managers for special events, film and video projects, image scouts, licensed real estate agents, and Hollywood film and California-CA television.

At Universal Locations, we pride ourselves on our extensive online film location gallery, internet movie locations library, television commercial location image gallery, commercial photo shoot location galleries, all picture media library, and special event location images library.Our collection is frequently updated with potential Hollywood, golden, and landmark locations, and is organized into subfolders for easy viewing. As the most highly regarded and widely used film location agency in Los Angeles, we strive to provide exceptional services to our clients. With our experience, expertise, and vast network, we ensure a smooth and hassle-free location scouting process for all your filming and special event needs.

[bimagineglobalstudio]

How to Outsource your 3D Architectural Services in California?

3D architectural services in California ensure smooth visualization and success of the architectural reality of the property. It helps real estate owners understand, vsiaulize and properly create the structures. Several businesses opt for 3D architectural rendering to ensure “to the scale” designs that help in construction. However, rendering the solutions in house can lead to chaos. You may not be able to design the exact solutions that are required. That’s where outsourcing comes to play. Here are several reasons why you should outsource the rendering services. • It can prove to be expensive if you consider rendering inhouse. You might have to pay salaries even when there is no to minimal work. That can lead to several hours of wasted cost. It can eat into your infrastructure, resources and even productivity • In some cases, you might need an experienced hand to help with the 3D rendering services. however, hiring that can be cumbersome and they may need more work than you have. This can lead to conflict of interest, which can eventually cost you quality of work. By outsourcing, you can save money, ensure minimal rendering errors and accelerated product outcomes. As the 3D design services in Los Angeles works on delivering rendering solutions and services, it is easier for them to create and produce the requisite products on time. That’s why outsourcing is a good option. However, simply outsourcing may not help you realize the required outcome. You may need to outsource it with a proper process. Here we will take you through the exact ways in which you can outsource. 1. Start by identifying what you wish to outsource to the rendering services company. If you already have inhouse resources working on the project, you may not want to give the charge to the new company entirely. You may want them to collaborate with the inhouse team to deliver certain parts of the project. So, sit down with your team to check what parts of the project you wish to outsource to the 3D architectural services in California. You might even have to consider the logistical and resource allocation aspects before going ahead 2. Research is the key to outsourcing efficiently. If you don’t have a list of studios that can help you with 3D rendering services, you may not get started. It is a good idea to choose the right company to outsource. Begin by identifying all the studios in your area that can help you with rendering solutions. Shortlist based on their experience, expertise and skills. You might want to go through their portfolio to determine if they have the ability to build to your requirements 3. Start connecting with the shortlisted rendering services company. You might want to communicate with them, understand the type of solutions they offer, and collaborate for your needs. It is very important to determine what type of solutions they are likely to offer and build upon that. 4. While you connect with the 3D design services in Los Angeles, you might want to collaborate on the workflow and the ways to manage the tasks. You might want to understand how to manage transparency and what processes they will follow. This will accelerate the rendering outcomes. 5. Communicate and Monitor Workflow Once you’ve partnered with an outsource 3D rendering studio, align with their communication process and keep in close touch with your artists. It’s vital to inspect the work at each stage to ensure every piece of the design fits in the puzzle. If something doesn’t link up or if there have been some changes in your architectural plans, contact the outsource 3D rendering company’s project manager immediately to make the necessary adjustments. Note that these changes may come at an additional price, especially if the outsource 3D rendering artist has to go through multiple rounds of edits to finalize the product. Your contract with the studio should include details such as what will happen when you need modifications and adjustments during the rendering process. 6. Approve the Final Results Once you’re completely satisfied with the outcome of the outsource 3D rendering project, approve the final design and ask for the most suitable file formats. You can also ask for raw data at any stage of the rendering process and get files of all formats used in the project—it all depends on the resources you’re willing to allocate to outsource 3D rendering projects.

[hiringjournal]

List of Top UI Company in 2023

The ultimate goal of any web page or mobile app or digital asset is to entice an exceptional user experience. The visual elements' user interface becomes a prerequisite to render that output level. And to offer both of these services is a collective effort of a UI company. 

Pause and Ponder!

We know what you are thinking, and the subsequent section will serve you the correct answer.

Why and How to Hire a UI Company?

Let’s first understand the exact meaning of a UI company. A UI UX design company is accountable for designing and delivering a user-friendly and high-quality experience for a digital product. 

The day-to-day roles and responsibilities of a UI UX design company include:

Create the design and architecture of websites and mobile user interfaces.

No matter how outstanding and innovative your business idea or product is. But everything else cracks up without a compelling user interface and a smooth user experience. UI UX company improves the performance by making changes to the interface for a better customer experience.

Stay updated with the latest design trends to match the user’s expectations.

These are the general duties included in the UI UX job description. Let’s now look at the top companies offering these services.

Top UI Design Companies in 2022

In the digitalized era, your digital assets are the first point of contact with your potential and existing customers. A high-quality website will leave a lasting impression on the users, build their trust, and serve as an effective digital marketing tool. Here are the  top UI design companies of 2022.

Uplers

You can hire the best Indian designers for your UIUX project from Uplers. It’s a full-service UI company with a pre-vetted talent pool. It provides the top 3.5% of Indian-qualified candidates to interview and hire. You can save up to 40% on hiring costs by hiring a UI UX designer from Uplers.

This talent powerhouse is ten years old and has notable global clients like Facebook, Amazon, Oracle, and others. With a team of 100+ web and mobile designers, Uplers serves in four locations: San Diego, Amsterdam, India, and Sydney. The USP is that it can help you find the best pre-vetted Indian talent for remote hiring globally.

IDEO

This legendary California-based firm known for innovation since 1991 is one of the best user interface design firms. Ideo's clients in Chicago, London, Munich, Tokyo, Shanghai, San Francisco, and Cambridge benefit from "people-first" UI design. The company has a workforce of 600+ designers who have worked for big bulls such as IKEA, Ford, Procter & Gamble, and many others.

WANDR

WANDR has been active in Los Angeles and California for the last 6 years. Samsung, Adobe, and many other brands have been known to use their creative digital expertise to improve user experience, identify and close gaps, and so on. The UI UX design team at WANDR takes pride in employing data-driven designs and conducting extensive UX research with their small team of 10+ critical thinkers.

Ramotion

It is one of the best UI company in the United States, with Fortune 500 companies among its clientele. The UI/UX designers here have more than a decade of experience creating high-quality work. Ramotion has served clients such as Oracle, Salesforce, and Mozilla with a team of 70+ designers since 2014. Based in San Francisco and California, Ramotion offers competitive analysis, interactive prototypes, user-friendly UI, and a variety of other UI UX services.

Clay

Clay is a full-service digital design agency based in San Francisco and California. UI UX designers specialize in designing and developing mobile apps, websites, and enterprise software. Since 2016, their design team of more than 60 creative minds has been working to deliver a consistent user interface across digital media. They take pride in creating impeccable UI UX designs, as witnessed by their work with Amazon, Coca-Cola, and others.

Based on this list of the top UI company for UI UX design, your business has an extensive choice that you can trust to meet your company’s needs. The role of these companies in developing and maintaining your online presence is significant. 

Before you finalize a company, you should thoroughly research its expertise, the services they offer, the locations they serve, and, most importantly, the styles they use to deliver you an online masterpiece. Remember that the agency you choose can make or break your digital presence; thus, make a wise pick. 

[billsarchives]

Original 1970 offset lithograph from artist Sätty printed over photo of Nude Woman In Window by Mike Powers, designed by Dale Smith above quote from Goethe: "We are formed and fashioned by what we love." Celestial Arts CA86 Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums listed below. If you look at the last photo, you'll see two of the base images (both available for purchase if interested) over which he would print layers of other illustrations. www.etsy.com/shop/BillsArchives One of the better-known poster artists when the psychedelic era was in full flower in the 60's, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on. He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60's. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There's a startling sardonic humor in Sätty's visionary history, but there is love as well for the reckless, plunging voracity of those early days. EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971. Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, "Second Joint Show", San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975. GUEST LECTURES • The artist's studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning "Art and the Electronic Media". • Berkeley Gallery, San Francisco; 1971. Lecture about the artist' work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist's studio. • College of Arts and Crafts, Oakland; 1974. Lectures on "Photo and Printmaking" with slide show. • San Francisco State University, Art Department; 1974. "Imagination vs. Media" with slide show. • San Francisco Museum of Art; 1974. "Media and Poster Art" with slide show. • San Francisco State University, Literature Department; 1975. "Composition" with slide show. PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from "Time Zone", 1974. • Village voice, 1975. COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity's Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher's Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975. RECORD ALBUM COVERS • "GHANDARVA", Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • "The Occult", United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • "The Miraculous Hump Returns from the Moon", The Sopwith Camel, Warner Bros, 1973. • "Feel", George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • "The Aura Will Prevail", George duke, HPS Records, 1975. BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.) BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

[unit8ddafilipadamski]

Secondary Research

https://www.theartsshelf.com/2014/03/25/elder-scrolls-online-new-concept-art-and-previously-unseen-artwork-released/

The art above inspires me to create a concept art fantasy village, because it’s very creative idea and it can be very colourful or dark depending on the ideas taken whilst creating something like this.

https://www.pinterest.co.uk/pin/384283780695660319/?autologin=true

The art above give me idea of creating a future fantasy city, it is very creative idea as multiple thoughts are emanating through, of what could be done, a dystopian or utopian world, depending on what colours and style of city wanting to re-create,  and what story wish to add, make it humans only or add perhaps alien’s or elve’s, possibilities are endless.

https://questgamingnetwork.com/classic-elder-scrolls-73-summerset-isles/1s65s/

Art above shows a elvish fantasy town, that creates idea of wanting to make your own version of it as add some vibrance, life, story and ambience, to the concept art of wanted to make, vibrant colours are going through the head and how I could make a land showing life form. 

https://www.google.com/imgres?imgurl=https%3A%2F%2Fwallpaper-gallery.net%2Fimages%2Fconcept-art-wallpapers%2Fconcept-art-wallpapers-2.jpg&imgrefurl=https%3A%2F%2Fwallpaper-gallery.net%2Fgallery%2Fconcept-art-wallpapers.html&docid=cslsqU8KS9UbvM&tbnid=ym9rqaxZb8NjXM%3A&vet=1&w=992&h=496&bih=969&biw=1920&ved=2ahUKEwiIwczhwp_hAhXbQRUIHaZZBG84ZBAzKA4wDnoECAEQDw&iact=c&ictx=1#h=496&imgdii=ym9rqaxZb8NjXM:&vet=1&w=992

Image above inspire me to re-create a statue inside a village or city, landscape, or some structure for the concept art.

https://www.google.com/imgres?imgurl=https%3A%2F%2Fpbs.twimg.com%2Fmedia%2FDrk-UjBWwAAEIun.jpg&imgrefurl=https%3A%2F%2Ftwitter.com%2Ftesonline%2Fstatus%2F1060949139113066496&docid=fMMygZE7ULqOwM&tbnid=AOLb6E246M9_fM%3A&vet=10ahUKEwihg-Spvp_hAhUDxxoKHfeiAtEQMwicASgmMCY..i&w=1200&h=675&bih=969&biw=1920&q=eso%20concept%20art&ved=0ahUKEwihg-Spvp_hAhUDxxoKHfeiAtEQMwicASgmMCY&iact=mrc&uact=8

Above art, inspires me to what armour could be made if the concept art would be decided to make a character for a game, the armour looks Japanese style but fantasy which I do like.

It also gives thought to what weaponry could be used by the character and what style they can be made in.

Colour scheme looks fabulous with the dark red, silver and black, giving a scary look to the warrior’s.

https://elderscrolls.fandom.com/wiki/Vvardenfell_Flora_and_Fauna

The art above give me idea, what can be done or made for a mood board of the foliage that may appear in my own landscape, whilst giving me some more ideas of what colour schemes’ can be used.

https://www.artstation.com/artwork/mrra

Top three images and one below arts are made by artist Jeremy Fenske who is a freelancer, concept artists and art director at singularity 6, They inspire to create some ancient American civilisation style concept art with the fantasy twist to the art work.

The amount of detail in these arts show many different combinations of digital art and how colours’ can me mixed together to create a astonishing art piece.

https://wilvarin1980.wordpress.com/2014/03/28/eso-concept-art/

The cross hatching path is very interesting because, it adds depth and a form of perspective and it does not make the image look orthographic, it also adds form and a story in the image, which is highly looked up on it makes it interesting, which I would like to add something this sort as well in my final major project.

https://www.behance.net/gallery/56464093/ENVIRONMENT-CONCEPT-ART-ENVIRONMENT-DESIGN

Art above interests me in a way that there are just simple colours and shapes splashed together to create a wonderful image, it gives idea and inspiration to make something similar and get very creative.

source: unknown

Image above features basic shapes, with a wonderful entrance to some sort of a city/temple in Middle East or North Africa give idea to of different architectural locations depending where and with what story I could make my own concept art.

https://www.google.com/search?rlz=1C1GCEB_enGB819GB819&biw=1920&bih=969&tbm=isch&sa=1&ei=pu-ZXNGEM7GAur4PivGXmAw&q=eso+concept+art&oq=eso+concept+art&gs_l=img.3..0j0i7i30l4j0i30.68114.68757..69218...0.0..0.63.240.4......1....1..gws-wiz-img.AcU1XbMx6hI#imgrc=Ce6krICdpymL9M:

The image above, is most favourable for landscape wished to create, simple shapes, few colours, shows distance, nice simple but detailed, concept art.

Very inspirational to do a landscape in the same style.

https://www.elderscrollsonline.com/en-us/media

Link above features all the media work from the elder scrolls team and Zenimax studio and Bethesda, as well as other studios working under them, it shows great amount of concept arts for landscape, characters, Screenshots, Music, and Animations’ video that inspires me from various artists.

Artist: Jeremy Fenske

http://conceptartworld.com/artists/jeremy-fenske/

https://www.artstation.com/jandrew/profile

Links above contains lots’ of art and work made by a freelance, concept artist, art director of singularity 6, who lives in Los Angeles, California, USA.

His artwork inspires me to be able to do good looking art like him. Which is why I will do concept art to get better at it because practice makes a master.

Equipment:

Sketchbook: to be able to plan out and practice some art.

Computer: to be able to work on a device.

Graphic tablet: to actually draw things on the computer.

Internet: to be able to post my work and the process of my work into blogs.

Pencil: to draw ideas and quick sketches in the sketchbook.

Camera/Phone: to be able to take images from my work in the sketchbook and take primary images of landscapes for primary research and primary references’. 

Game art design and its role:

Game art design is a subset of game development. It is the process of creating the artistic aspects for video games. Video game art design begins in the pre-production phase of creating a video game. The video game artists are visual artists involved from the conception of the game and they make rough sketches of the characters, setting, objects. The starting concept design can also be created by the game designer before the game is moved into actualisation. Sometimes the concept designer’s are called “programmer art”. After the rough sketches are completed and the game is ready to be moved forward those artists or more artists are brought in to bring these sketches to life through graphic design.

The art design of a game can involve anywhere from two or more. The larger the gaming company is the more people there are likely to design game. Small  companies tend to not have as many artists meaning that their artists must be skilled in several types of art, whereas the larger the company, although an artist can be skilled in several types of development, the roles each artist plays becomes more specialised.

Concept art is a form of illustration used to convey an idea for use in films, video games, animation, comic books, or other media before it is put into the final product. Concept art usually refers to world-building artwork used to inspire the development of media products, and is not the same as visual development art or concept design, though all three are often confused.

https://en.wikipedia.org/wiki/Concept_art some information above are taken from the listed website.

Above image taken from https://depositphotos.com/9004018/stock-photo-karlstejn-castle-in-czech-republic.html Karlstejn castle, Czech Republic.

The castle interests me with it’s colors, it blends in nicely with dark and light colours, it gives me ideas’ on which color pallet I may decide with what to go for in the final design, the brick and stone fits well with the location of the castle to make it blend in well with the surrounding environment.

Image above taken from https://commons.wikimedia.org/wiki/File:Neuschwanstein_Castle_LOC_print.jpg Neuschwenstein Castle, Germany.

Castle is very interesting because, it is located in a mountain region which would make the concept art feel more alive to the story of a MMO RPG game, it also interests me because it appears to be a challenging adventure for the character and the stone of the castle is just incredible almost as if it part of the mountain which is very interesting and makes me do something similar, Would like to take that bit from the design into my concept art.

Above Image from http://canidrinkthewater.blogspot.com/2014/06/malbork-castle-and-teutonic-knights.html Malbrok Castle, Poland.

Castle above inspires me from the outside walls that I like, because it is not common to see roofed walls in western European which perhaps may add some uniqueness to the world I am creating.

Above image from https://www.viator.com/sv-SE/tours/Paris/3-Day-Mont-Saint-Michel-and-Loire-Valley-CastlesTour-from-Paris/d479-2050ML3 Saint Michel Castle, France.

The castle inspires me on what style of architecture I would like to use in my concept art design, such as Gothic, this will make the theme of fantasy fit well.

Above image https://en.wikivoyage.org/wiki/Himeji Himeji castle, Japan.

The roof of Asian structures are very interesting it would help me create a more fantasy theme of the final art itself using the form of Asian/oriental mix of roofs using the European structures itself.

Above image https://www.123rf.com/photo_13746664_bizarre-rocks-in-sahara-desert-tadrart-algeria.html?fromid=djA3U3dLWTROMklPMDF5RHlzYkFDUT09 Austria, Lake Halstatt.

Image above is very interesting, because the rocks formation seems uncommon with its pointing out of the ground, which I would like to add something like this in the concept art.

Above image https://www.123rf.com/photo_13746664_bizarre-rocks-in-sahara-desert-tadrart-algeria.html?fromid=djA3U3dLWTROMklPMDF5RHlzYkFDUT09 England, Lands end.

Image above inspires me by its depth and field of view of how distant things appear, because it is simple yet complex with the perspective and shades of colours.

Above image http://medomed.org/2016/inventory-and-convention-of-the-cultural-landscapes-of-the-mediterranean-and-middle-east/ Jordan.

Image above is a idea of how I would like to use the colours and shades if I would decide I would like to make my concept art in more of a desert hot location.

Above image https://www.123rf.com/photo_13746664_bizarre-rocks-in-sahara-desert-tadrart-algeria.html?fromid=djA3U3dLWTROMklPMDF5RHlzYkFDUT09 Tardrat, Algeria.

Image above is giving ideas on how the stone looks in the alternative atmosphere/environment looks like so I would have a better understanding of structures to make them fit in a specific location.

Image above taken from https://en.wikipedia.org/wiki/Alhambra Alhambra Castle, Grenada, Spain

Castle above is located in a warm area meaning the stone is different, which will help me decide on colours if I would have a idea to create a concept art in the sort of hot area of the world.

[letsjonebenblog]

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The Last Station

In the summer of 1964, Christopher Rand visited Los Angeles on assignment from the New Yorker. His writing for the magazine, published in Los Angeles: The Ultimate City (New York: Oxford University Press, 1967), feels like an artifact from the last moment when ordinary Americans felt that science and engineering could remake the world for the benefit of humankind.

Rand visits a base in the Santa Monica Mountains that directs the fire control planning for the 330 square miles around it:

I was shown a large map-room there, with consoles full of communications gear, these tended by two or three men around the clock. The man in charge said that the post had seventy-six fire companies and seven ambulances available, and patrols on the move in all directions. If a brush fire was even suspected in the hills, he said, the post would get six fire companies and two chief officers onto the scene as soon as possible; they would be sent from various quarters because movement was so hard in that terrain. Then if the blaze got serious, more and more equipment would be sent from nearby points, and meanwhile still more would be moved up, as reserves, into the vacancies. “In a big fire we keep redeploying constantly,” he explained, and it all reminded me of our infantry operations in Korea -- even to the possibility of air strikes, which the station could call in, if they were needed, much as a regimental command post might.

He heads to Irvine, where the architectural firm William Pereira is creating a whole community from ranch land. (“This is Irvine Ranch,” his guide tells him. “It was the only thing that could stop those suburbs from spreading.”) Pereira himself speaks: “Right now my kind is in command,” he says. “We have sold the idea that planning is necessary, and we have generations of development ahead of us. We have the palette here and we’ll see what we can do with it.”

Rand speaks to the Pereira partner running the Irvine field office, James Langenheim, who tells him about the firm’s plans for Catalina:

“Catalina,” said Lagenheim, “can’t be developed for a few years anyway, because its population can’t increase much till the water and transport problems are solved. We think desalinization will take care of the water; it is being studied now, you know, in Southern California. We hope it can be done economically in a few years, which would free us on that score in a decade. As for transport, the island is now served by airlines and, in the summer months, a boat from Wilmington, in the Los Angeles port area, but the boat is too slow and infrequent for the population we visualize. We are looking forward to cheaper, more efficient helicopter service or to improved hydrofoils that can operate in the channel there, which is often choppy. This, too, should take a few years. It all delays our plan, but at least it gives us a lead-time for more thorough research; we are, for instance, trying to find just where the Indians used to live on Catalina, so we will know more about the ground water. And we are getting a chance to indoctrinate the Catalina population about planning in general. Not to mention indoctrinating Los Angeles County, to which the island belongs, about its problems and its future.”

Rand saw in Century City, a high-rise community built with capital from Alcoa, Lazard Frères, Tishman, and the Pennsylvania Railroad, a new Los Angeles. “Capital is coming from many directions,” he wrote, “and this force, together with others -- the influx, the technology, the dreams of the planners -- is pushing the projected Los Angeles toward realization.”

Like Century City, Los Angeles would grow up:

It accords, also, with certain accepted ideas about the modern city. For one thing it should have much high-rise living in it. Heretofore L.A. has run to single-family houses. This has been partly due to a fear of earthquakes and partly to the small-town, or rural, Midwestern background of so many Angelenos. The idea of every-man-his-own-landlord-and-every-man-his-own-chauffeur has been thought a key to freedom of some sort. (And also to social standing. “There was a matter of image,” an L.A. write has said in discussing the aversion here to high-rise. “A homeowner had more status than an apartment dweller.”) But now that prejudice is passing. Real-estate economists and analysts, who abound in L.A., point out that the big U.S. crop of war-babies recently attained their early twenties, an age that favors apartment living; they say this has sped the change. They also say, more simply, that close-in land prices (not to mention taxes) preclude one-family homes for most people. There has recently been a slump in all real-estate activities in L.A., but prior to that slump -- in the early ‘sixties -- three-quarters of the dwelling units built were going up into the third dimension, and this is making it more like other cities.

Rand says this all without a hint of irony or doubt, even when he compares fire control in the Santa Monica Mountains to the land campaign in Korea. There is confidence and optimism in the people he speaks to, and Rand himself is not anxious or fearful.

It is hard to imagine anyone writing like this in the New Yorker today.

Los Angeles may be the ultimate city of our age. It is the last station, anyway, of the Protestant outburst that left northern Europe three centuries ago and moved across America: the last if only because with it the movement has reached the Pacific. There are other cities on our West Coast, but none so huge or dynamic as Los Angeles, or so imbued with the Northern wilfulness in battling nature. L.A., as its people often call it, is the product to a rare degree of technology. Though built on a near-desert, it is the most farflung of the world’s main cities now, and probably the most luxuriously materialistic. It is also -- apart from the big “underdeveloped” cities, with their shantytown outskirts -- the fastest growing in population. With its hinterland, of Southern California, it is gaining nearly a thousand inhabitants a day, and is expected to go on gaining indefinitely. The Angelenos, its people, are prone to live in the future and to project their statistics forward; the visitor hears them talk more about 1980 than about next year. “This is an optimistic city,” a friend here told me recently. “If something is built wrong it doesn’t matter much. Everyone expects it to be torn down and rebuilt in a decade or two.”

These are the opening words of a piece that end with the same sense of optimism about human potential: “the builders of L.A. keep building,” Rand writes. “L.A. is bound up with technology like no other city in history, and technology has a will of its own.”

But what is striking is how little has changed, and how little the city of today reflects the dreams of 1964. They stopped building, and everything we had hoped for -- “the influx, the technology, the dreams of the planners” -- never came to be. It is as though the country went into the darkness and never emerged.

Catalina never became much bigger than it was in 1964. Today, there are fewer than five thousand people on the island’s 48,000 acres. Philip Wrigley, chewing gum magnate and owner of the island, deeded 42,000 of those acres to a nature conservancy in 1975.

Catalina never became a haven for golf carts and pleasure craft. Los Angeles did not become Century City. Pereira’s firm designed the airports of Baghdad and Tehran, but they did not indoctrinate Los Angeles. Instead, the Californians came to fear growth and change. They stopped building. 

Every day I pray that they will tear it down and build again.

[xtruss]

L.A.’s Massive New Bridge is Designed For 23 Million Pounds of People

The Sixth Street Viaduct replacement was built to withstand a 9.0 earthquake—and has a park to boot.

— By Nate Berg | July 08, 2022 | Fast Company

Photo: Courtesy HNTB

The $588 million bridge opening this weekend in Los Angeles is a landmark piece of architectural infrastructure that’s becoming a signature part of the low-slung city’s skyline. With 10 swooping arches along its 3,500 feet, the Sixth Street Viaduct is as visually striking as it is massive.

But this huge new bridge—crossing over rail lines and the Los Angeles River between Boyle Heights and the Arts District—focuses on a smaller scale. In multiple ways, it was designed to be a people-first bridge.

Yes, there are the sidewalks and the bike lanes that have become expected in large civic infrastructure projects. But the bridge also includes some uncommonly people-focused design elements. There are five separate staircases that connect the bridge’s deck to the ground below. And at the bottom of those stairs is the site of what will be about 12 acres of a new public park—an amenity that further sets this bridge apart from other transportation-centric projects around the world. “We decided that it would be not only a mode of transportation but also a destination point,” says Michael H. Jones, project manager and lead bridge engineer at engineering firm HNTB, which led the team that designed and built the bridge

Photo: Courtesy HNTB

On top of all that, the bridge was also designed specifically to bear the weight of a massive crowd of people which, perhaps surprisingly, weighs a lot more than a string of 18-wheelers. Jones says the deck of the bridge is designed to carry a load of 90 pounds per square foot, or more than 23 million pounds total. If the bridge was going to be a destination, the thinking went, it better be able to handle a crowd. “The city’s plan for this project is to be able at some times to actually shut the bridge down and have celebrations,” Jones says.

The first is already scheduled. The Sixth Street Viaduct is having a grand opening this weekend, and the first day will be open to pedestrians only, with food, bands, and a capacity of 15,000 people.

It’s a party more than six years in the waiting. The original viaduct was built in 1932, and was one of 12 bridges built across the L.A. River at the time. Aside from being the longest, the Sixth Street Viaduct was also unique for the type of aggregate used in its concrete—one that was later proven to be susceptible to a degrading chemical reaction known colloquially as concrete cancer. “It literally eats the concrete up,” Jones says.

In seismically active Southern California, this was a problem. So the city’s Bureau of Engineering tore the original bridge down in 2016 and launched an international design competition to replace it.

The winning proposal, with a design by HNTB Architecture, L.A.-based Michael Maltzan Architecture, and Dissing+Weitling, is called the Ribbon of Light, and it features a wave of 10 arches along each side of the 3,500-foot-long bridge. With a width of 100 feet, the bridge has four vehicle lanes bordered by wide bicycle and pedestrian paths. Five separate staircases connect the bridge to the ground, where the park will be built over the next few years, including athletic fields, dog parks, picnic areas, a café, and a small performing arts plaza.

And while pedestrian access and public space became focal points of the design, the project’s core purpose was to make a bridge that wouldn’t fall down in an earthquake. Jones says the bridge has been designed to be particularly resilient in the face of seismic events, and is expected to withstand a 9.0 earthquake, which scientists predict happens only once in a thousand years. Key to this is the bridge’s use of seismic isolation bearings at the base of each arch’s connection point with the ground. These bearings act as a kind of buffer on which the bridge can stand, allowing the ground to move underneath during an earthquake without tearing apart the structure. “Because of the seismic isolation, the structure will be able to ride out that earthquake without any damage whatsoever,” Jones says.

The isolation bearings were specially designed for this project, but have already been used in other settings. Jones says the same system has been implemented in the construction of SoFi Stadium, the $5.5 billion football stadium in nearby Inglewood.

In addition to improving the bridge’s strength, the bearings also changed its structural requirements. Jones says the bridge deck was able to be designed as a single structure, without the need for costly expansion joints at various points. “We believe that actually cut the cost of the structure down,” he says. “The bearings more than paid for themselves.”

[architectnews]

Gallery 64, Washington, D.C. housing + museum

Gallery 64, Washington, D.C. Residential Building, New Eye Street Housing, Architecture Design USA

Gallery 64, Washington, D.C.

September 22, 2021

Design: Beyer Blinder Belle Architects & Planners

Location: 65 Eye Street, SW, Washington, D.C., USA

rendering courtesy Beyer Blinder Belle

Gallery 64, Washington, D.C. Housing and Museum

Beyer Blinder Belle Announce Groundbreaking of Gallery 64, Mixed-Use Multifamily Development And Future Home of Rubell Museum on Historic Site

The renovation, adaptive reuse, and redevelopment of the historic, former Randall Junior High School and site will create a vibrant arts campus with a contemporary art museum and Gallery 64, a new 12-story apartment building.

rendering courtesy MAQE

September 21, 2021 (Washington, DC) — Beyer Blinder Belle Architects & Planners (BBB) announce the design and groundbreaking of Gallery 64, a new 12-story residential building providing 492 units of housing. Gallery 64 will anchor the renovation and redevelopment of the historic 2.7-acre Randall Junior High School site located at 65 Eye Street, SW, in Washington, DC, with the existing former school buildings transformed into the Rubell Museum DC, a world-class contemporary art museum. National real estate firm Lowe is the developer along with joint venture partner on the project, Mitsui Fudosan America.

Constructed in 1906, with two significant wings added in 1927, the Randall Junior High School historically served African American public-school students in southwest Washington, DC until its closing in 1978. The Rubell Museum will fill the central building and east wing of the school buildings which will be preserved and repurposed, presenting internationally renowned contemporary paintings, sculptures, photography, and installations.

A dynamic glass addition at the east wing will create an inviting museum entry, with a bookstore, café, and an outdoor dining terrace that enriches street activity along Eye Street. The West Randall building will provide approximately 18,000 SF of creative workspace aimed at variety of potential tenants including nonprofits, cultural institutions, technology incubators, and coworking businesses. The concept design for the redevelopment of the historic Randall School has received unanimous approval from the Historic Preservation Review Board and from the Advisory Neighborhood Commission. With Gallery 64 sited north of the historic buildings, the redevelopment will result in over 500,000 SF of usable space.

rendering courtesy Beyer Blinder Belle Architects & Planners

Gallery 64’s apartment residences are configured as studio, one-, two- and three-bedroom units of which 98 are designated affordable. Nineteen two-level, townhouse-style residences activate the street with increased pedestrian connectivity and visual interest. Amenities include rooftop gathering spaces with fire pits, grilling stations, and outdoor kitchens; a dog walk; and a resort-style pool. Indoor communal areas include a spacious lounge with fireplace, game room, fitness center, a maker space, and a sound studio.

Gallery 64 is designed to LEED Gold standards, and the renovation of the historic school buildings will comply with LEED Silver guidelines. Gallery 64 and the overall campus redevelopment are anticipated to be completed by year-end 2022. Project visuals can be accessed here.

The 20-story infill residential tower includes ground-floor and cellar retail space, 121 rental units on the second through twentieth floors, and amenities including a landscaped rooftop terrace, private rear yard terraces, fitness and yoga rooms, resident lounge space, children’s playroom, general and bicycle storage, communal laundry, and pet wash. Located within the Borough Hall Skyscraper Historic District, the development was approved by the New York City Landmarks Preservation Commission. The project’s foundation was completed in March, and the superstructure was completed in late summer 2021.

The unit interiors will boast a clean modern palette with oversized windows. The building’s distinctive design pays subtle homage to the area’s historic architecture with its verticality, rhythmic dark facade, including a polished black granite base, profiled Glass Fiber Reinforced Concrete (GFRC) piers, bronze-tone metal detailing and charcoal-grey colored window frames.

image courtesy Beyer Blinder Belle Architects & Planners

About Beyer Blinder Belle

Founded in 1968, Beyer Blinder Belle Architects & Planners (BBB) is an award-winning architecture, planning, and interiors practice of 170 professionals in New York City, Washington, DC, and Boston with a longstanding commitment to design excellence, social integrity, and sustainable practices. The firm’s multi-faceted portfolio encompasses preservation, urban design, and new construction projects that span a wide spectrum of building typologies and sectors, including cultural, civic, educational, residential, and commercial.

Planning and design for educational institutions is central to the firm’s practice— and is based on a commitment to understanding mission and responding to the unique physical, historical, and cultural context of each campus.

BBB has designed the renovation and restoration of existing buildings as well as the addition of new buildings for numerous educational institutions including Harvard University, Columbia University, Massachusetts Institute of Technology, General Theological Seminary, Denison University, and Stony Brook University. BBB has also provided comprehensive campus planning and facilities planning studies for Dartmouth College, Princeton University, and Amherst College, among others.

About Lowe

Los Angeles-based Lowe, formerly known as Lowe Enterprises, is a leading national real estate investment, development and management firm. Over the past 49 years, it has developed, acquired or managed more than $32 billion of real estate assets nationwide as it pursued its mission to build value in real estate by creating innovative, lasting environments and meaningful experiences that connect people and place.

Lowe established its Washington, DC area office in 1980 and has been an active developer of commercial real estate throughout the region. Among Lowe’s signature projects in the area is The Hepburn, ultra-luxury apartments developed adjacent to the famed Washington Hilton Hotel where the firm completed a $150 million restoration, development of the 700,000-square-foot National Science Foundation headquarters building on Alexandria, Virginia, and CityVista, a transformative mixed-use development in the Mount Vernon Triangle area of Washington DC.

Lowe maintains offices in Los Angeles (headquarters), Southern California, Northern California, Charleston, Denver, Seattle, and Washington, DC. For more information visit www.Lowe-RE.com

About Mitsui Fudosan America

Mitsui Fudosan America, Inc. (MFA) is the U.S. subsidiary of Japan’s largest real estate company, Mitsui Fudosan Co., Ltd., a publicly traded company with approximately $ 70 billion of assets. MFA is responsible for Mitsui Fudosan’s real estate investment and development activities in North America, and is headquartered in New York, with branch offices in Washington DC, San Francisco, Los Angeles, and Honolulu.

MFA has been active in the United States since the 1970s, and currently owns assets in the New York, Washington DC, Boston, Denver, Seattle, San Francisco, Los Angeles, and Honolulu metropolitan areas. MFA’s U.S. portfolio includes 5.6 million square feet of office space, 6.0 million square feet of office space under development, 1,600 residential apartments, 5,300 additional rental units under development, 350 condominiums and townhomes under development, and 753 hotel rooms.

About Rubell Museum

The Rubell Museum is a 501 c3 non-profit foundation based in Miami, Florida since 1994. The museum presents exhibitions drawn from one of the world’s largest privately owned and publicly accessible collections of contemporary art.

The collection is constantly expanding and includes over 7,400 artworks by more than 1,100 artists including Jean-Michel Basquiat, Keith Haring, Jeff Koons, Yayoi Kusama, Kerry James Marshall, Cindy Sherman and Kara Walker. In addition to displaying internationally established artists, the Rubell Museum actively commissions, acquires, exhibits and champions emerging artists working at the forefront of contemporary art.

Each year the foundation presents thematic exhibitions drawn from the collection and these exhibitions often travel to museums around the world. Recent exhibitions have been presented at the Detroit Institute of Arts, San Francisco’s Asian Art Museum, the San Antonio Museum of Art, Madrid’s Fundación Santander, Kansas City’s Nelson-Atkins Museum and the Barnes Foundation in Philadelphia.

Beyer Blinder Belle Architects & Planners

Museum building designs

Gallery 64, Washington, D.C. Housing images / information received 220921 from Beyer Blinder Belle Architects & Planners (BBB)

Location: Washington, D.C., United States of America

Washington, D.C. Architecture

Washington, D.C. Architecture

Washington DC Architecture Tours

Planet Word Museum Building Design: Beyer Blinder Belle photographs in the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division Planet Word Museum

National Museum of African American History and Culture Design: Freelon Adjaye Bond Smith Group image courtesy Freelon Adjaye Bond Smith Group National Museum of African American History and Culture Building

Five rejected White House designs that were never built, brought to life image : HouseFresh White House Alternative Designs

Eisenhower Memorial Design Design: Frank Gehry / AECOM image courtesy of architects Eisenhower Memorial Design in Washington DC

’The Weight of Sacrifice’ Memorial Design, Washington, D.C Design: Joseph Weishaar with sculptor Sabin Howard image courtesy of architects The Weight of Sacrifice Memorial in Washington, D.C.

The United States Capitol United States Capitol Washington, D.C.

Smithsonian Museum Redevelopment – Robert and Arlene Kogod Courtyard Design: Foster + Partners Smithsonian Institute

US Architectural Designs

American Architects

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Comments / photos for the Gallery 64, Washington, D.C. Housing Building design by Beyer Blinder Belle Architects & Planners (BBB) USA, page welcome

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[sciencespies]

Military building an appetite for commercial space services

https://sciencespies.com/space/military-building-an-appetite-for-commercial-space-services/

Military building an appetite for commercial space services

The U.S. Space Force is eager to tap into the vibrant commercial market for space services enabled by increasingly capable small satellites and cheaper access to orbit.

Commercial services of particular interest to the military include imagery, analytics, weather data and broadband from low-Earth orbit constellations.

“It’s really crucial that we figure out how to successfully integrate commercial data and services into our architectures and concepts of operations,” said Lt. Gen. John Thompson, head of the Space and Missile Systems Center (SMC), the procurement arm of the Space Force.

The Space Force already is a major consumer of commercial space launch services and geostationary satellite communications but it is now looking to “go bigger and bolder,” Thompson said, calling this a matter of national security.

A U.S. Marine Corps radio operator works on the flight deck of an amphibious ship. The Marine Corps and the Navy are seeing growing demand for satellite-based communications to connect ships at sea. Credit: U.S. Marine Corps photo by Lance Cpl. Tawanya Norwood

The military’s modernization plans increasingly depend on technologies funded by the private sector, Thompson noted. The Space Force is responsible for providing satellite-enabled capabilities to the entire Defense Department, and the acquisition of new space services will be a central piece of that effort.

The next step will be to organize a new office focused on the procurement of commercial space services. This office will be part of the future Space Systems Command, said Gen. David Thompson, the Space Force vice chief of space operations.

Space Systems Command will be established in Los Angeles later this year and will replace SMC. Thompson said the plan is to expand SMC’s existing commercial satellite communications services office so it can acquire other types of commercial capabilities.

One of those services will be “tactical ISR,” short for intelligence, surveillance and reconnaissance. Tactical ISR would support military units in the field that currently don’t have direct access to satellite imagery. Field commanders want visual imagery but also radar, radio-frequency and other types of data collected by Earth observation satellites that capture images in short time intervals.

CHANGE IN MINDSET

Col. Timothy Sejba, program executive officer for space development at SMC, said procuring commercial space services is a departure from the traditional business model where the military dictates requirements and contractors are paid to build systems owned by the government.

Buying commercial services means the Defense Department doesn’t have to finance the cost of building and operating a constellation, and simply acquires the data. This is a huge benefit, said Sejba, but there are risks that also have to be weighed.

To be sure, the Pentagon does not want to become entirely dependent on commercial providers that may or may not be able to support the military during an armed conflict. Sejba said the Space Force will not outsource critical “no fail” capabilities like satellite-based missile warning or Global Positioning System navigation.

The priority for SMC, he said, is to figure out a business model for how to access commercial services that would not replace, but supplement, government-owned capabilities.

U.S. military personnel review sensor data at the Combined Space Operations Center at Vandenberg Space Force Base, California. The center provides space-related services like GPS tracking and missile warnings. Credit: U.S. Air Force photo by Maj. Cody Chiles

Tactical ISR, weather data and broadband from low-orbiting constellations are the low-hanging fruit, he said. “We know there is an extensive commercial industry base we have to tap into, and augment with government unique capabilities only when commercial can’t fulfill.”

As plans move forward to stand up the new Space Systems Command, the most likely path to establish a commercial space services office will be to follow the model now used to acquire satellite communications.

CSCO, the Commercial Satellite Communications Office that reports to SMC but is located near Washington, is viewed as a template for how other services could be acquired but there are still many details to be worked out, Sejba said.

The satcom office buys $1 billion a year in commercial services and has built strong relationships with providers, he said. “We want to leverage that expertise.”

As the Space Force looks to buy more commercial services, Sejba said, one of the challenges will be market research, as SMC is not familiar with many of the new space ventures entering the field. Further, the government has to figure out how to use its buying power to incentivize companies that want the Defense Department as a customer but also have to prioritize the needs of a broader market.

Aerospace Corp., a nonprofit firm that provides technical services to DoD and other government agencies, plans to help SMC establish connections with space startups and new entrants, said Randy Kendall, vice president of launch and enterprise operations at Aerospace.

Before the Space Force commits to buying critical services from a new commercial provider, it will want to know, for example, who is funding the company and whether their systems are adequately protected against cyber threats, Kendall said. Aerospace would help screen potential suppliers to make sure they are technically and financially sound.

Aerospace also would facilitate SMC’s communications with venture investors to give them greater insight into the government’s wish lists so they can better target their investments, he said.

Jordan Noone, co-founder and partner of Embedded Ventures. Credit: Embedded Ventures

INVESTORS ENCOURAGED

Jordan Noone, co-founder and partner of Embedded Ventures, said investors in the space sector are encouraged by the Space Force’s talk about increasing reliance on commercial services. He said the idea of having a technical expert like Aerospace screen companies makes a lot of sense.

“I would be very excited to see an office set up that can evaluate companies in a quick turnaround manner,” he added. “This is something that we view as a necessity.”

Embedded Ventures was launched in November to focus on dual-use technology companies. CEO and co-founder Jenna Bryant and Noone recently met with SMC officials and discussed ways in which investors could help fund specific Space Force needs. “We are willing to help grow companies knowing that the government is sitting there waiting to be a customer,” Noone said.

Some of the companies that Embedded Ventures plans to fund are in the space infrastructure sector, said Noone. He said he could not identify them by name but they include providers of in-space communications and logistics, life extension vehicles and resource extraction.

Once the Space Force determines what its future needs will be for space infrastructure services, “we can help drive private investment to companies that can work with those complex requirements,” said Noone.

Mandy Vaughn, former president of launch provider Virgin Orbit’s government-focused VOX Space subsidiary and now a private consultant, said one of the obstacles for commercial providers is that the U.S. military has a tough time buying products or services “as is.”

Buying commercial services requires a different mindset, she said. The government is going to have to understand that it can’t change a commercial product but has to adjust its needs so it can take advantage of what’s available.

Vaughn said SMC leaders are “really thinking about this, which is kind of exciting.”

If the culture of how the military buys doesn’t change, she said, “then we’re going to be at a strategic disadvantage.” Leveraging the private investment that is going into space, said Vaughn, “is more than an opportunity. I think it should be a mandate.”

Tess Hatch, partner at Bessemer Venture Partners. Credit: Bessemer Venture Partners

The space companies that are best equipped to provide services to the military are those that already have a healthy commercial customer base, said Tess Hatch, a partner at Bessemer Venture Partners.

“The government is a fabulous customer for any space startup, or any company, period,” she said. But for many companies that have not worked with the government before it can be a steep learning curve.

Many companies have gotten a taste of the government market working on Small Business Innovation Research (SBIR) contracts, Hatch noted. But transitioning from SBIR to full-scale services is “still difficult for our startups to navigate, even for our very large growth stage companies.

INTELLIGENCE, WEATHER DATA

The Space Force’s interest in commercial ISR could create significant opportunities for players in the geospatial intelligence industry that have demonstrated the capabilities of small satellites, said John Serafini, CEO of radio-frequency data analytics company HawkEye 360.

Constellations of remote-sensing smallsats deliver overhead imagery, radar and radio-frequency mapping to track objects or events, as well as analytics software to make sense of the data, said Serafini. “These capabilities didn’t exist five or 10 years ago.”

Indications that the Space Force will buy commercial ISR is “very exciting news” and sends a demand signal, he said. “There is now a bullpen of commercial companies that can service that.”

The Space Force can buy a subscription and receive data just like any other customer, said Serafini. And as industry investors continue to fund new capabilities, he said, the military will be able to rely on the commercial market to build the infrastructure using private capital.

Space startup ExoTerra Imaging is developing a constellation of cubesats to provide global cloud and weather imagery data. CEO David Crain noted that the Space Force relies on government-owned satellites for weather data but is now showing interest in commercial options to augment military systems.

ExoTerra Imaging plans to pitch its service to military users of weather data that need frequent updates on cloud movements so they can plan flight routes and satellite tasking, he said. “With a constellation of cubesats, we could update and refresh the cloud mask data as quickly as possible,” said Crain. “We see that as a potential business.”

Space Force initiatives to acquire commercial services are good news for the industry, said Crain, but it remains to be seen if the government is serious about working with emerging startups and ventures that are new to the game. “Sometimes small companies are told that they don’t have the right retired general on their board,” Crain said. “It’s that blunt.”

Commercial space companies have been waiting for the government to embrace the commercial services model, he said. “I’m confident that if you deliver a service that meets a need they will buy it, as long as the price is competitive.”

LEO BROADBAND

Another item on the Space Force’s wish list of commercial space services is broadband communications from low Earth orbit. SMC’s Commercial Satellite Communications Office procures broadband from operators of geostationary satellites and narrowband communications from longtime mobile satellite services provider Iridium Communications. The office is now looking to add LEO broadband providers, opening up opportunities for the likes of SpaceX, OneWeb, Telesat and others.

Satcom users across the military are demanding low-latency global communications and the Space Force is working to figure out how to procure these services, said Jiral Shah, program manager at CSCO.

The office earlier this year issued a request for information from LEO providers. The feedback is helping Space Force satcom buyers better understand the market before they issue contracts, said Shah.

“We want to be able to let the commercial marketplace play itself out, we don’t want to drive one company or one industry to either success or failure,” he said. “We just want to buy what is available and help support the warfighter’s mission.”

Satcom services are funded through a “defense working capital fund,” an accounting mechanism the Pentagon uses to fund specific activities, and functions like a checking account. CSCO customers, for example, deposit their payments for satcom services in the working fund.

The defense working capital fund used for satcom purchases would be a good model for how agencies could pay for other space services like imagery or analytics, said Air Force Brig. Gen. Steve Butow, who heads the Defense Innovation Unit’s space portfolio and has advocated for the adoption of commercial services.

Butow, who soon will be retiring from active-duty military service, said “nothing would make me happier before I retire than to see the Space Force be the executive agent for all commercial imagery and analytics.”

Ric VanderMeulen, Viasat’s vice president of government satcom, commended the Space Force for its enthusiasm with regard to commercial services. It’s a major shift in culture, he said.

“When you’re in the business of bespoke systems, you’re in the business of prescribing specifically what you want,” said VanderMeulen. “When you choose to buy a service that wasn’t built 100% for you, you have to adapt to what it is. You don’t get to prescribe how it works.”

This article originally appeared in the June 2021 issue of SpaceNews magazine.

#Space

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