Known for his LED light installations including the iconic Salesforce Tower, San Francisco-based artist Jim Campbell created a 32-foot high sculpture designed to shape the COMMUNITY space at LUMA and be readable from multiple vantage points inside and outside the hotel. Wanting the sculpture to be activated at all times, Jim was inspired by the Mission Creek Channel running along the property to create a waterfall – a degrading spiral that represents the ceaseless movement of water while evoking a sense of airy weightlessness. At night, human figures are visible slowly climbing the waterfall. | Located on the first floor in COMMUNITY.

Oakland-based artist Adia Millet pays homage to Mission Bay as a longtime refuge for the many birds and water fowl — ducks, geese, herons, egrets, ospreys, gulls, sparrows, pelicans, kingfishers — that continue to coexist with us amidst the changing landscape. Drawing on the shapes, angles, and colors of expanded wings and beaks, she forms an abstracted vision of feathers in movement, suggesting an unfolding playfulness designed to embody a modern vision of nature’s beauty and diversity. | Located on the first floor in COMMUNITY.

"Herbarium" is inspired by the records of Hans Herman Behr, a young physician and naturalist who settled in San Francisco in 1850 and described a vibrant and verdant ecosystem along the edges of the Bay. Composed of fauna endemic to Mission Bay, many of which species may still be found in the persistently wild corners of the city, the sculpture represents the natural history that persists as the urban plan grows and evolves. The bright colors both contrast and complement the architecture of the hotel, while referencing the spectrum of the city — the orange of California poppies and the Golden Gate Bridge, the blues of fog and the Bay, and the yellow of wild yarrow and mustard. | Located outside the hotel, on Channel Street.

In 1800, there were 190,000 acres of tidal marsh around San Francisco Bay — today, less than a quarter remains. Created by Oakland-based creative studio Local Language, “Memory Tides” is inspired by aerial photographs of existing Bay Area wetlands and invites us to reflect on what has come before us and to acknowledge the metaphorical ground of history on which we all stand. | Located on the first floor in GLOW CENTRAL.

The hallucinatory suffusion of color in this large-scale piece was created by infecting a digital photograph of a painting with Skywiper, a computer virus created as part of a joint cyber espionage effort by Israel and the United States. Through randomized striation, artist James Hoff references the inherent disorder of technological communication and the ways in which destruction is often self-inflicted unknowingly by participants within digital networks. | Located on the third floor outside GATHER.

The “Areo Gardens” series reflects on the surreal and sublime qualities found in natural geology throughout the solar system. Each short film depicts a stone sculpture garden set on the surface of Mars, apparently defying the laws of physics, and broadens our understanding of nature to include extraterrestrial landscapes. The works depict 3D scans of real rocks and boulders captured in many parts of the world using 3D photogrammetry, as well as terrain maps of Martian sites obtained through satellite imagery. | On view on the video wall in GLOW CENTRAL.

Nico Tone is a collective of media artists based in Asia whose artistic practice stems from exploring the relationship between traditional fine art and new emerging technologies. Here, nature reflects upon itself within an ordered chaos visual riddle, while in each chapter of the work more hints are revealed. | On view on the video wall in GLOW CENTRAL.

A virtual tour into a half-digitized scan of an idyllic scene, where the flythrough takes spectators through a beautiful landscape of grasses, trees, and flowers forming and deforming. | On view on the video wall in GLOW CENTRAL.

Exploring the paradox of a soft, gentle wind blowing during the harsh cold of winter, "Wind of Linz" is part of a series of poetic Data Paintings created with a range of custom software. Using a one-year data set collected from site-specific city locations to read, analyze, and visualize wind speed, direction, and gust patterns along with time and temperature, the resulting artwork is a unique visual interpretation of the interaction between the environment and the city. Each chapter brings different aspects of the data sets to life with distinct and varied painterly and emotive aesthetics, making the invisible beauty of wind as a natural phenomenon visible. | On view at the elevator landings, floors 4-16.

This meditative generative work was created using custom software and textural data gathered through 3D photogrammetry of natural rock surfaces, turning slow geological time into a river of color and motion. | On view at the elevator landings, floors 4-16.