EARTH CURVATURE STUDIO FALL 2014 CONTEXT AS MATERIAL I HOW TO READ PLACE School of Architecture I The University of Texas at Austin ARC 560R / 696 Visiting Professor – Wendell Burnette
STUDIO THESIS:
Each student should evolve their own architectural language or voice with a clear set of personal ethics and an original poetic vision toward an environmentally responsible architecture that also strives to timelessly resonate with a “special place” as the first and most important goal of sustainable design. The site with the Earth Curvature art installation expands the scope of your work to include the planet and our place in the universe in the largest sense and America and its’ Great Salt Lake Desert in another sense. Early assignments will require you to model and draw analytic-like drawings of the site and its art installation before a site visit early in the semester. Other analytic-like drawing assignments will include the work of certain artists concerned with light, place and similarly related themes. Others will include envelope and building skin performance (environmental / phenomenological). In the end (as described below) you will be expected to develop and defend your own architecture for this site and program at a Design Development level at the conclusion of the semester.
EARTH CURVATURE
LOCATION: The intersection(s) of The Great Salt Lake Desert and Interstate 80.
Site: North side of I-80 between mile marker 21 and 22 (roughly the center of an ‘‘arrow’’ straight 40-mile stretch of due east-west bound interstate traffic). Standard length exit-entry ramps off and onto I-80. Parking for 100 vehicles and 50 truckers would occur between the east-westbound lanes. A tunnel under the westbound (north) lane will provide drop-off as well as pedestrian and service access to the Rest Area.
Alternate Site: North side of I-80 at Bonneville Salt Flat turn-off (west end of I-80) at a point that engages the western end of the Land Art Installation. Parking requirements same as listed above. Pick only one site.
PROGRAM: A 20-40,000sf Zero Energy Rest Area / Museum that engages a proposed Land Art Installation entitled ‘‘Earth Curvature.’’ The Rest Area / Museum should provide 10-20,000sf of space(s) for ‘‘experience of place’’ as interpreted by each student. Additional spaces for engaging the specific context of this ‘‘place’’ should include:
• a 2,500sf café for 50+ • museum exhibit spaces • 600sf for M/W restrooms with 4 WCs / 4 Lavs / 2 showers each for 25 campers | 25 truckers • required support spaces for all of the above
LAND ART INSTALLATION: 341 logarithmically decreasing spaced poles form a straight line in space intersecting the curvature of the earth at the site, which is a water-leveled surface where objects go over the horizon between 2.9 and 3.2 miles depending upon your height above the surface of the earth. A passive audience of continuous traffic (365 days a year 24/7) engages the art piece at high speed and in a span of 20-40 minutes more readily experiences the curvature of the earth and perhaps a greater awareness of our planet and our selves.
The Land Art Installation was initiated by an inquiry from Bill Timmerman (photographer/ amateur astronomer) about how to experience the curvature of earth, Site/design concept is a collaboration between the two of us, which began with trips to the Great Salt Lake in 2000 and 2004 and continues.
**The Land Art Installation is not part of the design problem. Incorporate the ‘‘Earth Curvature’’ as a given; see attachment.
‘‘The best magic of all is the magic that is real.’’ ------Artist James Turrell
LANDSCAPE AND HISTORY: Research into the specificity of place could include deep geologic time, ancient inhabitation, cultural histories from the westward expansion to the quest for land speed records, as well as a landscape and circumstance that could promote planetary awareness and environmental stewardship to a wide and diverse audience of all ages.
‘‘Have an Idea, Act as an Architect.’’ ------Architect Renzo Piano
CLIMATE AND CONSTRUCTION: Research and choose the appropriate low and/or high tech strategies for building in a harsh undeniable climate with limited material resources but with a strong connection to intercontinental traffic, as well as the large metropolis of Salt Lake City and surrounding local communities. The saltpan is an unforgiving reflector of heat and light by day, and by night takes on the qualities of arctic snow.
‘‘A building should be able to open up and say, ‘I am alive and looking after my people,’ or instead, ‘I’m closed now, and I’m looking after my people as well.’ This to me is the real issue: buildings should respond. …They should open and close and modify and re-modify….That is a part of architecture for me, the resolution of levels of light that we desire, the resolution of the wind that we wish for, the modification of the climate as we want it. All this makes a building live.’’ ------Architect Glenn Murcutt
REQUIREMENTS:
SITE SKETCHES / EXPERIENTIAL NARRATIVE: Should convey your ‘‘reading of the place’’ and substantiate your interpretation of ‘‘context as the malleable material’’ for your proposal. Narrative should be 150 words maximum and convey through storytelling ‘‘what experiences you want the visitor to take home with them’’. Site sketches should include ephemeral plans/sections/sketch perspectives of intentions, environmental site strategies, ‘‘ranges of experience’’ you desire for the visitor, which consider the length of time one might choose to rest in this ‘‘place’’ and the ways various programs can engage ‘‘experience of place’’.
SITE PLAN: Show structural and spatial organization of vehicular arrival, parking, as well as pedestrian flows to, from and between spaces, interface of all with site context inclusive of Zero Energy strategies for Site.
SITE ANALYSIS: Climatic Data Research------Latitude Location, Sun Angles (Equinox & Winter and Summer Solstice), High and Low Temperatures (Day and Night), Prevailing Winds, plus additional Weather Data for developing a Psychrometric Chart of Comfort for Passive Cooling/Passive Heating Design. Investigate alternative methods for maintaining relative comfort day and night through the winter, summer and shoulder seasons through passive/active environmental design.
Water Analysis------Considering site location, investigate all methods to optimize Water Efficiency. These can range from the method of sewage disposal like composting toilets to grey water and rainwater harvesting for night-time and day-time heating/cooling and/or landscape irrigation. What is the environmental impact of water and sewage treatment on site?
Energy Analysis------Considering the high number of cloudless sunny days in this desert location, investigate all methods for harnessing Solar Power. Are there low scale methods for harnessing energy from wind power? Is Geothermal Cooling a viable option on this site? What are the optimum conditioning/lighting strategies to reduce total energy consumption?
Materials and Resources------what materials will best serve the collective goals of a Zero Energy Local/Global Rest Area/Museum? What role will the materiality of your design play in the Visitor Experience? What materials are best suited to resonate with the specific qualities of this ‘place’, such that a memorable experience is mined for each visitor to take home with them. What of these materials possess the least amount of embodied energy? What is the relative economy of your ideas? Both in financial/environmental terms (short-term/long-term) and in terms of good environmental design that is constructed with the least resources, requires the least amount of long-term maintenance, and gives something back, in other words --- it stands the test of time.
• Studio Site Model of entire art installation (approximately 35 miles x 5 miles) to represent Earth Curvature.
• Studio Site Model at 1/64’’ = 1-0’’ Sketch Models (3 initial iterations minimum + final concept model at this scale)
• Architectural Plans (Floors and Roof): showing all program elements, circulation and spaces with structure, materiality, environmental performance, and experiential qualities defined.
• Architectural Sections and Elevations: location(s) of section cuts/elevations that best convey design intent of spaces with structure, materiality, environmental performance, and experiential qualities defined------at designer’s discretion.
• Individual Architectural Site Models at 1/8’’=1’-0’’ (3 study models + 1 Final Model)
• Wall Sections: two minimum that clearly articulate the building envelope [skin(s)] in terms of materiality and performance in terms of tectonics and poetics.
• Wall Section Model at ½’’ = 1’-0’’
• Site Assembly/Construction Cartoons: show sequence of construction------minimum nine slides.
• Three-dimensional Images: nine vignettes minimum, two minimum that incorporate land art installation.
• Additional Images: at designer’s discretion.
• Develop and present all drawings at a legible size and scale, in relation to design intent, and keeping with requirements for presentation.
EARTH CURVATURE STUDIO FALL 2014 CONTEXT AS MATERIAL I HOW TO READ PLACE School of Architecture I The University of Texas at Austin ARC 560R / 696 Visiting Professor – Wendell Burnette
560R / 696 STUDIO SCHEDULE ______
Week I F 8-29 First Day of Class Burnette Visit
Site Model Organization / Reading Assignments / Drawing Exercise 1: Artist / Drawing Exercise 2: Site + Art Installation / Field Trip Organization PURCHASE AIRLINE TICKETS
Week II M 9-01 Labor Holiday (classes excused)
Tu 9-02 Last day of the official add/drop period
W/F 9-03/05 Independent Study Drawing Exercise 1 + Drawing Exercise 2 FINALIZE TRAVEL ARRANGMENTS: HOTEL/CAR
Week III M/W 9-08/10 Independent Study Principal Reading Assignment due + class discussions Drawing Exercise 1 + Drawing Exercise 2
F 9-12 Burnette Visit Drawing Exercise 1 + 2 DUE PIN-UP: Drawing Exercise 1 + 2
S 9-13 Reading assignments discussed Drawing Exercise 3: Envelope
Week IV M_F 9-15_19 Independent Study Drawing Exercise 3 DUE WED 9-17 Presentation / PIN-UP/ Discussion
Week V M/W 9-22/24 Independent Study Site Model DUE WED 9-24
F_Su 9-26_28 Field Trip Burnette Visit Meet at SLC
Week VI M_F 9-29/10-03 Independent Study
Week VII Th 10-09 Desk Crits Burnette Visit
F 10-10 Schematic Design Pin-up Review
Week VIII M_F 10-13_17 Independent Study
Week IX W 10-22 Mid-Term Review / Burnette UT Austin Lecture Burnette Visit
Th 10-23 Desk Crits
F 10-24 Desk Crits ______
Week X M_F 10-27_31 Independent Study
Week XI T 11-04 Last Day to Drop w/ Dean’s approval Burnette Visit
Th 11-06 Desk Crits
F 11-07 Desk Crits
Week XII F 11-14 Independent Study
EARTH CURVATURE STUDIO FALL 2014 CONTEXT AS MATERIAL I HOW TO READ PLACE School of Architecture I The University of Texas at Austin ARC 560R / 696 Visiting Professor – Wendell Burnette
STUDIO READINGS WRITING ASSIGNMENTS
Personal Narrative: ½ page (8 ½ x 11), 10 pt. – tell me something about yourself. Due Wednesday, September 3rd. Email to Prof. Burnette @ [email protected] at the end of day.
Readings + Essay + Discussion: Sign up to read a minimum of one book from the three principal books below + one from the supplemental reading list. Prepare and submit two 4 page (8 ½ x 11), 10 pt. essay of your book and / or reading and share a synopsis of your essay with your colleagues in a 10 minute discussion per essay. Essay I Presentation may be supplemented with images on 11 x 17 while meeting the minimum requirements stated above. Also, please submit as a low-res PDF and email to [email protected]. Principal Reading List synopsis due Wednesday, September 10th and Supplemental Reading List synopsis due Wednesday September 24th.
Principal Reading List:
The Desert: Further Studies in Natural Appearances John C. Van Dyke, 1901
Scenes in American Deserta Reyner Banham, 1982
Sverre Fehn, The Pattern of Thoughts Per Olaf Fjeld, 2009
Supplemental Reading List:
Wind, Sand and Stars Antoine de Saint-Exupery, 1939
Desert Solitaire: A Season in the Wilderness Edward Abbey, 1968
The Nature of Light & Color in the Open Air M. Minnaert, 1958
Donald Judd: Colorist Hatje Cantz, 2000
Zenithal Light Elias Torres, 2004
Eye and Brain: The Psychology of Seeing Richard L. Gregory, 1998
Spiral Jetta: A Road Trip through the Land Art of the American West Erin Hogan, 2008
Land Arts of the American West Chris Taylor, 2009
Atmospheres Peter Zumthor, 2006
The Void, The Grid & The Sign Traversing the Great Basin William L. Fox, 2000 EARTH CURVATURE STUDIO FALL 2014 CONTEXT AS MATERIAL I HOW TO READ PLACE School of Architecture I The University of Texas at Austin ARC 560R / 696 Visiting Professor – Wendell Burnette
Artists Envelope
The Lightning Field, 1977 Harpa Concert Hall & Conference Centra Catron County, New Mexico Reykjavik, Iceland Walter De Maria Henning Larsen Architects w / Artist Olafur Eliasson
Walking the Line, 1967 - Present Kunsthaus Bregenz Multiple Sites Bregenz, Austria, Peter Zumthor Richard Long Cartagena Auditorium & Conference Center Double Negative, 1960 Cartagena, Spain Overton, Nevada Selgas / Cano Michael Heizer United States Federal Courthouse Aluminum Boxes, 1982-1986 Salt Lake City, Utah, USA Chinati Foundation, Marfa, Texas Thomas Phifer Donald Judd Fine Arts Museum Roden Crater, 1970s - Present Lille, France Flagstaff, Arizona Jean Marc Ibos and Mytro Vitart James Turrell British Pavilion Seville Worlds Fair 1992 Spiral Jetty, 1970 Seville, Spain Box Elder, Utah Nicholas Grimshaw + Partners Robert Smithson New York Times Headquarters Sun Tunnels, 1973-1976 New York, United States Lucin, Utah Renzo Piano Workshop Nancy Holt RMIT Design Hub The Comb of the Wind, 1977 Melbourne, Australia San Sebastián, Spain Sean Godsell Eduardo Chilida EUROPAALLEE21 Lagetrstrasse House Storm King Wave field, 2009 Zurich, Switzerland New Windsor, New York Gigon / Guyer Architekten Maya Lin Besancon Art Center & Cite de la Musique The Gate in the Gorge, 1986 Besancon, France Louisiana Museum, Denmark Kengo Kuma & Associates Richard Serra Denver MOCA Phase Mother Earth, 1968 & 2008 Denver, Colorado, USA Kobe, Japan Kengo Kuma & Associates Nobuo Sekine Beijing National Aquatics Center Identity Stretch, 1975 Beijing, China Lewiston, New York PTW Architects Dennis Oppenheim Kunsthaus Graz Graz, Austria, Spacelab Cook-Fournier Not A Cornfield, 2005
Los Angeles, CA Prada Tokyo Lauren Bon Tokyo, Japan , Herzog de Meuron
Running Fence, 1976 Phare Tower Christo and Jeanne-Claude Paris, France, Morphosis Near Bodega Bay, California
Museums, Hotels, Visitor Centers and Rest Stops (Reference)
Vøringsfossen Waterfall Area Vøringsfossen, Eidfjord County Carl-Viggo Hølmebakk
Steilneset Memorial Barents Sea in Vardø, Norway, Peter Zumthor
Hedmark Museum Hamar, Norway Sverre Fehn
Norwegian Glacier Museum Fjaerland, Norway Sverre Fehn
Aukrust Centre Alvdal, Norway Sverre Fehn
Pedras Salgadas Spa & Nature Park, Portugal Bornes de aguiar, Portugal Luís Rebelo de Andrade , Diogo Aguiar
National Tourist Route Trollstigen Romsdalen, Norway Reiulf Ramstad Arkitekter
Arthur and Yvonne Boyd Education Centre New South Wales, Australia Glenn Murcutt
Les Cols Restaurant and Pavilions Olot, Spain RCR Architects
Ruth Lilly Visitors Pavilion Indianapolis, Indiana, USA Marlon Blackwell Architect
Amangiri Resort Canyon Point, Utah, USA Marwan Al-Sayed, Wendell Burnette, and Rick Joy as I-10 LLC
The Chedi Chiang Mai Chiang Mai, Thailand Kerry Hill Architects
Hotel Aire de Bardenas
Navarra, Spain
Emiliano López Mónica Rivera Arquitectos
Remota Hotel
Magallanes and Antártica Chilena Region, Chile
German del Sol
Fasano Las Piedras
Punta del Este CP, Uruguay
Isay Weinfeld
Juvet Landscape Hotel
Valldal, Norway
Jensen & Skodvin Arrkitektkontor + other interventions
Liasanden - Mountain road project
Videseter Railings - Mountain road project
Gudbrandsjuvet – Viewing platform
EARTH CURVATURE STUDIO FALL 2014 CONTEXT AS MATERIAL I HOW TO READ PLACE School of Architecture I The University of Texas at Austin ARC 560R / 696 Visiting Professor – Wendell Burnette
SALT LAKE CITY | Itinerary
Friday, 26 September 2014
10:12 Arrive Salt Lake City
11:00 – 12:00 Tour of Salt Lake City Federal Courthouse Architect - Thomas Phifer 351 South West Temple (meet 400 South Street) Salt Lake City, Utah Sergey Akhpatelov - m.801.808.0796
12:00-2:00 Lunch Break
2:00–3:30 Drive to Golden Spike Museum
3:30 – 4:00 Golden Spike Museum 32 miles west of Brigham City Utah, via Utah Hwy. 83 (435) 471-2209 http://www.nps.gov/gosp/planyourvisit/directions.htm
4:00–5:00 Drive to Spiral Jetty
5:00 – Sunset Spiral Jetty Artist - Robert Smithson Box Elder, UT http://www.diaart.org/sites/page/59/1310
Sunset at 7:17
9:00 Dinner / Check-in Hotel at Salt Lake City
Saturday, 27 September 2014
8:30–9:30 Breakfast
9:30–10:00 Drive to Utah Natural History Museum of Utah
10:00–12:00 Natural History Museum of Utah Architect – Ennead Architects 301 Wakara Way Salt Lake City, UT 84108 (801) 581-6927 Museum Receptionist http://nhmu.utah.edu/contact-us
12:00-1:00 Lunch Break at Natural History Museum of Utah
1:00–2:00 Drive to Main Site
2:00–3:00 1st Main Site Visit Location Details see ‘Syllabus”
3:00–3:30 Drive to Bonneville Salt Flat
3:30–4:30 Alternate Site Visit - Bonneville Salt Flat Interstate 80 Wendover, UT Coordinates: 40°47 59 N 113°48 00 W
4:45–6:15 2nd Main Site Visit Sunset at 5:45
6:15-8:30 Dinner Break / Night Site Visit Suggested
Sunday, 28 September 2014
6:30–7:30 Drive to Sun Tunnels
7:30–8:30 Sun Tunnels at Sunrise Artist – Nancy Holt NW Utah, 40 miles N of Wendover, five miles S of Lucin Coordinates: 41.303501, -113.863831 http://clui.org/ludb/site/sun-tunnels Sunrise at 7:34
8:30–9:30 Drive back to breakfast in town
9:30–10:30 Breakfast
10:30–3:30 3rd Main + Alternate Site Visit
3:30 Departure to SLC Airport