Gordon Huether Studio Art Matters

gordon huether studio art matters

THEATER CORRIDOR PUBLIC ART INSTALLATION RESPONSE TO REQUEST FOR QUALIFICATIONS

gordon huether studio art matters LETTER OF INTEREST

My interest in creating an art installation for the theater corridor in downtown Ashland stems from my appreciation for the artistic challenge of fulfilling the potential of this very specific space, the opportunity to fully integrate lighting into an artwork and explore the ways in which lighting can have a profound effect, and the charms and attraction of the City of Ashland, itself. Ashland’s beauty and the grandeur of the Siskiyou and Cascade Mountains, its incredible cultural resources and the charm of the community make it an ideal site for the meaningful and thoughtful integration of public art. I believe I have the experience and unique qualifications to fulfill all project goals and create artwork that acknowledges the artistic and intellectual qualities of the city, facilities passage through the corridor, activates the space and pays homage to the bountiful beauty of the area.

Creating work that brings storytelling and beauty into publicly shared spaces has been my focus and passion for nearly 30 years and has resulted in more than 70 international public art commissions. My mission statement defines the conceptual basis for my body of work: “To inspire the spirit of humanity by bringing beauty and meaning into the world through art.” I approach each project through a fresh lens and let the story and the parameters of each project guide my creativity. I believe a successful public art installation should articulate a public space and give it definition and meaning, either by extending it visually or providing a sense of enclosure and intimacy. Artwork should not get “lost” in a landscape or architectural setting, but instead add depth and dimension. Ultimately, my approach to the integration of art, its concept, approach, material and fabrication will respond specifically to the history, culture, people and stories of Ashland. The conceptual development process for the theater corridor will include extensive research about the site and the community. If awarded this opportunity, I will engage with project stakeholders and community members to learn more about Ashland and the theater corridor and then let the story and the space form the conceptual basis of the artwork.

As the accompanying images of past work indicate, I have significant experience incorporating lighting design into artwork to create a powerful and spectacular effect. For Route 66 in Albuquerque, New Mexico, Aluminum Yucca incorporates a solar-powered, slow-moving color wheel that recreates the hues of the Albuquerque desert landscape at night and illuminates the sculpture for motorists driving past. Imaginative lighting enables this gateway installation to have a compelling effect at both day and night. Rostrum is an installation that has become a gathering and meeting space for residents of the community where it is located. 50 inset LED lights are embedded into the steel “skeleton” of the structure, imbuing Rostrum with a glowing, welcoming presence that attracts visitors throughout the evening hours. In Honor of the Fallen, a memorial sculpture for the Oklahoma City Police Department incorporates dichroic glass and lighting to create a sparkling, transformative light-filled installation that is compelling at both day and night.

My approach for the theater corridor might utilize dichroic glass; it is extremely light sensitive and highly reflective, with fantastic multi-colored and reflective properties. Light transmitted through the dichroic surface of the discs will appear to be one color and light reflected from it will appear as a complementary color. As the angle at which the dichroic is viewed changes, the colors that are transmitted and reflected also change. I believe this material might be extremely effective in the theater corridor, with properties that can be exploited throughout the day and night. Light cast by either sunlight or integrated LED lighting will result in an art installation for the theater corridor that enhances the space, invigorates the walkway, engages visitors and visually connects the theater campus with Main Street.

gordon huether studio art matters LETTER OF INTEREST

I have spent my entire career in the field of public art and effective collaboration has been an essential ingredient for the timely completion and success of every one of my projects. I have extensive experience collaborating with architects, university staff, community representatives, government agencies, and design and project teams. I have an aptitude for interpreting architectural and landscape drawings and I am well versed in reading architectural, landscape and engineering plans. With every commission, I work closely with the designers and staff to develop a thorough understanding of the use and experience of the site and understand the aesthetic established by the surrounding architecture and landscape.

Another hallmark of my work is the outstanding level of craftsmanship and oversight our studio produces. I have the infrastructure to complete projects of any size and scope on time and on budget. All of the work I design is fabricated to the highest quality standards at our studio in Napa and is created to be permanent, durable and require little maintenance. Gordon Huether Studio has the talented staff to provide in-house services from design to installation and we are proud to be recognized for delivering all projects on time and on budget, even within the most challenging timelines and circumstances.

Thank you very much for your consideration.

Gordon Huether Artist 1821 Monticello Road Napa, CA 94558 707-255-5954 [email protected] www.gordonhuether.com

gordon huether studio art matters

GORDON HUETHER | RÉSUMÉ

SELECTED COMMISSIONS 2016 Salt Lake County District Attorney’s Office Building, Salt Lake City, UT Commissioned by: Salt Lake County Sand Hill, Palo Alto, CA Commissioned by: Palo Alto Public Art Commission Copia, Napa, CA Commissioned by: The Culinary Institute of America Dadeland, Boca Raton, FL Commissioned by: Duncan Hillsley Capital OLE Health, Napa, CA Commissioned by: OLE Health 2015 Salt Lake City International Airport, Salt Lake City, UT Commissioned by: Salt Lake City Department of Aviation Fort Lauderdale-Hollywood International Airport - Terminal 1, Fort Lauderdale, FL Commissioned by: Broward County Public Art Program Iliff Rapid Transit Station and Parking Structure, Aurora, CO Commissioned by: City of Aurora, Art in Public Places In Honor of the Fallen, Memorial Sculpture, Oklahoma City Police Headquarters, Oklahoma City, OK Commissioned by: Oklahoma City Office of Arts & Cultural Affairs 2014 9/11 Memorial Sculpture, American Canyon, CA Commissioned by: American Canyon Fire Department Hoops, Oregon State University - Basketball Practice Facility, Corvallis, OR Commissioned by: Oregon State Arts Commission Millstone Rehabilitation Project, Yountville, CA Commissioned by: Town of Yountville The Nature of Life, Martinez Courthouse, Martinez, CA Commissioned by: Judicial Council of California, Arts in the Courthouse Program Red Bluff Courthouse, Sacramento, CA Commissioned by: State of California; LPAS Architecture + Design Rockland County Office Building, New City, NY Commissioned by: Rockland County Art in Public Places Tarantula and Poppy Jasper, Morgan Hill Parking Facility, Morgan Hill, CA Commissioned by: City of Morgan Hill, F+H Construction 2013 Hatcher Road Streetscape Project, Phoenix, AZ Commissioned by: City of Phoenix, AZ Portal, University of Toledo Roundabout, Toledo, OH Commissioned by: University of Toledo 2012 A-Round Oakland, BART Oakland Coliseum Connector Station, Oakland, CA Commissioned by: Bay Area Rapid Transit Authority Aureole, Centennial Plaza Sculpture, Peoria, AZ Commissioned by: City of Peoria High Wire Travelers, Raleigh-Durham International Airport, Raleigh, NC Commissioned by: Raleigh-Durham International Airport Oklahoma State University - Henry Belmon Research Center, Oklahoma City, OK Commissioned by: Oklahoma Art in Public Places 2011 A is for Allen, Exchange Parkway Median Enhancement, Allen, TX Commissioned by: City of Allen University Health System - Medical Center Campus, San Antonio, TX Commissioned by: Bexar County Hospital District 2010 The Canyon, Salt Lake City International Airport - TRAX Station, Salt Lake City, UT Commissioned by: Salt Lake City; Utah Transit Authority Desert Light, Sun Tran Bus Storage & Maintenance Facility, Tucson, AZ Commissioned by: Tucson Pima Arts Council Houston Police Department, Midwest Police Station, Houston, TX Commissioned by: Houston Arts Alliance; City of Houston Kansas City Police Department - South Patrol Station, Kansas City, MO Commissioned by: Kansas City 2009 9/11 Memorial, Napa, CA Commissioned by: City of Napa

Globussphäre, Loßburg, Germany Commissioned by: Arburg GmbH & Co. KG LBJ Presidential Library, Austin, TX Commissioned by: LBJ Presidential Library LBJ School of Public Affairs, Austin, TX Commissioned by: University of Texas at Austin Pixel Care and Light Forest, El Camino Hospital, Mountain View, CA Commissioned by: El Camino Hospital, Mountain View, CA Rostrum, Miramar Town Center, White Rock, BC, Canada Commissioned by: City of White Rock, BOSA Properties 2008 Jack London Square, Oakland, CA Commissioned by: City of Oakland; Jack London Square Partners Lafayette-Orinda Presbyterian Church, Lafayette, CA Commissioned by: Lafayette-Orinda Presbyterian Church; HKIT Architects Lot 5 Project, Chapel Hill, NC Commissioned by: Town of Chapel Hill O Wave, Ovation Condominiums, St. Petersburg, FL Commissioned by: JMC Communities Red Eye, East Village Parking Facility, Kansas City, MO Commissioned by: Kansas City Municipal Art Commission 2007 Desert Mosaic, Tucson Justice Court, Municipal Court Complex, Tucson, AZ Commissioned by: Tucson Pima Arts Council Gotta Go, Jacksonville International Airport, Jacksonville, FL Awarded by: Jacksonville International Airport Arts Commission Mountain Range and River of Light, John Muir Medical Center, Walnut Creek, CA Commissioned by: John Muir Health Foundation; City of Walnut Creek Petaluma Tower, Petaluma, CA Commissioned by: City of Petaluma Richmond Civic Center, Richmond, CA Commissioned by: City of Richmond Texas Tech University - School of Law, Lubbock, TX Commissioned by: Texas Tech University 2006 The Bridge Homeless Assistance Center, Dallas, TX Commissioned by: Dallas County; Overland Partners Marsh Creek Bridge, Brentwood, CA Coommissioned by: City of Brentwood Awarded by: The City of Brentwood The Collection, Burbank, CA Commissioned by: City of Burbank; Champion Development Vessel and Waves, Sacramento Regional County Sanitation District, Sacramento, CA Commissioned by: Sacramento Metropolitan Arts Commission SELECTED AWARDS 2015 Napa 9/11 Memorial - CODAworx Video Awards Top 100 - Collaboration of Art and Design Highwire Travelers, Raleigh-Durham International Airport - 2015 CODA Awards Merit Winner – Transportation 2014 Napa 9/11 Memorial, CODAworx Video Awards Top 100, Collaboration of Art and Design 2013 Mountain Range and River of Light, John Muir Medical Center - CODAworx Awards Top 100 - Collaboration of Art and Design 2010 Certificate of Merit, American Society of Interior Designers, California Peninsula Chapter 2009 Gotta Go, Jacksonville International Airport, Jacksonville, FL - Americans for the Arts Public Art Network - Best Public Art in the United States, 2009 The Bridge Homeless Assistance Center, Dallas, TX - Housing Committee Award for Special Housing, American Institute of Architects - Award for Community-Informed Design, Department of Housing and Urban Development 2006 Stockton Arena Public Parking Structure, Stockton, CA - Americans for the Arts Public Art Network - Best Public Art in the United States, EDUCATION 1990-92 Life Center Collaborative Project with Professor Johannes Schreiter, Napa, CA 1986 Pilchuck Glass School, Stanwood, WA 1980-82 Apprenticeship at Universal Glass Studio, Blieskastel, Germany

Aluminum Yucca 2003 Salvaged Aluminum, Solar Powered LED Lighting 22’ H x 15’ W x 15’ D Route 66, Albuquerque, NM Budget: $200,000

Aluminum Yucca is made from salvaged aluminum fuel tanks from F-16 military aircraft. The hollow forms were sliced vertically to resemble the scooped shape of the Datil Yucca leaf, which is native to the area. At night, a slow-moving, solar-powered color wheel that recreates the hues of the Albuquerque desert landscape illuminates the sculpture. The exaggerated scale celebrates the romance and nostalgia of western Road Culture in the 20th century - evident all along Route 66 in wigwam-shaped hotels, five-foot Mexican sombreros and giant cowboy boots. It is located on I-40 in Tijeras Canyon, the Route 66 gateway to Albuquerque.

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Aluminum Yucca, Night View 2003 Salvaged Aluminum, Solar Powered LED Lighting 22’ H x 15’ W x 15’ D Route 66, Albuquerque, NM Budget: $200,000

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In Honor of the Fallen: Oklahoma City Police Headquarters Memorial 2015 Aluminum, Dichroic Glass, Fused Glass 18’ DIA, 70’ pathway Oklahoma City, OK Budget: $207,500

The Oklahoma City Police Department Memorial is composed of six aluminum arches that curve towards one another, creang an upliing gesture while pulling focus towards three memorial stones placed beneath. Each arch has one word water-jet-cut onto its surface with an inset of blue and gold dichroic glass behind it. The words: Strength, Honor, Courage, Responsibility, Integrity and Respect are touchstones for the police force and blue and gold are the colors of the uniform. The arrangement of arches creates an open-aired canopy and a gesture that serves as an embrace of our fallen oﬃcers. The second feature of the installaon creates a path along the plaza’s axis. Two paths of dense, fused glass, one in blue and the other in gold, are embedded into the plaza surface. This glass path serves as a way-ﬁnder for visitors, underscores the processional aspect of the memorial and adds addional beauty and complexity to the plaza. gordon huether studio art matters 4

In Honor of the Fallen: Oklahoma City Police Headquarters Memorial, Night View 2015 Aluminum, Dichroic Glass, Fused Glass 18’ DIA, 70’ pathway Oklahoma City, OK Budget: $207,500

Mountain Range River of Light 2010 2010 Corten Steel, Glass Integrated Glass Tiles 90’ L x 78” H x 2’ D 190’ L x 5” – 11” W John Muir Medical Center John Muir Medical Center Walnut Creek, CA Walnut Creek, CA Budget: $505,000 Budget: $234,000

This two-part installaon serves as both a way ﬁnder and an iconic place-making desnaon for visitors to the John Muir Medical Center. Drawing inspiraon from environmentalist John Muir’s reverence for the San Francisco Bay Area’s natural beauty, the arst incorporates references to Bay Area mountains and waterways and integrates natural landscape and architectural elements into the overall design.

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Rostrum 2013 Stainless Steel, Locally Sourced Cedar Blocks 14’ W x 14’ H x 8’ D Miramar Village White Rock, BC, Canada Budget: $300,000

Rostrum, an amphitheater-like installaon made of stainless steel and nave cedar mbers, takes its aesthec cue from the landscape and architectural design of the site. It blurs the line between art, sculpture and nature as Rostrum takes on the characteriscs of a natural shelter one might ﬁnd in a forest. Residents engage with Rostrum by using the space as a gathering place, as well as well as a piece of art. The work glows beaufully at night thanks to ﬁy inset LED lights embedded into the curved stainless steel pipes.

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Rostrum 2013 Stainless Steel, Locally Sourced Cedar Blocks 14’ W x 14’ H x 8’ D Miramar Village White Rock, BC, Canada Budget: $300,000

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Great Wall 2005 Corten Laser-Cut Steel 2' to 6’ H x 200’ L. BioMarin Pharmaceuca Novato, CA Budget: $350,000

Microscopic bio-organisms studied in BioMarin’s laboratory inspired the laser-cut design of the wall’s surface. The steel wall was treated with a hot pana applicaon, creang addional random organic paerns on the wall’s surface. The cellular shapes enliven the surface of the sculpture while adding a layer of content with a direct connecon to the mission of the company.

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Portal 2013 Aluminum, Dichroic Glass 14’ H x 14’ W x 4’D University of Toledo Toledo, OH Budget: $155,000

Portal was integrated into a health science campus in order to improve and enhance pedestrian space and to create a beauful and unifying centerpiece for a traﬃc roundabout. Through its circular shape, the sculpture invites viewers to reﬂect on the concepts of the interdependence of a community and encourages them to come together as a community through this all-inclusive portal.

gordon huether studio art matters REFERENCES

Robbie Kienzle Oklahoma City Planning Department City of Oklahoma 420 West Main Street, 9th ﬂoor Oklahoma City, OK 73102 Phone: (405) 297-1740 Email: [email protected] In Honor of the Fallen Oklahoma City Police Headquarters Memorial Oklahoma City, OK Ms. Kienzle was Oklahoma City’s contact for the installaon of an integrated plaza memorial for the new Oklahoma City Police Headquarters. hps://gordonhuether.com/stunning-photos-of-installaon-at-okc-police-headquarters

Maureen Riley Execuve Director Salt Lake City Department of Airports PO Box 145550 Salt Lake City, UT 84114 Phone: 801-575-2408 Email: [email protected] Salt Lake City Internaonal Airport Gordon Huether is currently engaged in devising and overseeing a ﬁve-year Master Art Plan for the Salt Lake City Internaonal Airport. He is also in the fabricaon phase of a signiﬁcant art installaon in the Airport’s new terminal that will be completed in 2020. hps://gordonhuether.com/gordon-huether-awarded-major-art-installaons-at-new-salt-lake-city-int-l- airport

Edith Ramirez Principal Planner for Economic Development City of Morgan Hill, CA 17575 Peak Avenue Morgan Hill, CA 95037 Phone: 408---778---6480 Email: [email protected] Poppy Jasper + Tarantula City of Morgan Hill, CA Ms. Ramirez was the City’s point of contact for this project, two installaons for a downtown parking garage in the City of Morgan Hill, CA. hps://gordonhuether.com/morgan-hill-s-brand-new-public-art-tarantula-poppy-jasper

gordon huether studio art matters 14 CASE STUDY: SALT LAKE CITY CASE STUDY: SALT LAKE CITY 15 HAZEL KING n

What do you do when your airport no longer meets building regulations and your traffic has grown by more than 100% since the facility was built? Knock it down and start again. Or at least that’s what the decision makers at Salt Lake City International Airport (SLC) have decided to do. Originally constructed in 1961 with a capacity of 10 million passengers per annum, SLC now handles 22 million travelers each year, which means that the airport is too small to provide the great passenger experience it strives for and the aging airport buildings no longer meet earthquake safety standards. “In addition the airport is made up of 29 buildings connected together to form three terminals, which is not conducive to a smooth passenger experience,” explains Maureen Riley, executive director of the Salt Lake City Department of Airports. “We have experienced great growth in the past few years and are now clean slate handling 22 million passengers annually, so everything is undersized. We took all that into consideration in designing a new facility that can Salt Lake City International’s multibillion- accommodate these additional passengers and is dollar project to centralize its terminal easily expandable for future demand.” At a cost of US$1.8bn and with a phased operations will streamline the passenger construction program scheduled for completion journey and create a sense of place for in 2023 (the three-story terminal will open in the millions of people who travel through 2020), the Salt Lake City International Airport Terminal Redevelopment Program (TRP) is one of Utah’s gateway each year the largest construction projects currently taking place in the USA, according to Gordon Huether, the artist working on the project (see Welcome to Utah on page 16).

Project elements • Single, three-level terminal built to the west of the existing terminal complex with a centralized security checkpoint • One linear concourse connected to the terminal with 38 gates featuring jet bridges. Portions of the existing B, C and D concourses will be upgraded to bring the total number of gates to 72 HOK • Gateway center between the terminal building and parking MAIN IMAGE: The garage housing rental car canyon artwork counters, airline ticket counters guides passengers and light rail services through the terminal • New parking garage with 3,600 ABOVE: The Plaza spaces – twice as many as is a centralized currently available concession area • Modern central utilities plant • Service and maintenance facilities for car rental companies Gordon Huether Studio 2015

Passenger Terminal World | MARCH 2016 passengerterminaltoday.com passengerterminaltoday.com MARCH 2016 | Passenger Terminal World 16 CASE STUDY: SALT LAKE CITY CASE STUDY: SALT LAKE CITY 17 HOK For Robert Chicas, director of aviation and our orientation and our fundamental design, and transportation at HOK, the principal architect in then we’re adding all the elements of technology charge of the project, the biggest transformation we can such as daylight harvesting, LED fixtures, of SLC is the centralization of operations. “The a very efficient central plant mechanical system, current 29 buildings that make up the airport will and an efficient baggage system whereby the be demolished or refurbished and replaced with a motors are stop/start and don’t run continuously. modern, expansive central terminal with dual level We’ve taken a very considered approach to every access, new parking and rental car facilities [see project component in terms of energy saving and Project elements on page 15]. The airport will have it has helped us to be on track with LEED Gold.” one centralized security screening checkpoint and The centralization of operations has also helped one meeter/greeter area so that the main activities reduce energy use while improving the passenger are concentrated in one location, which will make journey, as there are fewer level changes and a for a much better passenger experience.” ABOVE: Airside view of reduced number of elevators and escalators. The airport will reduce the number of gates The Plaza with views of “We wanted to make this facility easier for from 85 to 72, but they will all be fitted with jet the city’s mountain range the passengers, and the airport really drove this bridges (currently only 55 have this feature, the LEFT: The single, three- – they wanted to make SLC an easy transport rest being boarded from the ramp), enabling the level terminal building, hub,” Needham says. The terminal will have three airport to better use its preferential gate system gateway center and levels. Level 1 will feature passenger pick-up and parking garage whereby any airline can use any gate. “New, drop-off, international baggage claim, employee larger gates will support Delta’s transition from security screening and baggage handling areas; 50-seat regional jets to larger two-cabin aircraft,” community. In fact the airport’s latest economic impact study real fireplace using stone from the local quarry to make this Level 2 will feature pedestrian bridges connecting says Shane Jones, vice president of corporate real predicts that the redevelopment will create nearly 24,000 room as comfortable and welcoming as possible for those who to the parking terrace and the roadway system, estate at Delta Air Lines, the airport’s largest user. jobs, generate US$1bn in wages/income, add US$1.5bn to the haven’t seen their loved ones in years.” and access to the concourses and retail Not only will the new terminal and its state’s GDP and create US$3.3bn in total economic output. But it’s not just the meeters and greeters that had areas; and Level 3 will provide space accompanying facilities improve the passenger to be accommodated; there were considerations in the We’ve taken a for airport administration offices, airline experience, but it will also benefit the local Catering to the local community concessions area to meet LDS rules. Chicas comments, very considered ticketing and check-in counters. Utah is well known for its large Church of Jesus Christ of “SLC historically had very strict rules about where “Level 2 houses almost everything – a Latter Day Saints (LDS) community (62% of the state’s alcohol could be sold and, while it’s not quite as rigorous approach to huge percentage of passengers are transfer population are members of the church) and this was a as it used to be, there are some policies that we need to every project and they all transfer on this level,” Needham consideration for the airport and architect when designing the respect, so we have designed zones where alcohol can component in continues. “For the O&D passengers we facility. “We call it the Salt Lake Phenomenon, whereby we be consumed at the concession where it is bought.” terms of energy looked at how we can make passenger have a very large meeter/greeter contingent who arrive at the saving and it has movement simpler. For example, if you’re airport to meet their returning loved ones who have been off on Reducing the footprint arriving at Salt Lake City and want a rental LEFT: The airport’s helped us to be current facilities are LDS missions for two years, and we’ve tried to accommodate In line with modern building standards, SLC’s new on track with car to get to your ski resort, you can come not conducive to a that in the design of the new terminal,” says Riley. terminal pays great attention to reducing its carbon smooth passenger The airport has created a dedicated family room adjacent to footprint and is being built to LEED Gold standard. LEED Gold experience the security exit that will allow family and friends to reconnect “LEED Silver is a Salt Lake City mandate, but we with their returning LDS missionaries. “This was a key part of hope to achieve Gold standard through a number of the design,” explains Matthew Needham, senior aviation and things,” explains Needham. “The floor-to-ceiling glazing occurs transport planner at HOK, “and we have actually included a mainly on the north side, as we’re being very site sensitive to Welcome to Utah One aspect of this project that makes it so unique your whole idea of time and space. I did half a blue to reference a winter landscape, while in enormous fiber glass plates that allude to the idea of BELOW: The Canyon will use is the artwork by Gordon Huether Studio that has dozen different prototypes based on the canyon the summer the lighting might be more amber water and air erosion of rock. There are four of these LED lighting to reflect the been integrated into the design from a very early idea and it morphed and got refined into what it and gold to reflect the sunlight on the canyons. large pieces and there are ‘cousin’ pieces – smaller different seasons in Salt Lake City stage. Taking its inspiration from the surroundings is today.” The Canyon will be something that continually benches – that go down the spine of the canyon and RIGHT: The 80ft escalator well of the Utah valley, visitors to the terminal will be The result is a massive art installation changes, so even though it has no moving are related to the plates,” says Huether. sculpture uses dichronic glass able to experience an indoor canyon. integrated on the east and west walls of the parts it will be a passively kinetic installation that The escalator well sculpture has stainless-steel Gordon Huether Studio 2015 Huether Studio Gordon “The genesis of The Canyon artwork came terminal and running 362ft in length. The Canyon reflects how the canyons will continue to evolve,” cables running from the ceiling to the floor, and from the airport and HOK – when they started begins at the arrivals lobby and continues continues Huether. uses dichroic glass and hand-drawn glass rods that designing the terminal they had a long spine uninterrupted to the grand plaza, enabling In addition to The Canyon, Huether has are mechanically fastened to the cables to create down the center of the building that was always passengers to make a connection from one end also designed the Column Plates and an 80ft- a cascade of light and color down the escalators. referred to as the canyon, so it was obvious which of the airport to the other. “The artwork helps to tall escalator well sculpture. The sculptural “Dichroic glass is very colorful and light sensitive, direction I was going to take,” comments Gordon create a strong sense of place for passengers; Column Plates, located in a gathering area for changing color depending on one’s angle of vision, Huether, the artist for the project. “The artwork we’re using nature because the natural wonders both arriving and departing passengers, will so as you’re going up and down the escalators or is very much inspired by nature and the natural of Utah are unique.” separate baggage claim from the main lobby walking across the floor and looking at the sculpture wonders of Salt Lake City and the Utah area. The Canyon uses computer-driven LED area. “There are these massive columns that it will change color,” Huether adds. The striations and lines in the natural canyons lighting to enable the airport to choose color support the building, and rather than looking at There will be other areas of the terminal that took millions of years to form through air and ranges for each season. “For example, in the the columns as a constraint, we looked at them will also incorporate art, with a competitive tender water erosion, which is fascinating and changes winter the lighting might be very white or ice as an opportunity, so they are being clad with process beginning in 2017. Gordon Huether Studio 2015 Huether Studio Gordon

Passenger Terminal World | MARCH 2016 passengerterminaltoday.com passengerterminaltoday.com MARCH 2016 | Passenger Terminal World CASE STUDY: SALT LAKE CITY 19

on the web Watch videos of the inspiration behind the Salt Lake City Terminal Redevelopment Project and take a walk through the departures and arrivals process at: PassengerTerminalToday.com/video_home.php

ABOVE: Rendering of the landside area showing the split arrivals and departures levels LEFT: The Canyon is 362ft long, connecting Gordon Huether Studio 2015 one end of the airport to the other through the exit portal at security, go to baggage Flexible future claim, walk across the bridge, and get to your car Technology plays an important role in the passenger journey without going through a single level change. and this was a key consideration for HOK when designing the “Light rail will also connect to that check-in and security areas. In the centralized security gateway center and there will be full check-in checkpoint, HOK worked closely with the TSA to facilities so that departing passengers can develop a flexible design for the paired x-ray lanes. arrive, check in and drop luggage, walk We’ve provided “We’ve not only provided 30ft bays for every lane pair, across the bridge and go through security all ample room but we’ve also provided ample room for expansion and on the same level. for expansion have made this area as flexible as possible, knowing “The pedestrian bridges at Level 2 will take that the security requirements will change over time,” more than 50% of departing passengers to the and have made says Needham. terminal and over 60% of arriving passengers the security Another benefit of the centralized checkpoint is that to the parking garage, rental cars or light area as flexible the airport will be able to provide early messaging rail. This enables us to reduce the number as possible, to passengers to let them know how long it will take of escalators and elevators, simplifying the knowing that them to pass though security so that they can better passenger journey while reducing the number plan their journey. Retail and food and beverage will of mechanical parts and reducing energy use.” requirements will also be centralized, although final decisions about the Over a period of years the airlines will also change layout and concessionaires will be decided once the convert their ground equipment to electrically final designs are completed in mid-2016. charged vehicles. “The new central utility plant will enable us to transition electric baggage Challenges and cooperation tugs and associated ground service equipment to Salt Lake City’s location proved to be one of the biggest zero-emissions vehicles,” explains Delta’s Jones. architectural challenges for HOK, which had to make sure its design could withstand the earthquakes common in the region. Needham says, “The airport is located in an alluvial zone [lake Fault lines bed sediments] with a high water table, so in addition to a lot of lateral bracing and piers [to enable the building to withstand The state of Utah is situated on the Wasatch Fault, which runs for 240 miles, primarily along the western seismic tremors], we had to do a lot of ground improvement edge of the Wasatch Mountains, and passes through throughout the facility. For the garage itself we had to install the Salt Lake area. It is made up of several segments, subsurface stone columns to assist the facility to withstand each measuring an average of 25 miles and capable earthquake loads and still be usable even if damaged.” of producing earthquakes up to 7.5 magnitude. Another challenge was building on an active airport site, While the Wasatch Fault only produces a strong ensuring that operations were not affected. The airport earthquake (those with a magnitude greater than 6.5) every 350 years or so, experts believe that a major overcame this by phasing the construction process. quake is overdue in the region and a report published To ensure the success of the project, Riley encouraged by the Deseret News in April 2015 predicted what full collaboration between the airport, architect, artist and the possible results of a 7.0 earthquake in Salt Lake airlines. “The TRP is one of the very few airport projects of this County could be: up to 2,500 people killed, 36,000 magnitude in the USA that did not receive a protest from the injured and US$32bn in economic losses. airlines,” she says. “We worked very closely with Delta and In line with a law passed in 1975, the Salt Lake City the other airlines at SLC over a couple of years to bring them Airport terminal redevelopment is being engineered to ensure it can withstand an earthquake with minimal damage and limited closures. to the table and discuss the right solution. During that time “The existing aging facility does not meet the seismic standards that have we discussed whether a renovation would be enough or if we been established today so our number one priority in building this new facility is had to demolish everything and start over. We all sat around to make sure we in anything new that we build meets the modern standard for the table and collaborated on those analyses to arrive at the seismic protection,” explains airport executive director Maureen Riley. right decision for everyone at SLC, and I hope this will create a better end result.” n passengerterminaltoday.com MARCH 2016 | Passenger Terminal World Gordon Huether http://www.northbaybiz.com/Monthly_Features/Beyond_the_Board...

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BEYOND THE BOARDROOM Exterior Subscribe/Newsstands Painting Pros E-Mail Article Printer-Friendly Share | Find Five-Star Manage Your Subscription GORDON HUETHER Rated Painting Pros Backed by Advertising Author: Alexandra Russell Our Service June, 2016 Issue Guarantee! North Bay Business Directory Artist Gordon Huether started his studio in Business Resources 1983 in his garage in Napa. “I was working at a window and door company and one day I just NBB Blog made the jump, quit my job and with $500 started my company,” he says.

EVENTS CALENDAR “In 1989, I was awarded my first public art « JUNE 2016 » commission for the University of Alaska Su M T W TH F S Geophysical Institute. Given the opportunity to 29 30 31 1 2 3 4 collaborate with a building design and 5 6 7 8 9 10 11 construction team let me realize what I had 12 13 14 15 16 17 18 envisioned,” he remembers. “This form of 19 20 21 22 23 24 25 collaboration, to this day, contributes to my 26 27 28 29 30 1 2 continued learning and growth—and not only Post your events as an artist. It constantly exposes me to new materials, approaches and ideas and helps me comprehend the public art process as a holistic system.” MEMBER LOGIN Today, he’s based in a 15,000-square-foot building on Monticello Road that houses his design studio, a project gallery, fabrication Login facilities, administrative offices and the Hay Barn Gallery, which features a revolving I Forgot My Password exhibition of Huether’s fine art as well as, Register occasionally, the works of select guest artists.

Where did you grow up? I was born in Rochester, N.Y. My parents brought me to Napa in 1962 and, for the most New part, I’ve lived in the Bay Area ever since. I’ve Townhomes in also spent several years living in Germany, Napa where my family is from originally, and I still travel between the two countries regularly. The Gorgeous 2-4 German culture’s pursuit for perfection and beds & 2-3 baths, excellent craftsmanship profoundly influences 1,161 to 2,109 sq. the way things are done at my studio. I feel ft. townhomes. fortunate to have lived in all these incredible places—and most of all I love living in Napa!

Did you go to college? I’m a self-taught artist and businessman and don’t have a formal education beyond high school. I’ve found this to be an advantage, because I was never burdened by the rules of the road. I’ve been free to make my own mistakes and learn from them to this day.

Who were your early influences? I learned art composition and appreciation at an early age from my father. My aesthetic vision took an important turn when I met Professor Johannes Schreiter, a German glass artist and one of the pioneers in contemporary stained glass. In the course of my initial artistic explorations, I was resolved to create a lasting impact on the world through the creation of large-scale works of art.

Do you ever stop working? The person I am at the studio is also very much the person you’ll encounter beyond that space. Being an artist is a full-time job and then some. If you want to do it right, it becomes your life and who you are, which is great, because I’ve arrived exactly where I always wanted to be. My work has morphed into my life and, that’s a dream many people dream.

Where do you find inspiration? Much of my inspiration—especially for the large-scale work and privately commissioned work—comes

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from Mother Nature and, often, from my clients. All the projects I take on are driven by storytelling, and the story for an airport in Houston, for example, will be very different than the one for a meditation room New in a hospital in New York. I’ve always felt that the art I do in the public realm isn’t about me; it’s about the Townhomes in people who will experience the work on a daily basis. I’m also unceasingly inspired by the work of fellow Napa artists, craftsmen, artisans, architects and designers.

Gorgeous 2-4 What recent projects have you been most excited about? beds & 2-3 baths, At any given time, we have 15 to 20 major projects going on. The most significant, right now, is that 1,161 to 2,109 sq. we’ve been selected to work with the Salt Lake City Department of Airports to meet the goals of the ft. townhomes. Terminal Redevelopment Program at Salt Lake City International Airport, including a comprehensive art master plan. It’s one of the largest construction projects in the nation, with installation scheduled for 2020. We also have projects happening in Morgan Hill, Calif.; Vail, Colo.; Richardson, Tex.; Ft. Lauderdale, Fla.; and Stamford, Conn., to name just a few. All of them are exciting!

What do you love to do outside of work? I’ve spent most of my adult life focused on “work” and never really developed any hobbies. As I’ve gotten older, I’m learning how to enjoy other things besides my work. So far, that means working on my home improvements, gardening, kayaking on the Napa River and cycling. My favorite non-work activity is dancing in my living room.

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AMERICAN CALIFORNIA NORTH SOCIETY OF CHAPTER MAGAZINE INTERIOR VOLUME I DESIGNERS SPRING 2016 CALIFORNIA NORTH - 1 - VOLUME I SPRING 2016 | CA NORTH CHAPTER Privately commissioned work and public art are not about Gordon as an artist, but about the space and the people who use that space. The outcome is always an artwork that is new and unexpected, and uniquely cohesive to its surroundings.

With each new project, Gordon Huether and his Studio Team are committed to the highest quality standards. His team of skilled professionals is internationally recognized for their innovative approach and creative craftsmanship in all areas of glass fabrication, welding and metal working.

gordon huether art matters

Sitting at his father’s kitchen table, creating a stained glass window, 17-year old Gordon Huether made a life decision: he wanted to honor the spirit of humanity by bringing beauty and meaning into the world through art. In 1987 he founded his Studio in Napa, California. Almost 30 years later he continues to fulfill his mission, creating art for every conceivable kind of building, home and landscape. Huether’s artistic career began with the exploration of glass: studying the interplay between light and color and the artistic possibilities of refraction and reflection. Other media followed, moving between highly refined, elegant materials like polished aluminum and dichroic glass to gritty, repurposed and salvaged materials like rusted steel and weathered wood. Materials used for a project – whether it be a fine art piece, a private commission, or a public art piece - are dictated by the story to be told. The over-riding goal for any project is about shaping a story and expressing an idea, not just about creating an object of beauty.

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continuedart matters

Large-scale, site-specific work has long been Huether’s focus before he discovered the intriguing variety of the scale, scope and approach of private commissions and fine art. With his fine art Huether has free reign and the work oftentimes addresses very personal matters. Privately commissioned projects foster an intimate, yet collaborative dynamic. Relationships and collaboration are as important to the artist as his work. “The bond I build with commissioning clients, designers, architects or fine art collectors often develop into valued friendships”.

For the Heimat Series (on the cover) Huether used materials and imagery of a personal nature. Born to German immigrant parents, the artist has maintained and is influenced by strong ties to his ancestral country. The characters - from a German fairy tale read to him as a child - cavort across pages from letters written and illustrated by Huether’s great-grandfather.

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