Posts tagged with "Arkansas":
Ansel Adams: Early Works, the first exhibition of Ansel Adams’s photography hosted by the Arkansas Arts Center, will showcase 41 prints done by Adams from the 1920s through the 1950s, highlighting his small-scale images. Adams was known for his photography of natural sites such as Yosemite National Park, Sequoia National Park, and the Sierra Nevadas, and this exhibition will tie into the completion of the 100th anniversary of the National Park System. According to the Arkansas Arts Center, Adams wasb a “photographer, musician, naturalist, explorer, critic, and teacher, was a giant in the field of American landscape photography. His work can be viewed as the end of an arc of American art concerned with capturing the ‘sublime’ in the unspoiled Western landscape.”
Ansel Adams: Early Works Arkansas Arts Center 501 East 9th Street, Little Rock, Arkansas Through April 16, 2017
To coincide with the 230th anniversary of the U.S. Marshals Service, the United States Marshals Museum’s opening date is set for September 24, 2019. Designed by Cambridge Seven Associates along with Polk Stanley Wilcox Architects, the institution’s foundation has also launched a $60 million fundraising campaign for construction.
The new 50,000-square-foot museum will be located in Fort Smith, Arkansas, and will feature a collection of artifacts spread across three galleries exploring the 230-year history of the nation’s oldest law enforcement agency, a Hall of Honor for those killed in the line of duty, and a National Learning Center that will promote an understanding of constitutional democracy.
Peter Kuttner, president of Cambridge Seven Associates and principal architect for the museum, consciously blended history with modern sustainability in the design. The museum looks out over the Arkansas River, which used to serve as a border between the former colonies and what was known as the frontier at the time of the Marshals’ establishment in 1789. The scheme also incorporates photovoltaic panels and vegetative roofing along the building’s star-shaped design, which,along with its use of bronze, is reflective of the badges worn by marshals in earlier years.
From his research, Kuttner found that “there was no official badge manufacturer in Washington,” that “some were stamped on tin, some were cast, some [stars] had five points, some had six points,” and “when you buy souvenirs, they’re all different sizes and looks.”
For his inspiration for the star-shaped aesthetic, Kuttner looked to one of the last scenes in the movie High Noon, in which U.S. Marshal Will Kane tosses his badge to the ground. “It hits at an angle, with some of the points jutting out of the ground,” he said, explaining his approach to the museum as “low on the front, and high on the back.” The infamous High Noon drawing by former President Bill Clinton, who serves as honorary chair of the museum’s executive committee, still hangs in the Clinton Presidential Center in Little Rock, Arkansas, and served as “a great little connection” that got the committee on board, Kuttner said.
The facility is projected to cost $35.9 million, with $12.3 million in total exhibits, a $4 million endowment, nearly $3 million in contingencies, and $3.5 million for one-year operating expenses. Just over $29 million is listed in committed fundraising so far.
With almost half of the campaign target already secured, the museum still faces fundraising challenges. In a conversation with Talk Business & Politics, Jim Dunn, president of the U.S. Marshals Museum Foundation, cited the agency’s low profile, as well as the location of its future home in Fort Smith as specific points of tension. “Convincing donors to export large chunks of money to a distant and unknown community is difficult,” he said.
At present, the museum’s eight-member staff is working out of offices in Fort Smith, maintaining some 500 items that will eventually be used in the museum’s exhibitions. The museum staff is set to expand to 18–20 people upon opening.
With regard to the museum’s funding and the array of design elements, specifically the sustainable features, Kuttner expressed anxiety about its execution: “I’m crossing my fingers that those elements survive value-engineering,” he said.
Here’s how a phone booth on the side of a highway in Arkansas landed on the National Register of Historic Places
Temporary Air Force bases, oil derricks, secret prisons, multi-story car parks, J.G. Ballard novels, Robocop, installation art, China Miéville, Department of Energy waste entombment sites in the mountains of southwest Nevada, Roden Crater, abandoned subway stations, Manhattan valve chambers, helicopter refueling platforms on artificial islands in the South China Sea, emergency space shuttle landing strips, particle accelerators, lunar bases, Antarctic research stations, Cape Canaveral, day-care centers on the fringes of Poughkeepsie, King of Prussia shopping malls, chippies, Fat Burger stands, Ghostbusters, mega-slums, Taco Bell, Salt Lake City multiplexes, Osakan monorail hubs, weather-research masts on the banks of the Yukon, Hadrian's Wall, Die Hard, Charlie and the Chocolate Factory, Warren Ellis, Grant Morrison, Akira, Franz Kafka, Gormenghast, San Diego's exurban archipelago of bad rancho housing, Denver sprawl, James Bond films, even, yes, Home Depot – not every one of those is a building, but they are all related to architecture.The register divides important sites into five typologies: buildings, districts, sites, structures, and "large objects." The National Register has not shied away from kitschy or unusual listings in the latter category. In August 2002, the NPS granted a register spot to the World's Largest Catsup Bottle in Collinsville, Illinois. The 70-foot-tall condiment container has a capacity of 100,000 gallons and was built in 1949 for the Brooks (rich and tangy!) catsup company. Generally, properties have to be at least 50 years old to be listed on the National Register. According to David Parks, president of Prairie Grove Telephone Company, there are no plans to add an official marker to the site. The telephone company has thought about removing the phone booth, but keeps it standing for nostalgic purposes. It's a revenue generator, besides: the coin box yields three to four dollars in change per year.
Walmart heirs hope the Northwest Arkansas Design Excellence Program will ramp up architectural standards in the state
University of Arkansas addition celebrates the future with a contemporary rewrite of Neoclassicism.As head of the architecture department and distinguished professor at the University of Arkansas Fay Jones School of Architecture, Marlon Blackwell was uniquely qualified to oversee the renovation and expansion of the school's home, Vol Walker Hall. To unite the school's landscape architecture, architecture, and interior design departments under one roof for the first time, Blackwell's eponymous firm designed a contemporary west wing to mirror the east bar on the existing Beaux-Arts style building, constructed in the 1930s as the university library. But the Steven L. Anderson Design Center—which tied for Building of the Year in AN's 2014 Best of Design Awards—is more than a container for 37,000 square feet of new studio, seminar, and office space. It is also a teaching tool, a lesson in the evolution of architectural technology writ in concrete, limestone, glass, steel, and zinc. "Our strategy was to create a counterweight to the existing building," explained Blackwell. Rather than a layered steel-frame construction, Marlon Blackwell Architect opted for a post-tensioned concrete structure to convey a sense of mass and volume. "We also wanted to demonstrate what you can do with new technology like post-tensioned concrete, such as introducing a cantilever and introducing a profile that has minimal columns in the spaces," he said. "All of that is a didactic tool for our students to contrast and compare with the load-bearing technology of the existing structure." The exterior of the Steven L. Anderson Design Center also reflects on changes to architectural practice during the last 80 years. "We really wanted to develop a strong profile of the building, in contrast to Vol Walker Hall," said Blackwell. He describes the effect as a figure-ground reversal: where in the older structure the mass of the building is the ground and the windows and ornament act as figure, in the new wing the mass is the figure and the fenestration the ground. To create what Blackwell terms a "condition of resonance" between the Design Center and Vol Walker Hall, the architects engaged Clarkson Consulting to develop an architectural concrete to match the color of a local Arkansas limestone no longer available. They echoed the Indiana limestone on the older wing with panels sourced from a quarry only 50 miles from the original. But instead of grouting the limestone cladding on the new wing, Blackwell chose a limestone rain screen system from Stone Panels. "That allows us to go much thinner but much larger," he said. "Again, we're using the same materials but showing how the advancement of technology allows for a different expression of architecture." The defining feature of the Design Center is the more than 200-foot-long glass and steel curtain wall on the western facade. Knowing that the western exposure would provide the only source of natural light for the new wing, the architects worked to balance the need for light against the threat of solar gain. To complement the existing building, they chose a fascia steel curtain wall custom-fabricated by local company L&L Metal Fabrication. With curtain wall consultants Heitmann & Associates, Blackwell developed a brise soleil comprising 3/4-inch by 18-inch frit glass fins, angled to filter sunlight into the Design Center's 43-foot-deep studios. "What we like about it, too, is that it's one big window," said Blackwell. "It allows it to feel as if we've cut a section right through the building. At night the entire facade becomes a beacon, allowing for a nice interface between the school of architecture and the rest of the community." Other details, including the monolithic concrete pours designed to lighten the Design Center's connection to the ground, and zinc cladding used on the top floor to sharpen the profile of the main body, continue the dialogue between the new structure and its Neoclassical neighbor. "There are a lot of little things that give a tautness to the expression of the new addition, and give it its own identity," said Blackwell. "But at the same time, one of the things we were faithful to was trying to analyze and uncover units of measure and proportion on the old building, and apply that to ours." Perhaps more importantly, the building works as a design school—and Blackwell would know. "There's certainly contrast on the outside," he said. "But there's an almost resonant seamlessness on the inside."