Posts tagged with "Austin":
Stephen Mueller interviewed Kory Bieg, one of the conference chairs for the upcoming ACADIA conference in Austin, Texas, from October 24-26, to discuss the themes and events you can expect at this year’s gathering. SM: Why is ACADIA an important forum? KB: ACADIA is for a range of audiences. ACADIA started as a conference focused on education but has become increasingly engaged with practice. The research being carried out by both academics and practitioners has narrowed and the work from both has become entangled. You will see attendees from software, fashion, and product design companies at the workshops and the conference proper, working alongside Ph.D. students and full-time faculty. ACADIA’s mission is also to support student participation, so they have increased their effort to encourage students to submit their work and attend. Faculty who are part of large research groups—like those from Michigan, Cornell, and MIT in the U.S., or groups from abroad, like ICD in Stuttgart or ETH in Zurich—often send students to present on behalf of their team. It’s a good platform for them to find their way into a more permanent academic setting or a more specialized field in architecture. You and your co-authors mention in the introductory text for the conference proceedings that the “last decade was about unified and specialized areas of research,” and that now we are in a period defined by “ubiquity” and “autonomy.” Can you elaborate on some of the major trajectories and trends you are seeing? What’s changing? We think we are at a crossroads in computation. For the last ten years, we have seen big advancements in fabrication and the use of robotics. Recently, however, we are seeing a renewed interest in design theory, whether it be “the post-digital” or “the second digital turn.” We took a step back to think of why that might be, and what it might mean moving forward. In part, we believe the return to theory is a result of digital technologies becoming “ubiquitous.” Not only do you see fabrication technologies in big universities, but you can now find laser cutters and 3d printers in libraries, high schools, commercial box stores, and in everyday use at firms. On the other hand, you have more cutting-edge practices, like Zaha Hadid Architects or UNStudio, building in-house skunkworks innovating with and developing new technologies internally. Some employees are hired specifically for this purpose. We saw these new computation-oriented roles as becoming so specialized that they had almost become new disciplines—a kind of “autonomy” within the discipline of architecture. For this year’s theme, we see “ubiquity” and “autonomy” as two parts of a cycle, where innovation in computational design and technology begins in these autonomous groups of specialists, followed by more widespread adoption, universal access, and finally ubiquity of use. This happens at a large scale within the discipline, but also with individual researchers who silo themselves away for a while, only to emerge with some novel idea that they are ready to integrate with other people’s research. That is how the field evolves. The cycles of “ubiquity” and “autonomy” oscillate between the differentiation of individual positions and the forging of new research communities. In this framework, do you see new autonomous collectives emerging? It’s our goal to find autonomous projects and introduce them to the world. Our workshops this year are being taught by somewhat autonomous computational teams housed within successful architecture firms—groups from UNStudio, Zaha Hadid Architects, Grimshaw, HKS-Line, Morphosis, SHoP, and Autodesk. They are all interested in the overlap of technologies. UNStudio will run a workshop on the overlap of architecture and fashion. Grimshaw is working with Fologram and using the Microsoft Hololens, an AR technology, to help fabricate an installation without the use of conventional construction documents. We also have SHoP Architects using AR and robotics, and Zaha Hadid Architects using machine learning to help generate form. There is such a strange array of approaches to computational design offered in the workshops, that if their ideas start to spread, our field is in store for some interesting times ahead. Academic settings can incentivize autonomous modes of research, and in professional settings we often see niche developments serving as marketable advantages through proprietary or branded offerings. Among the diverse authors with niche approaches, is there an ethos toward the maintenance of autonomy, or do you see a proliferation of shared techniques? We are seeing an increase in the culture of sharing at ACADIA among its constituents. Morphosis, for example, is leading a workshop that is literally sharing their design method. I think most offices would consider this proprietary intellectual property, but Morphosis sees value in sharing it. Patrik Schumacher, of Zaha Hadid Architects, shares his ideas freely, and would be happy with more parametricism in the world. These offices mark a post-autonomous moment. This will also be an interesting question for the closing panel on our final conference day, where we will have a group of academics discuss the conference theme. We have invited people who represent very different approaches to architecture and design, including Ian Bogost, a game designer and author, Michelle Addington and Marcelyn Gow, who are both material experts but with different agendas, and Neil Leach, one of our discipline’s leading theorists. Kathy Velikov, the president of ACADIA, will moderate. Collaboration with machines and virtual selves promotes a certain type of autonomy while forging human/non-human partnerships. If computational collaborations are the new air that we breathe, how do you and the contributors see authorship changing?? Machine learning and AI are happening whether we like it or not. Because they operate somewhat autonomously from their creators—they are designed to run loose—there is no functional need for a sole author anymore. We are really at the beginning of AI/machine learning applications for architecture. There is a group of artists in Paris (Hugo Caselles-Dupré, Pierre Fautrel, and Gauthier Vernier) who sold a piece of AI-generated art at Christie's for $432,000, which proves there is public interest in what AI can produce, but there has also been some blowback. Critics have argued that because they are selling a piece that wasn’t generated solely by them, the value is inflated. But they were the authors of the software that created the piece, so who is right? It’s a controversial time. You’ve lined up some impressive keynote speakers—Thom Mayne, Dominique Jakob, and Harlen Miller—how would you characterize the mix? Why are these voices important now? We thought it was time, especially given the theme, to pick three practices that represent “architecture with capital A,” and to see how they have been using computational design tools, overlapping technologies, and cross-disciplinary collaborations within their office for built work. UNStudio, Morphosis, and Jakob + MacFarlane produce very unique projects and they each use technology explicitly, but also, differently. What parts of the conference are open to the public? Thom Mayne’s keynote lecture is open to the public and will be at the LBJ Auditorium on Thursday, October 24th at 6:15 pm. There will also be an exhibition of Morphosis Architects’ work opening on Friday night at 7:45 pm. This event will also include an exhibition of work produced during this year’s workshops and the peer-reviewed project posters. What else does the conference hope to change, or enable? I hope the conference encourages people to start looking at other disciplines for knowledge and expertise that we do not have within our own field and to further the progress that has already been made by overlapping ubiquitous technologies. I hope we continue to share knowledge between academia and the profession in a way that improves access to new tools, techniques, technologies, and ideas.
For the past two decades, Austin has emerged as a tech industry hub. Giving the well-entrenched Silicon Valley a run for its money, the so-called "Silicon Hills" region has consistently drawn in a slew of upstarts and established companies like IBM, Google, Amazon, Apple, and Intel, seeking out new outposts. Setting up shop in the Texas Hill Country, just west of Austin, these blue-chip giants have taken advantage of the city’s progressive and creative position. This mutual evolution has helped make this state capital one of the fastest-growing cities in the United States. Joining the party is governance software solutions brand SailPoint. The rapidly-expanding company called on the Austin branch of major architecture firm Perkins + Will to outfit its new 65,000 square foot, four-floor office with an apt, yet subtle, nautical aesthetic. Read the full story on our interiors and design site, aninteriormag.com.
“What if you could download and print a house for half the cost?” reads the lede for the Vulcan II, a 3D printer with a name suited for sci-fi space exploration, on the website of Austin-based company ICON. Now the company has put this claim to the test, building what it says is the first permitted 3D-printed home in the United States, unveiled during SXSW. Using its original Vulcan gantry-style 3D printer, the firm collaborated with global housing nonprofit New Story to build a 650-square-foot home, which features separate bedroom, living, bathroom, and kitchen areas. The home, called the Chicon House, was printed in under 24 hours and while this test cost around $10,000, the firm estimates that future single-story homes, which could be as large as 2,000 square feet, could be printed for thousands less, around $4,000–$6,500. According to New Story CEO Brett Hagler, there is a pressing need to “challenge traditional [building] methods” to combat housing insecurity and homelessness. He adds that “linear methods will never reach the over-a-billion people who need safe homes.” ICON hopes to leverage the technology to help combat global housing crises all while being more environmentally friendly, resilient, and affordable. The printers use a proprietary “Lavacrete” concrete composite, which is made of materials that can be easily sourced locally and has a compressive strength of 6,000 pounds per square inch. The material is designed to withstand extreme weather conditions to minimize the impact of natural disasters, according to the firm. Wood, metal, and other materials can then be added on for windows, roofs, and the like. The printer relies on an “automated material delivery system” aptly called Magma, which blends the Lavacrete with other additives and water stored in built-in reservoirs. The Lavacrete’s composition is custom-tuned to the particular conditions of each location, accounting for temperature, humidity, altitude, and other climatic features. While 3D printing has been used in a number of architectural experiments over the past few years, it is primarily used as a prefabrication tool, with parts printed offsite to be assembled later. ICON argues that printing a whole home at once with a gantry printer is faster and more reliable. Printing the whole home reportedly provides a continuous thermal envelope, high thermal mass, and extremely little waste. The printers, which are transported in a custom trailer, are designed to work in areas where there is limited access to water, electricity, and the infrastructure necessary for traditional construction techniques—although, at least currently, it seems that some more standard construction is needed to finish off the 3D printed walls and turn them into a home. The Vulcan II is operated by a tablet, has remote monitoring technology, and built-in lighting for building overnight. A specialized software suite helps convert CAD drawings into printable forms. ICON has also begun licensing its tech to others. Austin-based developer Cielo Property Group plans to start production of affordable housing in Austin this year using the Vulcan II, The Wall Street Journal reported.
This article originally appeared in Texas Architect. For the fifth time in as many years, artists, architects, and Austinites alike descended the banks of Waller Creek to experience Creek Show, an annual display of temporary light installations commissioned by the Waller Creek Conservancy. Intended to delight the public and spark conversation about the transformation of Waller Creek, the show has swelled in popularity since its inception as a one-night event in 2014. This year was no exception, as thousands of Austinites were dazzled by six local design teams over nine nights in November. TENTSION by Perkins+Will anchored the southern entrance to the show, which sprawled north between 9th and 11th streets in downtown Austin. Dozens of internally lit camping tents hovered over the creek bed in a variety of configurations, occasionally soaring into the tree canopies and over spectators’ heads via taut cables. Inspired by tensions at this intersection of the creek and Austin’s urban fabric, the tents themselves were donated to a local organization serving those in need after the installation was disassembled. Moving north, La Noria by Drophouse Design rests on the creek bed, allowing the natural current to power two large, connected paddle wheels adorned with glowing spokes and fluorescent paddles. The playful armature is also unapologetically industrial, aiming to draw a contrast between the mechanics of the installation itself and the natural power source of the creek. AOD contributed Parabolus as homage to the geometry of the 1930s arched masonry bridges that allow downtown streets to pass over the creek. Thin tension fibers illuminated by hidden black lights lend the installation its form, which resembles a graphed tangent function. Per the design team, the installation “draws [viewers’] gaze to both water and sky, creating an immersive experience that emphasizes Waller Creek’s symbiotic urban and natural connection.” Urban Scrim by Lemmo Architecture and Design (LA-N-D) features ephemeral projections of silhouetted pedestrians and cyclists mapped onto rectangular modules of tight scrim fabric. Formally inspired by the West Texas land art movement, its simple forms and impressive scale seek to pair “the movement of the urban streetscape with the texture and nature of water flowing through the creek.” Ambedo ßeta from Polis employed a series of linear LED lights that wrap continuously throughout the three rectangular tunnels beneath the 11th street bridge. The installation also featured two “phone booths” on opposite ends of the tunnel, where visitors could engage in a form of conversation as their voices manipulated the lighting. By turning visitors’ voices to lights, the installation reminds guests that words can tangibly affect those around them. The terminus of the show resided within Symphony Square, a city-owned public plaza that features a terraced amphitheater and several historic buildings that the Conservancy renovated to house its own offices and support facilities for public-facing events. A collaboration between Campbell Landscape Architecture and Tab Labs yielded Light Lines, an abstracted representation of the city’s waterways and drainage system. As another interactive display, the installation used a series of electroluminescent wires suspended from a grid that extends over the terraced steps of the amphitheater. Per the team, “interactive touch points allow viewers to manipulate the light intensity as it moves across the structure and reflects upon the water.” While Creek Show and its installations are only temporary, the Conservancy’s work in preparing the annual event is an around-the-clock endeavor. Austin-based artists looking to participate need only check the Creek Show website in the coming months for the next call for submissions. As the event continues to gain momentum, it’s never too early to wonder what the next chapter for Creek Show has in store for Austin and the future of Waller Creek.
Not to be left out of the headquarters expansion game, Apple has announced that it will be opening a $1 billion campus in Austin, Texas, and satellite offices in San Diego, Seattle, and Culver City, California. The announcement stems directly from the tax reform bill signed in December 2017, as Apple claimed it would be moving a large portion of the $252 billion in cash it was holding overseas back to the U.S. As a result, Apple pledged to repatriate $38 billion and create up to 20,000 American jobs. All told, the tech company plans on investing $350 billion in the U.S. over the next five years, with $30 billion going towards capital projects. Apple already employs 6,200 people in Austin, and the newly-announced campus at the 133-acre Robinson Ranch is expected to break ground a mile away from the extant campus and hold another 5,000 employees, with room for up to 15,000. With 3 million square feet of office space, 50 acres of open area, and a commitment to only using electricity from renewable sources, the future Austin Campus may end up rivaling the spaceship-like Apple Park complex for size. The future offices in San Diego, Seattle, and Culver City will hold approximately 1,000 employees each, and Apple has pledged to beef up their existent offices in Boston, Boulder, Colorado, New York, Pittsburgh, and Portland, Oregon. This year has seen a slew of campus announcements from the world’s largest tech companies. Google is working on their one-million-square-foot Caribbean campus in Sunnyvale, California, as well as their Charleston East project outside of Mountain View, California. Meanwhile, Microsoft broke ground on their 32-acre Silicon Valley campus and announced a sprawling overhaul of their 500-acre Redmond campus just outside of Seattle. The winner of the campus arms race was clearly Amazon, which kept the country enthralled as they narrowed down a home for their $5 billion HQ2, eventually settling on Long Island City in Queens and Crystal City in Arlington, Virginia. For its part, Apple will be forgoing the billions in subsidies that Amazon accepted, and will only take about $25 million from the state of Texas for its new campus. Construction on the Austin complex is expected to take 30-to-36 months according to Kristina Raps, Apple's vice president of global real estate. If everything goes as planned, the new office is slated to open sometime in 2021.
“Working by calculation, engineers employ geometrical forms, satisfying our eyes by their geometry…their work is on the direct line of good art,” Le Corbusier described the engineer’s aesthetic. This kind of engineering expressionism is employed to interesting ends by Ennead Architects at the Engineering Education and Research Center (EERC) at the University of Texas at Austin’s Cockrell School of Engineering. The building features a dramatic glass-enclosed atrium that connects disciplines on a monumental staircase and provides sightlines into working laboratories, arranged like a page of comic book panels. A glass ceiling spans the 80-foot-wide space, and two towers on either side contain multidisciplinary research labs and electrical and computer engineering research spaces, respectively. The unification of disciplines in the atrium is expressed through a series of expressive parts: A truss-like bridge, a bespoke waterjet-cut spiral staircase, and slanted columns below the mezzanine level all show off the aesthetic of an engineer rather than one seamless whole. This honesty is a direct appeal to the students and engineering community who will inevitably congregate in the atrium.
When nine-year-old African American caddie Alvin Propps was arrested for playing golf at the newly desegregated Lions Municipal Golf Course in Austin, Texas, in 1950, it set off a firestorm that eventually made its way to the mayor’s office. As the first peacefully desegregated golf course in the former Confederate South during the Jim Crow era, the course became the center of controversy. But when the mayor’s office decided to drop the charges, it set a precedent, and Lions Municipal became open to African Americans from that day forward. However, the course is now threatened by private development, after the University of Texas Board of Regents decided not to renew the City of Austin's lease in 2011 on the 1924 course just two miles west of the Texas state capitol. In 2019, it could be handed over to developers. In a post by the Cultural Landscape Foundation, Glenda Gilmore, the Peter V. and C. Vann Woodward Professor of History at Yale University, said, “Historians searching for the impetus of the ‘classical phase of the Civil Rights Movement,’ preceding Brown v. Board in 1954 and the Montgomery Bus Boycott in 1955, have posited a ‘long civil rights movement’ that preceded those iconic struggles. In other words, Lions Municipal Golf Course is representative of the ‘birth of the civil rights movement.'” The city has floated the idea of preserving the clubhouse, but not the course. However, many critics say that because the structure wasn’t part of the site when the desegregation happened, preserving the clubhouse alone is not enough. The Congressional Black Caucus has voiced support for measures to protect the course, and the Texas House of Representatives, the City of Austin, and Travis County, Texas, have all passed resolutions acknowledging the historic importance of the site.
Imagine shopping for groceries in a LEED Gold–certified building on a site once occupied by Austin’s airport, and you can picture the Mueller H-E-B structure designed by Lake|Flato Architects. The glass-clad building is one of the many collaborations between the Texas supermarket chain and the San Antonio–based firm Lake|Flato. Triangular steel trusses support a soaring, curved roof made of corrugated metal. The H-E-B Market’s design responds to Austin’s highly variable humidity with a vestibule that transports and expels heat out the top. The building is also a testing ground for many sustainable concepts, such as a rain garden that doubles as a water filtration system, rooftop sensors that monitor how much daylight the building gets, and smart air-conditioning—all aimed at reducing energy use and improving the interior environment for shoppers. In 2016, it was awarded an AIA Committee on the Environment Top Ten Award, recognizing the architects for their commitment to sustainability.
John Saunders Chase, FAIA (1925–2012) was a Houston architect who realized a large body of work in the city, throughout the state of Texas, and around the United States. At its peak, his office had nearly fifty employees in four cities: Houston, Dallas, Austin, and Washington, D.C. Chase, an African American in a profession that has struggled with diversity and discrimination, achieved many historic firsts during his career. His life, as seen via his personal and professional achievements and the work of younger architects who passed through his office, was on display this spring in Chasing Perfection, a two-part exhibit produced by the Houston Public Library. Born in Maryland, John Chase moved to Austin in the late 1940s after receiving initial architectural training at the Hampton Institute in Virginia and serving in the Army during World War II. He applied to graduate school at the University of Texas at Austin (UT Austin) School of Architecture after the Sweatt v. Painter Supreme Court decision in 1950 that fought the “separate but equal” policy of racial segregation in college education. After graduation, no firm would hire him, so Chase established his own practice in Houston, and in 1956, he became the first African American architect to be licensed in the state. Throughout his career, he designed churches, homes, union halls, libraries, high schools, fire stations, and institutional buildings, including much of the campus of Texas Southern University. He was a founding member of the National Organization of Minority Architects (NOMA) in 1970 and received his AIA Fellowship award in 1977. In 1980, Chase was selected by President Jimmy Carter to join the Commission of Fine Arts and was part of that committee during the contentious process of realizing Maya Lin’s Vietnam Veterans Memorial on the National Mall. He was the first African American to serve on this commission. During the 1980s, his office was part of a consortium of local architects responsible for the design of the George R. Brown Convention Center in Houston. Chase is survived by his wife, Drucie, and their three adult children. According to Danielle Wilson, the exhibition’s curator, discussions about the show began in 2009 with Chase’s participation. At that time, his architectural archive had been donated to the Houston Metropolitan Research Center’s Architectural Archives, and his personal archive was in the process of being donated to the African American Library at the Gregory School. Wilson’s father grew up next to the Chases in Houston, so she was familiar with the family and immediately knew that she wanted to work on a show about the architect when she joined the staff of the Gregory School. After Chase passed away, it took a number of years to assemble the parts for this successful exhibition. On the second floor of the Julia Ideson Building in downtown Houston, letters, photographs, and artifacts were installed alongside photographs of built work, architectural drawings, and hand-drawn renderings. Seen together, Chase’s life and work could be understood through the staging of these personal and professional artifacts, sequenced together to tell a holistic life story. Wilson said, “When I think about architects and their work, everything goes all together. I think it’s great when you have that context of both. I think it makes works more powerful.” The room also included a large–scale model and drawings of the George R. Brown Convention Center mounted on a drafting table. At the Gregory School, the work of four architects who worked with Chase is on display and demonstrates the effect his mentorship had on a subsequent generation of African American architects. “When I was focusing on his work and life, it was hard to tell a comprehensive narrative without talking about these men,” Wilson said. Daniel Bankhead, AIA; Darrell Fitzgerald, FAIA; James Harrison; and Wilbert Taylor all worked at various points with Chase and went on to become professional and community leaders themselves. In February, the library hosted a discussion between these architects, in addition to a conversation with Mrs. Chase and her children. Chasing Perfection offered a powerful portrait of a 20th–century American architect through Chase’s life, work, and impact on the profession. Wall text for the exhibit was excerpted from a manuscript titled The Life and Work of Architect John Saunders Chase: You Can Do More from the Inside, by architectural historian Dr. Wesley Henderson with Andrea Lazar. Both worked for two years to conduct interviews with family members, colleagues, and former employees of John Chase. Henderson and Lazar believe that Chase’s life story deserves to be more widely known since very few biographies of successful black architects have been published. They were very pleased to be able to contribute to the show at the Houston Public Library. Chase’s legacy continues to be explored and celebrated. In February, UT Austin announced that it had purchased one of Chase’s early buildings in east Austin to renovate and use as a community engagement center. While Chasing Perfection closed in early June, Wilson says there are already discussions underway about touring the show at other institutions. She also said a brochure from Chase’s firm and drawing supplies from his office were recently acquired by the National Museum of African American History and Culture (NMAAHC) in Washington, D.C. Wilson added that she and Mrs. Chase are “going to go through his personal archives to see what materials might go to the NMAAHC, and the rest will be housed at the African American Library at the Gregory School.” Chase is an important figure among the talented architects who practiced in Houston during the second half of the 20th century. His career opened the door for many architects of color to enter the profession, and he serves as an example of the countless ways in which an architect can effect positive change in the world.
Chasing Perfection: The Work and Life of Architect John S. Chase Houston Public Library Julia Ideson Building
Chasing Perfection: The Legacy of Architect John S. Chase The African American Library at the Gregory School
When nine-year-old African American caddie Alvin Propps was arrested for playing golf at the newly desegregated Lions Municipal Golf Course in Austin, Texas in 1950, it set off a firestorm that eventually made its way to the mayor’s office. As the first peacefully desegregated golf course in the former Confederate South during the Jim Crow era, the course became the center of controversy, but when the mayor’s office decided to drop the charges, it set a precedent, and Lions Municipal became open to African Americans from that day forward. However, the course is now threatened by private development after the City of Austin decided in 2011 to not renew the lease on the 1924 course just two miles west of the Texas state capitol. In 2019, it could be handed over to developers. “Historians searching for the impetus of the 'classical phase of the Civil Rights Movement,' preceding Brown v. Board in 1954 and the Montgomery Bus Boycott in 1955, have posited a 'long civil rights movement' that preceded those iconic struggles. In other words, Lions Municipal Golf Course is representative of the 'birth of the civil rights movement,” said Glenda Gilmore, the Peter V. and C. Vann Woodward Professor of History at Yale University in a post by the Cultural Landscape Foundation. The city has floated the idea of preserving the clubhouse, but not the course, but many critics say that because the structure wasn’t part of the site when the desegregation happened, preserving the clubhouse alone is not enough. The Congressional Black Caucus has voiced support and measures to protect the course, and the Texas House of Representatives, the City of Austin, and Travis County, Texas have all passed resolutions acknowledging the historical importance of the site.
At this year’s South by Southwest Festival (SXSW), Austin-based startup ICON unveiled the first residential permitted 3-D-printed house in the United States. ICON is partnered with the non-profit New Story, which has constructed homes for thousands of displaced residents across Haiti, El Salvador, and Bolivia. The young firm views their technology as a practical tool to address the sheltering needs of the approximately billion people on the planet that lack a home. The home was constructed with ICON’s Vulcan printer, a prototype developed specifically for the project. The printer is capable of assembling a single-story, 600 to 800-square-foot home in twelve to twenty-four hours, at a cost of $10,000 per unit. ICON hopes that ongoing research on the prototype will reduce the construction cost to under $4,000. According to the New Atlas, the firm will use the model home as its own office to properly gauge its performance. The unveiled 3-D-printed house consists of a bedroom, bathroom, living room, and porch, arranged around a modest 350-square-foot floor plan. Future models will include a kitchen and an additional bedroom and larger square-footage. The Vulcan uses a construction process similar to concrete slip forming, with a continuous flow of mortar guided along a pre-programmed path. Slip forming allows for the building up of concrete layers in rapid succession. While the Vulcan printer crafts the overall structure of the home, contractors are required for interior finishing and the construction of roofs and windows. However, Quartz reports that ICON is researching the capacity of robots to install windows and the 3-D fabrication of roofing units. As reported by The Verge, after material testing and necessary alterations to design, ICON will ship the Vulcan printer to El Salvador where it will be utilized in the construction of 100 homes in late-2019. While the Vulcan’s current efforts are devoted to the fabrication of houses in distressed regions, ICON does intend to introduce its technology to the US affordable housing housing market.
The Blanton Museum of Art at The University of Texas at Austin has finished the construction of Austin, the last project of artist Ellsworth Kelly to be realized before his death at the end of 2015. Austin is Kelly’s first foray into architecture, and the T-shaped, secular sanctuary is flooded with multicolored light at every junction. The completion of Austin is the result of a $23 million campaign by the Blanton, after Kelly gifted the building’s design to the museum in 2015. The 2,715-square-foot, chapel-like building was conceived of as existing without a religious component, and its most prominent feature, multicolored, mouth-blown stained glass arrangements at each of the façades, splashes the interior with focused patterns. All of Austin, inside and out, focuses attention on Kelly’s use of colored grids. The curving exterior of the building is clad in limestone panels sourced from Alicante, Spain, while the floor of the surrounding plaza and connected interior are made of black granite. One of Kelly’s “Totems” will be on display inside, an 18-foot-tall sculptural form carved from salvaged 19th century redwood. Despite the piece’s professed areligious alignment, Kelly chose to adorn the interior walls with 14 40-inch-by-40-inch black-and-white marble panels which abstract the Stations of the Cross. The white marble comes from the same quarry in Carrera, Italy, from where Michelangelo sourced his marble, while the black marble is Belgian. In a press release, the Blanton described Austin as “an experience akin to visiting the Rothko and Matisse chapels, in Houston and Vence, France, respectively.” Drawing attention to the interplay between colored light, air, and heavier physical materials is Austin’s central concept. The building accomplishes this by varying the window orientations at every façade. On the south side is the “color grid,” a three-by-three lattice of square glass pieces, while the east façade’s “tumbling squares” takes those same pieces and rotates them around a circle, referencing the north transept rose window at Chartres Cathedral in Paris. The west façade’s “starburst” window elongates the tumbling squares into narrow streaks of color, not dissimilar to Apple’s spinning loading wheel. Austin sits adjacent to the Blanton and is surrounded by a blanket of green space, and officially opened to the public on February 18 alongside Form into Spirit: Ellsworth Kelly’s Austin, an exhibition meant to explain Austin’s context in Kelly’s canon of work.