Posts tagged with "Oyler Wu Collaborative":
International collection of firms enlisted to create visionary, 10,000-acre modern ski community in Utah
From the highest point of land, it’s possible to see four states. There are eight national parks within a day’s drive. The closest towns are named Eden and Paradise and the area gets an average of 500 inches of snow every year.
This is the mountain setting where entrepreneurs have set out to build a visionary arts and skiing community aimed at inventors and other creative types from around the world.
To guide construction, they have assembled a diverse team of designers, land planners, and specialists in alpine architecture from places like Studio MA in Salt Lake City, Utah, Skylab Architecture in Portland, Oregon, and Saunders Architecture in Bergen, Norway.
The community is called Summit Powder Mountain.
The site is a 10,000-acre parcel (including 8,464 skiable acres) in Utah, an hour’s drive north of Salt Lake City. It’s in the region where Utah meets Idaho, Nevada, and Wyoming. The owners say it’s the largest ski area in the country.
Plans call for 500 single-family, ski-accessible home sites connected to a village of similar size, as well as “cultural amenities and miles of walking, biking, and Nordic trails.”
Its name comes from Powder Mountain, part of the Wasatch Range in northern Utah, and the Summit Series, an organization that was founded in 2008 and hosts conferences and events for young entrepreneurs, artists, and activists. The community is aiming to take its place among other well-known ski and resort destinations in the Western U.S.
Summit Powder Mountain is a joint project of Greg Mauro, chairman of Powder Mountain, and the Summit Series. Principals of the Summit Series are Elliott Bisnow, Brett Leve, Jeff Rosenthal, and Jeremy Schwartz. They have formed a company called SMHG LLC, trading as Summit Powder Mountain, which operates the Powder Mountain Ski Resort and serves as developer of the community. Summit Series is its anchor tenant.
The developers have studied other planned communities, including Sea Ranch, California, and Serenbe, Georgia, and developed a set of standards and controls. They talk about pioneering a design aesthetic they call “modern mountain” architecture.
“We love Aspen and Telluride and Sundance and Park City,” said Sam Arthur, Summit’s vice-president of design and marketing. “We just happen to be building our own community…We’re seeking to attract artists, entrepreneurs, inventors—people who are really pushing the envelope in the areas they’re pursuing.”
Investors include Sir Richard Branson of the Virgin Group; Island Records founder Chris Blackwell; Gayle Troberman; Sue Turner; Ken Howery; and Bob and Darcy Bingham.
The developers claim that Summit Powder Mountain will be a place for intellectual stimulation as well as recreation, a setting for “leading-edge dialogues and hosted discussions, world class performances and farm-to-table dining experiences.” Besides their flagship event series, they have a resident chef, and are planning opportunities for crafts, sports, and wellness programs.
The Summit community shares “a philosophy of innovation, creativity, cultural enrichment, and environmental conservation,” according to its website.
Danish architect Bjarke Ingels, no stranger to skiing and Alpine architecture, has come to lecture several times, but is not working on any specific project. Other visitor-lecturers have included Daniel Arsham of Snarkitecture in New York and Jenny Wu and Dwayne Oyler from the Oyler Wu Collaborative in Los Angeles and the Southern California Institute of Architecture (SCI-Arc). In 2014, Wu took part in the Summit Artist-in-Residence (AIR) program.
In shaping this self-sufficient community, the team has developed a strong vision for architecture and land planning. “Modern mountain design and natural preservation” are core values, and architecture will be “subservient” to the landscape.
The community will have two distinct areas. One is called the Ridge, where home sites and “nests” will offer “unrivaled multistate views, easy ski access, and mountain quietude,” said Arthur. Many of these homes will sit on parcels of more than half an acre.
The second area is called the Village, which will contain residences spaced more closely than in the Ridge, including multifamily clusters. It also will be home to “the main lodges, cultural residences, and a walking street with juice bars, eateries, and shops,” making it the community’s central gathering place. The master plan calls for “unique spaces, intentionally designed to foster strong relationships, deep conversations, and inspire new ideas.”
“Preservation of the existing natural environment, which includes an elk reserve, natural waterways, and a thriving wildlife population, is one of the leading design principles,” said Arthur. “‘Homesites’ and ‘nests’ will be tucked in clusters of pine and aspen trees to maintain natural views for all community members, and the Village will be dense with living accommodations to allow for more open space in wildlife-sensitive areas.”
Arthur explained that “modern mountain” architecture does not necessarily mean a throwback to midcentury modernism. He said the buildings would be modern in the sense that form follows function, and floor plans are open and take advantage of natural light and views. “It’s modern in the way they are used, not modernist” as a style, he continued.
The land was originally a ski resort started by the Cobabe family in 1972. Before that, it was the family’s sheep ranch. Summit Powder Mountain has been in the planning stages for several years. One of the first new buildings is the Skylodge, which was designed by Jeff Kovel of Skylab and completed in 2013. The project moved to a new phase last summer, when construction began on the first residences.
Phase one will consist of 154 homesites reflecting the “modern mountain” approach that Summit Powder Mountain “will come to define,” the developers said. “Each building design will meet recognized environmental standards, and energy conservation guidelines will be provided to incorporate cutting edge sustainability systems and materials.”
The developers are working with a number of architects and planners. Besides Studio MA, Skylab, and Saunders, the list includes: Elliott Workgroup in Park City, Utah; Langvardt Design Group in Salt Lake City; and R&A Architects in Los Angeles.
Other architects involved include Sparano + Mooney in Salt Lake City; Marmol Radziner in Los Angeles; Bicuadro Architects in Rome; Bertoldi Architects in Ogden, Utah; Olson Kundig in Seattle; PBW Architects in Seattle; and Grupo H in Slovenia.
The initial elements of the Village will take about 24 months to complete. Construction of the entire community is expected to take place over the next 20 years.
Oyler Wu Collaborative partner delves into jewelry design.Oyler Wu Collaborative partner Jenny Wu had long dreamed of designing jewelry—just as soon as she found some spare time. Last fall, she realized that she might wait forever for a break from her busy architecture practice. "At some point I decided, 'I'll design some pieces, and the easiest way to make it happen is just to 3D print them,'" said Wu. She fabricated a couple of necklaces, and brought them on her just-for-fun trip to Art Basel Miami Beach 2013. "I wore my pieces around, and I was stunned by the response I was getting," she recalled. "People kept coming up to me, literally every five seconds. After a while, I thought, 'Maybe I do have something that's unique, especially for a design crowd.'" Back home in Los Angeles, Wu began prototyping necklaces and earrings for retail sale under the name LACE. Though she originally planned to use 3D printing only to mock up her designs, she decided carry the technology through to her finished pieces. "I'd like to do more high-end, low-run pieces," said Wu. "Especially for jewelry, when you're making custom pieces, people are willing to wait for them. It just made sense from the production point of view for me to use 3D printing." Wu's next step was to design additional pieces and test materials. Typical 3D printing materials like nylon "might look great, but they're extremely fragile and brittle," explained Wu. "Especially resins—they don't have the right tensile quality. Like if you're wearing a necklace and someone hugs you too hard [it can break]." Wu's current line includes necklaces in an elastic nylon material. She also offers earrings and rings in polished nylon that takes advantage of selective laser sintering (SLS) technology, plus a premium cast-metal series that utilizes 3D-printed wax molds. Wu, who is collaborating with Stratasys on certain designs in addition to partnering with other professional 3D printing firms, aspires to use the technology as more than just a production expedient. "Pieces that push the technology are important," she said. "There's so much detail you can introduce in 3D printing, even in metals. You can create this nice edge detail—it's something I notice, but it isn't necessarily something you'd see in jewelry." Nor is the speed with which she can materialize a concept typical by jewelry-world standards. "I can make these chain-link pieces as part of one print, because the support material is something like powder that you can basically wash off," explained Wu. "That's what's amazing, where in the traditional jewelry-making process you'd have to make individual links that you'd eventually assemble." In a neat closing of the circle, LACE returned to Art Basel Miami Beach last week, this time in a pop-up shop at Aqua Art Miami. One year into her experiment, Wu is comfortable having one foot each in the worlds of jewelry and architecture. "If you look at the jewelry pieces, you see how they could relate to our architecture: our emphasis on line-based geometries, the interesting bundling and layering of material, and creating something very spatial, not graphic and flat," she said. "I don't see a separation between my architecture and my jewelry." As for the day-to-day reality of spearheading two creative businesses at once, that seems to be working, too. LACE is in Wu's name, but "the work's happening simultaneously with all the same people," she said. "While it may have its own identity, it's very much part of our office in terms of production. We like how it keeps things fun."