The so-called Speedway in Austin, Texas, is being slowed to the pace of the pedestrian, thanks to a redesign by PWP Landscape Architecture. The road is not a racetrack as its name implies, but a street used heavily by cyclists and motorists as it cuts through the University of Texas at Austin. The project, called the "Speedway Mall," is a move by the university to improve the area and boost its usage. Construction on the mall, to be located between Jester Circle and Dean Keeton Street, will be carried out by the university starting soon on October 26 with the project set to cost $36 million. The project will convert the predominantly urban area into one that is made up of 70 percent green space, a move that will transform the space making it a social hub complete with trees, tables, study areas, and Wi-Fi access. According to the Daily Texan, Pat Clubb, the university operations vice president, stated that the scheme should free up the space for university and educational needs with outdoor learning, campus festivities, performances among other student enterprises. “[Speedway] is a wonderful asset that is not being used, and this project allows us to turn a dull, ugly — this place that students just walk past — into a true activity center,” Clubb said. “I think it will transform the student experience. It will become a place of learning, become a place of social activity. All of the things that will be possible are going to enhance the students’ experience.” “The idea is to transform it to make it safer, to make it more environmentally hospital, to make it more accessible and more usable to students,” Frederick Steiner, dean of the School of Architecture, told the Daily Texan. Steiner has confidence that the Speedway Mall, when finished in 2017, will evolve into an area that students, faculty, staff, and alumni will love about campus. “Where 30 years ago, the Main Mall was sort of the center of campus, now Speedway is sort of the center of campus and it should change to reflect that. There’s an old Joni Mitchell song about tearing up paradise and putting in a parking lot,” Steiner continued. “Well, we’re going to be tearing up parking lots and putting in paradise.”
Posts tagged with "University of Texas at Austin (UT Austin)":
A room-filling parametric design makes its way from the classroom to Austin's famous music festival.When Kory Bieg and his students at The University of Texas at Austin School of Architecture began working on Caret 6, they had no idea that it would wind up at this year’s South by Southwest (SXSW) music and arts festival. But the rippling, room-filling installation soon took on a life of its own. Within months, Bieg’s undergraduates—who had little previous exposure to digital design—had designed and fabricated Caret 6, and assembled and disassembled it twice, first at the TEX-FAB SKIN: Digital Assemblies Symposium in February, and then at Austin’s most famous annual gathering in March. Caret 6 developed out of a research studio taught by Bieg, who is also associate director of the regional digital fabrication and parametric design network TEX-FAB. Selected to chair TEX-FAB’s annual design competition, Bieg knew that he would soon face a problem: how to display the winning entry in a gallery much larger than it. He put his students to work on a solution. “The idea was to create a kind of counterpoint to the winning entry. [We] needed to fill space,” said Bieg. At the same time, the studio would teach the fundamentals of digital fabrication. “It was really just an experimental exploration of what these tools could produce,” he said. Caret 6’s white and grey diamond-shaped cells cascade from a central catenary vault with three column bases. Two secondary vaults project from either side. The front face of the structure flows down to the floor. “The idea is, we didn’t actually know who the winner [of TEX-FAB: SKIN] would be,” said Bieg. “We wanted to design a ground surface that was modular so that we could replace some of the cells with bases for their models.” The 17 students enrolled in Bieg’s course first created individual study models of aggregations and weavings amenable to digital fabrication. In an internal competition, they narrowed the field to three. Bieg broke the studio into teams, each of which experimented with creating volumetric versions of the designs. In a departure from typical parametric installations, Bieg and his students decided to stay away from patterns that gradually expand and contrast. “Our interest was not [in] doing subtlety, but local variations that are quite abrupt, like going from a large cell to a small cell,” said Bieg. “So part of that was a result of the way we structured it. Instead of aggregating cells, we designed a series of ribs.” The primary ribs form the vaults’ seams, while the secondary and tertiary ribs divide the structure into asymmetrical pockets. Halfway through the semester, Bieg called Alpolic Materials, whose Aluminum Composite Material (ACM)—a thin polyethylene core sandwiched between two sheets of aluminum—he had worked with on an earlier project. Alpolic agreed to donate supplies for Caret 6, “so we refined the design according to the material we had,” said Bieg. He also drafted students from UT engineering to calibrate the structure’s thickness, scale, and cantilever distances. “It kind of just evolved from these different processes coming in,” said Bieg. Back in the studio, Bieg’s students used 3ds Max for form studies and Kangaroo, a Grasshopper plug-in, to fit the tessellated diamond pattern to the vaults. They also used Grasshopper to develop an assembly system of binder rings, bolts, and o-rings. Bieg and his team fabricated the installation using UT’s CNC mill. They cut the vault pieces out of Alpolic ACM. The elements closest to the floor are polypropylene, while the intermediary pieces are high-density polyethylene. The students assembled and disassembled Caret 6 manually. At first, they tried working with a QR-code system, scanning each component to determine its location. When this took too long, they projected a digital model of the form on a screen, then called out each piece by number. For SXSW, where they had only six hours for assembly, they subdivided the structure into sections that could be quickly recombined on site. Caret 6 travels to Houston in September, where it will rejoin the entire TEX-FAB: SKIN show. But while the installation has already moved beyond its original context, Bieg insists that it remains rooted in the SKIN competition brief, which focused on building envelopes leveraging metal fabrication systems. “[Caret 6 is] not really a program per se, but more of an experiment about the same concepts that were part of the exhibits at TEX-FAB,” he said.