Posts tagged with "Utah":

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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.

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How Salt Lake City might add buildings in the medians of its extra-wide streets

Over the course of four years, the Granary District of Salt Lake City has been trialling "median development" whereby pop-up shows, stands, and other forms of temporary architecture exist literally in the middle of the street. Now, James Alfandre, director of the Kentlands Initiative, proposes something more concrete. https://www.youtube.com/watch?v=tSXH_EEz144 To say Salt Lake City's roads are incredibly wide is an understatement. Initially, this width was derived from former Mormon Governor of the Utah territory who stipulated that a team of oxen and their cart should be able to turn around in the street. In fact, this phenomena is particularly prevalent in many Mormon cities in the United States. However, what was relevant and functional in centuries past is not so today. The width of the roads in a modern city is now an inefficient use of space and in Alfandre's eyes, an opportunity for entrepreneurship. https://vimeo.com/139990231 Building on the success of the trials that saw the streets be transformed into vibrant areas of social interaction, with the space being used for performances and predominantly as a gathering location, Alfandre now proposes a more long term solution. Median development in this respect would shrink the size of the street, dividing space between pedestrians and vehicles as outlined in the diagram above. In the trials, median development gave rise to shipping containers to form "Granary Row" (seen in the video's above). Using this template, the Kentland's Initiative is working with the city to lease the median for 99 years, allowing them to build permanent structures and even housing. Crucially, the median is already under city ownership, meaning that residential space be procured essentially for free. This can then either be sold as a profit or used for low income housing. Alfondre says, "In essence you’d be taking land that was once allocated to cars—or oxen and carts, if you will—and giving it back to the people."
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What’s a protected bike intersection? Salt Lake City would like to show you with the nation’s first installation

Let’s be honest, if you were asked to guess which American city is getting the country’s most advanced piece of bike infrastructure, you would say San Francisco, Portland, or maybe even Pittsburgh. A handful of you might point to Chicago or New York, but very few—if any—of you would go with Salt Lake City, Utah. https://vimeo.com/86721046 But lo and behold that is exactly where America’s first protected bike intersection is set to take shape. The idea behind the protected bike intersection is to extend the security cyclists have in a protected bike lane all the way through an intersection where traffic buffers typically disappear. In a popular video about the bike-friendly intersection (above), Nick Falbo, a senior planner at the Portland-based Alta Planning + Design, explains, "a collection of design elements makes left turns simple and secure, right turns protected and fast, and provide straight through movements that minimize or illuminate conflicts from turning cars." So, why is the first such intersection arriving in a city not typically known for innovative bike infrastructure? Well, the city was looking for a seamless way to connect an upcoming protected bike lane with one that already exists and the protected intersection was the best way to do that. “We looked at the entire range of possibilities, and this just made so much sense,” Salt Lake City’s transportation director Robin Hutcheson told CityLab. “We know that ‘protected’ is what people are asking for. It creates safety and comfort. We have the space. It solves some of our parking issues. We’re able to do so much with this one design.” https://www.youtube.com/watch?t=11&v=gCNJPOYg8G4 Construction is slated to start on the project this summer and last two months. [h/t Streetsblog]
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This year’s architecturally inspired films at the 2015 Slamdance and Sundance film festivals

This year’s Park City offerings at the Sundance and Slamdance film festivals ranged from portraits of architects, a mayor with architectural dreams, a victim of the foreclosure crisis, those trapped in physical and dreamed spaces, and individuals exploring the cultural landscape. Always a harbinger of what is coming up, look out for these films and media projects coming to a screen near you. https://vimeo.com/117273601 Concrete Love. Gottfried Böhm, the only German architect ever to be lauded with a Pritzker Prize (1986) is part of a long line of architects, from his grandfather, father, wife, and three of his four sons. The film’s title refers not only to the Brutalist architecture he favored, but also the love between husband and wife, father and children. Concrete is a shape shifter, a malleable liquid that takes the form of its mold—an apt metaphor. The filmmaking is a sensitive, knowing guide that is as reflective of the creative process as the architectural work itself. A model film which won this year’s Goethe Documentary Film Prize where the jury noted “the film tells a multi-layered tale of love, the passion for architecture and four generations of German history. With sensitive observations, intimate interviews and stirring filmic explorations of an extraordinary architectural legacy, the film creates a lasting impression of the buildings and the people.” Chinese Mayor. This is a rare look at the inner workings of a Chinese city that is remaking itself under an ambitious mayor, Geng Tanbo, who permitted a film crew to follow him around for three years. His goal is to transform China’s coal capital, Datong, population 3.4 million, into a city of culture by rebuilding the structures of its heyday 1,600 years ago including city walls with museums inside, and grottos with Buddhist sculpture and murals—all without residents. He states that Datong can be a new Paris or Rome. This necessitates tearing down much of the existing city and relocating 30 percent of the population or a half million residents, giving the mayor the nickname “Demolition Geng” or “Geng Smash-Smash.” There is not an architect or planner in sight. One of the more interesting meetings takes place with a large group of other Chinese mayors and party secretaries who are all rebuilding their cities into cultural meccas (it is worth noting that mayors are appointed, not elected). Geng deals with corruption (a shady developer made off with $12 million), incompetence (sewer pipes too narrow), shoddy work (paving without cement), delays (hospitals and roads are way behind schedule) until he is suddenly removed from office and transferred to another city, leaving 125 construction projects in Datong halted indefinitely. 99 Homes. Against the backdrop of the 2008 housing foreclosure crisis, a hard-working and honest man (Michael Shannon), cannot save his family home. A real estate shark throws him a lifeline—an offer to join his crew and put others through the same harrowing ordeal of throwing families onto the street that he experienced in order to earn back his home. A portrait of a man whose integrity has become ensnared in this recent American meltdown. The Wolfpack. Locked away from society in public housing on the Lower East Side, the Angulo brothers learn about the outside world through the films that they watch, which they re-enact with homemade props and costumes. Everything changes when one of the brothers escapes, and the power dynamics in the house are transformed. A claustrophobic environment explodes. Forbidden Room. Guy Maddin’s familiar art-house filmmaking takes the locales of “forbidden” spaces—bathrooms, submarines, volcano, caves, elevators and gets lost in non-linear, episodic, absurdist storylines. An ode to the silent movie era, the visuals, sound and story are layered, while color schemes morph into one another. The Nightmare. Following his exploration of the hotel that inspired Kubrick’s The Shining, director Rodney Ascher now investigates the phenomenon of sleep paralysis, the trap between the sleeping and waking worlds. Eerie dramatizations of what the subjects see are created in an architectural moodscape. New Frontier exhibition, Dérive. In this installation, in the distance, you see a city glistening in the dark. The closer you get to it, the larger the city grows until it engulfs you in its presence. This interactive projection is driven by the viewer’s body motions to explore 3-D reconstructions of urban and natural spaces that are being transformed according to live environmental data, including meteorological and astronomical phenomena. Station to Station. Visual artist Doug Aitken embarked on a nomadic experiment of art creation, exhibition and participation in summer 2013 (see AN coverage of its launch from Williamsburg). Station to Station chronicles a train that crossed North America over 24 days making 10 stops, with a rotating roster of artists, musicians, and curators, who collaborated in the creation of recordings, artworks, films, yurts and happenings, across the country. Comprised of 61 individual one-minute films that form a high-speed trip through today’s culture. Films/Media Directors: 99 Homes, Ramin Bahrani Chinese Mayor,Hao Zhou Concrete Love, Maurizius Staerkle Drux Dérive, François Quévillon Forbidden Room, Guy Maddin, Evan Johnson The Nightmare, Rodney Ascher Station to Station, Doug Aitken The Wolfpack, Crystal Moselle
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This 400-foot-high hammock in the Moab Desert is a mid-air playground for climbers in Utah

A hammock suspended 400 feet above ground in Utah's Moab Desert has become an aerial playground for the professional base jumpers and highliners who flock to the canyons every year. https://vimeo.com/114147105 Satirically named the “Mothership Space Net Penthouse,” the approximately 2,000 square foot hammock was wrought by climber Andy Lewis with the help of 50 base jumpers using basic rope weaving techniques. Airspace being so vast, the climbers used to embark on their respective adventures while rarely rubbing elbows. Lewis’ pentagon-shaped net was hence conceived as a high flyer’s executive club, to borrow his sarcasm, and is now a mid-air hub for socializing, rest, and play. Base jumpers leap daily from the man-sized hole in the center of the hammock, while highliners attempt to tightrope-walk across the five legs of the net, some of which span 262 feet. Overhead, paragliders fly by while dropping wing-suit pilots from high above. In 2012, Lewis created a three-sided “Space Thong” (below) with a similar design but comparatively smaller, to bring together climbers who had come from all over the world to partake in the annual GGBY Highline Gathering (an unofficial gathering of slackliners from all over North America) and the Turkey Boogie, a Thanksgiving get-together for base jumpers.
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Amangiri Resort blends with Utah’s dramatic desert landscapes for one luxurious getaway

One of hospitality’s hottest hideaways is located—where else—on barren desert land solely accessible via a treacherously winding road. Booked to nearly full capacity for the first two years of operation, the Amangiri resort is nestled in a desert region called the “Four Corners,” where the borders of Utah, Colorado, New Mexico, and Arizona converge. The resort was crafted by architects and designers Wendell Burnette, Marwan Al-Sayed, and Rick Joy, and guest rooms overlook a sea of sand billows, presenting unhindered views of the Stud Horse Point of the Glen Canyon to the majestic Grand Staircase Escalante National Monument. A bird’s-eye-view of the estate hints at an unimpressive, boxy encampment, but staying in this luxury enclave will set you back $1,100 a night for a desert-view suite and $3,600 for the Amangiri Suite. Designed to blend into the surrounding monoliths, the building features natural materials and textures, with a concrete facade subtly tinted pink, ocher, and light yellow to soften the building’s profile. The pavilion and main pool (which is heated to more than 80 degrees at all times) are configured around a dramatic stone escarpment which is more than 150 million years old. Adjacent to it is a communal great room with four fireplace niches, which serves as a reception area, dining room, gallery, library, and living room—as well as an optimal vantage point for drinking in the sunset. Two accommodation wings stem from the pavilion—the Desert Wing contains 16 suites, with 18 suites and the Aman Spa located in the Mesa Wing. In designing the building the architects deferred to the geometry of the looming cliffs, often slanting walls towards each other to provide slot canon views of the desert and mesa. Desert-dwelling pastimes touted by the resort include hot air ballooning, helicopter rides, equestrian excursions, hikes, and day trips to Lake Powell. The luxury resort is the brainchild of Singapore-based company Aman Resorts, which specializes in developing small, exclusive properties in locations that stray from the beaten path. [h/t Fubiz.]
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Red-Rock-Inspired Headquarters by ajc

Earth-toned GFRC panels and contrasting metal wrap Petzl's new North American hub.

When Petzl executives decided to move the climbing and caving equipment company's North American headquarters from Clearfield to West Valley City, Utah, they sought an opportunity not just to expand, but to design a facility that would reflect the brand's mission. "The two words we kept hearing from them were verticality and light," recalled ajc architects founding principal Jill A. Jones. "The types of products they design really have to deal with the vertical world." Working with a southwestern palette inspired by Petzl corporation founder and president Paul Petzl's recent visits to Mesa Verde National Park and Machu Picchu, the architects designed a combination administrative, training, and distribution center whose mesa-like bottom stories and punctuating tower appear as if carved out of desert rock.
  • Facade Manufacturer Tuscan Stoneworx (GFRC), Drexel Metals (metal), Cornerstone Concrete (concrete), B&D Glass (glazing and curtain wall)
  • Architects ajc architects
  • Facade Installer Tuscan Stoneworx (GFRC), Superior Roofing (metal), Sahara (general contractor)
  • Location West Valley City, UT
  • Date of Completion 2014
  • System hybrid stone-backed GFRC panels, metal panels, tilt-up concrete
  • Products custom GFRC panels from Tuscan Stoneworx, Drexel Metals DMC panels, tilt-up concrete by Cornerstone Concrete
Given Paul Petzl's interest in the continent's arid landscapes, natural stone cladding would have seemed an obvious choice. But "to use stone would have been terribly expensive," said Jones—especially given the building's size, 80,000 gross square feet. "Getting a lot of stone in those larger panels would have been cost-prohibitive." Instead, the architects looked to GFRC, and worked with Tuscan Stoneworx's Dave Nicholson to develop a hybrid system of stone-backed GFRC panels. Rather than being hung on the building, the panels are adhered directly to it, thus avoiding any breaks in the thermal barrier. To perfect the look of the GFRC, the architects did no less than a dozen color studies before selecting three red-orange tones for application. The panels were sandblasted on site to render the color and texture more naturalistic. Nicholson helped ajc customize every aspect of the panel system, from color and texture to corner installation. "I don't know if he'll ever do that again," remarked Jones. The designers clad the tower and a bump-out over the front door in dark grey metal from Drexel Metals. "The tower itself was a sensitive area, because Petzl did something similar in their home headquarters in Crolles, France," said Jones. "It kind of felt dark and cold; we wanted to bring a lot of daylight into the space." The architects performed a series of daylighting studies, "to make sure we had daylighting opportunities in every occupied space." This led to the installation of high-performance glass on both sides of the office block to avoid glare. For the warehouse area, ajc chose tilt-up concrete. But as with the GFRC, achieving a natural look took some ingenuity. "We wanted not to paint the concrete, to get a more organic look," said Jones. "But staining the concrete was a challenge, because the form liners leave a natural coating on the panels." Contractor Sahara experimented with various solutions once the panels were in place to find a stain that the concrete would accept. Petzl's new North American headquarters is a fitting base camp for a company committed to pushing the limits of human exploration. Both inside and out—from its window-lit multi-story indoor climbing and training wall to its human-made, red-rock-inspired envelope—the building embodies a balance between reverence for the natural world, and celebration of the technology that makes that world a little more knowable.
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Bjarke Ingels gets rejected in Utah…again

It's strike two for Danish design in Utah. Bjarke Ingels’ second proposed expansion of the Kimball Art Center in Park City, Utah did not fare any better than his first. The Park City News is reporting that the local City Hall rejected the firm’s updated design because it failed to meet the “municipal government's strict Old Town guidelines.” Or, to put it simply, it just didn't fit in. That's essentially what the Park City community said about BIG’s first design—a dramatic, twisting, log cabin-like structure. For the second go-round, BIG opted for a more refined approach with a concrete structure that lifts over the street and forms a 46-foot-high peak at the site's corner. In a statement, the Kimball Art Center’s executive director expressed the board’s disappointment with City Hall’s decision, and said that they are weighing their next steps. The center  has a brief, ten-day window to appeal.
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BIG Reveals New Concrete Plan For Kimball Art Center After First Design Rejected by Public

Thanks in large part to public protest, Bjarke Ingels' plans for a twisted, log-cabin-like box for Park City's Kimball Art Center have been dramatically changed. Earlier this month Ingels' firm BIG unveiled a new design: a concrete wedge lifting 46 feet above the corner of Main and Heber Streets. "The building seems to rise with Main Street and the mountain landscape, while bowing down to match the scale of the existing Kimball," Ingels said in a statement. The former plan (pictured below), chosen in 2012, was 80-feet-tall. Its exposed wood facade paid homage to the area's early settlers and to the city's historic Coalition Mine Building. Besides echoing the local topography, Ingels told the Park City News that the new poured-in-place design "draws on the encounter between the modern functionalist architecture of the Kimball Garage (the museum's original home) and the regional vernacular style of the mountain architecture." Some locals had complained that the original design didn't mesh with the city's context, and that its height would impact property values. When asked how he felt about the Kimball's decision not to pursue his original design, Ingels replied: "The Kimball and BIG did the only thing possible, and now I think we have arrived at a design that can be just as striking a contribution to Part City's streetscape, if only a lot more intimate in scale than our first sketches."
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Public Opinion Keeps BIG’s Kimball Art Center Renovation on Hold

Despite winning the Kimball Art Center renovation commission in February of last year, Bjarke Ingels Group’s design proposal is far from beginning construction in Park City, Utah. After a seven-member jury of officials, architects, and a Park City resident chose the BIG museum revamp from a shortlist of designs from several prominent firms, the public made their dissatisfaction clear. The building is on hold and without community approval it will continue to sit in stasis for an indeterminable amount of time. Rendered as a twisted timber box, BIG’s transformed Kimball Art Center is a “highly-evolved log cabin at an unprecedented scale.” Its wood construction alludes to the building materials used by miners, the area’s first settlers, and the proposed 80-foot height is congruent with an iconic heritage monument that once stood near the site. These architectural intentions do not appease nor appeal to Park City residents. Scott Iwasaki of “The Park Record” reported that some neighbors have complained BIG’s design does not fit with its historic locale while others are worried the tall structure will decrease surrounding property values. Concerns have been so severe that the art gallery’s Board of Directors chose not to submit the plan for a city review, the first step in building construction approval, even after the jury spent six months deliberating a design competition winner. The Board did make a pre-application to Park City’s Historic District Design Review, although this will have no effect on the status of the eventual renovation. Their next move, however, is uncertain. Repeating the competition process for a new design is an option, Kimball Art Center Chairman Matt Mullin said but its subsequent timeline extension would not be ideal. The renovation is meant to provide space to expand the Kimball’s art education classes and until the Park City community is content with the design, its present pause will endure.
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After Fire, Redevelopment Effort Lifts Utah Temple Onto Stilts

In Provo, Utah, a new temple is rising, literally, on the site of a disaster. When a devastating fire ripped through the 112-year-old tabernacle in 2010, destroying its wooden interiors and steeples, community members mourned the loss of their historic house of worship. But with the building’s 7-million-pound stone shell still standing, a new plan was devised to transform its remains into a temple. Now the building’s skin, reinforced by shotcrete and steel beams, has been "lifted" 40 feet off the ground on steel and concrete piles. The former church was gutted before construction crews began digging down to create space for a new, two-story basement, installing the stilts as they went so the building really hasn’t gone anywhere. “People are amazed when the see [the construction site],” project manager Andy Kirby told the Mormon Newsroom. ”They haven’t seen anything like it before. They just say it doesn’t look real and are just amazed that we can do that, that we can lift a building up with piles like that.” While the new foundation is already laid, the project is not set to be complete until 2015 considering the amount of restoration that needs to be done to return the temple to its former glory. [Via Colossal.]
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Prominent Shortlist for Park City’s Kimball Art Center

Five noted teams have been shortlisted from a pool of 18 to renovate and expand the Kimball Art Center (KAC) in Park City, Utah. The firms include BIG/Bjarke Ingels Group; Brooks + Scarpa Architects; Sparano + Mooney Architecture; Will Bruder + Parnets; and Todd Williams Billie Tsien Architects. The center offers exhibitions as well as art classes, workshops, and other educational programs. Plans call for renovating the interior of the existing KAC and constructing a new modern building next door. Each of the proposals will be displayed using augmented reality, photography, and video during the Sundance Film Festival from January 19 through the 29 and a jury will select a winner in February once the public has had a chance to weigh in on their favorites. Construction could begin as soon as mid-2013 with the new wing opening in 2015. "We want visitors to see Park City as an important emerging arts destination, and a new building of architectural importance, with an enhanced facility for the presentation of art, will do just that,” said Robin Marrouche, the Kimball's executive director, in a statement. “In addition to the positive economic effects the project could have on the region in the long term, we want to further enrich our community, allowing us to expand our exhibition and educational offerings and provide a much needed public gathering space in Old Town." BIG's proposal calls for a twisting, stacked timber structure made from reclaimed train tracks, enclosing an interior spiral staircase and topped with an roof terrace. A sculpture garden would be included on top of the original structure. Brooks + Scarpa Architects designed a honeycomb tower called the "Kimball Cloud" that incorporates solar energy and natural ventilation. A rooftop terrace and garden is included in the new building. Sparano + Mooney Architecture also calls for timber construction, this time inspired by the Aspen tree. The new building will be covered with a photovoltaic glass screen allowing the new space to be flooded with light. Will Bruder + Partners designed a building with a colored ceramic facade that references both the adjacent masonry buildings in Park City's historic district as well as the surrounding canyons. The proposal features a rooftop terrace and a central skylight. Todd Williams Billie Tsien's proposal, dubbed a "Box of Sky and Shadow," frames mountain views and includes an exterior scrim for film projects. Check out more images of the five proposals below. Click on a thumbnail to launch the slideshow.