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T H E AT E R C O R R I D O R P U B L I C A RT I N S TA L L AT I O N

R E S P O N S E TO R E Q U E S T F O R Q UA L I F I C AT I O N S


L E T T E R O F I N T E R E S T

My interest in creating an art installation for the theater corridor in downtown Ashland stems from my appreciation for the artistic challenge of fulfilling the potential of this very specific space, the opportunity to fully integrate lighting into an artwork and explore the ways in which lighting can have a profound effect, and the charms and attraction of the City of Ashland, itself. Ashland’s beauty and the grandeur of the Siskiyou and Cascade Mountains, its incredible cultural resources and the charm of the community make it an ideal site for the meaningful and thoughtful integration of public art. I believe I have the experience and unique qualifications to fulfill all project goals and create artwork that acknowledges the artistic and intellectual qualities of the city, facilities passage through the corridor, activates the space and pays homage to the bountiful beauty of the area. Creating work that brings storytelling and beauty into publicly shared spaces has been my focus and passion for nearly 30 years and has resulted in more than 70 international public art commissions. My mission statement defines the conceptual basis for my body of work: “To inspire the spirit of humanity by bringing beauty and meaning into the world through art.” I approach each project through a fresh lens and let the story and the parameters of each project guide my creativity. I believe a successful public art installation should articulate a public space and give it definition and meaning, either by extending it visually or providing a sense of enclosure and intimacy. Artwork should not get “lost” in a landscape or architectural setting, but instead add depth and dimension. Ultimately, my approach to the integration of art, its concept, approach, material and fabrication will respond specifically to the history, culture, people and stories of Ashland. The conceptual development process for the theater corridor will include extensive research about the site and the community. If awarded this opportunity, I will engage with project stakeholders and community members to learn more about Ashland and the theater corridor and then let the story and the space form the conceptual basis of the artwork. As the accompanying images of past work indicate, I have significant experience incorporating lighting design into artwork to create a powerful and spectacular effect. For Route 66 in Albuquerque, New Mexico, Aluminum Yucca incorporates a solar-powered, slow-moving color wheel that recreates the hues of the Albuquerque desert landscape at night and illuminates the sculpture for motorists driving past. Imaginative lighting enables this gateway installation to have a compelling effect at both day and night. Rostrum is an installation that has become a gathering and meeting space for residents of the community where it is located. 50 inset LED lights are embedded into the steel “skeleton” of the structure, imbuing Rostrum with a glowing, welcoming presence that attracts visitors throughout the evening hours. In Honor of the Fallen, a memorial sculpture for the Oklahoma City Police Department incorporates dichroic glass and lighting to create a sparkling, transformative light-filled installation that is compelling at both day and night. My approach for the theater corridor might utilize dichroic glass; it is extremely light sensitive and highly reflective, with fantastic multi-colored and reflective properties. Light transmitted through the dichroic surface of the discs will appear to be one color and light reflected from it will appear as a complementary color. As the angle at which the dichroic is viewed changes, the colors that are transmitted and reflected also change. I believe this material might be extremely effective in the theater corridor, with properties that can be exploited throughout the day and night. Light cast by either sunlight or integrated LED lighting will result in an art installation for the theater corridor that enhances the space, invigorates the walkway, engages visitors and visually connects the theater campus with Main Street.


L E T T E R O F I N T E R E S T

I have spent my entire career in the field of public art and effective collaboration has been an essential ingredient for the timely completion and success of every one of my projects. I have extensive experience collaborating with architects, university staff, community representatives, government agencies, and design and project teams. I have an aptitude for interpreting architectural and landscape drawings and I am well versed in reading architectural, landscape and engineering plans. With every commission, I work closely with the designers and staff to develop a thorough understanding of the use and experience of the site and understand the aesthetic established by the surrounding architecture and landscape. Another hallmark of my work is the outstanding level of craftsmanship and oversight our studio produces. I have the infrastructure to complete projects of any size and scope on time and on budget. All of the work I design is fabricated to the highest quality standards at our studio in Napa and is created to be permanent, durable and require little maintenance. Gordon Huether Studio has the talented staff to provide in-house services from design to installation and we are proud to be recognized for delivering all projects on time and on budget, even within the most challenging timelines and circumstances. Thank you very much for your consideration. Gordon Huether Artist 1821 Monticello Road Napa, CA 94558 707-255-5954 [email protected] www.gordonhuether.com

GORDON HUETHER | RÉSUMÉ

SELECTED COMMISSIONS 2016 Salt Lake County District Attorney’s Office Building, Salt Lake City, UT Commissioned by: Salt Lake County Sand Hill, Palo Alto, CA Commissioned by: Palo Alto Public Art Commission Copia, Napa, CA Commissioned by: The Culinary Institute of America Dadeland, Boca Raton, FL Commissioned by: Duncan Hillsley Capital OLE Health, Napa, CA Commissioned by: OLE Health 2015 Salt Lake City International Airport, Salt Lake City, UT Commissioned by: Salt Lake City Department of Aviation Fort Lauderdale-Hollywood International Airport - Terminal 1, Fort Lauderdale, FL Commissioned by: Broward County Public Art Program Iliff Rapid Transit Station and Parking Structure, Aurora, CO Commissioned by: City of Aurora, Art in Public Places In Honor of the Fallen, Memorial Sculpture, Oklahoma City Police Headquarters, Oklahoma City, OK Commissioned by: Oklahoma City Office of Arts & Cultural Affairs 2014 9/11 Memorial Sculpture, American Canyon, CA Commissioned by: American Canyon Fire Department Hoops, Oregon State University - Basketball Practice Facility, Corvallis, OR Commissioned by: Oregon State Arts Commission Millstone Rehabilitation Project, Yountville, CA Commissioned by: Town of Yountville The Nature of Life, Martinez Courthouse, Martinez, CA Commissioned by: Judicial Council of California, Arts in the Courthouse Program Red Bluff Courthouse, Sacramento, CA Commissioned by: State of California; LPAS Architecture + Design Rockland County Office Building, New City, NY Commissioned by: Rockland County Art in Public Places Tarantula and Poppy Jasper, Morgan Hill Parking Facility, Morgan Hill, CA Commissioned by: City of Morgan Hill, F+H Construction 2013 Hatcher Road Streetscape Project, Phoenix, AZ Commissioned by: City of Phoenix, AZ Portal, University of Toledo Roundabout, Toledo, OH Commissioned by: University of Toledo 2012 A-Round Oakland, BART Oakland Coliseum Connector Station, Oakland, CA Commissioned by: Bay Area Rapid Transit Authority Aureole, Centennial Plaza Sculpture, Peoria, AZ Commissioned by: City of Peoria High Wire Travelers, Raleigh-Durham International Airport, Raleigh, NC Commissioned by: Raleigh-Durham International Airport Oklahoma State University - Henry Belmon Research Center, Oklahoma City, OK Commissioned by: Oklahoma Art in Public Places 2011 A is for Allen, Exchange Parkway Median Enhancement, Allen, TX Commissioned by: City of Allen University Health System - Medical Center Campus, San Antonio, TX Commissioned by: Bexar County Hospital District 2010 The Canyon, Salt Lake City International Airport - TRAX Station, Salt Lake City, UT Commissioned by: Salt Lake City; Utah Transit Authority Desert Light, Sun Tran Bus Storage & Maintenance Facility, Tucson, AZ Commissioned by: Tucson Pima Arts Council Houston Police Department, Midwest Police Station, Houston, TX Commissioned by: Houston Arts Alliance; City of Houston Kansas City Police Department - South Patrol Station, Kansas City, MO Commissioned by: Kansas City 2009 9/11 Memorial, Napa, CA Commissioned by: City of Napa

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Globussphäre, Loßburg, Germany Commissioned by: Arburg GmbH & Co. KG LBJ Presidential Library, Austin, TX Commissioned by: LBJ Presidential Library LBJ School of Public Affairs, Austin, TX Commissioned by: University of Texas at Austin Pixel Care and Light Forest, El Camino Hospital, Mountain View, CA Commissioned by: El Camino Hospital, Mountain View, CA Rostrum, Miramar Town Center, White Rock, BC, Canada Commissioned by: City of White Rock, BOSA Properties 2008 Jack London Square, Oakland, CA Commissioned by: City of Oakland; Jack London Square Partners Lafayette-Orinda Presbyterian Church, Lafayette, CA Commissioned by: Lafayette-Orinda Presbyterian Church; HKIT Architects Lot 5 Project, Chapel Hill, NC Commissioned by: Town of Chapel Hill O Wave, Ovation Condominiums, St. Petersburg, FL Commissioned by: JMC Communities Red Eye, East Village Parking Facility, Kansas City, MO Commissioned by: Kansas City Municipal Art Commission 2007 Desert Mosaic, Tucson Justice Court, Municipal Court Complex, Tucson, AZ Commissioned by: Tucson Pima Arts Council Gotta Go, Jacksonville International Airport, Jacksonville, FL Awarded by: Jacksonville International Airport Arts Commission Mountain Range and River of Light, John Muir Medical Center, Walnut Creek, CA Commissioned by: John Muir Health Foundation; City of Walnut Creek Petaluma Tower, Petaluma, CA Commissioned by: City of Petaluma Richmond Civic Center, Richmond, CA Commissioned by: City of Richmond Texas Tech University - School of Law, Lubbock, TX Commissioned by: Texas Tech University 2006 The Bridge Homeless Assistance Center, Dallas, TX Commissioned by: Dallas County; Overland Partners Marsh Creek Bridge, Brentwood, CA Coommissioned by: City of Brentwood Awarded by: The City of Brentwood The Collection, Burbank, CA Commissioned by: City of Burbank; Champion Development Vessel and Waves, Sacramento Regional County Sanitation District, Sacramento, CA Commissioned by: Sacramento Metropolitan Arts Commission SELECTED AWARDS 2015 Napa 9/11 Memorial - CODAworx Video Awards Top 100 - Collaboration of Art and Design

Highwire Travelers, Raleigh-Durham International Airport - 2015 CODA Awards Merit Winner – Transportation 2014 Napa 9/11 Memorial, CODAworx Video Awards Top 100, Collaboration of Art and Design 2013 Mountain Range and River of Light, John Muir Medical Center - CODAworx Awards Top 100 - Collaboration of Art and Design 2010 Certificate of Merit, American Society of Interior Designers, California Peninsula Chapter 2009 Gotta Go, Jacksonville International Airport, Jacksonville, FL - Americans for the Arts Public Art Network - Best Public Art in the United States, 2009 The Bridge Homeless Assistance Center, Dallas, TX - Housing Committee Award for Special Housing,

American Institute of Architects - Award for Community-Informed Design, Department of Housing and Urban Development

2006 Stockton Arena Public Parking Structure, Stockton, CA - Americans for the Arts Public Art Network - Best Public Art in the United States, EDUCATION 1990-92 Life Center Collaborative Project with Professor Johannes Schreiter, Napa, CA 1986 Pilchuck Glass School, Stanwood, WA 1980-82 Apprenticeship at Universal Glass Studio, Blieskastel, Germany


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Aluminum Yucca 2003 Salvaged Aluminum, Solar Powered LED Lighting 22’ H x 15’ W x 15’ D Route 66, Albuquerque, NM Budget: $200,000 Aluminum Yucca is made from salvaged aluminum fuel tanks from F-16 military aircraft. The hollow forms were sliced vertically to resemble the scooped shape of the Datil Yucca leaf, which is native to the area. At night, a slow-moving, solar-powered color wheel that recreates the hues of the Albuquerque desert landscape illuminates the sculpture. The exaggerated scale celebrates the romance and nostalgia of western Road Culture in the 20th century - evident all along Route 66 in wigwam-shaped hotels, five-foot Mexican sombreros and giant cowboy boots. It is located on I-40 in Tijeras Canyon, the Route 66 gateway to Albuquerque.


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Aluminum Yucca, Night View 2003 Salvaged Aluminum, Solar Powered LED Lighting 22’ H x 15’ W x 15’ D Route 66, Albuquerque, NM Budget: $200,000 Aluminum Yucca is made from salvaged aluminum fuel tanks from F-16 military aircraft. The hollow forms were sliced vertically to resemble the scooped shape of the Datil Yucca leaf, which is native to the area. At night, a slow-moving, solar-powered color wheel that recreates the hues of the Albuquerque desert landscape illuminates the sculpture. The exaggerated scale celebrates the romance and nostalgia of western Road Culture in the 20th century - evident all along Route 66 in wigwam-shaped hotels, five-foot Mexican sombreros and giant cowboy boots. It is located on I-40 in Tijeras Canyon, the Route 66 gateway to Albuquerque.


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In Honor of the Fallen: Oklahoma City Police Headquarters Memorial 2015 Aluminum, Dichroic Glass, Fused Glass 18’ DIA, 70’ pathway Oklahoma City, OK Budget: $207,500 The Oklahoma City Police Department Memorial is composed of six aluminum arches that curve towards one another, creaNng an upliOing gesture while pulling focus towards three memorial stones placed beneath. Each arch has one word water-‐jet-‐cut onto its surface with an inset of blue and gold dichroic glass behind it. The words: Strength, Honor, Courage, Responsibility, Integrity and Respect are touchstones for the police force and blue and gold are the colors of the uniform. The arrangement of arches creates an open-‐aired canopy and a gesture that serves as an embrace of our fallen officers. The second feature of the installaNon creates a path along the plaza’s axis. Two paths of dense, fused glass, one in blue and the other in gold, are embedded into the plaza surface. This glass path serves as a way-‐finder for visitors, underscores the processional aspect of the memorial and adds addiNonal beauty and complexity to the plaza.


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In Honor of the Fallen: Oklahoma City Police Headquarters Memorial, Night View 2015 Aluminum, Dichroic Glass, Fused Glass 18’ DIA, 70’ pathway Oklahoma City, OK Budget: $207,500 The Oklahoma City Police Department Memorial is composed of six aluminum arches that curve towards one another, creaNng an upliOing gesture while pulling focus towards three memorial stones placed beneath. Each arch has one word water-‐jet-‐cut onto its surface with an inset of blue and gold dichroic glass behind it. The words: Strength, Honor, Courage, Responsibility, Integrity and Respect are touchstones for the police force and blue and gold are the colors of the uniform. The arrangement of arches creates an open-‐aired canopy and a gesture that serves as an embrace of our fallen officers. The second feature of the installaNon creates a path along the plaza’s axis. Two paths of dense, fused glass, one in blue and the other in gold, are embedded into the plaza surface. This glass path serves as a way-‐finder for visitors, underscores the processional aspect of the memorial and adds addiNonal beauty and complexity to the plaza.


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Mountain Range River of Light 2010 2010 Corten Steel, Glass Integrated Glass Tiles 90’ L x 78” H x 2’ D 190’ L x 5” – 11” W John Muir Medical Center John Muir Medical Center Walnut Creek, CA Walnut Creek, CA Budget: $505,000 Budget: $234,000 This two-‐part installaNon serves as both a way finder and an iconic place-‐making desNnaNon for visitors to the John Muir Medical Center. Drawing inspiraNon from environmentalist John Muir’s reverence for the San Francisco Bay Area’s natural beauty, the arNst incorporates references to Bay Area mountains and waterways and integrates natural landscape and architectural elements into the overall design.


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Mountain Range River of Light 2010 2010 Corten Steel, Glass Integrated Glass Tiles 90’ L x 78” H x 2’ D 190’ L x 5” – 11” W John Muir Medical Center John Muir Medical Center Walnut Creek, CA Walnut Creek, CA Budget: $505,000 Budget: $234,000 This two-‐part installaNon serves as both a way finder and an iconic place-‐making desNnaNon for visitors to the John Muir Medical Center. Drawing inspiraNon from environmentalist John Muir’s reverence for the San Francisco Bay Area’s natural beauty, the arNst incorporates references to Bay Area mountains and waterways and integrates natural landscape and architectural elements into the overall design.


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Rostrum 2013 Stainless Steel, Locally Sourced Cedar Blocks 14’ W x 14’ H x 8’ D Miramar Village White Rock, BC, Canada Budget: $300,000 Rostrum, an amphitheater-‐like installaNon made of stainless steel and naNve cedar Nmbers, takes its aestheNc cue from the landscape and architectural design of the site. It blurs the line between art, sculpture and nature as Rostrum takes on the characterisNcs of a natural shelter one might find in a forest. Residents engage with Rostrum by using the space as a gathering place, as well as well as a piece of art. The work glows beauNfully at night thanks to fiOy inset LED lights embedded into the curved stainless steel pipes.


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Rostrum 2013 Stainless Steel, Locally Sourced Cedar Blocks 14’ W x 14’ H x 8’ D Miramar Village White Rock, BC, Canada Budget: $300,000 Rostrum, an amphitheater-‐like installaNon made of stainless steel and naNve cedar Nmbers, takes its aestheNc cue from the landscape and architectural design of the site. It blurs the line between art, sculpture and nature as Rostrum takes on the characterisNcs of a natural shelter one might find in a forest. Residents engage with Rostrum by using the space as a gathering place, as well as well as a piece of art. The work glows beauNfully at night thanks to fiOy inset LED lights embedded into the curved stainless steel pipes.


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Great Wall 2005 Corten Laser-‐Cut Steel 2' to 6’ H x 200’ L. BioMarin PharmaceuNca Novato, CA Budget: $350,000 Microscopic bio-‐organisms studied in BioMarin’s laboratory inspired the laser-‐cut design of the wall’s surface. The steel wall was treated with a hot paNna applicaNon, creaNng addiNonal random organic pagerns on the wall’s surface. The cellular shapes enliven the surface of the sculpture while adding a layer of content with a direct connecNon to the mission of the company.


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Portal 2013 Aluminum, Dichroic Glass 14’ H x 14’ W x 4’D University of Toledo Toledo, OH Budget: $155,000 Portal was integrated into a health science campus in order to improve and enhance pedestrian space and to create a beauNful and unifying centerpiece for a traffic roundabout. Through its circular shape, the sculpture invites viewers to reflect on the concepts of the interdependence of a community and encourages them to come together as a community through this all-‐inclusive portal.


R E F E R E N C E S

Robbie Kienzle Oklahoma City Planning Department City of Oklahoma 420 West Main Street, 9th floor Oklahoma City, OK 73102 Phone: (405) 297-‐1740 Email: [email protected] In Honor of the Fallen Oklahoma City Police Headquarters Memorial Oklahoma City, OK Ms. Kienzle was Oklahoma City’s contact for the installaNon of an integrated plaza memorial for the new Oklahoma City Police Headquarters. hgps://gordonhuether.com/stunning-‐photos-‐of-‐installaNon-‐at-‐okc-‐police-‐headquarters Maureen Riley ExecuNve Director Salt Lake City Department of Airports PO Box 145550 Salt Lake City, UT 84114 Phone: 801-‐575-‐2408 Email: [email protected] Salt Lake City Interna9onal Airport Gordon Huether is currently engaged in devising and overseeing a five-‐year Master Art Plan for the Salt Lake City InternaNonal Airport. He is also in the fabricaNon phase of a significant art installaNon in the Airport’s new terminal that will be completed in 2020. hgps://gordonhuether.com/gordon-‐huether-‐awarded-‐major-‐art-‐installaNons-‐at-‐new-‐salt-‐lake-‐city-‐int-‐l-‐airport Edith Ramirez Principal Planner for Economic Development City of Morgan Hill, CA 17575 Peak Avenue Morgan Hill, CA 95037 Phone: 408-‐-‐-‐778-‐-‐-‐6480 Email: [email protected] Poppy Jasper + Tarantula City of Morgan Hill, CA Ms. Ramirez was the City’s point of contact for this project, two installaNons for a downtown parking garage in the City of Morgan Hill, CA. hgps://gordonhuether.com/morgan-‐hill-‐s-‐brand-‐new-‐public-‐art-‐tarantula-‐poppy-‐jasper

passengerterminaltoday.com passengerterminaltoday.com

CASE STUDY: SALT LAKE CITY 15 14 CASE STUDY: SALT LAKE CITY

MARCH 2016 | Passenger Terminal World Passenger Terminal World | MARCH 2016

HAZEL KING n

What do you do when your airport no longer meets building regulations and your traffic

has grown by more than 100% since the facility was built? Knock it down and start again. Or at least that’s what the decision makers at Salt Lake City International Airport (SLC) have decided to do.

Originally constructed in 1961 with a capacity of 10 million passengers per annum, SLC now handles 22 million travelers each year, which means that the airport is too small to provide the great passenger experience it strives for and the aging airport buildings no longer meet earthquake safety standards.

“In addition the airport is made up of 29 buildings connected together to form three terminals, which is not conducive to a smooth passenger experience,” explains Maureen Riley, executive director of the Salt Lake City Department of Airports. “We have experienced great growth in the past few years and are now handling 22 million passengers annually, so everything is undersized. We took all that into consideration in designing a new facility that can accommodate these additional passengers and is easily expandable for future demand.”

At a cost of US$1.8bn and with a phased construction program scheduled for completion in 2023 (the three-story terminal will open in 2020), the Salt Lake City International Airport Terminal Redevelopment Program (TRP) is one of the largest construction projects currently taking place in the USA, according to Gordon Huether, the artist working on the project (see Welcome to Utah on page 16).

Salt Lake City International’s multibillion-dollar project to centralize its terminal operations will streamline the passenger journey and create a sense of place for the millions of people who travel through Utah’s gateway each year

Project elements• Single, three-level terminal built

to the west of the existing terminal complex with a centralized security checkpoint

• One linear concourse connected to the terminal with 38 gates featuring jet bridges. Portions of the existing B, C and D concourses will be upgraded to bring the total number of gates to 72

• Gateway center between the terminal building and parking garage housing rental car counters, airline ticket counters and light rail services

• New parking garage with 3,600 spaces – twice as many as currently available

• Modern central utilities plant

• Service and maintenance facilities for car rental companies

MAIN IMAGE: The canyon artwork guides passengers through the terminal ABOVE: The Plaza is a centralized concession area

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CASE STUDY: SALT LAKE CITY 1716 CASE STUDY: SALT LAKE CITY

MARCH 2016 | Passenger Terminal World Passenger Terminal World | MARCH 2016

We’ve taken a very considered

approach to every project component in

terms of energy saving and it has helped us to be

on track with LEED Gold

For Robert Chicas, director of aviation and transportation at HOK, the principal architect in charge of the project, the biggest transformation of SLC is the centralization of operations. “The current 29 buildings that make up the airport will be demolished or refurbished and replaced with a modern, expansive central terminal with dual level access, new parking and rental car facilities [see Project elements on page 15]. The airport will have one centralized security screening checkpoint and one meeter/greeter area so that the main activities are concentrated in one location, which will make for a much better passenger experience.”

The airport will reduce the number of gates from 85 to 72, but they will all be fitted with jet bridges (currently only 55 have this feature, the rest being boarded from the ramp), enabling the airport to better use its preferential gate system whereby any airline can use any gate. “New, larger gates will support Delta’s transition from 50-seat regional jets to larger two-cabin aircraft,” says Shane Jones, vice president of corporate real estate at Delta Air Lines, the airport’s largest user.

Not only will the new terminal and its accompanying facilities improve the passenger experience, but it will also benefit the local

One aspect of this project that makes it so unique is the artwork by Gordon Huether Studio that has been integrated into the design from a very early stage. Taking its inspiration from the surroundings of the Utah valley, visitors to the terminal will be able to experience an indoor canyon.

“The genesis of The Canyon artwork came from the airport and HOK – when they started designing the terminal they had a long spine down the center of the building that was always referred to as the canyon, so it was obvious which direction I was going to take,” comments Gordon Huether, the artist for the project. “The artwork is very much inspired by nature and the natural wonders of Salt Lake City and the Utah area. The striations and lines in the natural canyons took millions of years to form through air and water erosion, which is fascinating and changes

your whole idea of time and space. I did half a dozen different prototypes based on the canyon idea and it morphed and got refined into what it is today.”

The result is a massive art installation integrated on the east and west walls of the terminal and running 362ft in length. The Canyon begins at the arrivals lobby and continues uninterrupted to the grand plaza, enabling passengers to make a connection from one end of the airport to the other. “The artwork helps to create a strong sense of place for passengers; we’re using nature because the natural wonders of Utah are unique.”

The Canyon uses computer-driven LED lighting to enable the airport to choose color ranges for each season. “For example, in the winter the lighting might be very white or ice

blue to reference a winter landscape, while in the summer the lighting might be more amber and gold to reflect the sunlight on the canyons. The Canyon will be something that continually changes, so even though it has no moving parts it will be a passively kinetic installation that reflects how the canyons will continue to evolve,” continues Huether.

In addition to The Canyon, Huether has also designed the Column Plates and an 80ft-tall escalator well sculpture. The sculptural Column Plates, located in a gathering area for both arriving and departing passengers, will separate baggage claim from the main lobby area. “There are these massive columns that support the building, and rather than looking at the columns as a constraint, we looked at them as an opportunity, so they are being clad with

community. In fact the airport’s latest economic impact study predicts that the redevelopment will create nearly 24,000 jobs, generate US$1bn in wages/income, add US$1.5bn to the state’s GDP and create US$3.3bn in total economic output.

Catering to the local communityUtah is well known for its large Church of Jesus Christ of Latter Day Saints (LDS) community (62% of the state’s population are members of the church) and this was a consideration for the airport and architect when designing the facility. “We call it the Salt Lake Phenomenon, whereby we have a very large meeter/greeter contingent who arrive at the airport to meet their returning loved ones who have been off on LDS missions for two years, and we’ve tried to accommodate that in the design of the new terminal,” says Riley.

The airport has created a dedicated family room adjacent to the security exit that will allow family and friends to reconnect with their returning LDS missionaries. “This was a key part of the design,” explains Matthew Needham, senior aviation and transport planner at HOK, “and we have actually included a

Welcome to Utah

our orientation and our fundamental design, and then we’re adding all the elements of technology we can such as daylight harvesting, LED fixtures, a very efficient central plant mechanical system, and an efficient baggage system whereby the motors are stop/start and don’t run continuously. We’ve taken a very considered approach to every project component in terms of energy saving and it has helped us to be on track with LEED Gold.”

The centralization of operations has also helped reduce energy use while improving the passenger journey, as there are fewer level changes and a reduced number of elevators and escalators.

“We wanted to make this facility easier for the passengers, and the airport really drove this – they wanted to make SLC an easy transport hub,” Needham says. The terminal will have three levels. Level 1 will feature passenger pick-up and drop-off, international baggage claim, employee security screening and baggage handling areas; Level 2 will feature pedestrian bridges connecting to the parking terrace and the roadway system,

and access to the concourses and retail areas; and Level 3 will provide space for airport administration offices, airline ticketing and check-in counters.

“Level 2 houses almost everything – a huge percentage of passengers are transfer and they all transfer on this level,” Needham continues. “For the O&D passengers we looked at how we can make passenger movement simpler. For example, if you’re arriving at Salt Lake City and want a rental car to get to your ski resort, you can come

enormous fiber glass plates that allude to the idea of water and air erosion of rock. There are four of these large pieces and there are ‘cousin’ pieces – smaller benches – that go down the spine of the canyon and are related to the plates,” says Huether.

The escalator well sculpture has stainless-steel cables running from the ceiling to the floor, and uses dichroic glass and hand-drawn glass rods that are mechanically fastened to the cables to create a cascade of light and color down the escalators. “Dichroic glass is very colorful and light sensitive, changing color depending on one’s angle of vision, so as you’re going up and down the escalators or walking across the floor and looking at the sculpture it will change color,” Huether adds.

There will be other areas of the terminal that will also incorporate art, with a competitive tender process beginning in 2017.

real fireplace using stone from the local quarry to make this room as comfortable and welcoming as possible for those who haven’t seen their loved ones in years.”

But it’s not just the meeters and greeters that had to be accommodated; there were considerations in the concessions area to meet LDS rules. Chicas comments, “SLC historically had very strict rules about where alcohol could be sold and, while it’s not quite as rigorous as it used to be, there are some policies that we need to respect, so we have designed zones where alcohol can be consumed at the concession where it is bought.”

Reducing the footprintIn line with modern building standards, SLC’s new terminal pays great attention to reducing its carbon footprint and is being built to LEED Gold standard.

“LEED Silver is a Salt Lake City mandate, but we hope to achieve Gold standard through a number of things,” explains Needham. “The floor-to-ceiling glazing occurs mainly on the north side, as we’re being very site sensitive to

LEFT: The airport’s current facilities are not conducive to a smooth passenger experience

BELOW: The Canyon will use LED lighting to reflect the different seasons in Salt Lake CityRIGHT: The 80ft escalator well sculpture uses dichronic glass

ABOVE: Airside view of The Plaza with views of the city’s mountain rangeLEFT: The single, three-level terminal building, gateway center and parking garage

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CASE STUDY: SALT LAKE CITY 19

MARCH 2016 | Passenger Terminal World

through the exit portal at security, go to baggage claim, walk across the bridge, and get to your car without going through a single level change.

“Light rail will also connect to that gateway center and there will be full check-in facilities so that departing passengers can arrive, check in and drop luggage, walk across the bridge and go through security all on the same level.

“The pedestrian bridges at Level 2 will take more than 50% of departing passengers to the terminal and over 60% of arriving passengers to the parking garage, rental cars or light rail. This enables us to reduce the number of escalators and elevators, simplifying the passenger journey while reducing the number of mechanical parts and reducing energy use.”

Over a period of years the airlines will also convert their ground equipment to electrically charged vehicles. “The new central utility plant will enable us to transition electric baggage tugs and associated ground service equipment to zero-emissions vehicles,” explains Delta’s Jones.

Flexible futureTechnology plays an important role in the passenger journey and this was a key consideration for HOK when designing the

check-in and security areas. In the centralized security checkpoint, HOK worked closely with the TSA to develop a flexible design for the paired x-ray lanes. “We’ve not only provided 30ft bays for every lane pair, but we’ve also provided ample room for expansion and have made this area as flexible as possible, knowing that the security requirements will change over time,” says Needham.

Another benefit of the centralized checkpoint is that the airport will be able to provide early messaging to passengers to let them know how long it will take them to pass though security so that they can better plan their journey. Retail and food and beverage will also be centralized, although final decisions about the layout and concessionaires will be decided once the final designs are completed in mid-2016.

Challenges and cooperationSalt Lake City’s location proved to be one of the biggest architectural challenges for HOK, which had to make sure its design could withstand the earthquakes common in the region. Needham says, “The airport is located in an alluvial zone [lake bed sediments] with a high water table, so in addition to a lot of lateral bracing and piers [to enable the building to withstand seismic tremors], we had to do a lot of ground improvement throughout the facility. For the garage itself we had to install subsurface stone columns to assist the facility to withstand earthquake loads and still be usable even if damaged.”

Another challenge was building on an active airport site, ensuring that operations were not affected. The airport overcame this by phasing the construction process.

To ensure the success of the project, Riley encouraged full collaboration between the airport, architect, artist and airlines. “The TRP is one of the very few airport projects of this magnitude in the USA that did not receive a protest from the airlines,” she says. “We worked very closely with Delta and the other airlines at SLC over a couple of years to bring them to the table and discuss the right solution. During that time we discussed whether a renovation would be enough or if we had to demolish everything and start over. We all sat around the table and collaborated on those analyses to arrive at the right decision for everyone at SLC, and I hope this will create a better end result.” n

Fault linesThe state of Utah is situated on the Wasatch Fault, which runs for 240 miles, primarily along the western edge of the Wasatch Mountains, and passes through the Salt Lake area. It is made up of several segments, each measuring an average of 25 miles and capable of producing earthquakes up to 7.5 magnitude.

While the Wasatch Fault only produces a strong earthquake (those with a magnitude greater than 6.5) every 350 years or so, experts believe that a major quake is overdue in the region and a report published by the Deseret News in April 2015 predicted what the possible results of a 7.0 earthquake in Salt Lake County could be: up to 2,500 people killed, 36,000 injured and US$32bn in economic losses.

In line with a law passed in 1975, the Salt Lake City Airport terminal redevelopment is being engineered to ensure it can withstand an earthquake with minimal damage and limited closures.

“The existing aging facility does not meet the seismic standards that have been established today so our number one priority in building this new facility is to make sure we in anything new that we build meets the modern standard for seismic protection,” explains airport executive director Maureen Riley.

We’ve provided ample room

for expansion and have made

the security area as flexible

as possible, knowing that

requirements will change

Watch videos of the inspiration behind the Salt Lake City Terminal Redevelopment Project and take a walk through the departures and arrivals process at: PassengerTerminalToday.com/video_home.php

on the web

ABOVE: Rendering of the landside area showing the split arrivals and departures levelsLEFT: The Canyon is 362ft long, connecting one end of the airport to the otherGordon Huether Studio 2015

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BEYOND THE BOARDROOM

GORDON HUETHER

Author: Alexandra RussellJune, 2016 Issue

Artist Gordon Huether started his studio in1983 in his garage in Napa. “I was working at awindow and door company and one day I justmade the jump, quit my job and with $500started my company,” he says. “In 1989, I was awarded my first public artcommission for the University of AlaskaGeophysical Institute. Given the opportunity tocollaborate with a building design andconstruction team let me realize what I hadenvisioned,” he remembers. “This form ofcollaboration, to this day, contributes to mycontinued learning and growth—and not onlyas an artist. It constantly exposes me to newmaterials, approaches and ideas and helps mecomprehend the public art process as a holisticsystem.” Today, he’s based in a 15,000-square-footbuilding on Monticello Road that houses hisdesign studio, a project gallery, fabricationfacilities, administrative offices and the HayBarn Gallery, which features a revolvingexhibition of Huether’s fine art as well as,occasionally, the works of select guest artists. Where did you grow up?I was born in Rochester, N.Y. My parentsbrought me to Napa in 1962 and, for the mostpart, I’ve lived in the Bay Area ever since. I’vealso spent several years living in Germany,where my family is from originally, and I stilltravel between the two countries regularly. TheGerman culture’s pursuit for perfection andexcellent craftsmanship profoundly influencesthe way things are done at my studio. I feelfortunate to have lived in all these incredibleplaces—and most of all I love living in Napa!

Did you go to college?I’m a self-taught artist and businessman and don’t have a formal education beyond high school. I’vefound this to be an advantage, because I was never burdened by the rules of the road. I’ve been free tomake my own mistakes and learn from them to this day. Who were your early influences?I learned art composition and appreciation at an early age from my father. My aesthetic vision took animportant turn when I met Professor Johannes Schreiter, a German glass artist and one of the pioneersin contemporary stained glass. In the course of my initial artistic explorations, I was resolved to create alasting impact on the world through the creation of large-scale works of art. Do you ever stop working?The person I am at the studio is also very much the person you’ll encounter beyond that space. Beingan artist is a full-time job and then some. If you want to do it right, it becomes your life and who you are,which is great, because I’ve arrived exactly where I always wanted to be. My work has morphed into mylife and, that’s a dream many people dream. Where do you find inspiration?Much of my inspiration—especially for the large-scale work and privately commissioned work—comes

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from Mother Nature and, often, from my clients. All the projects I take on are driven by storytelling, andthe story for an airport in Houston, for example, will be very different than the one for a meditation roomin a hospital in New York. I’ve always felt that the art I do in the public realm isn’t about me; it’s about thepeople who will experience the work on a daily basis. I’m also unceasingly inspired by the work of fellowartists, craftsmen, artisans, architects and designers. What recent projects have you been most excited about?At any given time, we have 15 to 20 major projects going on. The most significant, right now, is thatwe’ve been selected to work with the Salt Lake City Department of Airports to meet the goals of theTerminal Redevelopment Program at Salt Lake City International Airport, including a comprehensive artmaster plan. It’s one of the largest construction projects in the nation, with installation scheduled for2020. We also have projects happening in Morgan Hill, Calif.; Vail, Colo.; Richardson, Tex.; Ft.Lauderdale, Fla.; and Stamford, Conn., to name just a few. All of them are exciting! What do you love to do outside of work?I’ve spent most of my adult life focused on “work” and never really developed any hobbies. As I’vegotten older, I’m learning how to enjoy other things besides my work. So far, that means working on myhome improvements, gardening, kayaking on the Napa River and cycling. My favorite non-work activityis dancing in my living room.

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- 1 - VOLUME I SPRING 2016 | CA NORTH CHAPTER

CALIFORNIA NORTH CHAPTER MAGAZINE

VOLUME ISPRING 2016

SFDESIGN

AMERICANSOCIETY OFINTERIORDESIGNERSCALIFORNIA NORTH

- 11 - VOLUME I SPRING 2016 | CA NORTH CHAPTER

Sitting at his father’s kitchen table, creating a stained glass window, 17-year old Gordon Huether made a life decision: he wanted to honor the spirit of humanity by bringing beauty and meaning into the world through art. In 1987 he founded his Studio in Napa, California. Almost 30 years later he continues to fulfill his mission, creating art for every conceivable kind of building, home and landscape.

Huether’s artistic career began with the exploration of glass: studying the interplay between light and color and the artistic possibilities of refraction and reflection. Other media followed, moving between highly refined, elegant materials like polished aluminum and dichroic glass to gritty, repurposed and salvaged materials like rusted steel and weathered wood. Materials used for a project – whether it be a fine art piece, a private commission, or a public art piece - are dictated by the story to be told. The over-riding goal for any project is about shaping a story and expressing an idea, not just about creating an object of beauty.

Privately commissioned work and public art are not about Gordon as an artist, but about the space and the people who use that space. The outcome is always an artwork that is new and unexpected, and uniquely cohesive to its surroundings.

With each new project, Gordon Huether and his Studio Team are committed to the highest quality standards. His team of skilled professionals is internationally rec-ognized for their innovative approach and creative craftsmanship in all areas of glass fabrication, welding and metal working.

gordon huetherart matters

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art matters continued

Large-scale, site-specific work has long been Huether’s focus before he discovered the intriguing variety of the scale, scope and approach of private commissions and fine art. With his fine art Huether has free reign and the work oftentimes addresses very personal matters. Privately commissioned projects foster an intimate, yet collaborative dynamic. Relationships and collaboration are as important to the artist as his work. “The bond I build with commissioning clients, designers, architects or fine art collectors often develop into valued friendships”.

For the Heimat Series (on the cover) Huether used materials and imagery of a personal nature. Born to German immigrant parents, the artist has maintained and is influenced by strong ties to his ancestral country. The characters - from a German fairy tale read to him as a child - cavort across pages from letters written and illustrated by Huether’s great-grandfather.

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