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Full text of "1993.05_Discontinuous Spaces: Four Projects (070.1993), Press Release & Project Description"

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For Immediate Release 15 April 1993 

MAY 8 - JUNE 8, 1993 

Gallery Hours: Tuesday - Saturday 12-6 PM 
Opening Reception: Saturday May 8, 6-8 PM 

Discontinuous Spaces 

Four Projects by Smith-Miller + Hawkinson Architects 

The Storefront for Art and Architecture announces the forthcoming exhibition 
“Discontinuous Spaces" which presents four projects by the office of Smith-Miller + 
Hawkinson Architects: 

Suspension at La Guardia Airport 

with Guy Nordenson, Ove Arup & Partners 
Design for a ticket canopy using structural composites. 

Altered Residence for a Neurobiologist 

A strategy for addition and expansion. 

Imperfect Utopia: A Park for the New World 

with Barbara Kruger, artist and Nicholas Quennell, landscape architect 
Plan for an arts park for the North Carolina Museum of Art, with a convertible outdoor cinema 
and amphitheater. 

Un-Occupied Territory: An Economic Ecology 

with Barbara Kruger, artist 

Nicholas Quennell, landscape architect 

Ove Arup Structural Engineers 

Proposal for a Cultural Park in Los Angeles. 

The exhibition display of models, drawings and constructions of four projects is designed to 
highlight the spaces within projects, the spaces between projects and the projects within the 
space of the gallery. Issues of contingency, discontinuity and interval are engaged by the 
design of the exhibition and in the presentation of the projects. 

Smith-Miller + Hawkinson Architects with principals Henry Smith-Miller and Laurie Hawkinson 
is based in New York and Los Angeles. The firm approaches the programmatic demands of 
projects by broadening the conventional definitions of functional concerns. Categories such 
as public/private, nature/culture, and enclosure/discontinuity are examined through spatial 
and material relationships. 

Smith-Miller + Hawkinson's work has been published and exhibited internationally. Recent 
publications include Sites Magazine, Quadems d'Arquitectura i Urbanism, Ga Houses, Lotus 
International #66, Assemblage 10, Ottagono #98, DBZ, Cree, Bauwelt, Architecture, 
Architectural Record, I.D. Magazine, The New York Times Magazine, and the exhibition 
catalogue New York Architektur. 

8MfTH-m LEF kAWI- : N 

305 Canal Street New York New York 1C 


305 Canal SWMX New York New ftxk 10013 212/966 387b 












Pages including cover page: 

SM+H Project #: 

Kyong Park 

P.O. Box 101 
Lewis, New York 12950 
Dont Rhine 

Smith-Miller + Hawkinson Architects (New York) 
08/17/95 12:15 

9500 Office 

As mentioned in our package of materials dated 
8/11, I am sending the enclosed CAD drawing from 
the Continental Airlines project. 

Again, please call if you have any questions. 

Regards, Dont. 

305 Canal Sueet New York New York 10013 212/900 36/5 



Flight Time 

Facilities Design or Continental Airlines 

Long distance air travel has become "time" travel, distances are no longer understood as 
physical (miles, furlongs, or feet, but are expressed in a measureless abstraction; time, time 
aloft, time zone change, etc. 

The passenger aboard the contemporary jet airliner compresses distance and time in a manner 
similar to that of satellite born media. The stretching of time with Westward travel and its 
compression with Eastward, transcends the normative sense of day. 

Once accustomed to the acceleration and de-acceleration of cycladic rhythms, the frequent New 
York - Los Angeles flyer gains (and loses) borrowed time, expanding 24 hours to 27 through 
westward travel, and compressing 24 to 21. 

Thus the airplane becomes a "time machine" traveling from (time) zone to zone. 

The new aircraft interiors program for the Continental Airlines fleet designed by Lippincott and 
Margulies, a corporate image consultant in conjunction with the New York based architect, Frank 
Spadaro, highlights this aspect of travel. The material and color palette selected for the airplane 
responds to and reflects subtle changes in daylight. A chalk white interior coupled with a palette 
of blues and grays, moves from a brilliant white at midday to deep gold at sunset. The interiors 
personalize and offer an "intimate" environment for the time travelers experience. 

Smith-Miller + Hawkinson were commissioned by Lippincott and Margulies in September of 1990 
to develop "prototypes" for interiors of all Continental related facilities, from City Ticket Office to 
Airport Check-in. 

This program links present and future facilities worldwide, joining diverse structures (often 
designed by different large Architecture/Engineering firms), by introducing specific and 
recognizable design elements, easily associated with Continental. 

Borrowing from the dynamic logic of aircraft design; the precision of surface and detail mandated 
by technology, the architects questioned the normative idea of "styling" and examined the 
programs of airport facility. Their program included an examination of the city, curbside and 
airside experiences, offering an idea about the international carrier as an entity capable of 
transcending distance and linking the diverse and sometime unfamiliar. 

The prototypical components (and spatial agendas) developed for a City Ticket Office in 
downtown Chicago are, with minor adjustment, also seen as appropriate for a new regional 
airport, LaGuardia, or international hub, Denver, 

Often seen as radical by the facility design/engineer/architect, the Continental program through 
its highly specific and designed character, often masks and qualifies the airport facility 
"architecture". It is the intention of the program to replace the individual and "one-off" character 
of the city based or regional facility with an architecture which transcends a singular place and 
offers an idea of simultaneity. 

305 Canal Street New York New York 10Q13 212/956 36/5 




Bating Hollow, New York 

expansion, n. 1.: Act or process of expanding, or state of being expanded; dilatation, 
expansionism, n. 1 . having a capacity or tendency to expand; diffusive; also, wide-extending. 

2. Of persons, feelings, etc., unrestrained; liberal; comprehensive, esp. in sympathies. 

3. Working by expansion. 4. Psychiatry. Characterized by exaggerated sense of well-being and 
delusions of greatness. 

The project, a "retreat" for a NEUROBIOLOGIST is located on a promontory. The narrow site 
opens to a 270 degree view of Long Island Sound. An abandoned one room "summer cabin' 1 is 
appropriated by the new project as a "kitchen building". The existing structure and its addition 
occupy the widest point of the site; thus limiting access, making the retreat extremely private 

While the built project advocates control of the site, the site governs the configuration of the 
building and its occupation. 




Building limits are continuously questioned and altered. 

Outside decks are appropriated or abandoned. 

Program dictates the orientation of the first level (CAD orange) to the west and second level 
(CAD blue) to the east. An intermediate space - the pituitary - (CAD red) positioned in between 
is extremely private, and is entered into only from above by ladder from the second level. 

In winter, the house contract. Living, dining, bedroom and passages are tightly contained 
indoors. The expansion connects to the cabin at an existing door, and is the only point 
where new structure touches existing. 

In summer the house unfolds. Living, dining, and bedroom occupy the outdoors. The passage 
folds back and becomes a breakfast room in summer; covered and open. The kitchen is now 
the entire cabin. The perimeter of the living and bedroom is altered with screens that pull down 
from the overhangs and occur beyond the line of the perimeter glass. 

The project is currently in construction documents; construction is scheduled for Summer 1993. 

305 Canal Stieet New York New York 10013 212/966 38/5 




Amphitheater and Outdoor Cinema for the North Carolina Museum of A 

This project is the first phase of "Imperfect Utopia: A Park for the New World, a planning 
proposal for an arts park on 160 acres of land at the North Carolina Museum of Art. 

The Textualized Landscape melds the notions of SPECTACLE, SITE and TEXT into an inclusive 
kind of public space which expands the museum's capacity for outdoor programs. 

SPACE provides an accessible place for a variety of experiences in the landscape. 

THE BIG ROOF for the amphitheater stage has many functions. Its' sculptural form provides an 
identity and focus for the amphitheater in the landscape. It accommodates an intimate gathering 
under one roof - outdoors, and protects the performers from weather and sun. The Amphitheater 
in it's maximum capacity can seat approximately 500 persons on fixed seating, an additional 
1,500 on the grassy sloped surface and the shaded picnicking grove to the south. 

The aluminum and steel structure of THE BIG SCREEN attached to the west side of the 
museum is 40 by 60 feet, and angled for viewing from the sloped landscape in the foreground. 
The cinema accommodates 1200 with an overflow area of an additional 1200 in adjacent areas. 

THE RE-NATURALIZED LANDSCAPE incorporates principles encouraged in the Master Plan 

REFORESTATION begins at the existing treeline and extends down to and across the path 
which borders the amphitheater. This area provides shade and allows for a regeneration of 
native forest species edged with evergreen shrubs (Rhododendron, Mountain Laurel). 

GROVE PLANTINGS, possibly of pines, define the edge of the amphitheater, provide shaded 
seating where trees will not block views to the stage and create picnicking sites for times when 
the amphitheater is not in use. 

Fields of TEMPORARY PLANTING are used to further define the edge of the zone, to establish 
the changing character of this part of the site and to encourage visitors to explore the site to the 
south. These plantings illustrate aspects of Raleigh's natural and cultural history. In addition to 
the native wildflowers used on the hillside, agricultural crops such as tobacco, cotton, or corn will 
be planted. 

The materials of the TEXTUALIZED LANDSCAPE are: 

P An excavation 
cut into landscape 
ground is gravel, 

retaining wall is landscaped cribbing 
/ Sloped for seating to The Big Screen 
Imprinted concrete 

C A seating area for The Big Screen 

Astro-turf, flush with grass, detailed with metal edge at grass 

T A Concession/Reception area 
finished asphalt 
painted lines and reflectors 

U An excavation 

landscaped with grasses and aromatic vegetation 

R A misted surface 

Stone lined with river rock 

Sprinklered with a misting system of (recycled?) water 
from the pond. 

£ A constructed letter 

Built up with brick, 6 feet high 
Some areas inscribed with text 

T An overlook 

Paved in stone and forming the amphitheater seating 
Lavatories and storage area underneath 

H A Skylight at The Big Roof and loading dock below for stage 
Skylight - glass or lexan translucent material 
Loading dock - integral color concrete 

/ A sloped seating area for the Big Screen 
Imprinted concrete 

S A constructed letter 

Rock out-croppings, stone, boulders 


An important component of the Amphitheater and The Textualized Landscape design is the 
PERMANENT and TEMPORARY aspects of almost all of the program: 





The Big Roof 

side walls, back walls 


fixed seating, box seats 

grass slopes 


stage house table 

equipment for stage house 

informal gatherings 

power grid 

theatrical light fixtures 
amplification equipment 


loading platform 


performance grove 

wildflowers, annuals 


The Big Screen 

amplification equipment 

ticketing area platform 
power, water hookup 

concessions stand 

projection tower 


projection equipment 

small performance, lecture 

The Big Roof 

covered seating and stage 

informal seating or 
folding chairs, lectern 

power grid 

theatrical light fixtures 
amplification equipment 


picnic grove 

grasses (different varieties 
for different areas) 
native deciduous tress 
evergreen and shrubs 

wildflowers, annuals 
rotating crops 
flowering tobacco 


. ' 





The plan for APTS PARK LA responds to the site's pash current and future conditions „ 

By literally separating the two functions of APTS PARK LA and flood control topographically at the level of the 
predicted 100 year flood, we emphasize the site's physical relation to the Los Angeles River and Bull Creek as 
wed as the necessity for flood control , 

The site's place within the iarger contest of the Basin and adjacent neighborhoods is reinforced by the removal 
of the existing berms ♦ In opening up the site to its surroundings, both physically and visually we connect the 
site to the open farm land to the west and the urban environment to the north > The transition to the developed 
landscape east of the site is accomplished via the existing lake > 

The two landscapes presented in the plan * the “Cultivated* and the “Natural" refer to the site's history as an 
agrarian and agricultural landscape * 


The landscape of the Park is divided into two broad zones * the **Cultivated** and the “Natural". 

The Cultivated 

North of a newly formed palisade, which follows the 713 contour {the 100 year flood limitf, the site is made up 
of man-made landscapes * 

These include: 

Cultivated Fields 

Irrigated fields which will house ephemeral, varied and seasonal crops, such as tree farms , sod Helds and 
pumpkin patches . They will serve as an outdoor extension to the Museum of Un-Natural History; a resource for 
the harden Center; a recollection of the site's agrarian past ♦ 


Groves of trees between parking field and palisade provide a place for shaded picnicking, strolling, and access 
to the Performance Glen. 

Hydroponic Garden 

A floating garden of water plants, vegetables, and flowers will gro w within the boundaries of the exis ting lake . 
The Hydroponic Garden, its plants t paths and bridges as well as the open water of the lake provide another 
environment for walking and learning, and together they demonstrate the nutrient-giving and cleansing aspect 
of the lake's relationship to the treatment plant from which its water derives * At the edge of the Hydroponic 
Garden sits an outdoor restaurant overlooking the lake. 


Consistent with the cultivated character of the landscape the creek is channelized throughout this part of the 
site ♦ A waterfall occurs as the creek drops to its natural elevation at the palisade * 

The Natural 

South of the palisade, the landscape shifts dramatically to one of control by natural forces> The upland areas 
outside the creek beds remain as natural chaparral interspersed with pathways < The sides and bottoms of the 
creek and river also remain in their natural condition with their steep side slopes free of concrete or rip-rap, 
thus referring to their riparian origins > Both upland and rivers edge will be managed in a modest way to ensure 
botanical diversity and interest. 

Within the natural landscape, the existing lake is reconfigured slightly to express its man-made character . 
Linked by the existing roadway which continues as its present elevation, the lake's edge rises above the 
surrounding grade as the land slopes to the south, regraded to its original contour< At the southernmost tip, 
the lakes edge is actually buttressed * propped up with concrete and steel to emphasize its relation to the 
surrounding plain, 

The Mali 

The Mali, a long span, open-air structure, Is located at the Intersection of Balboa and Victory Boulevards , Placed 
at the Northwest corner of the site, thereby respecting the right-of-way of the railroad, the open shed shelters 
most of the ARTS PARK LA facilities and offers views to the passerby ♦ 

The split-level section of the building, mediating between Victory Boulevard and the large centralized parking 
facility, joins two levels> thus offering extended frontage to its component parts . 

A continuously expanding entity, the Mall, the project's nucleus contains the Arts Park Center , Performing Arts 
Pavilion, the Children's Center, Restaurants end related service*. Grouped under one root\ the separate entities 
may share common element* as well as services: auditor:*, performance, exhibition and studio spaces, and 
administrative and community offices. The modular, long span, light-weight translucent canopy offers 
opportunity for expansion, it anticipate* the communities' changing needs and at the same time suggests the 
potential alteration and amplification of the ARTS PARK LA program. 

On Victory Boulevard an on grade entry into the Mall offers access to the Travelator Stop, the Performing Arts 
Pavilion, the Children** Center, and the major open air exhibition spaces of the Arts Park Center. 

Within the Arts Park Center, The Showroom, five large pivot doors open to the great outdoor halt, the floor of 
which contains a “garden” of skylights to the artists* workshops below. Multiple entrances to this major 
exhibition space will facilitate the management of changing exhibitions and/or events> 

Also at the Victory Boulevard Entry Level are the Arts Park Center Administration and Artists* studios. Located 
at the southern edge of the shed with overlooks to the entire site, these facilities are connected by private 
stair to the conditioned spaces of the Arts Park Center below * 

A grand stair, elevators, and a ramp connect to the entry at the parking level offering access to the lo wer levels 
of the Performing Art* Pavilion, the Children*s Center, and the major conditioned spaces of the Arts Park Center 
The Public Entry and related functions, the Galleries, the Public Education facilities, the tOO seat Auditorium , 
and the Technical Support and Maintenance are to be found at this level 

The Working Artist Program Spaces are located in workshops {storefronts} adjacent to the main gallery space. 
The Artists* Workshops contain mezzanine spaces, service access on grade, and skylights to the open-air 
exhibition above. Placed immediately to the north of the lower exhibition space and beneath the open air 
exhibition, these workshops may be joined on special occasions to the lower exhibition space by means of a 
series of very large pivoting panels , 

The Garden Cent er 

The Garden Center occupies the northwest corner of the Park site. A constantly changing man-made landscape, 
a site for trees, shrubs, and other plants which provide a mass of greenery at this critical junction, it will be a 
place for buying plants grown within the Park site and a mobile botanical garden. 

Between the Mall and the Garden Center, a driveway provides short-term parking, drop-off, bus parking and 
service access along the northern edge of the building. 

The Parking Lot and Dri ve-in-M ovie 

The main parking lot south of the Mail's open shed provides a large open space for diverse community and 
facility use. Visible only from the access drive, the tilted plane becomes the floor of the drive-in movie and 
^ performance spaces and the roof of the Museum of Un-Natural History. 

The Mus eum of Un-N atu r al Histor y 

The Drive*in Movie Projection Booth {tower) marks the center of the parking area and serves as the major entry 
to the Museum of UnNatural History. The museum is seen as a continuously expanding spiral structure capable 
of adding future history (and space) through time. 


One enters the park from Balboa Drive, via one of two routes: (1) a ramped roadway which rises to the main 
floor level of the Mali (where passengers may be dropped off) and then continues in a broad arc which turns 
and descends, passing under the giant screen of the Drive-in Movie to the level of the parking lot or (2) a ramped 
roadway which slopes down directly to the parking level. The majority of the parking required by the Park is 
contained within this space , which slopes gently up from west to east toward the movie screen. Beyond the 
parking area itself the roadway exits from the parking level and ramps up to the level of Balboa Drive. 

The parking lot serves other important functions » ft is an open-air * mercade” where people wifi be encouraged 
to come for outdoor community events, ms well as after dark movie shows* The lot will also be the site for 
temporary landscapes — masses of trees in movable pots; vine-covered trellises on wheels; growing plants 
which may be relocated when other needs arise. 

The center of the parking lot is occupied by a raised projection booth which also serves ms the entrance to the 
Museum of Un-Natural History , The Museum is literally carved out of the ground beneath the parking lot, in a 
spiral form which can expand as its needs grow* The Museum is also reached by underground passages Unking 
it to the Mall and the Performance Grove. 

Drivers can also continue north on Balboa and access the Garden Center via a drive-through street which runs 
in front of the Mail, and serves also as the main service route for deliveries. 

Not everyone comes to the Park by car. in fact the plan makes every effort to ensure that people may come to 
the park by other means . The existing railroad right-of-way (future Metro) has been re-routed south and now 
takes a straight path from east to west, crossing through the heart of the Park. This shift is intentional as it 
brings Metro passengers and commuters across and into the Park and gives them a full view of its various 
components. The ART PARK LA's Metro station straddles the chaparral and provides a fink to the travelator , a 
open air moving sidewalk . The travelator joins the residential neighborhood to ARTS PARK LA and the existing 
recreational facilities to the South. Intermediate stops on the travelator offer access to the Mall, the Parking 
Lot (and Museum of Un-Natural History}, and the Performance Glen. 

The linkage of the ARTS PARK LA (and the San Fernando Valley) to other regional cultural centers such as 
downtown Los Angeles and Santa Monica via the anticipated Metro offers anew vision for greater Los Angeles t 
a consolidation of means and an integration of assets - an economic ecology. 

303 Cm& Nv* 'Y&k N<”iV YO-JK =00:3 O'3-900 36/6 



Un-Occupied Territory: An Economic Ecology 

Competition Proposal lor LA Arts Park. 1989 
with Barbara Kruger, artist 
Nicholas Quennell. landscape architect 
Ove Arup and Partners, Guy Nordenson 

The difficulty of dealing with the extreme condition of both economic wealth and 
drastic depravation is the problem posed by the conditions of most American urban 
areas today 

Executed in 1989, this project attempts to suggest other answers to the difficult 
questions of how cities are constructed and how their inhabitants are either 
empowered by its social constructions or, "as usually is the case", are further 
disenfranchised by them. 

This project for LA Arts Park, is a counter-proposal to the original competition master 
plan which encouraged a series of buildings spread over the site in a typical 
suburban description of zones and minimal densities 

(see attached project description) 



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