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VOLUME I ISSUE I $2.50 :· THE PUBLIC FORUM FOR DESIGN IN ALABAMA Dislu AuiAMA, lie. IS'"SurPomo av: THE ALABAMA STATE COUNCIL ON THE ARTS THE BLOUNT FOUNDATION THE ALABAMA POWER COMPANY MR A. F. DELCHAMPS, JR. THE MONTGOMERY ADVERTISER/JOURNAL ChairQerson Philip Morris ";;, Southern Living' Vice Chairperson Charles Raine · ~us .. kegee Uniliersity "'"" "~ Secretary Nancy Hartsfield Aupurn University _.,._,_. :m Margaret CarP.eAter Compos-it. l_!lc: " -" ;i' "::) ,~: ~"' Howard Garrett ,.. , ·" Howard Garrett & Assoc. ·"' , Cparles Greiner.:~-- .. ~ Greiner, vare & Partners · -;c· * Joseph Lee Al~bama A & M University · \Janet Miller' ' Tiller/Butner/Rosa Architects Sue Morrow Parker University of Alabama Ken Penuel · Alabama Power Co. :(.' ·, " bloyd Philpot lntergraph Corp. --~ . . , Landscape ~~[h~g~t. Tqskegee w , ·Anne Wright Streetscapes, Mobile Represe~tative ~ary Zoghby Mob1le · •• Bec!<J Mullen Executive Director ,~,~ ON THE COVER: BIRMIIIGIIAM PuBLIC LIBRARY .THEHW '' ~Nnw. ......., . OF THE a-. . - P.- ..c l.awlv SYSTEM WELCOMES VISITVa laAIIATICALLY AT ITS - DOWITOWI COlliER WITH A 8USS EIICUISED LOUY THAT EXTE& UPWARD EDITOR: BECKY MUlLEN • ART DIRECJOa: lUCY. HARTSFiELD • T A B L E 0 F C 0 N T E N T S FEATURE "BUILDING BETTER LIBRARIES" Birmingham Public Library is an exemplary. client of design. ARTICLES "GENESIS OF A GOOD IDEA: DESIGN ALABAMA" History of the formation of the organization and its objectives are explained. "LOGO COMPETITION" Birmingham firm wins the competition for Design Alabama's logo. "BEST OF SHOW" . Alabama's advertising organizations recognize outstanding work in their profession. "MOBitE•s AIRPORT BOULEVARD, WHEN DOES A STREET BECOME A BOULEVARD" The Mobile community wants its "strip" to be an asset to the city ratber than the liability it has become. They--are--taking steps to make it happen. "MY MOTHER DOESN•T KNOW WHAT I DO" Industrial Design affects the quality of _ our lives.-in way.s we take-fBf:i}f-atlted1~. __....:c..,..,.,_,_ This article explains what it is. "HOW PRESERVATION SNOWBALLED IN SELMA" A profile of Selma's many successes with preserving architectural treasures and bringing vitality to the downtown. DEPARTMENTS · Project• News Work of statewide significance Details+ Of Interest Noteworthy observations 7 1 3 12 14 18 22 4 16 Design• Makes A Difference "SKYLIGHTS" 21 .. ' PresseViews THE HUNTSVILLE TIMES "HAVE LOCAL ARCHITECTS LEFT THE DELIGHT OUT OF CITY LANDSCAPE?" 24 Design Alabama is a publication of Design Alabama, Inc. We welcome your comments and encourage submission of articles, ideas for future. issues and especially items for our departments. For complete information contact: Becky Mullen Design Alabama, Inc. Alabama State Council on the Arts One Dexter Avenue Montgomery, AL 361 30 (205) 261 -4076 The first Issue of Design Alabama was designed and produced on a Macintosh"' SE utilizing PageMaker, MacDraw and MacPalnt. Proofs were printed out on a LaserWrlter"' Plus and final output was on an L300. Design Alabama would like to express our appreciation to Compos-n for the use of tllelr LaserWrlter, proofing, and paste-up and B.A.S.S., Inc., for the use of t11e1r L300. A major contribution was the prlntlllg of tills lss8e by Soutllern Publcatlons. . Special Thanks for this Issue to: Southern Publications John Hartsfield Advertising, Inc. Compos-it, Inc. Tom Ford, Southern Living B.A.S.S., Inc. - l GENESIS OF A GOOD IDEA DESIGN ALABAMA "WE WANT Goon DESIGN IN ALABAMA To BE LIKE BREATHING, A NATURAL PART OF LIVING AND DoiNG THINGS." -PHILIP MoRRis eople who provide communities with opportunities in the arts most often need technical assistance and grants support. State arts agencies are one resource, serving the public through programs whic~ focus on the differ· ent artistic disciplines. The design arts have evolved as a new area of programming over time as design is recognized as the process of making any place a potential work of art. The Ala· bama State Council on the Arts began to address the need for a design program in 1985, during a period of new growth and development within the agency. ·· Executive Director AI Head states, "It seems to me Alabama is a state where growth has not been an exercise of design, but rather a series of knee-jerk reactions to changing times. Our built environment is now dotted with examples of poor planning, aesthetic indifference, irreparable loss and missed opportunities. Amidst the negative, there are also some excit· ing signs of progress and realized potential." D nan effort to provide opportunities for state support of progressive design projects, the Council applied for a planning grant from the National Endowment for the Arts, Design Arts Program. After receiving the grant a project director was hired and an advisory panel of design professionals was established to determine the best way for the Council to provide services. Communication and public education and awareness were soon identified as the primary issues to be addressed, because understanding about design will heighten public demand for aesthetic and functional integrity within communities. "I think many people still think of design as a luxury, something extra that might be nice to have but isn't essential. Those who practice design and those growing numbers of Alabamians who have experienced what design can do understand it is not a luxury- that it can affect our environment in a profoundly rewarding way," said Philip Morris, Executive Editor of the facts before the public, that good architecture, landscape architecSOUTHERN LIVING magazine and member of the advisory panel. Good ture, interior design, graphic design, industrial design and the rest are design results from effective communication among the variety of people essential to quality of life in the state, it will have done something very im-who are involved in a project, especially the client and users who have im- portant." portant insights beyond fundamental needs. Most often the involvement of different designers is required, for example a landscape architect, and an interior designer wi II be employed in addition to the architect and they ra1ne of the first projects Design Alabama engaged in was the plan~ ning and production of this journal, and it will be our most impor-all need a working knowledge of the interfacing disciplines. Opening tant tool for communication and the exchange of ideas. Your comments, lines of communication and information among professionals in these ideas, and article suggestions are encouraged and appreciated. disciplines, the clients who employ them, and the public will help create We are currently planning production of a video focusing on the design a climate for better design in Alabama. identity and excellence which exists in Alabama. Also in the planning stages are design exhibition and competition concepts, programs for Iii) he panel came to the conclusion that forming a statewide design teachers to use in elementary and high schools, and a design awards Lllawareness organization would provide a vehicle for long-term program focusing on outstanding clients of design and client/designer achievement of these goals,. and serve as an important information relationships. resource for communities in need of assistance. This organization would work with targeted "publics", decision makers, clients of design, nonprofit groups working to enhance the quality of life in communities, and designers. The organization would not serve the design-professions, but serve the public by reinforcing the fact that design is a quality of life issue. By communicating design news statewide, providing Alabamians with an education about design, and generating awareness and excitement about progressive development in Alabama., ·Such an organization could be instrumental in enhancing the quality of life, and perhaps the economic health of this state. This concept presented many challenges. Alabama is a farge geographic area. The scope of the design disciplines included is very broad, Design Alabama is open to membership. Individual, student, corporate, sponsor, and organizational (non-profit) are the categories. (Membership information is on the back cover of this issue.) Klls part of their ongoing commitment to design, the St~te Arts rilcouncil makes funds available to non-profit organizations and cities for design fees, feasibility studies, and other design related projects through the agency's grant program. "The current design arts initiative has become one of our most important areas of attention. Our leadership in the design arena may well have the most profound impact of any of our endeavors. We anticipate that our commitment will grow significantly and can only hope momentum will develop statewide," says AI Head. The and the targeted audiences represent a broad range of interests and areas creation of Design Alabama is timely, as so many of the state's commuof expertise. To more clearly define the comprehensive goals was an inter- nities are engaged in projects that wi II enhance their environment. Downesting task in itself. After further exploration, a board of-directors was towrr revitalization, beautification programs, cultural facility developformed making the concept a commitment with the name Design Ala- ment, and improving city signage are examples. · A continuing partnerbama. The board members are approximately 50% designers with repre- ship with the State Arts Council is enabling Design Alabama to evolve and sentation of each discipline, and 50% non-designers who have an grow. There has been widespread enthusiasm for the organization, indiinterest in the goals of the organization. Philip Morris now serves as. eating a future of design awareness in Alabama. • BECKY MULLEN Chairperson and says that "If Design Alabama does nothing more than get ARCHITECTURE LANDSCAPE ARCHITECTURE INTERIOR DESIGN URBAN DESIGN INDUSTRIAL DESIGN GRAPHIC DESIGN FASHION DESIGN Architects Landscape architects Interior designers Urban designers and Industrial designers Graphic designers Fashion designers practise the art and specialize in exterior organize spaces planners are con- are responsible for create effective are style arbiters who science of creating, environments. They inside buildings, cerned with the function and aesthet- visual communica- interpret the mood of preserving and remod- apply creative and making them func- functional and visual ics in the manufac- tion. "Graphic" refers a generation, intuit eling buildings. technical skills to tional and pleasing to relationships be- tured products people to the art that com- popular taste, and Ideally they work to overall site plans, be in. The designer's tween people and use every day. Tooth municates, and understand merchan-articulate an image of lan~scap~ grading presentation to the their physical envi- brushes, toasters, "design" to the aes- dising and business the client who owns and drainage, irriga- client usually in- ronment in the cars, computer thetic arrangement of principles. They the building, what tion, planting, and eludes floor plans, broadest sense. terminals and tele- the elements, includ- attempt to resolve the happens there, and construction details. color charts, photo- Among other things, phones are examples ing type, illustration, contradiction be-what it means to the Their task is to graphs of furnishings, their work results in of items industrial and/or photography. tween art and industry community. Once the preserve and enhance samples of materials unified plans and designers make A graphic designer in order to construct a aesthetic and func- the environment and for upholstery, draper- proposals for trans- usable and desirable analyzes the client's collection of clothing tional aspects of a define space between ies and wall cover- portation systems, in- for human beings. product and/or and accessories with design are conceived, and around buildings, ings, and often color dustrial parks, sub· Colors, textures, message in relation to a unique sense of engineers and other including entrances renderings or divisions, downtown smells and sounds are a targeted audience, style and taste, ena-professionals are and functional or sketches. Every renewal projects,"·and some of the elements and through concept bling people to create consulted to make the decorative areas. aspect of the interior shopping malls. They they consider, and in and art direction a personal statement building work accord- Planning street- is the concern of the formulate plans and addition, any me- produces an appropri- about themselves in ing to the laws of scapes, gardens, designer from the first policies to meet the chanica! or electrical ate advertisement, TV the way they dress. physics, safety and parks or gateways are presentation to the in- social, economic, and components of a prod- commercial, magazine access codes, and ne- also examples of jobs stallation of the last physical needs of uct must work prop- format, brochure, or cessities such as forthelandscape accessory. communities, and erly, efficiently, and any number of other electricity and plumb- architect. they develop the safely. (See the visual communication ing. Architects are re- strategies to make article starting on projects. quired to have a work- these plans work. page 18.) ing knowledge of all This involves identi-these building fying urban problems elements. and opportunities, analyzing and implementing options, and evaluat-ing results. DesignAiabama 2 R. MEADOWS AND FOWLER: (back row left to right) Bob Fowler, Karlenne Hager, Jeff White, Roger Meadows, (front) Vicki Henderson, Kathy Evans, Susan Mauk Hicks, Phyllis Smith, Theresa Barnett. BIRMINGHAM FIRM WINS 11 :;g:~:ation THE BIRMINGHAM FIRM OF R. MEADOWS & FOWLER WERE WINNERS OF A STATEWIDE COMPETITION FOR THE DESIGN ALABAMA LOGO needs an identifying symbol or logotype, to become its signature and create an expression of its image. Design Alabama wanted a straightforward logo reflecting the integrity of the design professions and a commitment to excellence. A competition was held, in keeping with the spirit of the organization and its goals. The competition was announced to designers in all disciplines, artists, and students living in Alabama. Recognition at the state level was the prize. Forty-two individuals, including graphic designers, industrial designers, architects, and commercial art students submitted ideas, and the jury chose from approximately seventy entries. Serving on the jury were Mr. Tom Ford, Executive Art Director for SOUTHERN LIVING magazine, Mr. Leo Wright, Director of the Creative Department of Luckie & Forney Advertising in Birmingham, and Mr. Charles Raine, Associate Dean/ Department Head, School of Architecture at Tuskegee University, who serves as Vice-Chairperson of the Design Alabama board. They were impressed with the number and quality of the desigl}s, and it was apparent that a great deal of time and effort had been spent in preparing them. A wide range of approaches were presented, but the jury was CBsig!Aktxrna looking for flexibility and classic design. Legibility was a concern because the logo would be reproduced in a variety of uses and sizes. The field was narrowed to three, from which it was difficult to choose the winner and two honorable mentions. The jury felt that the winning design met the criteria and could be reproduced well for use on diverse projects. They also liked the fact that the word "design" is emphasized. The board of directors of Design Alabama agreed with the jury and approved the selection. The winner was the corporate communications, marketing and design firm of R. Meadows & Fowler Inc. of Birmingham. Roger D. Meadows, Chairman of the firm, and staff members Susan Mauk Hicks, Theresa Barnett, Kathy Evans and Rick . · Plasters were members of the team who worked on the project. RM&F has been in business for 15 years and serves clients primarily in the South, but also in Detroit, Minnesota, and New York. Mr. Meadows worked for IBM for six years under Paul Rand, and it was his experience there that led him to pattern his own business after IBM's "Design Center" format, organized internally by IBM to "provide comprehensive creative support services to the company's communications, marketing and sales effort." Mr. Meadows found this format to be the method for getting the best, long-term results where design is concerned, and as the firm's promotional brochure states, "Design is the single thread that permeates the corporation and secures its image. It is the corporation's visual expression." It's interesting that this team effort resulted in the winning logo, because this same philosophy is one that Design Alabama is being built around; effective design is produced through the collective efforts of a number of people who have different roles, and who work together to develop solutions to a design problem. R. Meadows & Fowler has been enthusiastic about Design Alabama, and have contributed the design work for correspondence materials using the new logo. Honorable mention was given to Ralph Dobbins, a student at Bessemer State Technical College, who recently became Art Director for the Rhino Agency, a full service advertising agency. Eric Smith, Senior Designer for Intergraph Corporation in Huntsville, was also given an honorable mention. Mr. Smith is responsible for one-third of Intergraph's advertising, some of which is international. The reputable design firm, the student, and a designer for a large corporation reflects the variety of individuals Design Alabama plans to work with to meet our goals. Competitions stimulate discussion and interest, as well as attract attention to a design problem . We will encourage this kind of activity in our efforts to provide Alabamians with opportuni-ties to learn about design. e Two Honorable Mentions were awarded in the statewide design competition for the logotype. (left) Designer: Ralph Dobbins (above) Designer: Eric Smith 3 Volume 1, No. 1 - Pro ect£.News Project News is a regular feature of Design Alabama and provides an opportunity to keep up-to-date on design projects having an impact on our communities. LAKESIDE ELEVATION ENTRANCE ELEVATION DeslgnAiabama 4 ARCHITECTURE Bullock - lice Associates Architects Inc., of Mobile announce the award of the construction contract for the Environmental Protection Agency's Eastern Radiation Laboratory at Gunter Airforce Base in Montgomery. The laboratory is a· 53,000-square-foot facility housing chemical laboratories, physical laboratories and administrative offices for the EPA's Radiation Programs Office. Cost of construction for the facility is $6.5 million with occupancy expected by June 1989. Bullock- Tice has also completed designs for a prototypical pavilion for Mobile's Parks and Recreation Department. The pavilion is an approximately 120' X 90' long span glu-laminated truss structure. Facilities include court games and accommodations for musical events. The first pavilion is to be built at Trinity Gardens Park in Northeast Mobile. !I D D D D D Chambless & Associates and Blondheim & Mixon, Inc. are associated architects working to complete plans for the new state office building commissioned by the State of Alabama, now under construction in the Alabama State Capitol area. The 700,000-square-foot complex covers two city blocks and is defined by Ripley, Monroe, Jackson and Pelham Streets. It is scheduled for completion in December 1990 and will house 2,500 state employees. The historical and architectural significance of the Alabama State Capitol complex suggested the need to provide a civic place and complete the presently unfinished spatial composition of the area. External courtyards as urban-scale rooms provide the naturalligflt for the offices and serve as public gardens. The corridors are perceived as "internal streets." These streets converge in a multi-storied, sky lit rotunda which is the functional and compositional focus of the building. Professor Peter Magyar of Auburn University served as design consultant on the project. Barganier/McKee/Sims Architects have designed the new Montgomery Museum of Fine Arts, now under construction in the Wynton M. Blount Cultural Park. The 45,000-square-foot structure is almost double the size of the previous facility. The Museum entrance will open into a reception gallery that leads to permanent and special exhibition galleries, the Museum theatre, traveling exhibition g'allery, gift shop and terrace cafe. In addition, the new facility wi ll provide a special children's area, a properly equ ipped auditorium, sufficient storage and preparation areas, increased office space and a conference room and library. The Museum:s design will serve to enhance the displ9-yed works of art and, equally important, faci I itate expanded education programs for the public-an increasingly significant role in today's art museums. Expected date of completion is Spring, 1988. THE NEW MONTGOMERY MUSEUM OF FINE ARTS IS SCHEDULED TO BE COMPLETED IN SPRING OF 1988 Kidd/Piosser/Sprague/Architects/ Inc. of Bi'rmingham have designed the new corporate headquarters and distribution center for Parisian, Inc. which is nearing completion. The complex will consist of a four -story corporate office building and an adjacent distribution center on a large wooded site in Birmingham's Oxmoor West Industrial Park. The 290,000-square-foot facility incorporates highly efficient merchandise processing and state-of-the-art computerized office functions. The complex fronts a gently curving lake along Industrial Drive. Visitors and employees will enter through a granite portal incised with the company name. Beyond it, a landscaped plaza leads to a dramatic rotunda that links the office building and distribution center. The rotunda, rising to 50 feet in height, features granite and marble floors and window detailing with niches for merchandise and promotional display. Another special feature in the complex is a waterside terrace that mirrors the shape of the lake. Emory Cunningham, Chief Executive Officer of Southern Progress Corpo· ration, announced that Southern Progress has signed a joint venture agreement with two architectural firms, Jova/ Daniels/Busby/Incorporated of Atlanta and Kidd!Piosser/Sprague/ Architects/Inc. to design a new Southern Progress headquarters building. The 28-acre site is on the north side of Lakeshore Drive and adjacent to Samford University on the east side of the campus. Kidd/Piosser/Sprague is working in association with Morris Architects of Houston on Central Bank of the South's new 300,000-square-foot administrative headquarters which will serve as the electronic nerve center for the statewide bank. The $20 million projectthe largest on Birmingham's Southside in recent years-is scheduled for completion in early 1988. "We wanted a building with a campuslike atmosphere," said Harry Brock, founder and Chief Executive Officer of the bank holding company. The three-story brick and precast concrete building will face a formal plaza, which will be partially enclosed by a wing devoted to public . functions and training facilities. Classically inspired pavilions link parking for 600 cars with arcaded passages to a central secured . entry. On the interior, a three-story ga[lery will bring natural light into the depths of the building and provide an organizational focal point for people in the building. This gallery steps back at each level to create "terraces" that overlook the central space. Designed to be highly flexible in response to the changing requirements of the banking industry and electronic technology, the building incorporates specialized distribution systems that integrate telecommunications and data processing, special power requirements, and systems furniture in open-office areas. Large floor areas facilitate maximum operational efficiencies in item and information processing. RENDERING OF THE NEW PARISIAN, INC. CORPORATE HEADQUARTERS AND DISTRIBUTION CENTER Evan M. Terry Associates have completed the construction documents for the new Hoover Public Library. The new library will blend with the existing Municipal Center in both form and material. However, to encourage broader public use, ·it will have a more inviting entrance and extensive outdoor patio areas. The building will include community meeting rooms and a 250-seat auditorium. The estimated completion date is March of 1989. Also on the boards at Evan M. Terry Associates is a new home for the nonprofit Alabama Wildlife Rescue Service at Oak Mountain State Park. This project is the first of its kind in the United States. The unique design challenge is to develop a series of buildings which offer the animals progressively less and less restraint and shelter as they heal, minimizing human contact while. allowing the public to watch the rehabilitation process in a near-natural setting. Even the food and water pans will be flushed and refilled remotely. Money is now being raised to begin the project so there is no projected completion schedule. Contact Anne Miller, Executive Director of the Alabama Wildlife Rescue Service, at 663-7930. L A N D S C A P E ARCHITECTURE In addition to working with Kidd/Piosser/ Sprague on the Parisian, Inc., and Central Bank of the South projects, Nimrod Long and Associates Inc. are currently in the construction administration phase of a 2.5 million dollar renovation of Linn Park, formerly known as Woodrow Wilson Park. A strategically located six-acre urban green space in downtown Birmingham, the park is on an axis -between the Courthouse and City'Hall and terminates one of Birmingham's·main downtown corridors, 20th Street. The renovation project is funded by both the public and private sectors: the City of Birming· ham and an organization named the Friends of Charles 'linn Park. · With an estimated completion date of early Summer 1988, the park will boast a strong pedestrian access linking the important edges of the park. It will also contain a large central fountain feature and promenade, outdoor dining and entertainment pavilions, and all new site furnishings, such as seat walls, benches and lighting. COMMENCEMENT OF WORK CELEBRATioN, liNN PARK.SIGN DESIGNED BY GUY ARELLOJDESIGN & ILLUSTRATION 5 Volume 1, No. 1 INTERIOR DESIGN BeiiSouth Services, Inc., has selected Kidd/Piosser/Sprague/ Architects/Inc. to design the interior architecture for their new headquarters building, a 425,000-square-foot facility now under construction in the Colonnade complex at U.S. 280 and Interstate 459 south of Birmingham. The firm will use its in-house CADD system to document the project and create a database for BeiiSouth Services. DesignAiabama 6 GRAPHIC DESIGN Guy Arello/design &illustration has been awarded the environmental graphics portion of the Birmingham Zoo's new Social Animal House. The environmental graphics consist of information about the animals in each exhibit, panels detailing social behavior in the wild, and other general interior signs. Guy Arello, Creative Director, and Skip Pennington, Art Director, will have primary responsibility for this project and will work in conjunction with internationally known exhibitory designer David Manwarren. The Social Animal House will include wolves, gorillas, orangutans, and many other social species. It is scheduled to be completed sometime in 1989. A prominent new design by Cunning· ham, Black and Farley, Inc. of Montgomery is the new logo for Alfa, formerly the Alabama Farm Bureau. A heavy media blitz during the name change and subsequent promotions, including a two-color brochure explaining the change, a number of four-color ads and a four-color Business Alabama insert have helped create an impressively strong awareness of the company's new name. The design offers continuity by retaining much of the same look and feel of the old Farm Bureau logo, yet it also projects a new imageone that adjusts to changing times while _ still remaiQing an old frien Q..__ ~ The Montgomery Area Chamber of Commerce was considering the search for an umbrella marketing theme, meaning one look or one approach that could serve equally well for their Convention and Visitor Division and their Economic Development Division and, thus, make their marketing efforts more uniform. The Chamber chose Cunningham, Black & Farley, Inc. to execute the design. The most important consideration for Economic Development was Montgomery's central location in the Southeast; the Convention and Visitor Division, however, felt a strong need to tie the theme to Montgomery's arts explosion, particularly the new multi- MONT'GOMEKY million dollar [i] Alabama ~~~ ;;~~;; Shakespeare Cenm· Stage i1t the South Festival. "Center Staga in the South" was created, which addressed those two primary considerations at once. The deadline for submitting information for the next issue is March 10, 1988. Information about projects should include the project name, the client, location, what stage the project is in, size, estimated comple· tion date, any unusual or special details of interest, and be accompanied by renderings, black and white photographs, or camera-ready art when possible. Projects included will be based on statewide importance and timeliness. CHILDREN DON'T ALWAYS USE ENVIRONMENTS IN THE WAY THE DESIGNER INTENDED. Designers and Children: Intention vs. Interpretation 1Environ"!e~~a1 h _ mages m was - ington D.C. produced a video entitled Places As Art that was sponsored by the National Endowment for the Arts in 1986. It explores what places mean to us, and uses case studies to show how some of the great places in this country have been made. The following article is about a video tor children being produced at Auburn University, the result of a spin-off idea from this concept. r:J everal of us were discussing E:J children recently-about their curiosity and the fresh insights they bring to the everyday world. This led to a discussion of hovt childreo might respond to the Places as Art concept of the National Endowment for the Arts. As a small group of designers and planners, we mused about how children perceive and use designed environments in ways different than we had intended. We wondered aloud how children might appreciate art or good design. "For example," someone asked, "how might a child differentiate architecture from mere shelter?" This raised the larger . question of how children perceive and use designed environments. Since the image varies with the viewer, we could ask, "Do children respond to designed environments in the way the designer intended in the design process?" And there lay the challenge: Could we determine a child's perception of places as art? If so, how? By watching and listening to children interacting with each other in various places? By asking their opinions? By seeing their own artwork? This is the subject of a forthcom-childhood experience of designed environments, in contrast to the more judgmental aspects of adult perception and reaction to those environments. The video is for children and is meant to stimulate awareness of art, architecture and design in children. The underlying theme is that a personal interrelationship must be developed with a place in order for it to become art. Others involved with the author on this project are Bill Bullock, IDSA and Richard Rome, ASLA, along with quite a number of children who graciously tolerated questioning, photographing and tape recording their reactions to designed environments across Alabama, Mississippi, Louisiana and Arkansas. Production of this forthcoming video is being supported in part by a grant from the Samuel G. Wiener Fund for Advancement of Architecture, which is administered by the School of Architecture at Auburn University. Duplication and distribution of the production in Alabama is being underwritten by the Alabama State Council on the Arts. It should be playing in local schools and libraries statewide next year. • ing 20-minute video production By Darrell Meyer, Chairman which was a result of this discus- Graduate Program in Planning sion. It is an exploration in search Auburn University of the right questions-rather than answers to what could be the wrong questions. The focus is on the questioning aspect of the - 1. ~ B U I ,L D I N G B E T T E R LIBRARIES BY PHILIP . MORRIS PHOTOGRAPHY: JOHN O'HAGAN 0 n ·a corner in downtown Birmingham stands a large, four-story building with a riveting feature: a grey-glass prow command· ing the corner and reaching a fine point high above the street. Over the doors in crisp white lettering-Birmingham Public Library. ALTHOUGH THE BIRMINGHAM PUBLIC LIBRARY•s NEW CENTRAL LIBRARY IS ESSENTIALLY A BIG LIMESTONE·CLAD BOX, THE ENTRANCE CORNER FRONTING 21ST STREET NORTH AND PARK PLACE GIVES IT A MEMORABLE CIVIC LANDMARK QUALITY. THE STEPPED CONFIGURATION OF THE LIMESTONE AND GLASS REFLECTS THE STEPPING OF FLOORS ABOVE THE LOFTY LOBBY. ARCHITECTS: MORRIS·AUBRY, HousToN. F or recent design of a public building in Alabama, the new Central Library of the Birmingham Public Library stands a triumph. The building is strikingly handsome and spirited, it functions well, it came in under budget, and it has been welcomed with enthusiasm by the public. It merits an architectural award, but the real prize should be shared by the Birmingham Public Library board and staff. Since 1977 when a bond issue provided funds for a major library building program they have been a model client for architecture that is both fine and functional. "The system had a collection of unimaginative buildings built in the 1950s and 60s," says George Stewart, director of the Birmingham Public Library system. "With a major bond issue earmarking about $18 million for libraries, the board realized it had a once-in-a-lifetime chance to reshape a system, and they took it very seriously." Leading the architectural push for excellence was Don Long, a Birmingham attorney who was put on the board in 1972 and elected its president in 1976, the year before the bond issue. "I had always been interested in the arts, and architecture was always a part of that interest," he says. "Our main thrust from the start was twofold. Function and quality of design." Long appointed an architectural committee, including himself and Stewart, that initially dealt with the new Central Library and went on to set standards for a series of new and remodeled branches as well. Included were board members Deenie (Mrs. John) Drew and Geraldine Bell. Asked also to serve were Dr. Edward Lamont, then at UAB, and David Farmer, who was director of the Birmingham Museum of Art at the time. "What I tried to do as president of the board was to steer the board in the direction of good design, " recalls Long. "We looked at the current literature on library design, mainly architectural journals and national library journals like Library Science. We explicitly sought those who had a record of excellence in library DesignAiabama 8 design." The search did not stop at Birmingham city limits or the Alabama state line, a move that caused criticism of the board. The process began in March 1977, with the bond issue passed in June of that year. Before the contract for design of the new Central Library was awarded in January, 1978 the committee had read, traveled and interviewed in an intense manner. A list of I 0 firms, both local and national, was initially selected. If their work had not been seen by members of the committee, they went to see it. This visitation (done on members' own time) took them as far afield as Jacksonville and Orlando in Florida, Boston and Houston. The field was narrowed to five firms: Hugh Stubbins of Boston; Curtis & Davis of New Orleans; DavisSpeake, Birmingham; Kidd/ Plosser/ Sprague, Birmingham; and MarrisAubry of Houston. It was in Houston where the real choice was confirmed. The firm of A GRAND LOBBY OR 11WINTER GARDEN11 ANIMATED WITH FICUS TREES PLANTED IN THE TILED FLOOR MAKES AN ALL -YEAR PUBLIC SPACE. READING AREAS ON FLOORS ABOVE OVERLOOK THE SPACE AND THE SURROUNDING CITY BEYOND THE GLASS. Public Library Levell Morris-Aubry had designed Houston's new central library, similar in scale and location to Birmingham's. The design had won both an American Institute of Architects award and, more importantly, the National Library Award given jointly by the AlA and the American Library Association. It was one of several libraries designed by MarrisAubry. "After we got to Houston and saw that library, I said 'I'm ready to go home," says Deenie Drew. "Even before we went inside we sat down in r the plaza and said 'This is it,' It was the first one we saw with an escalator. You could see people on it through the glass walls. You know how it is in a library, you don't always know where you want to go. The escalator makes it easy." Members of the Birmingham Public Library board and staff went back to Houston three times, and they invited Houston Public Library staff to Birmingham, asking them for clear appraisals of good and bad points about the building. When the choice was made official, Morris-Aubry was selected as the primary architect and asked by the board to associate locally with the firm of Kidd/ Plosser/ Sprague (Kidd/ Plosser /Sprague had been the board's second choice for the job). Library Director Stewart praises the board. "The key to success, I think, is that the board considered selection of the right architects their biggest contribution to the project. They did not get involved in nitpicking, like where shelves go and the like. Fortunately, this board is set up to be independent. They could resist, and did, the extreme pressure brought to bear about going elsewhere to get an architect. Most boards don't have that freedom." T he design process now took precedence. In this phase, the interplay shifted to one between library staff and the architects. The original goal-to have a new central library that was a substantial piece of architecture and that also really works-guided ·development. "We had seen a number of buildings that might win an architectural award but would never get a library award, " recalls Stewart. "Architects don't run buildings, so there can be architectural features that don't serve day-to-day functions. But we had good architects who were open to input." Birmingham~ibrary staff did initial programming for the new Central Library (and each subsequent project). Staff and architects worked as a team. There were serious revisions in initial proposals by the architects. Both staff and board had become familiar with architectural jargon, and they were not hesitant to become active participants in the design process. "I think a client does an injustice if they just tum the whole thing over to the architects," Stewart says. "That happ~ns a lot. And since most clients do only one building they learn the lessons too late." The design process was structured well by the board. The normal phases are three: initial schematic design, design development and construction documents. Architects were required to make formal presentations to the board for all three. There was an initial design with a model, a more refined and detailed plan, and a final design that included interior finishes and furnishings. Stewart describes the completed building as "a cheap box," though it doesn't look at all cheap or like a box. He is, in fact, praising the architects for doing design miracles on a limited budget. The Central Library contains 133,233 sq. ft. on four floors. It has 375,000-volume capacity, 650 reader seats, opened in September of 1984. And the word "opened" here carries rich meaning. If one quality stands out here it is openness, both to the city comer it fronts and in its interior space. It is, indeed, a box clad in Indiana limestone to match that on the restored original 1927 library across the street. Libraries are, mainly, large warehouses for books. That this one is kind to people is no accident. It is a true "peoples palace." SPACES INSIDE THE LIBRARY ARE OPEN AND WELCOMING, ALMOST LIKE A GREAT DEPARTMENT STORE. Circulation has run consistently 40 per cent higher over the years since it opened. Various sections are open to view from the central skylighted space that contains-yes-the escalators. T he architectural move that transforms the box into a fine work of architecture comes at the comer. The glassed-in court that serves as entrance to the library at Park Place and 21st Street North signals the library as an important civic building; converts an unimportant site into a cornerstone of the neighborhood; and transforms the AT THE CORE OF THE CENTRAL liBRARY IS A BANK OF ESCALATORS WHICH MAKE MOVEMENT FOR THOSE SEEKING A PARTICULAR DEPARTMENT EASY. AT THE FOURTH FLOOR LEVEL IS A GREAT SKYLIGHT AND A GALLERY WITH CHANGING EXHIBITS. box into an expressive mass. Inside, the glazed comer contains a lofty public room, a winter garden as they are sometimes called. It serves as an enclosed, all-weather plaza for the library. And as the space reaches upward toward the point, floors step out like trays, recapturing space for reading areas that overlook the winter garden and city buildings beyond. "The architecture came from Morris-Aubry's imagination," Stewart says. The total cost was about $100 per square foot including furnishings. "We got an imag~ building for a low budget," he adds. Don Long points out that they were also lucky on two counts. "If you recall, interest rates at that time had gone through the roof. So we had the bond money in the bank drawing interest. And because of the high interest rates there were few construction projects underway. The bidding was very competitive. Our basic bid came in at $8.6 million, and we had expected it to cost $9.5 million." Total cost ran about $12 million, including $1.7 million in furnishings. The savings helped in the complete restoration/renovation of the original library, now Linn-Henley Research Library across 21st Street. They make an impressive pair: the one open and as democratic in feeling as a department store, the other classical and clubby which suits its present function housing special collections. The Central Library was the first and largest of an impressive run of branches and remodelings by Birmingham Public Library, possibly the finest collection of new design commissioned by any public body in the state in recent years. This work includes three regional libraries (see photos) and a number of smaller ones, all designed by Birmingham firms. The selection and design process developed for the new main branch worked for the others as well. What were the main lessons? "I guess the principle place to start is to put design quality at the top of your list, along with a functional building," says Long. "Good design is not just expensive materials, as some people 9 Volume 1, No. 1 and some architects seem to think. Good design comes from good architectural imagination. It really doesn't cost more. It didn 't cost us more." L ong urges public clients to exercise careful choice. "I'm not sure there are that many architects who can build in a budget and produce quality design. You have to look at their work." And as for public LEFT: J HE GREY GLASS WEDGE OF THE NEW CENTRAL LIBRARY ENTRANCE MAKES A VISUAL FOIL TO THE ORIGINAL NEO-CLASSICAL LIBRARY (1927) ACROSS THE STREET. THE SAME LIMESTONE WAS USED ON THE NEW BUILDING. RIGHT: Now THE LINN-HENLEY RESEARCH LIBRARY, THE OLD LIBRARY. HAS BEEN FULLY RESTORED AND GIVEN A NEW NEO-CLASSICAL PORTICO ENTRANCE ON ITS LINN PARK SIDE. ARcHITECTs: KmD/PLossER/SPRAGUE, BIRMINGHAM. boards that lack the independence from political pressure that the Birmingham Public Library board en-joyed in its selection process, Long calls for an education process. "People will say they don't know good design, but when you show it to them they know it, even if they can 't tell you exactly why." He thinks it 's worth the effort, even a fight. "The quality of public architecture is important. A lot of good things happen to the human spirit when people come into contact with quality design." Thousands of visitors do daily now in the Birmingham J>ublic Library system. e IN ADDmoN ro CENTRAL LmRARY, BIRMINGHAM PuBLIC LmRARY HAS DesignAiabama 10 19 BRANCHES. SINCE THE 1977 BOND ISSUE, 10 OF THEM HAVE BEEN .BUILT OR REMODELED. THREE REGIONAL LffiRARIES HAVE BEEN THE MOST SIGNIFICANT IN TERMS OF SIZE AND BUDGET.IIERE IS A BRIEF LOOK AT EACH. SPRINGVILLE ROAD REGIONAL BRANCH This new branch in Birmingham's eastern area filled a great need when completed in 1981. Designed by Architects Kidd, Wheeler, Plosser (now Kidd, Plosser, Sprague) of Birmingham, the 17,000 sq. ft. building signals a strong civic presence with a large central block and dramatic entrance arch expressed in tile. Inside is a skylighted rotunda with skylight above. The three main zones-youth services, adult services and reference-extend from this central space which is anchored by the circulation desk. Raised cei lings and skylights extending the length of the wings continue the architectural thrust. The site and parking areas are well landscaped, with Nimrod Long & Associates the landscape architects. Jeff Northrup, regional coordinator for Springville, says, "Most people have a very positive reaction to the building. They are pleased to have something of this quality on their end of town. Business here has exploded. We circulate an average of 30,000 items a month. We have had some problem with heat from the skylights. But the building has served its purpose very well." A ROTUNDA WITH THE CIRCULATION DESK UNDER A SKYLIGHT CONTINUES THE MONUMENTAL CIVIC CHARACTER OF THE SPRINGVILLE REGIONAL LIBRARY INSIDE. WINGS HOUSING VARIOUS DEPARTMENTS EXTEND OFF THE SPRINGVILLE ROAD LIBRARY ROTUNDA, USING SKYLIGHTS AND A RAISED CENTRAL CEILING TO CREATE ARCHITECTURAL PRESENCE. (above) SPRINGVILLE ROAD REGIONAL BRANCH IS A NEW BUILDING WITH A DECIDEDLY CIVIC PRESENCE ESTABLISHED BY A LARGE CENTRAL BLOCK DECORATED WITH AN ARCH OF TILE SET IN THE FACADE. THE SETTING IS WELL LANDSCAPED. ARcHITECTs: KmD, WHEELER, PLossER. lANDscAPE ARCHITECTs: NIMROD LoNG & AssociATES, BIRMINGHAM. FIVE POINTS WEST REGIONAL BRANCH This was an unusual conversion of a former cafeteria building into a regional library. The location in a commercial area along Bessemer Highway reflects some new library thinking: to put community libraries in areas where people go for other purposes, rather than in the middle of residential neighborhoods. Reuse of the existing building demanded adaptation to certain givens, including a floor area of 10,000 sq.ft., considerably below what is considered optimum for a regional branch. Architects on the renovation completed in 1983 were Giattina, Kirkwood and Partners, Birmingham. Project Architect Joel Blackstock, AlA, says the entrance to the library was placed midway along a landscaped walkway running perpendicular to the street. The location was chosen to serve both walk-in traffic from Five Points West Shopping Center located to the east and the library parking lot on the west side of the building. (Libraries demand a single entrance for security and control.) The library exterior was refaced and fitted with glass at strategic locations to open up the building. Since views were not advantageous, the landscaped walkway leading down the side of the building to the entrance doubles as a view garden for reading areas. Blackstock describes the interior ar- . rangement as "layering". There is a layer of reading (inside the glass side wall), a layer of display shelves for browsing, a layer of traditional 50-inch high bookshelves, then the central circulation area and beyond that staff offices and work areas. The children's area is located at one end of the rectangular building. Virginia Guthrie, regional coordinator for Five Points West, says the given of limited space was difficult to work with, but despite that she notes that library users "like the ex- AVONDALE The Avondale R E G I 0 N A L project is an 8,200 sq. ft. ad- B R A N C H dition to an exist-ing 20-year-old, 5,000 sq. ft. library to bring it up to regional branch size. Located on the edge of Avondale Park in Birmingham's near east side, the addition/remodeling completed in 1982 was designed by Giattina, Kirkwood and Partners (now Giattina, Fisher & Company) of Birmingham. The architects decided on a simple, boldly-scaled triangular addition with a large expanse of glass wall overlooking the park. The addition maintains compatibility with the original understated modern building repeating the brick color but not the form. The entrance was refocused to bridge between original and addition. Edith Harwell, regional branch coordinator, commends the design for taking advantage of the park view. She also praises its "peaceful, fiVE POINTS WEST LIBRARY IS LOCATED IN WHAT WAS A CAFETERIA BUILDING IN A BUSY SHOPPING AREA. Ali ENTRANCE WAS ESTABLISHED MIDWAY ALONG THE SlOE OF THE BUILDING TO SERVE BOTH WALK-IN TRAFFIC AND A PARKING AREA BEHIND THE BUILDING. ARCHITECTS: GIATTINA, KIRKWOOD & PARTNERS. lANOSCA~E ARCHITECTS: NIMROD LONG & AssociATES. A PAVILION WITH A DOUBLE HIPPED ROOF DESIGNATES THE fiVE POINTS WEST ENTRANCE. SINCE THE SITE HAD NO LANDSCAPE AMENITIES, THE WALKWAY WAS INTENSIVELY LANDSCAPED. THIS LANDSCAPING IS ALSO VISIBLE FROM WINDOWS ALONG THE READING AREA (LEFT). fiTTING VARIOUS USES WITHIN LIMITS OF THE EXISTING STRUCTURE TOOK MUCH COORDINATION BETWEEN LIBRARY STAFF AND ARCHI· TECTS. I.JBRARY VISITORS DESCRIBE THE LIBRARY AS SPA· CIOUS, DESPITE THE TIGHT SQUEEZE. panse'; of the place. Skillful design was ob- first time any of us had worked with archiviously the reason for this perception. "The tects. It was a learning experience, conveying large reading area is used 99 percent of the to them what we needed to make the building time, and our conference room is booked work. And they told us what the architecture almost continuously for community meet- needed to do. We think, given the limitations, ings," reports Mrs. Guthrie. "This was the it worked out well." restful" interior that defers to the view. "The reading area has been located along the glass wall facing the park," she explains. "We have had some problems with supervision since the stacks were located between the circulation desk and the reading are.a. We are making some changes in arrangement to solve it. The reading room overlooking the Avondale Park rose garden is a delight." A GLASS WALL FRONTING THE PARK LETS THE AVONDALE LIBRARY TAKE ADVANTAGE OF ITS SETTING. THE AvoNDALE REGIONAL LIBRARY WAS ESTABLISHED WITH AN ADDITION LARGER THAN THE 20-YEAR-OLO ORIGINAL BUILDING. THOUGH COMPATIBLE WITH THE EXIST· lNG, THE ADDITION MAKES A BOLD OUTLINE FACING AVONDALE PARK. ARCHITECTS: GIATTINA, KIRKWOOD & PARTNERS. 11 Volume 1, No.1 DesignAiabama 12 In February of everyyearthe state's six professional advertising organizations hold their annual awards ceremonies. These pages present a retrospective of projects meriting an Addy in the "Best of Show" category in last year's competition. KITE INVITATION TO OPEN HOUSE DESIGN: SLAUGHTER/HANSON & ASSOCIATES CLIENT: SOUTH JEFFERSON CO. LeanOnTheGreen. TV IMAGE SPOT DESIGN: GILLIS, TOWNSEND, BOWLES, HANLON, INC. CLIENT: FIRST ALABAMA BANK + The Birmingham Advertising Club recently won an award from the American Advertising Federation for "Educating the Public About Advertising," and are using the cash prize to buy books about advertising tor Birmingham libraries. Slaughter/Hanson & Associates of Birmingham and Dothan tied themselves with the Kite Invitation for Meadow Brook Townhomes developed by South Jefferson Co. and a brochure/invitation for PlainClothes, an exclusive clothing store. + The Dothan Advertising Federation covers the wiregrass area including Houston, Coffee, Dale and Geneva counties. They are a small club, but have a very diversified membership. Slaughter/Hanson's Christmas card entry for the Bradford Group was voted "Best of Show." + The Montgomery Advertising Federation was named Club of the Year by the American Advertising Federation for 1986-87 in Division IV. They are among almost 90 clubs in this Division across the United States. First Alabama Bank's "Lean on the Green" television image spot won Best of Show and was produced by Gillis, Townsend, Bowes, Hanlon, Inc. of Birmingham. +The Huntsville Ad Club has recently established an Ad Review Board in conjunction with the local Better Business Bureau. They chose two Best of Show winners, one Out-of-Town and one Local. First Alabama Bank's "Lean on the Green" television image spot won in both the Huntsville and Montgomery markets, and lntergraph's 1987 Calendar designed internally by lntergraph won in the local category. + The Advertising Federation of Greater Mobile is proud to announce that past-president Cece Hylton was awarded the AAF's 7th District Governor's Award for Outstanding Volunteer Service. A poster produced for John Word's Restaurant ~Y the J.H. Lewis Advertising Agency, Inc. won in the B.est of Show category. >. + The Greater Tuscaloosa Ad Club was recognized for producing the "Best Public Service Campaign" in organizations with membership under 100. And they also POSTER DESIGN: J. H. LEWIS ADVERTISING CLIENT: JOHN WORD'S RESTAURANT , WEWaw-'TQUmSUREwblht'd SI~. ,\Iil'f aN. hr~d 11to.oa llllkia«wo.~'s skirufor)'W'l. l~lorukllltll'ss•insf«us? llo._... ................ _,.~lol ... ""'ol<""""" "OIIylla~•IM.It't Swi:ee:c:UHiy. Fr.l\tTII&IIMiiiOiotf!t'r it~r.eB~sarilf:ililryr.ars.·Heu.~uO¥a"aM-ei.F~taS ..... ..-.o~-..tiMrdnr.ne..._~..,•we~ W.ktloio .... _..loio,.,...do.-u,.,....._W......, ~dle--...aty....CIIIec:w.a:...til•cr.ataeaeol ,...;.ty.joooopol"oool ... lib<Wno. EXCERPT FROM BROCHUREnNVITATION DESIGN: SLAUGHTER/HANSON & ASSOCIATES CLIENT: PLAINCLOTHES BROCHURE SYSTEM DESIGN: CRUCE & ASSOCIATES CLIENT: ALABAMA FEDERAL CALENDAR We Jwpe all the pieces fall into place . for you to enjoy the true Jwliday spirit. The Bradford Group Dmg aud Alcohol Recol'PJ:IJ Cente1s CHRISTMAS CARD DESIGN: SLAUGHTER/HANSON & ASSOCIATES CLIENT: THE BRADFORD GROUP DESIG.N: INTERGRAPH CORPORATION 13 Volume 1, No. 1 Airport Boulevard in Mobile is an all too familiar "strip," but demand for improvement of this cross section of the city has resulted in Jhe development of a Master . Plan by the Landscape Architecture Department at Auburn University. The plan has been endorsed by Mayor Arthur Outlaw and is representative of the comm~nity•s wish for a better environment. The public meetings in Mobile concerning Airport Boulevard were well aHended. MOBILE·-s ·AIRPORT BOULEVARD " ... there was one critical difference between this street and the thousands -of others jusUike it; there was considerab-l--e-- ---community support for its change." DesignAiabama 14 WHEN DOES A STREET BECOME A BOULEVARD? by Richard Rome • Chairman of the landscape Architecture Program at Auburn University Mobile's Airport Boulevard is a great place to be if you are hungry for fast food, but a bad place to be if you are in search of what makes Mobile special. It is a typical "suburban shopping strip" littered with every imaginable kind of land use but giving no clue to the identity of its location. It is "the strip" which exists in every American city with a population of over 30,000, but "Does it have to be that way?" This is the question Mobile residents asked their elected officials. A telephone call from Teko Wiseman, Chairman of the Keep Mobile Beautifu l Commission, resulted in an initial tour of Airport Boulevard. The complexity and magnitude of the problems were obvious. However, there was one critical difference between this street and the thousands of others just like it; there was considerable community support for its change. This desire for change was documented by consumer survey and confirmed by conversations with influential citizens of the city. Peggy Seibert and Councilwoman Jane Baxter were involved from the very beginning of this project, and they were representative of the broad-based community support for change along Airport Boulevard. It was this support which enabled a quarter-long design studio to be established within Auburn's Landscape Architecture Program to undertake the "Improvement of Airport Boulevard in Mobile." To begin the work, students and faculty visited Mobile with fresh eyes, as if for the very first time, noting its strong and weak points. Sue Lyons, a tour guide with the Mobile Chamber of Commerce, was spirited and gracious, making Mobile's history and heritage come alive for the visitors. Councilwoman Jane Baxter hosted the group at her home off of Airport Boulevard, and invited guests who offered many viewpoints regarding what was needed to improve it. After spending the night with host families in Mobile, the students assembled the following morning for their first taste of the project site, breakfast at a franchise restaurant in the heart 1 l of the commercial development. The task ahead was clearly identified. The expression, "there's no there, there," clearly applied to Airport Boulevard. The students spent a day sketching impressions of Airport Boulevard from Government Street to the Airport and back again, an eight mile cross section of the city. The University van was literally filled with paper, but more importantly, it was filled with images; good, bad, strong and weak. The design process had begun. Upon returning to Auburn the students began to analyze what they had seen, heard and experienced first hand. Land use studies, traffic studies, visual quality analyses and topographic studies were utilized to discover the opportunities along the boulevard's right-of-way. The team effort by the citizens of the community and trained designers produced a basis for the development of a master plan. The master plan which evolved offered different approaches to problem solving as well as the opportunity for the creation of a unique aesthetic image. The ideas of "continuity" and "gateway" emerged as dominant themes in the planning phase. An overall concept evolved from the studio deliberations of Airport Boulevard: A physical history of the development of Mobile from "Seaport to Airport," from "History to Progress." It was clear that this corridor represented the development of the city from its early history on the shores of Mobile Bay to its aspirations for progress as evidenced by the new airport terminal building. THE MASTER PLAN The Master Plan established a spatial corridor which links all of the diverse land uses along the street. The design did not attempt to hide all that is bad as much as it hoped to provide a strong frame Above are excerpts of the rendering presented to the City of Mobile. TopLeH: "The proposed gateway for the city .. .-emphasizes water, proclaims Mobile's rich heritage in th,e shipping BoHom renderings address the issue ofsignage and offer Mobile's rich historic heritage in a contemporary context. industry. At the same time it provides a welcome for design guidelines. They promote the idea of "tasteful use Preceded by the six flags which have flown over Mobile, a newcomers to the Mobile area. The gateway sculpture of signs which provide essential information while blendlandmark of contemporary design has been placed which, gestures outward pointing west, reinforcing the idea that ing compatibly with overall development." through the integration of sculpture, landform and water, Mobile is still a growing and progressive city." of reference for the motorist in transit along the street. Some individual problems will require the energy and efforts of the landowners along the boulevard, but the Master Plan provided a framework in which all these problems could be addressed. Ideally it will give each landowner an image of a larger picture in which he can see possible solutions to his own problems more clearly. Gateways Gateways evolved early in the project as an important idea. They occur wherever change occurs, alerting the motorist to new environmental circumstances such as the entrance into a residential neighborhood or arrival into a prominent shopping area. Some gateways are natural , such as the presence of large existing trees, whereas others are architectural landmarks such as large, prominent buildings. In addition to denoting entrance, gateways signal exit and can provide a link between disparate elements within a city's fabric. Planting Landscape planting deals with the use of natural plant materials to create environmental quality, define spaces and introduce a humane element in architectural and engineered creations. The planting in the Master Plan addresses the recognition of different land uses, the selection of hardy species that can tolerate and thrive in adverse conditions, and the need for continuity in a discontinuous setting. There is a major emphasis on the establishment of a rhythm and a sense of flow along the corridor, using plants to link areas and highlight distinct districts. Tree species with strong connections to the heritage of Mobile are proposed to shade residential districts whereas more hardy and fast growing species are proposed to define commercial centers. Concern for seasonal interest and ease of maintenance were factors in the individual plant selections. Street Furniture The term "landscaping" as it is used in this project incorporates more than just plants. The Master Plan uses street furniture as an important landscape element. In order to organize the environment, streetlights and traffic lights were incorporated into design elements which also provide space for street identification and traffic direction. In residential areas which already have overhead street tree canopies, pedestrian scale sidewalk lighting was introduced. Bus shelters were designed to provide alternatives to the mini-billboards now used, and to provide safe places highly visible to the pedestrian, a forgotten person on the existing boulevard. A unique planter design was developed to identify important intersections while establishing a link to Mobile's architectural past and cultural diversity. All of these ideas were accomplished with respect to the need for traffic safety and motorist visibility. Guidelines Design guidelines for such things as signs, curb cuts and the landscaping of parking lots adjacent to the street were developed. The lack of guidelines in the past has resulted in an environment that is confusing, dangerous and counterproductive. to its intended purpose-the safe and efficient transport of people and goods. Everyone involved in this project has come to believe fervently that "Good design makes good sense." e Mayor Arthur Outlaw and the Mobile City Council have selected Fred Rux as Landscape Architect and Wolpert Engineers for the project. They are moving forward with preliminary planning and cost estimates. / (ABOVE AND BELOW) Auburn students work on the 22-foot rendering of the Master Plan. 15 Volume 1, No.1 Details+ Of Interest Details of Interest is a regular feature of Design Alabama and will highlight a wide variety of events and resources. DesignAiabama 16 Awards for excel lence in restoration and preservation of Birmingham architecture and for significant personal contribution were announced at the Preservation Ball held on October 2 by the Birmingham Historical Society. Buildings recognized were: Birmingham Ace Hardware Co •. 316-318 First Street. owned by Citizens Federal Savings Bank; Engel Building 2126 Morris Avenue, owned by Engel Realty; Farley Building, Third Ave. North an\t 20th Street. owned by Farley LTD and Hadley Church & Co.; McAdory Building, 2013 First Ave. North, owned by Hadley, Church & Carlson; Wilson Building, 2213 Morris Ave., owned by occupants Nimrod Long and Associates; Renneker, Tichansky Architects; Renneker & Co., and James H. Haggard; The Tutwiler. 21st Street at Park Place, owned by Tutwi ler Ltd.; Wooster Lofts, 2321 First Ave. North, owned by Calder Associates; and Zinszer Building, 2117 Second Ave .. owned by Second Avenue Historic Partnership. Individuals honored were: Bob Burns and Pat Gallagher. lnTown Architects Pat O'Sullivan, Vince Priola, Charles Robinson, O'Sullivan Construction Co. Scott Shepard, Calder Associates Greg Church, Hadley Church & Co. Sam Frazier, Second Avenue Historic Partnership Houston Brice, Charlie Logan Brice Building Co. Gray Plosser, Liz Dodson, Mike Tillman, Kidd/Piosser /Sprague/ Architects, Inc. Miller Gorrie, Garry Denson Brasfield & Gorrie Stanley Erdreich, Bill Coleman, Marvin Engel, Engel Realty Ken Owens, Cornelius Arrington, The Owens-Woods Partnership Kirkwood Bailon, Booker T. Washington Insurance Co. Nim Long, Nimrod Long & Associates Bill Renneker, Renneker, Tichansky Architects Temple Tutwiler Milton Harsh, Nancy Kennedy, Porter. White & Yardley Roy Swindal, Masonry Walls Marble and Tile Decorative Center Bob Moody, Moody & Associates Congratulations to all those honored. A DAY IN OLD BIRMINGHAM On October 4, Birmingham celebrated the progress and restoration that has been taking place in the City Center with a daylong party. Fifty-seven buildings opened their doors to visitors during the event that included walking tours, music, food, and activities for the whole family. Co-sponsors were the Birmingham Historical Society, the City, and Operation New Birmingham. Unda Nelson stands with one of the "Walking Architecture" pieces used in the celebration. Linda is a preservation specialist with Operation New Birmingham. Volunteers stood inside the building and passed out flyers during the week before the event. Children participated in "Build With An Architect," constructing edible architecture of graham crackers, marshmallows, and lasagne noodles. The American Institute of Graphic Arts AMERICAN INSTITUTE OF GRAPHIC ARTS Alabama is home to the newest chapter of the American Institute of Graphic Arts (AlGA). This non-profit organization of graphic design and graphic arts professionals sponsors competitions, exhibitions, publications, professional seminars, educational activities, and projects in the public interest to promote excellence in, and the advancement of, the graphic design profession. The Birmingham AlGA Chapter is one of the first in the deep South and includes graphic artists from throughout Alabama. The newly elected officers are President. Guy Arello; Vice President. Marie Weaver; Secretary, Barbara Clavenna; Treasurer, Beth Moore. Regular meetings will be held in Birmingham on the second Tuesday of each month. Call 324-1993 for further information. NEW ALABAMA COMMUNITY Modern-day pioneers will have an opportunity to help settle a new community being planned 30 miles north of Birmingham. The project is actually a "recolonization" of BLOUNT SPRINGS, which was a resort community in the early and mid-1800s. Internationally known architect and planner Andres Duany is the designer. His Miami, Florida based firm designed the town of Seaside on the Florida Gulf Coast. Mr. Duany designs places which lend themselves physically and philosophically to the creation of community in the classic sense. He designs towns for people rather than around automobiles, with public areas having a focus in the form of objects like gazebos and pavilions, with a lot of attention paid to pedestrian space. Historic atmosphere and preservation of the natural beauty of the area are important elements of this project. Jim Tullis, now of Connecticut, has owned the land for several years, and grew up visiting the Blount Springs area. He still has family ties there, as does Richard Randolph, of Norville whom Mr. Tullis chose to be the realtor for the project. "Right now our information efforts are focused on letting people know of the opportunity for an alternative way of life," says Mr. Randolph. It will be spring or early summer of next year before the actual cost of lots can be determined, but this fall and winter those interested will be able to see how the community will develop. For more information contact Mr. Randolph in Birmingham at 871-0270, and check future issues of Design Alabama for updates. NEW ART MUSEUM Dothan's historic municipal electric power generating plant has been designated to house THE DOTHAN MUSEUM, INC. The development of an art museum for the city is a special initiative of Mayor Larry Register and the Dothan City Commission. A board of directors has been established to govern the museum, and they will soon begin the search for an architectural firm to design the ~ower plant's transformation. Built in 1912-13, the orange brick building has approximately 15,000 square feet of space and sits on a threeand- one-half acre site. Situated opposite the city's historic Opera House and southward beyond the Civic Center, the building serves to complete the rectangular frame of Dothan's downtown civic and arts plaza. "The building is beautiful, both inside and out, and provides vast areas of space which look almost as if the building was designed and built to one day become home to the beautiful, high-quality facility the Dothan Museum will be," says Elaine Johnson, volunteer chairman of the Art Gallery/Museum Study, a group which has been working to make this project a reality. PRESERVATION The recently formed ALABAMA PRESERVATION ALLIANCE is an independent, statewide, non-profit organization which exists to encourage the recognition and preservation of Alabama's heritage. The goals of the Alliance are to promote public participation in historic preservation programs and activities, to disseminate information and knowledge about our state's history and to give voice to the many organizations and individuals in Alabama who are committed to the preservation of our heritage. Members are provided the opportunity to participate in an annual conference which includes workshops and seminars on heritage preservation topics as well as tours and social events. Members also receive a quarterly newsletter, have representation on important issues such as Alabama Preservation Alliance endangered houses and crucial legislation, and are provided with a membership roster, speaker list and other materials to encourage the exchange of preservation information. If you are interested in membership or further information about the Alabama Preservation Alliance contact Lewis McCray in Tuscaloosa at 345-5545, or Billy Bliss in Talladega at 362-3052. Or write The Alabama Preservation Alliance, 301 Ninth Street, Athens, AL 35611 . BOOKS By Robert Gamble University of Alabama Press, 1987, $55 ~----------+----------~ TAHMEE RAILCAABNA MBUAI LCDAITNAGLSO SGU: RHVIESTYO iRs ItChe COMMUNITY BEAUTIFICATION The MOBILE GAS COMPANY is the city's oldest corporate citizen, and in celebration of 150 years of service to the community 150 trees have been planted where gas lights were first placed along Government Boulevard in 1836. " ... we hope that our beautification program will set an example for other community leaders, both corporate and private, to become active participants in similar beautification projects. These new trees, and the others to follow, will become symbols of a new Mobile." Ron Jackson, Mobile's Urban Forester, plans to plant an additional150 trees around Mobile this coming winter. Some of the original live oaks will also be replaced with new trees. These new trees were guaranteed by the supplier and will be replaced at no cost, in the event of loss. The vast majority of the live oaks planted are doing well. Mobile Gas Service Chairman of the Board William Hearin and President Walter Hovell ceremoniously plant the first of more than 300 trees donated to the City of Mobile. first comprehensive historical account of the state's architecture. Compiled by Robert Gamble, senior architectural historian for the Alabama Historical Commission, the book details Alabama structures recorded by the federally-sponsored Historic American Buildings Survey (HABS) over a period of 50 years. Alabama has one of the most comprehensive collections in the HABS Library of Congress listings. Designed for both the layman and the professional, Gamble's book provides an in-depth study in two parts. In the first section, he traces the state's arch itectural legacy, beginning with structu res that date from the early 1800s. Both primitive and more sophisticated architectu re are treated, with some 200 photographs and 100 sketches and plans used to illustrate the state's diversity of styles. Further information about the book is available from Merrill Floyd, Marketing Manager, The University of Alabama Press, P.O. Box 2877, Tuscaloosa, AL 35487-2877; or call (205) 348-5180. VIDEO Environmental Images in Washington D.C. produced a video entitled Places As Art that was sponsored by the National Endowment for the Arts in 1986. It explores what places mean to us and uses case studies to show how some of the great places in this country have been made. Places As Art is available for group showings in your community. Contact Becky Mullen at 261-4076 to put Places As Art and Design Alabama on the program at your organization's next meeting. • Illustration: John Morgan Details of interest will provide a calendar of events as well as listing items of importance to the state. Please let us know the dates, times and places of lectures, exhibitions, forums, meetings and other events. The dead· line for submission for the next issue is March 10, 1988. 17 Volume 1, No.1 BY WILLIAM C. BULLOCK PROFESSOR AND HEAD DEPARTMENT OF INDUSTRIAL DESIGN AUBURN UNIVERSITY DesignAiabama 18 MY MOTHER DOESN•T KNOW WHAT I DO. "ALTHOUGH IT MAY BE DIFFICULT TO DEFINE, IT IS AN EXHILARATING AND CHALLENGING OCCUPATION, ONE OF THE BEST KEPT SECRETS." (I hat is industrial design? Do you know what an industrial designer does? Did you know that you use products designed by in· dustrial designers every day? Did you know you can study industrial design at a major university in the state of Alabama? I If you did not know the answer to any of these questions join the crowd ... my mother sti II does not understand what I do and I have given up trying to explain it to her after more than 20 years of practice. One problem is that the name is not very descriptive of what industrial designers do. Product design might be a more appropriate name. Another problem is that industrial design is a young profession, and although becoming more widely known each year, it's still far from a household word. Although it may be difficult to define, it is an exh ilarating and challenging occupation, one of the best kept secrets. Although you may have never met me or any other industrial designer, you have most likely benefitted from using the products we design. Telephones, chairs, automobiles, flatware, computers, exercise equipment, signs, electric mixers, vacuum cleaners, and power tools are just a few of the many examples. It is hard to imagine a world without such modern products to assist with our daily living. Products ranging in size from ball point pens to commercial airliners and as diverse as shoes and space stations have been designed by industrial designers. Anything manufactured for people to use in their daily lives must first be designed. If the object is to be sat upon, held, touched, worn, played with, worked on and just plain looked at and enjoyed, then its design is the task for a designer. D ndustrial design began in the mid 1940's following World War II when manufacturers had all kinds of machinery and nothing to produce. Someone was needed to help make appliances and other products look more attractive so people would buy them. The first industrial designers were from fields such as art, architecture, theatre, and graphic design. Two of the earliest were Henry 1 • I Dreyfuss and Raymond Loewy. Dreyfuss designed the original table top telephone for the Bell Company, and also worked for Singer, Polaroid and John Deere designing a variety of products and equipment. Loewy is perhaps best known, at least among designers, for his simple and elegant design of the Coca-cola bottle which has endured for so many years, and for the work he did on the Skylab space station for NASA. He also designed the famous Avanti automobile, a forerunner of today's mass-prqduced automobiles. Familiar logos used by Shell and Exxon and the eagle emblem used by the United States Postal Service were also designed by Loewy. As these individuals became more successful and the need for their services increased, the profession of industrial design was born. Reacting to industry's need for individuals who could not only make products look better but who could design products so they would work better as well, schools began to offer courses in industrial design. At first these were little more than product drawing courses, but gradually courses in design, manufacturing technology, science and liberal arts were added. D oday, more than thirty schools across the nation offer courses of study in industrial design, including state supported institutions and private art schools. Most courses of study take four years to complete but a few schools have five year programs leading to an undergraduate degree. A number of schools also offer two years of advanced study leading to a Master's degree. Some schools specialize by teaching a particular kind of design such as automotive design or furn iture design. The majority, however, take a more general approach by teaching their students to design a wide range of consumer products and equipment. Fil ne school where students may get 1.!1 an undergraduate or graduate degree is Auburn University. Auburn is the " IF THE OBJECT IS TO BE SAT UPON, HELD, TOUCHED, WORN, PLAYED WITH, WO,RKED ON AND JUST PLAIN LOOKED AT AND ENJOYED THEN ITS DESIGN IS THE TASK FOR A DESIGNER." only university in the state to offer industrial design and is one of only three schools in the southeast, the others being Georgia Tech and North Carol ina State. Auburn is one of the top industrial design schools in the United States and has a successful history of preparing graduates for careers in industry. Graduates are working for IBM, Boeing, Weyerhaeuser, NASA, Coleman, Diversified Products, Container Corporation of America, Texize, Aladdin and others. They also work as independent consultants doing design work for a number of different companies each year and several run their own design firms. The design areas in which they work include consumer products and equipment, packaging, exhibits, signage, FAR LEFTTO RIGHT: THE "NEATFREEZE" IS AN ELEC- THIS EDUCATIONAL CLOCK FOR TEACHERS IS DE- THESE FOOD PACKAGES AND ELEGANT WARMER BOTTOM LEFT: THE POP TOP CAN OPENER WAS TRIC APPLIANCE FOR MAKING HOME MADE ICE SIGNED TO BE EITHER HAND HELD OR WALL UNIT WERE DESIGNED BY TERRY JOHNSON OF DESIGNED TO MAKE IT EASIER FOR PEOPLE WITH CREAM. THE UNIT ELIMINATES MUCH OF THE MESS MOUNTED. THE DIAL HAS ADJUSTABLE NUMBERS OCTAGON, ALABAMA AS PART OF A "MEAL ON ARTHRITIS TO OPEN CONTAINERS. THE OPENER AND BOTHER WHEN MAKING YOUR OWN ICE CREAM SO THE CLOCK FACE CAN BE CHANGED TO READ IN WHEELS" DELIVERY SYSTEM FOR SHUT-INS. TERRY CAN BE GRASPED USING THE UNIQUE THREE HOLE BY USING HEXAGON SHAPED FREEZER PACKS IN- ARABIC, ROMAN NUMERALS, DASHES, DOTS OR IS NOW A DESIGNER WITH INTERGRAPH CORPORA· HANDLE DESIGN WHICH MINIMIZES PRESSURE ON STEAD OF CRUSHED ICE. AN ELECTRIC MOTOR OTHER SYMBOLS TO MATCH THE DIFFERENT DIAL TION IN HUNTSVILLE, ALABAMA. THE FOOD PACK- THE WRIST. THE DESIGN CAN BE USED TO OPEN POWERS THE UNIT AND AUTOMATICALLY SHUTS FACE DESIGNS THAT EXIST ON CLOCKS OR AGES ARE DESIGNED TO FACILITATE MEAL PLAN- THREE DIFFERENT STYLES OF POP TOP CONTAIN-OFF WHEN THE DESIRED CONSISTENCY IS WATCHES. THE HANDS OF THE CLOCK CAN BE NING, DELIVERY AND DISPOSAL. FOOD CAN BE ERS WHICH ARE ON !HE MARKET. THE MATERIAL REACHED. THE UNIT IS MADE OF FOAMED PLASTIC EASILY ADJUSTED BY PRE-SCHOOLERS AND PRO· EATEN DIRECTLY FROM THE CONTAINERS OR USED IS STAINLESS STEEL WITH THE HANDLE WHICH INSULATES THE CONTAINER. "NEAT MOTES SELF LEARNING. THE STUDENT DESIGNER SERVED CONVENTIONALLY. THE TRAY AND CLEAR COATED WITH A PLASTIC FILM. THE STUDENT DE· FREEZF' IS DESIGNED BY STUDENT KEITH SAVAS. IS MICHAEL BROWN. COVER ARE DISHWASHER SAFE. furniture and interior environments. Entrepreneurial opportunities also exist for those few who have the savvy to design, manufacture and market their own designs. One reason the Auburn program ·has · · been so successful is itsabili~yto balance academic education with real worla prac-· · tice. This is done in two ways. First, there is the cooperative education ·program where students can alternate periods of work in industry with _periods of academic study on campus. Second, there is the commitment to do design projects andresearch with corporations. This effort not only helps fulfi II the University's research and service obligations, it helps to better prepare students for careers in industry by involving them in real life design projects. Successful design research projects have been completed with NASA, General Motors, Armco, Borg-Warner, The American I ron and Steel Institute and · the Zinc Institute. D he most exciting and challenging project to date was the recent design work for the new NASA space station. The space station consists of tubular modules 44 feet long and 14.5 feet .in diameter in which a crew of from 4 to 8 astronauts from the U.S., Japan and Europewillliveand work for three months or longer. The station is projected to be in use for up to 30 years, and is scheduled for launch in the 1990's. Auburn industrial design and architecture faculty assisted Martin Marietta in developing preliminary proposals for the project by ere- TWO TEAMS OF SENIOR STUDENTS RECENTLY REDESIGNED THE INTERIOR OF THE PONTIAC FIERO AUTOMOBILE AS PART OF A SENIOR CLASS PROJECT IN TRANSPORTATION DESIGN. THE GOAL OF THE PROJECT WAS TO MAKE THE INTERIOR MORE FUNCTIONAL AND TO IMPROVE SAFETY, COMFORT AND APPEARANCE. STUDENTS CONDUCTED INTER· VIEWS WITH CAR OWNERS TO DETERMINE CONSUMER PREFERENCES, EVALUATED OTHER AUTOMOBILE DESIGNS AND SEARCHED LITERATURE SOURCES TO GATHER INFORMATION ON SAFETY, LEFT: DESIGN CONCEPT-FOR FOOD PACKAGING IN SPACE. PIE SHAPED PACKAGES SUCH AS THESE CAN BE USED TO PACKAGE FOOD FOR ASTRONAUTS WHO WILL LIVE AND WORK IN SPACE. THE CONTAINERS ARE EASY TO HOLD AND WILL ALLOW FOOD TO BE DISPENSED IN SMALL QUANTITES. THE CONTAINERS CAN ALSO BE USED AS "BELLOWS" THAT CAN BE SQUEEZED IN ORDER TO DISPENSE CONTENTS. ABOVE: DRAWING OF THE PROPOSED NASA SPACE NATION CAN BE LIFE THREATENING IN THIS CLOSED STATION INTERIOR BY ALAN LAFRON, ASSISTANT ENVIRONMENT. THROUGH THE USE OF COLOR, TEX· PROFESSOR OF ARCHITECTURE. THE DESIGN TRIES TURE AND ARRANGEMENT OF INTERIOR COMPO-TO ACHIEVE AN "EARTH-LIKF' ATMOSPHERE THAT NENTS A SENSE OF UP AND DOWN IS CREATED. THIS WOULD BE PLEASANT TO LIVE IN DURING AN EX· PROVIDED A FRAME OF REFERENCE SO THAT AS· TENDED STAY IN SPACE. THE INTERIOR ALSO HAD TRONAUTS CAN BETTER ORIENT THEMSELVES. TO BE EASY TO CLEAN SINCE MICROBIAL CONTAMI· ating new product and interior designs for the space station. The problem facing the designers was tb design a safe, healthy and attractive environment for the habitation module where astronauts will live and work. The SIGNER IS MARK PINCINC~. · module had to be designed to accommodate activities such as eating, sleeping, exercising, recreation, and personal hygiene. Designers had to overcome the stereotypical image of what it is like to live and work in space that have been created by motion pictures such as "2001 : A Space Odyssey" and "Star Wars." These have created attractive but unrealistic visions of what life in space will be like, isolated from family and friends and familiar surroundings for extended periods. The habitation environment also had to be flexible to accommodate the diverse needs of a multinational crew and to allow for changes and repairs. Safety and health were also critical issues. Cleaning, for example, is extremely important. An unclean environment in space can be life threatening because of microbial buildup. Noise was a problem also since there is no atmosphere in space to dissipate sound waves. And if you have· ever yelled into a culvert when you were a kid, you know how sound travels in a large tube. Designs also had to be extremely reliable. One will not be able to simply shuttle down to the nearest hardware store for a spare part. Auburn designers created a number of new product designs for the space station including items such as exercise equipment so astronauts could keep fit, p~rsonal hygiene units for bathing and waste management, food packaging that was easy to use and disposable, and adjustable lighting fixture des·igns. Particularly interesting were the designs of several pieces of "space furniture" to serve the same purpose as tables and chairs here SEATING AND PERTINENT HUMAN FACTORS DATA. SIZE MOCKUP OR "BUCK" OFTHE PASSENGER COM- SCOTT CRITIQUES STUDENT DESIGNS OF THE FIERO AND GIVE THE STUDENTS THE OPPORTUNITY TO NEW DESIGN IDEAS AND IMPROVEMENTS WERE PARTMENT OF THEIR FINAL DESIGN. THE BUCKS PONTIAC AUTOMOBILE INTERIOR. PROFESSIONAL INTERACT WITH PROFESSIONAL DESIGNERS FIRST FIRST DRAWN AND EVALUATED ON PAPER. MODELS WERE CONSTRUCTED OF WOOD AND PAINTED, DESIGNERS FROM INDUSTRY ARE OFTEN INVITED HAND. ABOVE RIGHT: CAR INTERIOR FOR GENERAL OF THE MOST PROMISING WERE THEN BUILT AND UPHOLSTERED AND FINISHED TO LOOK AND FEEL INTO STUDIO CLASSROOMS TO HEAR STUDENT MOTORS CORPORATION. STUDENT DESIGNERS TESTED FOR DESIGN FEASIBILITY. TO SHOW THE REAL. PRESENTATIONS AND MAKE COMMENTS. THESE SHOWN LEFT TO RIGHT ARE KEVIN MUNDT, SCOTT FINAL DESIGN, EACH TEAM CONSTRUCTED A FULL ABOVE: GENERAL MOTORS DESIGN MANAGER BILL SESSIONS ARE A GREAT LEARNING EXPERIENCE LOWERY AND JOEL SOWDER. 19 Volume 1, No. 1 on earth. Since the astronauts will not be able to "sit down" in space in the conventional sense (there is no gravity and no up or down) designers developed a number SOMETHING FISHY ... DEPARTMENT HEAD BILL BULLOCK, PROJECT DIRECTOR TINMAN LAU AND BOB GIBSON, INDUSTRIAL DESIGNER AND DIRECTOR OF ENGINEERING WITH HUMMINGBIRD DIVISION OF TECHSONIC INDUSTRIES IN EUFAULA, ALABAMA, DISCUSS A STUDENT'S DESIGN FOR A NEW LIQUID CRYSTAL DISPLAY (LCD) DEPTH SOUNDER. MEDICATION DISPENSER I of unique restraints to hold astronauts in place while working or sleeping. Whether in outer space or here on earth, the industrial designer's task is to design LEFT: AWARD WINNING "MEDIPAK" FIRST AID KIT HIS PROJECT UNDER THE TUTELAGE OF WALTER FOR OFFICES. STEVE SILVERSTEIN OF NASHVILLE SCHAER, SENIOR MEMBER OF THE INDUSTRIAL WON TOP HONORS IN A RECENT COMPETITION DESIGN FACULTY. SILVERSTEIN DESCRIBES HIS SPONSORED BY BORG-WARNER CHEMICALS. PROJECT THIS WAY: "I WANTED A KIT THAT WOULD BORG-WARNER IS ONE OF SEVERAL MAJOR COR- BE VISIBLE AND IDENTIFIABLE - THUS THE RED PORATIONS THAT HAVE SPONSORED SIMILAR CROSS ELEMENT. THE HANDLE, WHICH FRAMES ·coMPETITIONS TO GIVE STUDENTS MORE DIRECT TWO SIDES OF THE KIT WHEN ON THE WALL, AP-CONTACT WITH THE TYPES OF ASSIGNMENTS THEY PEARS TO BE ROUND BUT IS OVAL TO BffiER FIT MAY ENCOUNTER, AND WITH PROFESSIONALS AL- THE GRASP OFA HAND, MAKING IT EASY TO CARRY. READY WORKING IN THE FIELD. SILVERSTEIN, WHO I CHOSE THE RECTANGULAR SHAPE TO HARMONIZE . HAS WORKED AS A CO-OP STUDENT WITH IBM, DID WITH AN OFFICE ENVIRONMENT.~ products and environments that function then the designer has succeeded. • well tor the people who use them. It the product is comfortable, sate, attractive, and enjoyable to use as well as affordable, · and then as a group to propose new ideas. They looked at factors such as· the mounting, graphics, aesthetics, packaging, marketing and D his past summer quarter a other human factor aspects of the special seminar class for 14 depth sounder senior-level industrial design stu- Bob Gibson, director of engineerdents was held to improve the de· ing of Techsonic Industries, Inc., sign, or possibly redesign, a liquid the corporation who funded therecrystal display depth sounder used search said, "The application of to alert commercial and sports good industrial design has helped fishermen to large schools of fish Techsonic Industries become the in deep water. Tin-Man Lau, an as- leader ofthe sportfishing industry. sistant pfofessor in the depart· We're excited about the results of ment, taught the class. "There are this project. We don't know at this many, many different types of pointto what extent we will use the boats that the depth sounder has to student work, but they have profasten to ••• ,'' he said. Students first vided fresh approaches to probworked individually on the project I ems that we have worked on." Design research is conducted by faculty in which occur. The completed design shown nurse know when medication should be dis- undergo hospital tests. Auburn faculty in the department of industrial design for vari- above mounts on the wall next to the patient's pensed to the patient. An on-board computer industrial design and pharmacy who worked ous industries. One interesting project re- bed. Medication is contained in two circular · regulates distribution oft he required medica- on the project were Bill Bullock, Jack Zellner, cently completed was the design of a medica- trays, simi Ia[ to audio visual slide trays, tion dose at the proper time and keeps track Bret Smith, Ken Barker, Tyrone Gibson, and lion dispenser for hospitals. The goal was to which are filled in the hospital's pharmacy. A of the patient's medication record. The unit is Bill Felkey. eliminate the high rate of medication errors flashing light and auditory signal lets the presently being evaluated and is soon to DesignAiabama 20 E ven though people have to work indoors a lot of the time, most feel the need for windows that allow natural light to shine in, and some are lucky enough to be spoiled with a great view. There are probably people who never really thought about it until they found themselves in an office in the middle of a huge building with no windows. Suddenly they couldn't know what the weather was like without taking the time to walk out of their office and down the hall, and might as well be working in the middle of the night as in the middle of the day. Sometimes this situation simply cannot be avoided, however, one way architects help add to the total amount of natural light coming in a building is to include skylights as part of the design. Barganier/McKee/Sims Architects in Montgomery has been known to consistently design buildings with skylights. Dart Davis, who is with the firm , says that "Perhaps the most important reason for designing skylights into buildings is the positive response we receive from clients. People like the awareness of the outside and the elements which skylights provide. Our job as architects is not only to make buildings functional, but also to provide the most pleasing atmosphere for the user possible." ' Barganier/McKee/Sims is employed by National Microsystems, Inc. in Montgomery, and designs the company's manufacturing plants. The most recently built plant has skylights, put there for the benefit of the employees. The welfare of employees is one of Chairman of tht; Board Ben Collier's top priorities. "Most of Ben's projects are what we call 'fast track' projects. He comes to us and says 'I need so many square feet yesterday," says Dart Davis, project architect. By "fast track," they 're talking 90 days from the time ground is broken to the time people are working in the building. " ... we usually design the foundation first-get building permits on the foundation before we even know what the elevation is going to look "In manufacturing you don't move around a lot. You're pretty much stationary in one location .. Anything you can do to improve the environment will help the work situation. Skylights seem to really do the trick. The skylights are furred down to make them look larger. The idea was that a skylight of that full size would've been really, really expensive, so we angled the walls to give the appearance of this huge skylight." -Dart Davis like. Ben usually gets involved quite a bit in the design process and he knows what he wants. Aesthetics are an important part of the project," says Dart. This tight building schedule requires that tiltup concrete be used, slabs that are poured and pre-stressed. It's not possible to put regular windows in these slabs according to Dart, so that's why NMI has started including skylights in their plants. A full-time in-house construe- Design•Makes A Difference tion crew helps because they don 't need "super detailed" drawings, they 're very familiar with this type of project. According to Mark Chesnutt, who is Director of Public Relations for the company, "Being able to put up a plant in 90 days is a tremendous selling point." NMI manufactures "a diverse line of assembly aids and test equipment ... fault isolating testers and assembly devices designed to reduce manufacturing costs ... ," according to the company's promotional brochure. Clients include North American Rockwell, McDonnell Douglas, and Hughes Helicopter. Winning contracts can mean five years of work, and "Ben keeps in mind that the plant can be used for things other than what it was originally built for, for many types of manufacturing. We never have enough manufacturing space," says Mark. The employees do like the effects of the skylights. Karen Armstrong, who serves as Assistant to the General Manager, says that "It's a completely different atmosphere since they put the skylights in. There's not such a closed in feeling." There's a practical advantage too, compared to the other buildings Karen has worked in without a natural light source. "If we had a power failure, you couldn't see your hand in front of your face, it was pitch black." Lee Moore, who is also a photographer, says that "You can tell the effect of the natural light, it's much better than standard fluorescent, it's cleaner, it feels nicer. You have things like shadows, those are actually neat." Another practical advantage in his opinion, "A lot of people work at computer video screens. The diffuse light of the sun is easier on the eye than pure flourescent light. I like it." Melvin Skipper sums it up by saying, "Where I sit the sun shines right there on my desk, it's rather nice." e By Becky Mullen Photo: Mark Chesnutt Design Makes A Diffe~ence is a regular feature of Design Alabama . 21 Volume 1, No. 1 S elma has gathered a lot of experience in the last 15 years turning the apparent liabilities of the commercial district into polished gems. In the early 1970s the downtown area was likely to evoke the kind of reaction that most downtown retailers regret. Lovely historic buildings dating from as early as the 1860s were concealed by metal fronts. Windows were broken or covered. The streets and sidewalks were adequate, but there was no landscaping and parking was a subject of hot debate. T he drive to save downtown began in reaction to the loss of one of Selma's great landmark buildings, the Hotel Albert. A backdrop in the classic movie "The Heart is a Lonely Hunter," the Albert was taken down in 1969. Within years, the first steps were taken to protect the antebellum buildings along Water Avenue. A 1972 National Register Nomination for the waterfront street included 21 buildings, and was pushed by local preservationists Sam and Carol Sommers and other members of the Selma-Dallas County Historic Preservation Society. The nomination said what few people up to that point recognized or deemed significant, that the building comprised one of the few original antebellum riverfront streets in the lower south which survives today. The Water Avenue nomination may have helped save some of the buildings from b€ing demolished for a new City Hall in the late 1970s. City Hall was instead built on the vacant site of the Hotel Albert, signaling to many the DesignAiabama 22 AN EXAMPLE OF SELMA'S DOWNTOWN AS IT LOOKS TODAY AFTER PRESERVATION EFFORTS SPANNING FIFTEEN YEARS. ~ HOW PRESERVATION ·SNOWBALLED IN SELMA BY CAROLYN STRAITON AND CATHERINE MARCINKO commitment of Mayor Joe Smitherman and city officials to the revitalization of downtown. Important events continued to take place. A Downtown Development Committee, headed by banker Dick Morthland, was formed within the Chamber of Commerce to address the problems. A team of businessmen were brought in from Memphis to make suggestions. That same year, the first Water Street Market Day was held, an event that continues to grow each year. In 1974 the first study of downtown was completed by consultant Richard Forbes for the Downtown Development Committee. The study pointed out what many in Selma already knew. Forbes said that the romantic and nostalgic appeal of downtown was the key to future development, and the riverbank held "untold possibilities for imaginative restoration and recreation use." The Forbes study was followed by others, the Plan for Downtown Selma (1976) by the Alabama ORIGINAL, CIRCA 1870 "RENEWAL," 1961 TODAY A PICTORIAL HISTORY OF THE LORCH'S DIAMOND SHOP BUILDING ON BROAD STREET IN DOWNTOWN SELMA. Photos: Becky Mullen Tombigbee Regional Commission under the direction of Darrell C. Meyer, and two years later, an Historic Facade Renovation Study was completed by the same agency. The city was fully involved by this time, and using funds from the Department of Housing and Urban Development, it paid for detailed plans for public improv~ments and facade renovations. Elizabeth Driggers, Program Coordinator for the Office of Community Development notes that Selma was "the first small city in Alabama to get a downtown preservation project funded with federal funds." It was certainly the first to use preservation as an anchor for economic revitalization. A second facade study by noted Mobile architect Nicholas H. Holmes, Jr. followed. It was called "What's Good About Downtown?" and it included color renderings showing the buildings restored to their former glory. A short time before, Holmes had completed the National Register Nomination for the Olde Towne Historic District, which included the downtown area, in one of the largest historic districts in the state. Public improvements to downtown streets and sidewalks were made in 1979. This was followed by a massive facade improvement program which lasted from 1983 to 1985. According to Mayor Joe Smitherman, "a federal-state grant enabled the city to design a facade plan." Federal tax incentives and financial assistance were offered to those who followed the plan drawn by Nicholas Holmes. Most of the renovations occurred along Broad Street. Fewer buildings were renovated on Water A venue. A notable exception is the Selma Times-Journal Building, which was a benchmark project by any standards. Architect Richard Hudgens of Linden selected an outstanding color scheme. Parallel to the obvious concern with physical improvements, there has been continual awareness of the economic underpinnings of true revitalization. In 1983 the City of Selma entered the Alabama Main Street Program, instituted by the Alabama Historical Commission. Working with the city-fu!lded rehabilitation program, project manager Nancy R. Squires helped with downtown retail promotions, advertising and business recruitment. The work in downtown Selma continues. Currently, projects are winding down in terms of the rehabilitation work since federal funds have run out. Nevertheless, the Main Street Project has continued, as has the involvement of other groups. The Downtown Selma Association now operates the Main Street Project with help from its director Carolyn Straiton. Buddy Swift, a prominent downtown retailer sees the reemerging leadership of the private sector as a natural progression. "The downtown is just beautiful thanks to the city and property owners. Now it's in the hands of the business community. We are putting the spirit back into downtown by offering events like the Halloween Thing! and Santa's Headquarters." The Walton Theatre, a Performing Arts Center in downtown has also brought new life to the central business district. The theatre renovation was originally considered by the city, and outlined in an en- THE BRIDGETENDER'S HOUSE ON THE ALABAMA RIVER IS ONE OF THE CURRENT RESTORATION PROJECTS GOING ON IN SELMA. compassing study by the Department of Architecture at Auburn University. The study recommended a full utilization of the building as an all-purpose performing arts complex. Today it is a reality. The Johnny Appleseed of these events, the Selma-Dallas County Historic Preservation Society, continues their involvement. Their in-fluence is clear as they continue to set the tone with projects like renovation of an 1880 bridgetenders house. Chris Vaughn points out the fact that when other cities were considering urban renewal as a way to bring life back into downtown, Selma was beginning to think about stewardship. According to her, "Preservation just snowballed in Selma." ~ THE RESTORATION OF THE WALTON THEATRE HAS HELPED REVITALIZE THE CENTRAL BUSINESS DISTRICT. VIEW OF SELMA'S MAIN STREET LOOKING EAST TOWARD THE EDMOND PETTUS BRIDGE. This house is under restoration by the Selma-Dallas County Historic Preservation Society. It was once the home of the toll collector who operated the turntable bridge connecting Selma to the eastern shore of the river, and to the road to Montgomery over fifty miles away. The house has been there 1ce 1880, but the bridge is long gone, replaced in 1940 by the Edmond Pettus Bridge. Several months ago, the foundation washed out and one of the lower rooms slid into the swirling waters of the Alabama river. The Preservation Society's main concern is how to best spend the $40,000 it will take to restore the coHage. Alabama Main Street Program The Alabama Main Street Program is an innovative downtown revitalization program designed to assist small cities with populations between 3,000 and 50,000. Established in 1982 by the Alabama Historical Commission, the program is based on the National Trust for Historic Preservation's successful approach to preservation and economic development of older central business districts. Main Street generates on-going improvement in downtown through motivating wide participation in the revitalization process. The four components of the Main Street Approach- Organization, Promotion, Design and Economic Restructuring- are integrated into a comprehensive revitalization strategy. In addition to Selma; Prattville, Tuscumbia, Decatur, Talladega and Opelika are currently participating in the program. For more information about the Alabama Main Street Program, contact the Alabama Historical Commission at 725 Monroe Street, Montgomery, AL, 36130, or call (205) 261 -3184. 23 Volume 1, No. 1 PresseViews Preis VIews Is a regular feature of Qeslgn Alabama. The following article is reprinted here with permission. These views do not necessarily reflect those of Design Alabama, Inc. abe ltuntsvillt aimes May 24,1987 Chosen-in a near unanimous vote-the most architecturally significant structure: the original space and rocket center. PHOTOS: TOllY TRIOLO HAVE LOCAL ARCHITECTS LEFT DELIGHT OUT OF Huntsville's been known for cotton, watercress and rockets. Never architecture. Ask somebody to name an architecturally significant, post-war structure in Huntsville. · You'll get a blank stare, gaping mouth and exasperated shrug. Ask a Huntsville architect the same question. You'll get an excuse. "I'll talk to you about all the buildings in Atlanta or Houston, "says one architect with an odd degree of inflexibility. "But I won't be brought into a discussion about specific Huntsville buildings. " Architects here squirm at the question. "I'm not going to be dragged into that," laments one. "Let someone else judge," says another. "I don't think it would serve any purpose to start critiquing our peers' work, " reasons another. One city architect, only slightly more forthcoming, explains this strange timidity: "There's a lot of self-protection in this profession. We don't want to talk about each other because we don't want others talking about us, " he says-asking anonymity. "I think it would be healthy if we opened up to criticism," adds another. "But an article like this will cause a brawl. " DesignAiabama 24 BYPETERCOBUN • TIMESSTAFFWRITER CITY LANDSCAPE? THE ONCE STAID, gray, professional world of architecture is changing. Here. And everywhere. Money is the new god. Long discussions of architectural design theories have been relegated. Replaced by talk of cost-per-square-foot and the bottom line. On a construction project, the architect is no longer the revered leader. His power has been usurped by the owner and developer- holders of the purse strings. The architect today is often banished to blueprint sketcher. Bristling at this change in professional order, architects have some harsh thoughts on its results: Cookie cutter architecture, they call it. Throw-away architecture. But there's money to be made out there. Lots of it. Many architects believe if they don't adapt to changes in their profession, they'll miss the bucks. "The driving force behind most buildings in Huntsville is budget," says Forrest Knowles, a partner in the young firm of Goodrum Knowles. "Beauty is probably not a concern of most of our clients," Knowles says. "We don 't study architecture from the point of philosophy. You talk an hour to a client about how beautiful, aesthetic and functional you can design his building. Then he'lllook you right in the eye and say, 'How much money is it going to cost me?"' Knowles' partner, John Goodrum, agrees: "The beauty of a building is not the highest priority a client has." "You've got a real world and an ideal world of architecture out there," he adds. "If you're going to survive and grow in this business, you've got to stay in the real world." But some architects see danger in this business-oriented philosophy that relegates design to a second-class act. "Architecture is something that's going to be with Js. Something for our children and grandchildren," says Billy Herrin of the firm of Jones & Herrin. "Design is important. Architects have a responsibility to the community, a responsibility to our heritage." Bill Peters, too, is concerned. "Design gets left behind a lot of times," says Peters, an associate in the firm of Crow Overbeek Neville. "In this developer-dominated market, it so often becomes simply how many square feet and what's the cost." VITRUVIUS, THE Roman architect, defined the product of his craft as firmness, commodity and delight. "In Huntsville," says Bill Peters, "we often leave out the delight." "Huntsville is very limited in significant architecture," says David Crow, one of the city's senior architects. It's a young city architecturally, says Herrin. "The most significant buildings are a few antebellum houses and the cotton mills." Harvie Jones, a partner in the same firm, concurs: "I don't think there are any world-shaking buildings here people would come to see. There are no buildings here with a national reputation." Too many Huntsville buildings, says Jones, "are simple and spare. People are bored with that." Herrin says there's been a revolution in the past two decades-" the way we, as a society, build buildings. Now we have throw-away architecture." "Poor buildings," he says, "offend all citizens of Huntsville. They're visual pollution. You don't have a choice but to look at them." "Go to Research Park," urges Herrin. "Some of those buildings don't belong in Huntsville, Ala. They could be in Miami or Houston. We've gotten away from those good roots we should be using." Post-World War II architecture in Huntsville, says Peters, "lacks a lot in quality." HUNTSVILLE ARCHITECTURE is "no better, no worse" than any other town of comparable size, insists Goodrum. Huntsville is simply "not the size to generate great architecture," says Knowles. But you can get good architecture here, says Knowles. His is a novel illustration. "Take a commode out of a house, put it in a yard, landscape around it, back-light it, make a nice approach, and it becomes a work of art." Peters sees things differently. "Not much thought is going into quality here these days. Civic pride is in the quantity rather than· the quality of the buildings constructed here." No one is rewarded for having something superior, Peters believes. "As long as you can get by building poor build��ings-- and reap economic rewardyou'll do it." It isn't that the local architect doesn't care, Peters says. He simply succumbs to the pressures of giving the client what he believes the client wants. Rather than compete on design, firms compete on production: how fast it can be done. PROPELLED BY business-oriented developers, there is sweeping change in the tradition-bound world of architecture. Shaking its foundations. Shifting the pecking order. Leaving the architect in the cold. Who gets the blame? The enterprising developer, fingered by architects who believe the art of design is being forsaken by the greed of big business. Not all developers are muddied in this stampede to find blame. Frequently mentioned as developers of quality projects in a business driven by the dollar are Jerome A verbuch and John Hathaway. A verbuch has built such locally acclaimed projects as Park Plaza offices at Big Spring Park and Office Park South at Memorial Parkway and Martin Road. Hathaway is developer of Stone's Throw condominiums near University Drive and Madison Towne Centre at Madison. But to so many other developers, says Bill Peters, the architect is merely the vehicle to get a building built. "Huntsville is loaded with developers," says Herrin, "who want to build it quickly, cheaply, make their money and get out." "The developer tells the architect, 'I've got to have it on this site. I've got to have it the day after tomorrow. Here's your fee. And I want it to look like this." "Then he holds up a picture of a building in Miami or Houston." The developer often gets blamed, too, for the white-bread, homogeneous buildings occupied by so many firms in the city. "The people responsible for the design of these buildings," says Herrin, "are developers who are perhaps not as interested in design as they should be." No longer do all companies want an architectural identity-a building that's a statement of the company's image. Firms want to come in, quickly lease a building, and get on with their work. Say ACME Aerospace comes to town, looking for a location to .lease. Something generic. Nondescript. Something that blends. That's the kind of building the speculative developer is putting up, architects say. Appealing to most everyone. Offending practically no one. For when ACME moves on, the developer will lease to XYZ Aerospace. And the building will assume a new corporate identity as quickly as the name is changed on the sign. And there's another problem--one inherent with Huntsville's size. And its role in international commerce. Huntsville is a branch town. Not a corporate headquarters town, for the most part. Not a town where buildings are designed to reflect corporate image. People who approve the design of a branch office sit back at the home office. "They don't want the branch office to be nicer than the home office," explains one architect. EXCUSES ABOUND for mediocre architecture here. "The root of the problem," says one local architect, "is the financial institutions." To finance a project, nearly all owners and developers go through the same money loop: the loan committees at banks or savings and loans. Architects complain that design is rarely considered by these committees, whose narrow interest almost solely concerns whether a borrower can repay a loan. Yet, architects argue, these committees could dictate the kind of city we are. Explains one architect: "Those committees have control over what is built and not built. They can DOWNTOWN FEATURES TROUBLED CITY HALL, BANK. influence the quality of design." "If someone is good for the money-if someone comes before these committees and he's good for the bottom line-then quality makes no difference to these financial institutions." "I don't think the banks and S&Ls realize they have this power," says an architect. "I'm not saying they're bad guys. But by default they have an awesome responsibility. They must be the stewards of our built environment." SOME SAY THE architect's lack of control over design-this "cookie-cutter" approach to architecture--<:an be reversed. But the solution may be overly idealistic. "Developers and owners should mandate quality design," says Herrin. "And the public should demand it." But there are limitations to that demand, says Knowles. And that limitation is money. "It's a very sophisticated way that money is working out there," explains Knowles. "You can't get over $13.50 a square foot rent in this town. That limits the scale of what you can build. "In times past, the architect was the leader. Not anymore. Now the developer is in charge. He conceives the project. Gets the tenant. And-by manipulating the money-he manipulates the architect." Knowles is a strict practitioner of "real world" architecture. None of this lofty idealism for him. The architect has done a good, sound job and met his responsibility if he has worked within a budget, believes Knowles. Harvie Jones, too, is a realist. But offers a modified approach. "Sure, you've go to consider the money," says Jones. "Architecture is a practical art. You've got to satisfy the function of cost requirements. But some of the best works of architecture are inexpensive buildings." Adds David Crow: "Inexpensive buildings are not an excuse for bad architecture." Peters says money's not necessarily the problem with the quality of architecture in this city. "There's a lot you can do without increasing cost," he insists. "The problem sometimes is that the client has a fear of design--especially if it's innovative. "He's scared if he hasn 't seen it before. To him, mundane is safe. Nobody's going to talk about how ugly a building is if it looks like everybody else's." A good client, says Jones, is essential for good architecture. A good client, adds Crow, is one who challenges the architect. And the architect challenges him. "When that chemistry is lacking the building falls short." MONEY MAY NOT be the only barrier to great architecture in Huntsville. The city's heritage and size are age-old handicaps. Oh, Huntsville once had its Golden Ageof Architecture. Back in those pre-Civil War years when George Steele built some of the most redeeming structures in this town. Then a long drought set in. Limited by Huntsville's geographic size and population (only 4.5 square miles and 8,000 people into the 1930s), an architect was hardly in great demand here. Sure, some practitioners hung their shingles through the decades. But their work focused primarily on the residential rather than commercial. But after World War II, after the space program spawned here, there was a rustle of change. "Things sort of took off," says Crow. "Architecture in Huntsville began to breathe again-really for the first time since George Steele." NEW GAS BUILDING IN RESEARCH PARK DESCRIBED BY CRITIC AS "A KID'S BLOCK SET WITH SUNGLASSES." He talks about the limitati9ns. , "The South being th~ S~u~h,~: ithas , always taken time for new ideas to have an impact here. We didn't get the impact of the Chicago School or Frank Lloyd Wright School of architecture here at · first. We were more steeped in our traditions. It trickled down later." Always a: problem. was attracting good people, as folks like to say: · ·. - ' "There haven't been the opportunities to do great architecture in Huntsville," says Crow, "because we haven't attracted the top design student to Huntsville, Ala. That's natural. People think you've got to be in New York City to be a great architect." IT'S A BLEAK picture, if you listen to local architects tell it. You've got to be a "noted architect"one with a "national reputation"-to win the commission for "world-shaking" buildings that Harvie Jones talks about. But you don't get a "national reputation" building buildings in Huntsville, says Jones. Because people don 't come to Huntsville, Ala. to see its architecture. "If you hunger after a national reputation, you're not going to stay in Huntsville. It's virtually impossible to achieve a national reputation here." Critics of Huntsville's cookie-cutter architecture say these are but excuses. What of Columbus, Ind.? Small town of 32,000. About one-fifth the size of Huntsville. With 50 structures designed by such world-renowned architects as Eero and Eliel Saarines, I.M. Pei and Harry Weese. The fees are underwritten by the philanthropic foundation of a local industry. Why not Huntsville, Ala.? Most architects here show an obvious dislike even discussing the Columbus project. They shrug it off as a fluke. Say it could never happen here. And seem content with the mediocre. What's so often unspoken is that bottom line again: money. And a deep-rooted fear that, somehow, striving for excellence might mean losing a buck. One architect who yearns to see Huntsville architecture make a renaissance suggests that design competition might stir excitement for excellence. Yet he admits "design competitions haven't been welcomed here."He asks that his name not be used. Design competition is a method used elsewhere, however-particularly to seek innovative designs for such public projects as schools, libraries or governmental office buildings. Typically, architects submit preliminary drawings to specification, which are judged by an outof- town jury of architects. Corporations, too, use design competitions. And sometimes offset architects' expenses by offering a fee for the top designs. But the detractors of competition far outnumber its supporters. Says one local architect, "In a design competition, a firm is required to invest an enormous amount in time and moneyknowing the chances of winning are not high." "Most local firms," says one architect, "are just not wiltiifg'to take the gamble." e 25 Volume 1, No. 1 I~ I PUBLIC DESIGN AWARENE---- AND EDUCATION STATE CAN BE ENHANCED THROUGH ATTENTION Public demand for design excellence on a broad scale. There is a need for projects. The first is this ng developed. Most improjects, proposals, and make the most of the places in which they 1":1 such as · groups, city beautification organizations, and local arts associations. Open lines of communication among design professionals, clients of design, and policy and decision makers are also important. Membership in Design Alabama demonstrates your ~upport for state· wide design awareness in building quality of life in yqur community and hi 'Alabama. You will be kept up to date on progreSsive development . taking place throughout the state, will have opportunities to learn more about the design disciplines and to participate in the exploration of community design issues. Al('categories include sbbscription to the journal, an annual report on Design Alabama activity and invitations to· the annual meeting and special events. Membership in this category includes nonprofit civic, educational, and professional groups and associations. There is no fee, and any organization interested in joining is encouraged to contact Design Alabama. Two representatives should be appointed to communicate information about Design Alabama, and to contribute article suggestions for the journal. This category also includes art and design schools of colleges and universities. One representative for each department should be appointed. · COMPLETE T"E FORM BELOW AND RETURN 11' WITH YOUR CHECK OR CREDIT CARD NUMBER . . MAKE XEROX COPIES IF NECESSARY. MAIL TO: DESIGN ALABAMA, INC. Alabama State Council on the Arts One Dexter Avenue Montgomery, AL 36130 (205) 261-4076 The following information is for the membership category indicated: Individual $15_· Student $1 0_ (Please attach a xerox copy of your student I D) Corporate $5~·$499_ Sponsor$500·$5,000_ Organizational __ Name/Organization ______________ _ Addr~s __________________ _ City _______ __,._State ____ --'Zip __ _ Phone Number( _ ) _____ _ Occupation ________ ___:. ________ _ Contact Pe~on(s) Corporate Members, Sponsors, Organizations and Schools only. Name. __________ Phone·------~-- Name Phone. ________ _ Visa. _________ _ Master Card. ______ _ Expiration date. _____ _ Check enclosed$. ___ _ This issue is'complimentary. If you receive more than one copy, please share it with an interested friend. 0 CD L{) 6 ("') Q)UJ ::::l(") c .....J g;<t <t:>( D ill x E Q) 0 OOl QJc c 0 0~ ....1 O<I a::: ! SPONSOfl . · $500-$5,000 •
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Title | Design Alabama: The Public Forum for Design in Alabama, Volume 1, Issue 1, 1988 |
Description | This is the Volume I, Issue I, 1988 issue of Design Alabama: The Public Forum for Design in Alabama, a newsletter dedicated to all types of design in Alabama. The newsletter describes different types of design projects in architecture, landscape architecture, urban design, engineering, interior design, industrial design, graphic design, and fashion design, plus historic buildings and sites. |
Article List | 1. Genesis of a Good Idea: Design Alabama; 2. Birmingham Firm Wins Logo Competition; 3. Designers and Children: Intention vs. Interpretation; 4. Building Better Libraries; 5. Best of Show; 6. Mobile's Airport Boulevard: When Does a Street Become a Boulevard?; 7. AIGA: The American Institute of Graphic Arts; 8. My Mother Doesn't Know What I Do; 9. Skylights; 10. How Preservation Snowballed in Selma; 11. Have Local Architects Left Delight Out of City Landscape? |
Creators | Design Alabama, Inc.; Alabama State Council on the Arts; Auburn University |
Date | 1988 |
Decade | 1980s |
Editor | Becky Mullen |
Art Director | Hartsfield, Nancy |
Writers | Morris, Philip; Meyer, Darrell; Rome, Richard; Bullock, William C.; Mullen, Becky; Straiton, Carolyn; Marcinko, Catherine; Cobun, Peter |
LC Subject Headings |
Architecture -- Alabama City planning -- Alabama Graphic arts -- Alabama Landscape architecture -- Alabama Historic buildings -- Alabama Historic sites -- Alabama Urban renewal -- Alabama |
TGM Subject Headings |
Architecture Graphic design Historic buildings Industrial design Streets City planning Urban renewal Skylights Libraries |
EOA Categories |
Arts & Literature -- Architecture Arts & Literature -- Decorative Arts Geography & Environment -- Human Environment -- Cities and Towns Geography & Environment -- Human Environment -- Transportation Routes Peoples -- Urban Life Education -- Archives, Libraries, and Museums |
Type | text |
Format | |
File Name | DA Vol 1 No 1 red 4.pdf |
Source | Design Alabama, Inc. |
Digital Publisher | Auburn University Libraries |
Language | eng |
Rights | This image is the property of the Auburn University Libraries and is intended for non-commercial use. User of the image are asked to acknowledge the Auburn University Libraries |
Submitted By | Carter, Jacqueline |
Transcript |
VOLUME I
ISSUE I
$2.50
:·
THE PUBLIC FORUM FOR DESIGN IN ALABAMA
Dislu AuiAMA, lie. IS'"SurPomo av:
THE ALABAMA STATE COUNCIL ON
THE ARTS
THE BLOUNT FOUNDATION
THE ALABAMA POWER COMPANY
MR A. F. DELCHAMPS, JR.
THE MONTGOMERY ADVERTISER/JOURNAL
ChairQerson
Philip Morris ";;,
Southern Living'
Vice Chairperson
Charles Raine ·
~us .. kegee Uniliersity
"'"" "~
Secretary
Nancy Hartsfield
Aupurn University _.,._,_. :m
Margaret CarP.eAter
Compos-it. l_!lc:
" -" ;i' "::) ,~: ~"' Howard Garrett ,.. ,
·" Howard Garrett & Assoc.
·"' , Cparles Greiner.:~--
.. ~ Greiner, vare & Partners ·
-;c· *
Joseph Lee
Al~bama A & M University
· \Janet Miller' '
Tiller/Butner/Rosa Architects
Sue Morrow Parker
University of Alabama
Ken Penuel ·
Alabama Power Co.
:(.' ·,
" bloyd Philpot
lntergraph Corp.
--~ .
. , Landscape ~~[h~g~t. Tqskegee w ,
·Anne Wright
Streetscapes, Mobile
Represe~tative ~ary Zoghby
Mob1le ·
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