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NOlympic Sculpture Park, SeattleIdeaThe idea was to create a park that crosses and connects Seattle’s urban areas without affecting or denying the the heavily trafficked area running along the waterfront. The park becomes a piece of sculpture itself. The project helps to create an interaction between the community while taking advantage of the views of the Olympic Mountains across Puget Sound.

Design TeamLead Designer Site Design/Architecture: WEISS/MANFREDI, Architecture, Landscape, UrbanismNew York, NY Principals: Marion Weiss and Michael ManfrediWeiss/Manfredi Architects were hired in 2001 after an internationalsearch and competition. They were selected because of their expertisein architecture, landscape and urban design.

Consultant TeamCivil and Structural Engineering ConsultantMagnusson Klemencic Associates, SeattleInvolved with the innovative environmental engineering for the siteincluding grading, subgrade utilities and envionmental remidiation.Structural engineering for sitewalls, bridges, garage and PACCAR Pavilion.

Aquatic Engineering ConsultantAnchor Environmental, Seattle, WAInvolved with the aquatic structural engineering for the shore and beach, including the landscaping and the salmon habitat restoration.

Geotechnical Engineering ConsultantHart Crowser, Seattle Involved with the geotechnical engineering which included the remediation for the contaminated site, seawall stabilization, foundation and earthquake design for structures, dewatering and slope stabilization design.

Mechanical and Electrical Engineering ConsultantABACUS Engineered Systems, SeattleLighting Design Consultant: Brandston Partnership Inc., New YorkEnvironmental Consultant: Aspect Consulting, SeattleGraphics Consultant: Pentagram, New YorkSecurity and AV/IT Consultant: ARUP, New YorkCatering & Food Service Consultant: Bon Appétit, SeattleKitchen Consultant: JLR Design, SeattleRetail Consultant: Doyle + Associates, PhiladelphiaGeneral Contractor: Sellen Construction, SeattleProject Management: Barrientos LLC, SeattleProject Manager: Chris Rogers, Seattle Art Museum 1

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NOlympic Sculpture Park, SeattleHistory

1911–1934Seattle constructs a waterfront seawall from Washington to Broad streets.

1975–1999UNOCAL ceases petroleum operations at the future Olympic Sculpture Park site and closes and spends 10 years on cleanup efforts.

1999SAM, in collaboration with the Trust for Public Land, raises $16.5 million in private funding for the purchase of the UNOCAL site.site. Jon and Mary Shirley pledge to endowthe park’s operations ensuring it is open

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and free to everyone, and help name the park.

2001Out of 52 designers from around the world, Weiss/Manfredi Architects of New York is selectedas Lead Designer for the park.

2002Weiss/Manfredi unveil the park's

design and model on May 14.

2005In the summer, construction of the Olympic Sculpture Park began.2006Park construction and art installation are substantially completed.2007The Olympic Sculpture Park opens to the public on Jan. 20.

1910 200719581934 19821922 1946 1970 1994

1910UNOCAL (Union Oil Company of California) establishes a petroleum transfer and distribution facility on what later becomes the Olympic Sculpture Park.

1916 1928 1940 1952 1964 1976 1988 2000

200492,986 cubic yards of dirt is removed from the site of SAM's downtown museum expansionproject, and is transported to the park for use as recycled fill.

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NCompetition

The idea of creating a park for contemporary sculpture in Seattle grew from a discussion in 1996 between Seattle Art Museum director (and wife ofWilliam Gates Sr.) Mimi Gardner Gates and Martha Wyckoff while stranded on a fly fishing trip in Mongolia due to a helicopter crash.

Wykoff, being a trustee of the Trust for Public Land, soon after began an effort to identify possible locations for the park.A $30 million gift from Mary and Jon Shirley (former COO of Microsoft and Chairman of the Seattle Art Museum Board of Directors) established them as foundational donors.

The Olympic Sculpture Park soon evolved from the commitment of the Seattle Art Museum and the Trust for Public Land to preserve Seattle's last undeveloped waterfront property.

In 1999, the museum purchased property on Seattle's waterfront from Union Oil of California (UNOCAL) with private and public funding.

SAM later acquired an additional property (10 Broad St.) with the support of the City of Seattle and King County and leased part of the Alaskan Way right-of-way to create complete accessiblity to the waterfront.

In 2001 SAM selected WEISS /MANFREDI architecture to design for SAM’s Olympic Sculpture Park. The New York- based firm won the international competition, the Veronica Rudge Green Prize and a Progressive Architecture Award. Harvard University Graduate School of Design’s Ninth Veronica Rudge Green Prize in Urban Design went to Weiss/Manfredi for the Seattle Waterfront Project. Their design was choosen because it expressed an integration of landscape, architecture and urban design.

The Veronica Rudge Green Prize in Urban Design is awarded every two years by the GSD to recognize excel-lence in urban design. The entry’s include projects from all around the world that emphasize their contribu-tions to the public realm of a city and improvement of the quality of urban life. The prize has previously honored major projects in Amsterdam, Rio de Janeiro, Barcelona, Aleppo, Mexico City and Tokyo by such leading designers as Sir Norman Foster, Fumihiko Maki, West 8 and Alvaro Siza.

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Vision Statement: Words from the design team, SAM

At the site of Seattle’s largest and last remaining waterfront property, the Seattle Art Museum’s Olympic Sculpture Park transforms a nine-acre former industrial site into a vibrant new venue for contemporary sculpture. Formerly a fuel storage and transfer station, the site fell 40 feet from the city to the water and was divided by highway and train lines into three separate parcels. With such a complex site, traditional distinc-tions between art and nature, design and ecology were no longer relevant. At the Olympic Sculpture Park, art, architecture, landscape architecture, infrastructure and ecology are reciprocal conditions embedded within the trajectory of our design. Our ambition was to exploit the friction of combining these disciplines to foster new insights and perceptions.

As a cultural endeavor, this sculpture park circumvents the typical relationship of art inside the museum and offers a radical alternative: art and design as part of the public realm. We wondered what transformationwould capitalize on the urban infrastructure that divided the site. How could this park generate new relation-ships between the city and Puget Sound? How might this project illuminate the immeasurable power of art and landscape together? The genesis of our design originated with these questions. Our design, an inventedground plane that wanders from the city to the water’s edge, is sculpted to rise over the existing infrastruc-ture.

This new, uninterrupted Z-shaped landform for sculpture links the three separate parcels and offers multiple settings to view both city and sound. Central to this landform is a 2,200-foot path that leads visitors from a luminous steel-and-glass pavilion for art, performances and educational programming,through a series of outdoor sculpture “galleries.” The path links three emblematic landscapes: the Valley, an archetypal evergreen landscape of the Northwest; the Grove, with deciduous trees adaptableto the urban environment;and the Shore, a waterfront setting shaped by wind and saltwater andincluding aquatic terraces that form a regenerative underwater landscape for fish and wildlife. As one traverses this path, views are directed north toward the sea and mountains and then south toward the city and port. Throughout the park, seemingly parallel lines converge, accentuating the laws of perspective to suggest infinite distances. Our fundamental aspiration was to create a sculpture park at the intersection of thecity and the sound, defining a new model for bringing art to the public and the public to the park. Our intent was to establish connections where separations existed, inventing a setting that brings art, city andsound together - implicitly questioning where the art begins and where it ends.

Concept

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NStructure

As part of constructing the sculpture park, 5.7 million dollars were spent transforming 1,000 feet (300 m) of the seawall and underwater shoreline inside Myrtle Edwards park. A three level underwater slope was cre-ated with 50,000 tons of riprap. The first level of the slope is large rocks to break up waves. The second is a flat "bench" level to recreate an intertidal zone. The lower level is covered with smaller rocks designed to attract sealife and large kelp. It is hoped that this recreated strand will help revitalise juvenile salmon from the Duwamish River and serve as a test for future efforts.

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NMassingLighting: Natural & Artificial

Natural Light

The pavillion is designed in a way to allow maximum amount of light in with the use of glass and steel. The open spaces within the pavillion create less of a transistion from inte-rior to exterior.

Artifical Light

The materials used on the pavilion interact with the site throughout the day. The trans-parent materials let natrual light in during the day and the steel panels on the exterior reflect lighting from the nightlife.

PavilionPavilion: The Paccar Pavilion is located at the main entrance to the park. The 11,000 sq. ft. pavilion houses a café and space for exhibits and public events. There is a 22,000 sq.ft. of parking space below. There is an outside amphitheater, with descending grass terraces outside the pavilion doors.

PathThe path consist of a 2,200-foot Z-shaped path that joins three parcels of land above a street and railroad tracks. The path slopes down toward Elliott Bay. The park has four distinct landscapes: the valley, grove,shore and meadow.

Two BridgesThe two bridges merge with the continuous Z path. The path creates locations to view and contemplate theart, city and bay. Elliott Bridge consists of a dramatic V shape and features a series of continuous concreteseats that provide places to enjoy the view. The BNSF Bridge rises 26 feet above the train tracks and providesa stretch of lawn and concrete steps. Cloud Cover(2004-06), a laminated glass walkway, covers the southpath over the tracks.

ArtThe park opened with 21 installations but now inl-cudes spaces for over 30.

LandscapeThere is an integratation of native plants and sculp-tured soils to create natural drainage on the site. Dense native vegetation helps to retain rainfall above the soil surface. Native plants are the vis-ible and re-establishthe landscape from upland to shoreline in four distinct precincts: Valley, Grove, Meadows and Shore.

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NPlan to Section/Elevation

The plan and the elevation of the park look similar due to the forty foot eleation change that takes place from the pavillion to the beach. The plan for the park to have the “Z-shaped” green platform came from teh ar-chitects wanting to create “a continuous surface that unfolds as a landscape for art, wandering from teh city across highway and rail lines to reach the water’s edge.”

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NCirculation to Use Unit to Whole

The primary circulation path is the “Z-shaped” path which stretches from the pavilion across the lower infrastructure to the beach and creates layers of circulation in the process. Off this path there are secondary paths that guests can visit. The park also has 12 entrances guests can access the park from. This variation of entrances and paths create a variety of expierences for users.

An exhibition pavilion provides space for art, performances and educational programming. From this pavil-ion, the pedestrian route descends to the water, linking three types of landscapes: a dense evergreen forest, a deciduous forest and a shoreline garden. The design brings sculpture outside of the museum walls and the park itself into the landscape of the city. Many linkages have been created through this park design includ-ing that between art and the city, the city and nature, and organic and inorganic form. The park stretches over a highway while offering views of the Olympic Mountains, another linkage crosses the train tracks offering views of the city, and another linkage descends to the water offering views of the newly created beach.

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Olympic Sculpture Park

Kreielsheimer North MeadowGates AtmosphereAllen Family Foundation PlazaAckerley Family East MeadowNeukom VivariumWest MeadowKetcham Families Grove

Sculpture Location

Park Entry Points

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NRepetitive to Unique Symmetry to Balance

Throughout the Olympic Sculpture Park many experiences occur some which are repetitive through the area and others unique.

Repetitive

Main Walkway Materials

Unique

Main to Secondary Walkway: Paved to Non-paved

Green Space: Tree Types vs. Grass

Sculptures: Types and Materials

Wake Sculpture Wake Sculpture

Ketcham Family Grove

Eagle Sculpture

Elliot Avenue Glass Bridge Glass Bridge

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NGeometry Additive & Subtractive

Green versus Solid Form

The park is 9 acres, approximately 8.5 which is purely landscaping and exhitibion spaces. The forms and landscaping within the area are reacting to the sloping site. Angles and materials vary to create a unique flowing site in which users can move abouth the area and built forms with the least amount of constrast.

Exterior

The park brings a relaxing atmosphere to a busy city. The buildings on the park site are positioned in a man-ner to create a large open space throughout the majority of the park. This open space creates a sense of safety which adds to the day and night use.

Interior

As for the interior of the building, the use of transparent materials in comparision to solid, gives a sense of beign outdoors when inside. The double height spaces bring light in and also give the building a sense of lightness from the exterior views.

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NHierarchy

ArtSculpture like the “Eagle” sculpture by Alexander Calder stands out with its red color and organic shape against green background with sharpe angles.

LandscapeThe amount of landscaping approximately 8.5 acres stands out against the city scape as there is no other area like it around this vicinity. Materials and ShapeThe metal panels on the exterior with angles jutting out contrast with the organic landscaping. The transparent materials and light colors used reflect light within the interior. The provides a great back-ground for art display.

InteractionThe interaction between the railway, automobiles, water, and pedestrian walkways is like no other in the city.

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NOlympic Sculpture ParkPark Maps

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NOlympic Sculpture ParkSources UsedImage 1 http://www.djc.com/special/OSP/Image 2 Timeline create by Group 1Image 3 http://www.djc.com/news/en/11146940.htmlImage 4 http://www.topboxdesign.com/seattle-art-museum-olympic-sculpture-park-by-weissmanfredi-unit-ed-states/seattle-art-museum-olympic-sculpture-park-urban-landscape-art-and-ecology-city-and-waterfront/Image 5 http://www.djc.com/news/en/11143878.htmlImage 5a http://www.arcspace.com/architects/Weiss_Manfredi/sculpture/Image 6 http://atelier-ad.blogspot.com/2007/11/2007-seattle-aia-honor-awards-unbound.htmlImage 7 http://www.arcspace.com/architects/Weiss_Manfredi/sculpture/Image 7a http://www.archdaily.com/101836/olympic-sculpture-park-weissmanfredi/hand-diagram-vert/Image 8 http://www.arcspace.com/architects/Weiss_Manfredi/sculpture/Image 9 http://www.thecreativezone.com/blog/2008/10/06/olympic-sculpture-park/Image 10 http://www.thecreativezone.com/blog/2008/10/06/olympic-sculpture-park/Image 11 http://www.thecreativezone.com/blog/2008/10/06/olympic-sculpture-park/Image 12 http://archrecord.construction.com/tech/techbriefs/0707dignews/3.aspImage 13 http://archrecord.construction.com/tech/techbriefs/0707dignews/7.aspImage 14 http://archrecord.construction.com/tech/techbriefs/0707dignews/4.aspImage 15 http://archrecord.construction.com/tech/techbriefs/0707dignews/5.aspImage 16 http://www.djc.com/special/OSP/Image 17 http://picasaweb.google.com/lh/photo/jYPvzXe6VU2TcS0PX9BnrgImage 18 http://www.djc.com/special/OSP/Image 19 http://www.flickr.com/photos/41267996@N00/360178367Image 20 Diagram by Group 1Image 21 http://homeandgardenphotos.photoshelter.com/image/I0000jb1mFpuIvPsImage 22 http://www.artnet.com/magazineus/reviews/mandarino/mandarino2-13-07_detail.asp?picnum=3Image 23 http://www.djc.com/special/OSP/Image 23a Diagram by Group 1Image 24 http://en.urbarama.com/project/olympic-sculpture-park-seattle-art-museum-1019Image 24a Diagram by Group 1

Image 25 http://www.destination360.com/north-america/us/washington/olympic-sculpture-parkImage 26 Diagram was made by Group 1Image 27 http://seattle-daily-photo.blogspot.com/2007/04/paccar-pavilion-olypmpic-sculpture-park.htmlImage 27a http://www.djc.com/news/en/11146940.htmlImage 27b Diagram by Group 1Image 27c Diagram by Group 1Image 28 http://www.djc.com/news/ae/11185547.htmlImage 29 Diagram was made by Group 1Image 30 http://www.flickr.com/photos/xinapray/2105452297/Image 31 http://www.destination360.com/north-america/us/washington/olympic-sculpture-parkImage 32 http://www.flickr.com/photos/sea-turtle/535459873/Image 33 http://eastcokercathy.blogspot.com/2007_02_01_archive.htmlImage 34 http://www.seattlepi.com/visualart/299881_art18.htmlImage 35 http://healthylaps.com/2010/09/15/sculpture-park-space-needle-homegrown-seattle-wa/Image 36 http://www.archdaily.com/101836/olympic-sculpture-park-weissmanfredi/Image 37 http://sabafarmand.livejournal.com/Image 38 http://en.urbarama.com/project/olympic-sculpture-park-seattle-art-museum-1019Image 39 http://www.seattlepi.com/visualart/299887_the_art18.htmlImage 40 http://www.sculpture-info.com/news-561/walking-tour-of-olympic-sculpture-park-i.htmlImage 41 http://www.arcspace.com/architects/Weiss_Manfredi/Image 42 http://zeroalligator.com/Media/2007/SAMOSP.htmlImage 43 http://theparsley.wordpress.com/tag/public-art/Image 44 http://landscapeandurbanism.blogspot.com/2008/01/revisit-olympic-sculpture-park.htmlImage 45 http://robertwadephoto.blogspot.com/2007/04/olympic-sculpture-park-2.htmlImage 46 http://brightlightsearch.blogspot.com/Image 47 http://www.flickr.com/photos/garrettrock/3680514826/Image 48 http://landscapearchitecturejord.blogspot.com/2007/08/seattles-olympic-sculpture-park.htmlImage 49 http://www.jonkrauss.com/?p=design&client=seattletimes&index=sti26Image 50 http://www.seattlepi.com/visualart/190824_sculpture15.html