Seattle-Tacoma International Airport North Entry Art Plan

Seattle-Tacoma International Airport

NORTH ENTRY ART PLANHaddad|DruganPort of Seattle|Airport Art Program March 2006

TABLE OF CONTENTSSummary 1

Introduction 1 Background OverviewofContents Process Philosophy ConceptualVision 2GuidingPrinciplesforDevelopingArt 3InventoryofArtProjects 6

ResearchandAnalysis 7HistoricalBackground 7

EarlyAirportDesigns DevelopmentofSeattle-TacomaInternationalAirport HistoryoftheHighlineLandscape

CurrentSiteConditions 8 SiteElements ContextualElements ChoreographyofTopography,Views,andEmotions

FutureSiteConditions 11

FutureSiteElements ImpactsoftheProject Opportunities Constraints ExperiencingtheFutureAirportEntry

ExistingAirportGuidelines 14 ArtGuidelines DesignGuidelines LandscapeDesignGuidelines CityofSeaTacDesignStandardsProjectDescriptions 16

ArtProjects 16 EmeraldCity 16 TranscendentCity 18 LinearCity 20 CelestialCity 22 TerrestrialCity 24

UrbanDesignProjects 26

ImplementingtheArtPlan 28

ArtistSelectionMethods 28 CriteriaforArtistSelection 28 ArtProjectDevelopment 28 ArtProjectReview 29

Bibliography 30

“Theintegratedfreeway,marriedtoitslandscape,isanelegantcompositioninspace,anewformofurbansculptureformotion…Attheirbest,thesegreatribbonsofconcrete,swirlingthroughtheland,giveustheexcitementofanenvironmentaldance,wheremancanbeinmotioninhislandscapetheater.”–Freeways,byLawrenceHalprin

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INTRODUCTION

Background

Seattle-TacomaInternationalAirport(Airport)isownedandoperatedbythePortofSeattle.TheAirportisthemainportaltothePacificNorthwestregion,servingapproximately28.8millionpassengersin2004.

Inearly2005thePortofSeattle’sArtProgramhiredtheartistteamofHaddad|DrugantodevelopaplanforincorporatingartworkintotheNorthAirportExpressway(NAE),theprimaryentryandexitpointoftheAirport.TheNAEwillundergomajormodificationandrelocationthroughaseriesofprojectsoverthenextseveralyearstorelievetrafficcongestion,accommodateSoundTransit’sLightRailTransit(LRT)stationandtrackalignmentattheAirport,andaddresstheAirport’sComprehensiveDevelopmentPlan.Toaccomplishtheseobjectives,thePortofSeattleiscurrentlyengagedintworoadwayprojects,theSouth160thStreetLoopRampProjectandtheNorthExpresswayRelocationPhase1Project.

ThefocusofthisplanisonPortofSeattleartprojects,butitalsoidentifiesotherartprojectsthatcanbeincorporatedintoelementsofSoundTransit’slightrailsystemortheCityofSeaTac’sfuturetransitareadevelopment.Theplanwillunifyalloftheseprojectsasacohesive,integratedgroup.

Overview of Contents

TheartplanSummaryincludestheprocess,philosophy,andconceptualframeworkoftheplan,aswellasaninventoryofproposedartprojects.

TheResearchandAnalysissectionincludeshistoricalbackground,existingandfuturesiteconditions,andrelevantpointsofrelatedartanddesignguidelines.

TheProjectDescriptionssectiondiscussestheartprojectsindetail,providingconcepts,goals,andprecedents.Italsoincludesurbandesignrecommendations.

ThesectiononImplementingtheArtPlanproposesmethodsandcriteriaforartistselection,andaprocessforprojectdevelopmentandreview.

TheBibliographyisalistofadditionalresourcestoguidetheworkoffutureartists.

Process

Indevelopingthisplantheartplannersvisitedthesiteatdifferenttimesofdayandindifferentweatherconditions,reviewedPortofSeattleandSoundTransitprojectplansanddocuments,readrelevantAirportGuidelines,andresearchedconceptualideas.

TheartplannersmetandexchangedideasonaregularbasiswithkeyPortofSeattleArtProgramandAviationFacilities&InfrastructurestaffincludingKeithGillin,TamiKuiken,andRalphWessels.TheyalsometperiodicallywithSoundTransit’sartprogrammanager,CarolValenta,andoccasionallywithengineersandlandscapearchitectsfromHuitt-ZollarsandHoughBeck&Baird,theAirport’sroadwayprojectsdesignteamconsultants.

ThePortofSeattle’sArtOversightCommitteeandRoadwayProjectsVisualReviewCommitteereviewedandcommentedontheartplanindevelopment.ProjectpartnersincludingSoundTransit,theCityofSeaTac,andWashingtonStateDepartmentofTransportation(WSDOT)alsoreviewedandcommentedontheartplanindevelopmentthroughtheAirportLinkUrbanDesignReviewCommittee.Inputfromallpartieshasbeenassimilatedintotherecommendationsmadeinthisdocument.

Philosophy

Overthepast30yearstheAirporthasestablishedoneofthecountry’smostprestigiouscollectionsofpublicartforairports.Theprogramhasfocusedonattainingartreflectingthevaluesandideasofthetimeinwhichitwasacquiredandproduced.NorthwestthemesexpressedthroughartarealsoanimportantfactoringivingtheAirportitsuniqueidentityandconnectiontotheregion.

WhatmakestheprojectsidentifiedinthisartplandifferentfromotherAirportartworksisthattheywillbelocatedprimarilyinexteriorsites.Projectparametersandthemesarealignedwithcontextuallandscapeconditions.ThisextendsconnectionsbetweentheAirport’sartcollectionandtheNorthwestregion,andinstillsasite-specificapproachtocreatingart.

TheprimarygoaloftheplanistocreateaunifiedartenvironmentinwhichallthevariousprojectsaretiedtogetherthroughaConceptualVisionthatgivestheNorthAirportEntryadistinctidentity.Itisintendedthatfutureprojectartistswillsynthesizeinformationintheplantosuittheirownaestheticapproaches.Whiletheartplanshouldnotrestrictthedevelopmentofartworks,itisalsoimportantthatindividualartistsworkwithintheConceptualVisionsothatallthepiecescontributetoacohesivegestaltthatdistinguishestheAirport’sNorthEntryanditsrelatedartworks.

SUMMARY

left: Seattle-Tacoma International Airport North Entry

above right: historic photograph of Airport Airfield, Terminal, and Mount Rainier

SUMMARY

� NORTH AIRPORT ENTRY ART PLAN

Conceptual Vision

ContinuousCities. Twoconceptsdefinetheartplan.Thefirst,oneofContinuousCities,impliesthatalloftheartprojectsarelinkedintoacontinuousterrain,orarepossiblyallthesameplaceviewedthroughdifferentperspectives.TheplacetheyareinterpretingisanamalgamoftheAirport,thePacificNorthwest,theWorld.Thedesiredresultisthatexperiencingoneartworkshedsnewmeaningontheothers,inthemannerofItaloCalvino’sInvisible Cities:

AttimesallIneedisabriefglimpse,anopeninginthemidstofanincongruouslandscape,aglintoflightsinthefog,thedialogueoftwopassersbymeetinginthecrowd,andIthinkthat,settingoutfromthere,Iwillputtogether,piecebypiece,theperfectcity,madeoffragmentsmixedwiththerest,ofinstantsseparatedbyintervals,ofsignalsonesendsout,notknowingwhoreceivesthem.IfItellyouthatthecitytowardwhichmyjourneytendsisdiscontinuousinspaceandtime,nowscattered,nowmorecondensed,youmustnotbelieve thesearchforitcanstop.Perhapswhilewespeak,itisrising...

Tomanifestthisconcept,eachoftheartprojectshasbeengivenamonikerthatidentifiesitasatypeof“city.”Theterm“city”isbeingusedherenotinreferencetoactualcitiesofthearea(suchastheCityofSeaTac),butinassociationwithutopiantheory(asinCalvino’sInvisible Cities andColinRowe’sCollage City).

Transformation. ThesecondconceptualthreadthattiestheprojectstogetheristheprocessofTransformation,occurringalongaxesonwhichtheContinuousCitiesareplaced,andalsowithintheindividualprojects.

Transformationexpressespersonalgrowththroughtravel,dreamsandnewbeginningsassociatedwiththefrontierqualityoftheAmericanWest,andthecontinuousreinventionoflocaltechnologyandlandscapethatcharacterizestheAirportaswellastheregion.Transformationisalsoimplicitinthesystemsandatmosphericeffectsthatrunthroughthesites.

NORTH AIRPORT ENTRY ART PLAN

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Onaphilosophicallevel,Transformationisanemotiveresponsethatstrivestoreconcileexperiencesoftheempiricallyrealandthetranscendentallyideal.Inthewaypersonalrevelationscanoccuruponperceptionofanewandforeignland,thephysicalityofart’sformsandmaterials(thereal)strivestoenactasublimeeffect(theideal)onitsviewers.ThislinkstheartmeaningoftheContinuousCitieswiththeactualplaceswheretheyaresited,givingnewmeaningtothecontextuallandscape.TheartprojectsintheplantransformalongaseriesofattributesinherenttothesitethatwillbeanalyzedinfurtherdetailintheResearchandAnalyissectionofthisdocument,including:

• viewsequences• methodoftransport/speedofmovement• topography• emotionalfluctuations

Transformationalsooccursacrossanintellectualframeworkappliedtothesite,comprisedoftwocross-axesthatconnectmajorpointsofentryandexit:

• anorth-southaxisthatshiftsfromanemphasisonspaceatthe160thStreetthreshold,totimeattheAirportTerminal

• aneast-westzxisthatshiftsfromasubstantiveandgroundedphysicalplaceattheSeaTacCityCenter,toalightandabstractimaginaryplaceattheAirportTerminal

Theframeworkalsoincludeszonescharacterizedbythefournaturalelementsandtheatmosphericconditionsmostcloselyalliedwiththem.Thesezonesinclude:water/rain,air/wind,fire/light,andearth/plants.

ApplyingtheConceptualVision. ThevariousTransformationsandContinuousCitiesweavetogethertoformaphysical-intellectualconstructthatlayersnewmeaningontotheNorthAirportEntry,anddefinesgoalsandthemesfortheindividualartprojects.Inadditiontooccurringwithspecificemphasesandscaleswithineachproject,theconceptsofTransformationandContinuousCitiesalsooccuracrosstheEntrysiteasawhole,insofarasthethemesthatdescribeeachoftheContinuousCitiesdefinepolesofdifferencebetweenwhichTransformationoccurs.Thedialoguesbetweentheprojectsparadoxicallydivideandunifythesitesimultaneously.

ThescaleofanddegreetowhichtheConceptualVisionoftheartplanisperceivedwillemergefromindividualexperiencesoftransportthroughthesite,frequencyofviewingtheartprojects,emotionalstateofmind,andpersonalassociations.

Guiding Principles for Developing Art

Thefollowingguidelineswerederivedfromtheartplanners’observationsofthesiteandprojectparam-eters,interpretationsofexistingAirportguidelines,andconversationswithstakeholders:

1. ReflectthePacificNorthwestenvironmentthroughmaterials,forms,andprocesses.

2. ReflectculturalinterpretationsofthePacificNorthwestthroughlocalmyths,histories,andtechnologiesthatinterpretorprocessregionalnaturalelements.

3. Tieartintonaturalprocessesandclimaticevents,tocreateadistinctly“exterior”setofartprojectsfortheAirport.

4.Supportlightrailstation’sthemeof“flight.”5.Reflectorintegrateelementsofsustainability.6. Useplantstomitigatetheexpansesofconcrete

thatwillpervadethesite.7. Usearttobuildonthechoreographyofviews,

topographyandemotionalexperiencesinherenttomovingthroughthesite.

8. Treatviewsalongtransportationcorridorsascinematicsuccessionsofvisualevents

a. toprovideasenseofexcitementaboutbotharrivingattheAirportandenteringthePacificNorthwest

b. toprovidevisualinterestforpeopledrivingaroundthelooproadwhilewaitingtopickuppassengers.

9. Creatememorableexperiencesforbothfrequentandinfrequentusers.

10.Creategatewaysmarkingpointsofentryandexit.11.Defineartprojectsofscalessuitabletotheir

environmentsa. largescaleforvehicularcorridorsb. small-mediumscaleforpedestrian

corridors.12.Integrateartintofunctionalstructures,while

keepingtheartdistinctenoughfromthosestructuressothatitisclearlyexpressiveasart.

13.Usearttoassistinwayfinding.14.Tieprojectsintogoalsofrelevantart,design,and

landscapeguidelines.15.Asappropriateandwherepossible,incorporate

“green”orLEEDS-certifiedsustainablematerialsandfeaturesintoartwork.

16.Mitigatelifecycleandoperational/maintenancecostsintheselectionandcreationofartwork.

SUMMARY


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Inventory of Art Projects

Art Project Name Site Type of Artwork Funding Agency Budget Potential Elements Notes

“EmeraldCity” 160thLoopRampunderpassandsurroundinglandscapearea

WSDOTpropertynorthofandincluding160thStreetUnderpass

Gateway PortofSeattle $800,000includesdesignfee,fabrication,andinstallation

• sculpture,earthwork,lighting,andtime/tempsignatentry

• enhancementstolooproad/detentionpondfunctionalelements(walls,columns,fences,earthwork,plantings,pondcover)

• trashscreens,paint,andlightingonexistingsurfacesofthe160thStreetunderpass

• designteamcollaborationonplantingplanforentireroadwaycorridor

Theartvisionwillinfluenceitemspaidforthroughengineering,landscape,andutilitybudgets,aswellastheartbudget.Someprojectelementsmaybeinthebaseconstructionbudget.Theartbudgetwillcoverenhancementstofunctionalpiecesandstand-aloneartpieces.

Artwillnotdistractdriversfromvariablemessagesignsorotherroadwaywayfindingandinformationsigns.

“TranscendentCity” SoundTranisitSkybridge,connectingStationandInternationalBoulevard

PortofSeattleSkybridgeandWalkwaythroughGarage,connectingStationandAirportTerminal

Gateway SoundTransit&PortofSeattle

SoundTransitSkybridge:$200,000includesdesignfee,fabrication,andinstallation

PortofSeattleSkybridgeandWalkwaythroughGarage:tobedetermined

• architecturally-integratedelementssuchassculpturalportalsandglazingtreatments

•lighting,screens,multi-media•soundelements•interactivepieces

Artforthebridgebetweenthestationandairportgarageshouldbetransportable,soitcaneventuallybemovedfromthetemporarybridgetopermanentbridge.

“LinearCity” At-GradeandAerialLightRailAlignmentintheMedianoftheNAEroadway,from160thStreettoLightRailStation

UnifyingElement SoundTransit $200,000includesdesignfee,fabrication,andinstallation;constructioncreditsforartist-designedfunctionalelementsmaybeappliedtoartbudget;additionalfundingfromthePortofSeattleispossible

• sculpturalOCSpoletops• shape,form,andsurfacetreatmentofglare

screensandsecurityfences• surfacetreatmentstoOCSpoles,aerial

guidewaycolumns,andtrackbedpaving• “specialevent”whenat-gradealignmentliftsto

anaerialalignment

Artistwillproposeconcepts,studyfeasibility,andprovidebudgetsforvariouselements,someofwhichwillbeenhancementstofunctionalpiecesfundedthroughthebaseconstructionbudget.

Allart,especiallyintheareawherethealignmentshiftsfromat-gradetoaerial,mustbeabletoaccommodatefuturerelocationofsouthboundlanesoftheAirportExpressway,andAirCargoRoad.

“CelestialCity” LightRailStation FocalPoint SoundTransit $150,000includesdesignfee,fabrication,andinstallation

•sculpture•windscreens,elevatorglazing,paving,andother

architecturally-integratedelements• suspendedpieces• interactivepieces

Artisttocollaboratewithdesignteamtocreateanart-and-architecturevisionthatdefinesthestation,andtodeterminelocationsfordiscreteartwork.

“TerrestrialCity” BaseofSkybridgeonInternationalBoulevard

Gateway SoundTransit tobedetermined • paving•lighting•sculpture•waterfeature•interactivepieces

Architecturalpavingandlandscapingenhancementscanbeconsideredaspartofthisproject.

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RESEARCH AND ANALYSIS

HISTORICALBACKGROUND

Early Airport Designs

Aeronauticalengineeringexperiencedenormousdevelopmentinthe1920s,capturingpublicattentionandpromptinganeedforgroundfacilitiestoservetheburgeoningairlineindustry.Between1928and1929thenumberofAmericanairportsnearlydoubled.

Asenseofhopeandoptimismwasassociatedwithearlyairtravel,andthiswasreflectedinthesiteplansofearlyairports.Entryroadwayswereoftenlaidoutingeometricandaxialcompositions,usuallyframedwithformalplantingsthatreinforcedtheutopianqualityofthedesigns.Thoseearlyairportsprovidedlargegreenpublicopenspaces,inasenseservingsomefunctionsofpublicparks.

AnIndustrial/ArtDecoarchitecturalstylecharacterizedthefirstterminalbuildings.Toattractpublicinterestinairtravel,manyincludedelementsthatstretchedthelimitsofcontemporarystructuralengineering,inmuchthesamewaythataeronauticalengineeringwasstretchingthelimitsoftransportation.Explorationofinnovativearchitecturalmotifscontinuestocharacterizenewairportbuildings,whereasinventivesitedesignisnowusuallysacrificedtospatialconstraintsofexpansion.

Development of Sea-Tac Airport

A1700’-longairstripwasclearedandgradednearBowLakeinlate1940byDeanSpencerandGeorgeWolff,wholefttheareatoflyforthemilitaryinWorldWarIIimmediatelyaftercompletingtheairstrip.WiththegrowthofBoeingandasaresultofmilitaryresponsetothe1941JapaneseattackonPearlHarbor,thefederalgovernmentmadeapleaforanewregionalairport.ThePortofSeattlerespondedtotherequestandopenedSeattle-TacomaInternationalAirportatthesiteoftheBowLakeairstripin1944.Ithada6100’-longrunway.

TheTerminalandAdministrativeOfficesopenedin1949.LiketheAirport’snewCentralTerminal,theoriginalTerminalbuildinghadawallofglassonthewestside,andwindowsallaround.Itwasdistinguishedwithelegantflutedcolumnsinsideandalargeexteriorclockonatowerfacingtheairfield.

ItisnotablethattheoriginalentrytotheTerminalwasaformalarrangementofroadsandplants.Agrandboulevardfromtheeastthatformedanaxisterminatingatacirculardriveinfrontofthebuilding.Awidemedianofgrassbisectedtheboulevard,whichwasframedbyrowsofevergreentreesandparkinglotsonbothsides.AnislandofgrassandflowersencircledbytheentrydrivecreatedamemorablesettingfortheTerminal.

Therunwaywaslengthenedin1956,andTerminalimprovementsweremadeforthe1962SeattleWorld’sFair.Between1949and1971theA-DandN-SConcourseswereadded,inpartthroughanexpansionprogramthatbeganin1967.Aspartofthisprogram

a secondrunwaywasbuiltandtheTerminalwasencasedinsideanewstructurethatfeaturedanupperdrivewayfordeparturesandalowerdrivewayforbaggagecollectionandarrivals.Anewmulti-deckParkingGaragewasbuilt,withSkybridgesconnectingittotheMainTerminal.Aninternalhighwaysystem(theAirportExpressway)andnewfeederroadslinkedtheTerminalandGaragetoInterstate-5.

Furtherexpansionbeganinthe1990s,continuingontoprojectscurrentlyunderway.TheGaragewasexpandedtothreetimesitsoriginalsizeintheearly1990s,withGarageexpansiontothenorthplannedforthenearfuture.ConcourseAandAirportAdministrativeOfficeswererenovatedintheearly2000s,anewCentralTerminalwascompletedinSpring2005,andathirdrunwayisinconstruction.

above: Lehigh Airports Competition Entry, 1929

top right: original “grand boulevard” entry into Sea-Tac Airport

bottom right: Sea-Tac Airport Terminal and entry plantings at opening in 1949



History of the Highline Landscape

ThesiteoftheAirportisonaridgeofglacialdepositscalledthe“Highline.”Itwasonceold-growthforest,andincludesthespring-fedAngleandBowLakes.NativeAmericansettlementswereinlowlandstotheeastandwestoftheridge,butthelandaroundthelakeswasusedforfishingandhunting.Indigenouspeoplealsocultivatedthatpartofforesttoattractdeerandfortheirownharvest,selectivelyclearingthelandwithfireandfosteringthegrowthofnativeberries.HistorianDavidBuergesays,“Thisareawasnotawilderness,butratheragardenthatboretheimprintofhumanactivityforthousandsofyears.”

Thefirstwhitesettlersmovedtotheareain1873,anditslowlygrewintothe“Sunnydale”community,anagriculturaloutpostofSeattle.Theforestwasclearedtomakewayforfamilyfarms.Inthe1890shopsweregrownonahomesteadinthelocationofthecurrentnorthendoftheAirport,andablacksmithshopwasopenednearthereattheturnofthecentury.BytheearlytwentiethcenturyJapaneseimmigrantscomprisedmostofthefarmersontheHighline.

DevelopmentoftheHighlineareahasalwaysoccurredaroundtheadventofnewtransportationcorridors,themostsignificantofwhichhasbeenSea-TacAirport.MilitaryRoad(1860)wasthefirstmajornorth-southroad,connectingFortsSteilacoomandBellingham.KellyRoad(1872)followed,linkingthefarmingcommunitiesofSunnydaleandSouthPark.In1922KellyRoadwasrededicatedasDesMoinesMemorialDrive,withelmsplantedonitsshoulderstomemorializeWorldWarIdead.ThePacificCoastHighway(Highway99)wasbuiltin1928toconnectSeattlewithTacoma.Finally,Interstate5wasbuiltinthe1960s.Populationgrowthaccompaniedalloftheseroadconstructions.SoundTransit’sLinkLightRailLinewillbecomethenextmajornorth-southtransportationcorridortorunthroughandbringgrowthtothearea.

TheCityofSeaTacwasincorporatedin1990.SeaTaccomprises10.5squaremiles,includingandwrappingaroundtheAirport.ItalsoincludesresidentialneighborhoodsandahospitalitystriponHighway99thatprimarilyservestheAirport.SeaTacrenamedthisstripofhighway“InternationalBoulevard.”

CURRENTSITECONDITIONS:

Site Elements

TheNorthAirportExpresswayisaccessedfromStateHighway518.Theoff-rampfrom518climbsuphillthroughagreenbelt,andthenpassesbeneathanoverpassat160thStreet,whichactsasanunofficialgatewayintotheAirport.Non-descriptconcreteretainingwalls,plantedembankments,andchain-linktrashscreensontheupperroadcharacterizetheoverpass.PortofSeattlepropertyandtheNAEbeginonitssouthside.

AnelectronicsignwithachangingdisplayofcurrentAirportinformationismountedtothenorthsideoftheoverpass,andanotherelectronicsigndisplayingthecurrenttimeandtemperatureislocatedinthemedianjustsouthofthe160thStreetoverpass.Thatsignhasbecomealandmark,signifyingtomotoriststhattheyhaveenteredtheAirport.

Amedianwithgrass,cobralights,andsmalltreesinsomeareasdividesnorthboundandsouthboundtrafficalongmostoftheNAE.Embankmentsattheedgesoftheroadareplantedwithadisparatemixofmedium-sizeddeciduousandevergreentreesandshrubs,withagroundcoverofgrass.

TheNAEendsattheTerminal,whereitforksofftovariousexitsleadingtoArrivalandDepartureDrivesandtheParkingGarage.

TheGarageiscolored“ColumbiaBuff,”awarmergraythanstandardconcrete.Itissixstorieshigh,withafaçadecomposedofhorizontalbandsofroundedspandrelsateachfloor.ThewestsideoftheGaragehaslargemonolithicairvents.Theeastsideischaracterizedbylargecylindricalspiralingentryandexitramps.

AdjacenttotheGarageatthesouthendareconcretecoolingtowerswithsculpturalcylindricalforms.WaterrushingdowninsideofthemisvisiblefromcarspassingbyontheNAE.Thisis,andwillremain,thesouth“end”oftheNAEloop.

Contextual Elements

AirCargoRoadisdirectlywestoftheNAE.Airportfacilitiesincludeterminals,maintenancehangars,fuelracks,cargostorage,andairfieldwestofAirCargoRoad.AirportsupportbusinessesincludingpostalandpackageservicesarealsowestofAirCargoRoad.Supportbusinessesincludingparking,carrental,hotelsandrestaurantsareeastoftheNAE,andaccessedfromInternationalBoulevard.WashingtonMemorialPark,alargecemeteryfoundedin1930,isalsoeastoftheNAE.

BeyondtheseimmediatesurroundingsliesthePugetSoundRegion,centeredoncommunitiessituatedalongInterstate-5stretchingfromTacomatoEverett,withSeattleinthemiddle.FurtheroutaretheCascadeandOlympicMountainRanges,the“EvergreenState”ofWashington,andthePacificNorthwest.BecausetheAirportisaprimarygatewayintoallofthesepoints,someofwhicharevisiblefromtheNAE,theyareallpartofitscontextuallandscape.Similarly,thenationalandinternationallocalesconnectedthroughflightsintoandoutoftheAirportcanalsobeconsideredpartofits“psychological”contextuallandscape.FrequentlythepreviouslandscapethatpeopletravelingontheAirportExpresswayhaveexperiencedwasinafarawayplace.

historic picture of an old-growth tree in the present location of Sea-Tac Airport

cooling towers south of parking garage, marking the south end of the loop drive

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view of aiplanes, approaching Aiport Terminal descent to Terminal, with distant of view of Mount Rainier

exit from state route 518 approaching underpasses passing through underpass ascent to 160 Street underpass and Airport entry

passing through 160th Street underpass ascent on NAE, approaching Air Traffic Control Tower descent on NAE


Entry Sequence

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ThedescentoftheroadiscoupledwithaclosingoffofviewsascarsenterintoeithertheGarageorthe“gorge”betweentheGarageandTerminal.Thedropinelevationandlimitedviewsbothheightenthefeelingsofanxiety.

OnceattheTerminalemotionalgood-byesandgreetingscanoccur,andthoughtsbegintobeoccupiedbyschedulesandtimes.

LoopingaroundTerminal. LoopingaroundtheParkingGaragetomakemultiplepassesbytheArrivalDeckoftheTerminalisoftenwroughtwithcombinedfeelingsoftedium,distresscausedbytherapidpaceandlimitedparkingenforcedbyAirportPolice,andworryaboutnotconnectingwithalovedoneorfriend.

LeavingtheAirport. DrivingnorthoutoftheAirportTerminal,theExpresswaypassestheParkingGarageontheleft.NewnativeplantingsbetweentheroadandGaragewilleventuallygrowtoscreentheviewoftheGarage.ThetopsofcedartreesonalowergroundplanetotherightoftheroadcurrentlyscreenviewstoInternationalBoulevard.

AstheExpresswaypassesbythenortheastcorneroftheGarage,viewsopentoairplanesontheleftandInternationalBoulevardontheright.ApersonwhohasjustarrivedbyairplanestartstogetspatiallyorientedwiththePacificNorthwest.Theroadsoonbeginsalongandevenascentthatenhancesafeelingofanticipationaboutgoinghomeorbeginningavisit.

AtthehighpointoftheNAE,neartheATCTower,theroadbendstotherightandtheviewopenstothe160thStreetoverpass,withthefirstdistantviewstotheregionallandscapebehindit.AsonepassesbeneaththeoverpassapanoramicviewoftheCascadeMountainsunfolds,accompaniedbyfeelingsofhopeandexcitementaboutarrivinginthePacificNorthwest.Beyondtheoverpasstheroaddescends.Heretravelersexperiencethesenseofrelaxationandreliefassociatedwithsuccessfullynavigatingtheirtravelexperience,andarrivinghomeoratanewplace.

FUTURESITECONDITIONS:

Future Site Elements

TheNAEwillchangesignificantlywiththemodificationsassociatedwithcurrentandfutureprojects.ThefollowinglistssummarizeelementsofPortofSeattleandSoundTransitprojectsthatwillchangethenorthentryintotheAirport.

PortofSeattleprojectelementscurrentlybeingdesigned:

• looprampsouthof160thStreetthatwillroutetrafficbacktotheterminal

• detentionpond,cover,andfencingonthesouthsideofthe160thStreetloopramp

• airfieldaccesstunnelcrossingundertheNAE,northof170thStreet

• realignmentofnorth-boundlanesbetweentheparkinggarageandairfieldaccesstunnel

• realignmentof170thStreet,includinganewoff-rampandNAEunderpass

• relocationofaccessroadsattheparkinggarage

• columns,retainingwalls,mechanically-stabilizedearth(MSE)walls,guardrails,barriers,andrailingsatvariouslocations

• embankmentsandplantingsonshouldersoftheNAE

• signagealongtheNAE• skybridgeconnectinglightrailstationto

parkinggarage• pedestrianwalkwaysthroughtheparking

garageconnectinglightrailstationtoterminal

SoundTransitprojectselementscurrentlybeingdesigned:

• elevatedlightrailstationatthenortheastcorneroftheairportparkinggarage

• at-gradelightrailtrackalignmentinthemedianoftheNAEstartingnorthof160thStreetandcontinuingto170thStreet

• aeriallightrailtrackalignmentalongsidenorthboundlanesoftheNAEbetween170thStreetandthelightrailstation

• columns,overheadcontactsystem(OCS)poles,andrailingsassociatedwithtrackalignmentandstation

• skybridgeovernorthboundlanesoftheNAEandInternationalBoulevard,connectinglightrailstationtodowntownSeaTac

• stairsconnectingskybridgetoapavedareaontheeastsideofInternationalBoulevard

PortofSeattleprojectelementsintheComprehensiveDevelopmentPlan:

• increasednumberofNAElanesinbothdirections

• pedestrianbridgecrossingovertheNAEneartheATCTower

• expansionofnorthendoftheexistingparkinggarage

TheartplanalsoconsidersWSDOTpropertyatandjustnorthoftheexisting160thStreetoverpass,includingsurfacesofthecolumnsandretainingwalls,trashscreensontheupperroad,andlandscapeareasinthemedianandattheshoulders.Noconstructionisplannedfortheseelements,buttheyaremajorvisualelementsassociatedwithenteringtheAirport.

view of Cascade Mountains, leaving the Airport

Choreography of Topography, Views, and Emotions

TheNAEfrom160thStreettotheAirportTerminalisapproximately1milelong.Shiftsalongbothitshorizontalandverticalalignmentsarecoupledwithasequenceofviewsthatismadecinematicbythemotionofthevehiclethattakesonethroughthesite.Theviewsarealsotelescopicinthewaytheyclose-inwhenenteringtheAirport,andexpandwiderwhenleaving.Changesinelevationandviewsarelinkedwithachoreographyofemotionsalsoexperienced.

EnteringtheAirport. ThemostcommonwayofarrivingattheAirportisbydrivingwestonHighway518.Thesteadyascentup518fromInterstate-5culminatesjustafterpassagethroughthe160thStreetunderpass,atthehighpointwheretheAirTrafficControl(ATC)Towerissited.Thisriseintheroadenhancesamoodofexcitementfeltinpeopleabouttoembarkonatrip,orforthosegoingtomeetfamilyandfriends.

Astheroadascendsthereisashiftingsetofviews.TheexpansiveprospectfromInterstate-5firstnarrowsintothesmallerviewcorridorofHighway518.Theexitrampfrom518passesthroughaseriesofunderpasses,endingat160thStreet.EachunderpassactsasaportalthatfurtherfocusestheviewtowardtheAirport.Justbeyondthe160thoverpassaclose-upcentralviewoftheATCTowerisdirectlyinfrontofenteringcars.

AttheATCTowerhighpointtheNAEbendstotheleft(duesouth)andbeginsagentledescenttowardtheAirportTerminal.ThisentryisaccompaniedbyaviewofairplanestotherightandaviewofMountRainiertotheleft.Abouttwo-thirdsofthewaytotheTerminaltheroadbendsleftagainanddescendsmoresharply.HeretheviewtoMountRainierisdirectlyinfrontofautopassengers,buttheirattentionisdivertedbysignsleadingcarsindifferentdirectionstoplanearrivalsanddeparturesandlong-andshort-termparking.

Thisportionofthedrive,rifewithdecisionpoints,canbeaccompaniedbyfeelingsofconfusionandanxietyaboutwhereoneisgoing,andgettingtotheTerminalintimetocatchaflightorpicksomeoneup.


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Impacts of the Project

ThemajorimprovementtotheNorthAirportEntryasaresultofthelooprampandlightrailconstructionisthattrafficcongestionwillbereduced.OffurtherbenefitistheeaseofaccesstolightrailtransitthatAirporttravelersandemployeesandnearbyresidentswillenjoy.

Withthosebenefitscomeseveraldisadvantages.ThemajornegativeimpactsarethattheexpanseofconcretestretchingacrosstheNAEwillwiden,engulfingwhatiscurrentlyalandscapedmedianinthecenteroftheroad.RelocatingnorthboundlanesfurthereastalsocausesthelossofagreenbufferdividingInternationalBoulevardfromtheAirport,insomelocationsreplacingitwithalargeconcreteretainingwall.

Opportunities

DesignTeamCollaborations. Numerousopportunitiesexistforintegratingartintofunctionalaspectsoftheroadandlightrailconstruction.Thereareopportunitiesforartiststocollaboratewithengineersanddesignerstodeterminethesurfaces,andinmanycasesforms,ofwalls,columns,bridges,paving,fences,posts,railings,andotherelements.ThesedesignteamcollaborationsaredescribedinmoredetailintheArtProjectDescriptionssection.

RoleofLandscape. ArtthatincludesortiesintoplantingscanreinforcetheconnectionoftheAirportwithitscontextuallandscape.Although(andbecause)areasforplantsarelimited,artistscanworkwithdesignteamstointegrateplantsintothesiteincreativeways.Forinstance,a“hanginggarden”approachcouldbeappliedtomanyofthewallsurfaces,creatingamoreverticalplantingconfigurationratherthanconventionalhorizontalapplications.Inaddition,thereareseveraldistinctgroundsurfaceswhereexcitingnewplantingscanbeinstalled:

• aroundandwithinthe160thStreetloopramp• overthe25’-wideutilitycorridorwestofthe

NAE• alongtheeastsideoftheNAE• inbio-swalesontheshouldersoftheNAE• inleftoverspacesaroundtheon-rampandoff-

rampat170thStreet

Constraints

TheexteriorenvironmentoftheAirporthasuniqueconstraintsdefinedbytheFederalAviationAdministration,relatedtoairsafety.Artistswillberequiredtoresearchtheopportunitiesandconstraintsassociatedwiththeirparticularprojects.

Thefollowingconstraintsapplytotheroadandlightrailprojectsingeneral,includingitsartelements:

• concretesurfacetreatmentsmustnotinhibitseismichazardinspections

• artanddesignelementsmustnotdistractfromwayfindingandsafedriving,especiallyatdecisionpoints

• exteriorlightingmustnotcompromiseaviationrequirements

• plantingsmustnotattractwildlife,especiallybirds:

• avoidcombinationsofdiverseplantsandopenstandingwater

• avoidedible-lookingplants• tallconifersthatattractbaldeagles

shouldnotbeusednearrunways• aestheticwaterfeaturesshouldnotinclude

standingwater• thereisa30’clearzonearoundtheWSDOT

right-of-way• thereisa25’utilitycorridoralongthewest

sideoftheNAE,wherelargeplantsshouldbeavoided

• the160thStreetLoopRampProjectisonafast-trackschedule

• futureimprovementswillaltermanyareas

Wall of Cascades, Pascal Cribier, Lionel Guibert, Patrick Blanc

plaster model for steps and tiles, Isamu Noguchi

Kooriyama City (photograph), Toshio Shibata

existing landscape at 160th Street overpass

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Experiencing the Future Airport Entry

TypesofUsers. PeoplewhowillpassthroughtheAirport’sNorthEntry,andexperienceartthere,include:

• frequentandinfrequenttravelers• peoplewhodropofforpickupfamilyand

friends• Airportandsupportindustryemployees• peoplewholiveorworkneartheAirport• commuterswhodriveorridethetrain

Artintegratedintothesiteshouldoffersomethingtoalltypesofpeoplewhotravelthroughit.ForinfrequentusersandpeoplearrivinginthePacificNorthwestforthefirsttimeitshouldbewelcomingandexudeasenseofoptimismandexcitement.Forfrequentuserstheartshouldcontinuetobeinterestingandinspiringuponmultipleviewings.Onewaytoachievethisisbyincludingelementsthattransformfromdaytonight,fromseasontoseason,throughshiftsinweather,andthroughviewerinteraction.

TypesofVehicles. Inalmostallcases,peoplewhoexperiencetheartwillbeinmotion,travelingthrough thesite.Itisimportantforartiststoconsiderhowdifferentmodesoftransportationwillaffectperceptionoftheartandsurroundinglandscape.

Vehicle Type Automobile,Taxi,Limousine,Van,Bus

Passengersanddriversprojectedintomise-en-scene

Engagementwithlandscape

Perspectiveviews Goodsenseofmotionandspeed

Driveraspartspectator,partactor,partdirector

Train Passengersasspectators

Detachmentfromlandscape

Panoramicdistantviewsandclose-upblurryviews

Excellentsenseofmotionandspeed

Fleetingimagescompressintocinematicsequences

Pedestrian Pedestriansprojectedintomise-en-scene

Engagementwithlandscape

Perspectiveviews Fairsenseofmotionandspeed

Pedestrianaspartspectator,partactor,partdirector

Airplane Passengersasspectators

Detachmentfromlandscape

Aerialdistantviews

Poorsenseofmotionandspeed,untillanding

Landing:shiftfromaerialtoobliquetopanoramicviews


User Role Landscape Role ViewsPerception ofMotion/Speed User Experience

Perception of Landscape through Different Modes of Transportation


Art and Design Guidelines Applicable to this Plan

PortofSeattleArtProgram.ThemissionofthePortofSeattle’sArtProgramisto“obtainhighqualitycontemporaryartthatengagesandreflectstheNorthwestcultureandenvironmentasexperiencedbydiversecultures.”

ArtGuidelinesforSeattle-TacomaInternationalAirport(1999).TheArtGuidelinesstatethatartshouldbelocatedin“highvisibility”places.Theysaythat“exteriorfacilitiesandgroundsrepresentsignificantareasforartworkinclusionandlendthemselveswelltotheexplorationoftheNorthwestNaturalEnvironment.”Inadditiontosimple“placement”ofartwork,theGuidelinesenvisionthe“integration”ofartintolandscapearchitecture,architecture,andwayfindingsystems,alsonotingthatartworkinstalledalongwithotherinfrastructureworkcanresultincostsavings.

AtthistimethereisonlyoneartworkintheAirportcollectionatanexteriorsite:RobertMaki’sCanaryII,whichwasrecentlyrelocatedfromtheCentralPlazatoagrassyplantedareaontheeastsideofTerminalA.However,formlinersdesignedbyartistCarolynBraaksmawillbeusedtocreatealargereliefmuralonaconcreteembankmentwallthatispartoftheThirdRunwayProjectcurrentlyinconstruction.AstoneandwaterfeaturedesignedbylandscapearchitectandartistRobertMuraseiswell-integratedwiththearchitectureandlandscapeonthesouthendoftheerminalDrive.Itisnotpartoftheartcollection,buthasastrongvisualpresencethatactivatesthearea.

PooledFundsArtMasterPlan(2003).ThereareseveralexteriorartprojectsidentifiedinthePooledFundsArtMasterPlan(byartistNorieSato)thatcouldbeconceivedasextendingtheentrysequence.TheseincludeprojectsonthelargeconcreteventshaftsonthewestsideoftheParkingGarage,outsidetheTerminalalongsidetheArrivalanndDepartureDrives,andatentrancesintotheSkybridgesfromtheParkingGarage-side.

DesignGuidelinesforSeattle-TacomaInternationalAirport(1999).TheDesignVisionisto“createamemorablesenseofplace,”withthesekeyaspects:

• useofProgressiveModernArchitecturetocontinuetheexistingarchitecture

• connectiontotheNorthwestnaturalenvironmentthroughlandscaping,sustainabledesign,responsivenesstonaturallightandviews,andmetaphoricreferences

• reflectionoftheNorthwestculturalenvironmentthroughprominentintegrationofartworkandculturalelements

ThereisaspecificguidelineaboutvehicularAirportentries:

Thearrivalexperienceforvehicularcustomersshouldbeginwithlarge“spectacular”landmarksignageatthecurrentnorthentranceandatthefuturesouthentrancetotrulyidentifythatonehasarrived,andtomakeanimpressionablestatementthatSea-Tacisaworldleadingairport.Thisstatementshouldbeadynamicorchestrationofsignage,art,lightingandlandscaping.Itshouldbeavisualstatementofagateway,reflectingtheexcitementofenteringthefirststageofatrip.

top: Canary II, Robert Maki

bottom: stone water feature, Robert Murase

right: exterior and interior views of the Central Terminal in 1949

TheDesignGuidelinesincludesomestrategiesthataredirectlyapplicabletoartandlandscapingprojectsfortheNorthAirportEntry:

• includeprominentintegrationofartworkatprimaryspaces

• integrateartworkandimprovedlightingatskybridges

• usegateways,focalpoints,orothertransitionalelementstoindicatearrivalsandclarifycirculationsystemsandwayfinding

• optimizeviews• integratefunctionalrequirementswithdesired

aestheticintent• usenativeplants• maintainnaturalwaterflowsandharvestsite

flows• avoidattractingwildlife• includelandscapingalongparkingstructures

Lightingguidelinesstatethatlightsshouldbeusedtoreinforcewayfinding,visualclarity,perceptionofplace,andconnectiontoandenhancementofthelandscape.ExteriorlightingsourcesrecommendedfortheAirportincludefluorescent,metalhalide,andQLinduction.Theyexcludehigh-pressuresodium,mercuryvapor,andincandescent.Tungstenhalogenispossibleforartwork.Recommendedexteriorlightingfixturesincludecastaluminumorheavygaugesteelwithpaintedsurfacesandfully-gasketedlenses.

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CityofSeaTacDesignStandardsforHighCapacityTransitFacilities(1999).TheCity’sStandardsforStationDesignincludethefollowingrelevantpoints:

• stationshouldbeconsistentwithalocallydetermineddesigntheme

• rooflineshouldhaveanarchitecturalfocalpointorvariation

• principalgroundlevelexteriorentrypointsshouldincludeaminimumof200squarefeetofdecorativepaving

LandscapeDesignGuidelinesforSeattle-TacomaInternationalAirport(2000).TheprincipalthemeoftheLandscapeGuidelinesistoevokeaspectsofaPacificNorthwestEvergreenForest,including:immenseverticalscale,richlytexturedfloor,glimpsesandvistas,anddrizzleandmists.SupportingthemesincludeallusionstotheNaturalEnvironmentandCulturalEnvironment.

TheLandscapeGuidelinesdiscusswaystotiespecialfeaturesintotheemotionalchoreographyofthehighwayexperience.Tobuildonanticipation,theysuggest,“thelongstretchesofhighwayleadingtotheairportaresuitablelocationsforpresentingscenery,art,orlargescaleinterpretiveelementsthatframeviews...”

top: existing plantings in median and on shoulder of NAE

bottom: layered embankments as landscape opportunity

right: International Boulevard

TheLandscapeGuidelinesincludesomestrategiesthataredirectlyapplicabletoartandlandscapingprojectsfortheNorthAirportEntry:

• useevergreenPugetSoundforestplantings• reuseroadwaystormwaterrunoff• createa“CascadePortal”forthe160thStreet

Overpass—“amisty,sculpturalwaterfallembracingtheoverpassstructureandframingtheroadway”

• wheretheAirTrafficControlTowerisonaxiswiththeroad,reinforceitsdramaticverticalexpressionwith“largesculpturalshapes,highlightedwithcolorandaccentlighting”

• treatthefuturebridgefromtherapidtransitstationtoInternationalBoulevardasadramaticgatewayframingthecitycentercore

• makenewandexistingwallsbetweentheNAEandInternationalBoulevardintolushplantedgreenwalls

• makenewwallsbetweentheNAEandInternationalBoulevardauniformheight,toscreencarsfromInternationalBoulevard

• install“hanginggardens”(ferns,vines,andcascadingshrubs)ontheparkingstructureandskybridges

• parkinggarageinteriorsshouldbetreatedwithlighting,colors,signs,andart

• providecluesofprevailingwinddirection



“Emeraldoffersusrarityandsparkle…Agreencityprovidesanidealreflectionofnature;acitynotinoppositiontotheforest,butahumanizedversion ofit.Itisthecityasadazzlinggarden,adreamofnatureperfected.”The Emerald CitybyDanielWillis

PORTOFSEATTLEARTPROJECT:

EMERALD CITY

Site:

• PortofSeattlepropertyincludingthe160thLoopRampunderpassandsurroundinglandscape

• WSDOTpropertynorthofandincludingtheexisting160thStreetunderpass

Budget:

• $800,000,includesdesignfee,fabrication,andinstallation

Potential Art Elements:

• sculpture• lights• time/temperaturedisplay• enhancementstowalls,columns,fences,

detentionpondcover,andoverpasstrashscreens

• earthworksculptingandgrading• plants• Airportentry/welcomesign

PROJECT DESCRIPTIONS

Concepts:

• Createanarchetypalandutopianplace,withreferencestoboththeregionalPacificNorthwestenvironmentandquixoticplacesassociatedwithtravelingtoanewlocation.

• Appealtothesenseofwonder,possibility,andexcitementassociatedwithflight,return,andarrivalatanewplace.

• Conveytheparadoxicalrelationshipoftheuniversalhumandreamsofwantingtoleaveandwantingtogohome.

• Createaformof“citygates”thatmarkaportaltotheNorthwestenvironment,andaportaltoSeattle-TacomaInternationalAirport.

• ExploretherelationshipoftheEnglishword“ecology”withitsGreekroot“oikos,”meaninghome.

Goals:

• Uselarge-scaleartthatengagesvehicleandraildriversandpassengers,butdoesnotdistractdriversfromviewingsignage.

• Createarteffectsthatareactivatedbyweatherandclimateevents,especiallyrain,toconveytheconceptofTransformation.

• Includelighting,fortransformationsofartfromdaytonight.

• Explorereplacingtheexistingtime/temperaturesignwithanartist-designedentry/welcomesignand/orclock,possiblythatdisplaysthetimeinseveraldifferenttimezones.Thisfeaturecouldalsoincludeweatherconditionssuchastemperature,winddirectionandspeed,andbarometricpressure,conveyingtheconceptofTransformationinamoreliteralmanner.

• Tieintocontextualspatialrelationships:layeringofroadways,circularloop,ascentsanddescentsinelevation,viewstomountainsandATCTower.

• CollaboratewithengineersandlandscapearchitectstointegratefunctionalelementsoftheLoopRampareaintoacohesivespatialcompositionthatcreatesamemorableplace.Retainingwallsandsculpturalgradingthatrelatetothegeometryofthelooproadcanenhancethespatialqualityoftheenvironment,withthecircularformofthelooproadprovidinga“frame”forthiscomposition.ThetrashscreensreceivedbySoundTransitandWSDOTcanbecomeapartoftheoverallartconcept.

• Treatsomeprojectelements(suchaswallsandcolumns)asfunctionalartworks.

• TieintoecologicalaspectsofthePacificNorthwest,andconveyamessageofenvironmentalstewardship.(Forinstance,stormwatercapturedfromtheLoopRampmaybeprojectedthroughsculpturalchannelsintofilteringplantings.)

• Accompanyartwithanextensiveuseofplants:evergreengroundcovers,shrubs,andtrees onembankments,vinesandmossonsomewalls.

• Collaboratewithlandscapearchitectstodesignnewplantingsatthe160thStreetsite,

aswellasalongtheentireNAEcorridor.

top left: Lehigh Airports Competition Entry, 1929

top right: Greening of Man-hattan, by James Wines

bottom left: Poster for Se-attle Worlds’ Fair, 1962

bottom right: Pacific North-west forest

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Emerald City as a Dichotomous Threshold:

Therearetwosidesof“EmeraldCity”thatplayoffandblendintoeachother,bothintegratingthemesofnatureandtechnologyinherenttothePacificNorthwest.Thetwosidesshouldbestronglyunified.

OnesideistheEntry into the Airport,aroundthesouthboundlanesoftheNAEandframingaviewoftheAirTrafficControlTower.ArthereshouldannounceentryintotheoftensurrealatmosphereoftheAirportenvironment,conveyingafantasticabstractionofnature.Cuttingedgematerials,formsandprocesses(possiblyreflectingalternativeenergy)shouldbeexplored.Plantsaccompanyingtheartshouldhaveatheatrical,almost“artificial”quality.

Theothersideof“EmeraldCity”istheExit out of the Airport,aroundthenorthboundlanesoftheNAEandincludingtheareawithinthenewloopramp.ThisexitprecedesabroadviewoftheCascadeMountains,andadescentintotheKentValley.ArthereshouldannounceentryintothePacificNorthwest,conveyingahyper-realaccentuationofnature.Plantsaccompanyingtheartshouldevokeahighly“natural”quality.

EMERALD CITY

left: Emerald City artwork diagram

left: Wizard of Oz (film still), Victor Freming dir.

entry into the Airport (below/top): Loloma Transit Center, by Vito Acconci Tokyo Tower Millennium Lighting, by Motoko Ishii Blue Tilt, by Jenny Holzer Okinawa Night for the World Summit, by Motoko Ishii

exit out of the Airport (below/bottom): Chelsea Flower Show entry (glass trough), by Christopher Bradley-Hole Study Wall at University of Washington, by Tom Drugan Honkawane Town, Shizuoka Prefecture (photograph), byToshio ShibataPlayground for Riverside Drive Park (model), by Isamu Noguchi



PORTOFSEATTLE&SOUNDTRANSITJOINTARTPROJECT:

TRANSCENDENT CITY

Site:

• SoundTransitSkybridgeconnectingLightRailStationtoInternationalBoulevard

• PortofSeattleSkybridge&GarageWalkwayconnectingLightRailStationtoAirportTerminal

•EntryPortalofexistingPortofSeattleSkybridgeconnectingGaragetoTerminal

Budget:

• SoundTransitSkybridge:$200,000,includesdesignfee,fabrication,andinstallation

• PortofSeattleSkybridge&Walkway:tobedetermined


• sculpturalportals• architecturally-integratedelements• enhancementstoglazing• lights• digitalmedia• sound• interactivepieces

Goals:

• Usemedium-andlarge-scaleartthatengagespedestrianswalkingthroughandvehiclespassingbeneaththeskybridges.

• Attentionshouldbepaidtoentryandexitportalsattheendsoftheskybridges.InadditiontothetwoskybridgesattheStation,theartmayalsoaddresstheentryportaloftheexistingskybridgethatlinkstheGarageandAirportTerminal,tocreateacontinuousseriesofartexperiences.

• Createarteffectsthatareactivatedbythetransmission,reflection,andrefractionofsunlight,artificiallight,anddigitalmediatocreateasenseoftransienceandradianceandconveytheconceptofTransformation.

• Artmayincludeasoundcomponent.• Tieartintoinformationtechnologyofthenew

Northwest.• Artmaybelinkedtoviewsofairplanesfrom

thenorthsideoftheAirportskybridge.• Explorecollaboratingwithdesignteamsto

conceiveoftheskybridgestructuresasart.• DesignartfortheskybridgetotheAirportso

itcanberelocatedtoapermanentskybridgewhentheGarageisexpandedinthefuture.ArtistmaybecommissionedbythePortofSeattletomakeadjustmentswhenthatphaseofworkoccurs.

• ArtordesigntreatmentsmayalsobeconsideredforthewalkwayintheGaragethatlinkstheStationtotheAirport,althoughthatshouldnotbethefocusoftheartproject.

Concepts:

• CreatealandmarkgatewaytotheAirportatthewestskybridge,andtotheCityofSeaTacattheeastskybridge.

• Expressashiftfromgravityattheeastendtoetherealityatthewestend.

• TapintothepalpablesenseofparallelworldsandmultipletimezonesthatconvergeattheAirport.

• Synthesizemetaphorsintoadenseamalgamoflayeredmeanings.

• Createartthatissynthetic,futuristic,rapid.• Usediscontinuitiesinspaceandtimetocreate

gapscompletedintheviewer’smind.• Createartexperiencedfromwithin,atamore

microscopic,kaleidescopiclevelofnuanceanddetailthan“EmeraldCity.”

• PortraylocalthemesinanabstractlanguagethatalsospeakstothesurrealqualitiesoftheAirportenvironment.

The Bride Stripped Bare by Her Bachelors, Even, diagrambyMarcelDuchamp

early airplane tie frame

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TRANSCENDENT CITY

left: Passerelle, GD Architects

below/top: Negev Monument, Dani KaravanGalaxy, James TurrellGlass, Christopher Janney

below/bottom: River of Light, Mikyoung Kim Museum of the City, Steven HollPerforming Lightworks, James Turrel



SOUNDTRANSITARTPROJECT:

LINEAR CITY

Site:

• At-GradeandAerialLightRailAlignmentintheMedianoftheNAEroadway,from160thStreettotheLightRailStation

Budget:

• $200,000includesdesignfee,fabrication,andinstallation

• constructioncreditsforartist-designedfunctionalelementsmaybeappliedtoartbudget

• additionalfundingfromthePortofSeattleispossible


• sculpturaltopsattachedtooverheadcontactsystem(OCS)poles

• bandingonOCSpoles• coatingsonrailingsandOCSpoles• enhancementstoaerialguidewaycolumns

andtrackbedpaving

Goals:

• Uselarge-scaleartthatengagesvehicleandraildriversandpassengers.

• Thelightrailalignmentreplacesaplantedmedianwithlargeexpansesofconcreteandsteel.Usearttomitigatethisnegativeimpactbyincorporatingcolorintotheart,andothermeans.

• ExplorecreatingtopsforOCSpolesthatareactivatedbywinddirectionand/orspeed.OCS elementsmustbelowmaintenanceandwillbetheresponsibilityofSoundTransit.

• Focusonformandcolor,astexturaldetailwillnotbewell-perceived.

• Exploreusingchangesincolorand/orformtoconveytheconceptofTransformation.

• ArtistcanspecifycolorsandtosomeextenttypesofcoatingsforrailingsandOCSpoles.(Thecostforthisenhancementislikelypartofthebaseconstructionbudget.)

• Useartasapassivewayfindingfeature(forexample,adriverknowsit’stimetolookforthearrivalexitwhentherailingsturnblue).

• Exploreusingarttoenacta“specialevent”whenthealignmentbecomeselevated.

• Exploreusingintegralcolorintheconcretecolumns,aerialguideway,andtrackbedpaving.

• Iffeasible,integrateplantsintoart.• Exploretheuseofspecialmaterialsinthegaps

betweenthetopsoftheguidewaycolumns

andthebottomsofthecapitals,tocreateanillusionthattheaerialguidewayis“floating.”Thosejointsare6-8”wide,withneoprenebearingsthatwillbechangedperiodically.

• Thecolumnsarenotchedontwosidessodrainagepipescanbeinsetandhidden.Explorecreatingafunctionalinterventionwheredrainageiscelebratedratherthanhidden,workingwithengineerstoensureproperdrainage.

Concepts:

• CreateasequenceofartthatunifiesthesitebylinkingtheAirportEntryGatewayArtworksatitsnorthandsouthends.

• UsearttoexpressaconceptualTransformationbetweenthenorthandsouthends,tyingintoormanifestingthespace-timeaxis.

• ExploreartthatisactivatedbywindtoexpresstheconceptofTransformation,theideaofflight,andthemotionofthetrainwhenitisnotthere.

• Exploretheuseofrhythm,repetition,narrative,andsyncopationtobuilduponshiftsinviews,emotions,andtopographyinherenttothesite.

Special Site Considerations:

• OCSpolesareH-sectionsoccurringapproximately150-180’apartalongtheone-milecorridor.

• ConnectingsculpturaltopstotheOCSpoleswillrequireengineering.Lightmaterialssuchascastpolycarbonateoraluminummightworkbest.

• Thealignmentdoesnothavelow-voltagepower,solightingisnoteasilypossiblewithouttransformersandwiring.However,photovoltaicsorotheralternativeenergysystemscanbeexplored.

• Concretehighwaybarriers(almost3’tall)willseparatethelightrailalignmentfromtheNAEonbothsides.Railingsmayalsobeused.

• AlthoughelementsofthelightraillinewhereartwillbelocatedareSoundTransitproperty,thealignmentisalongaright-of-waythroughPortofSeattleproperty.ThePort,aswellasSoundTransit,willreviewallcomponentsandstagesofthisproject.

windmills and roads, Tahachapi, California

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LINEAR CITY

left: Miami Line, Rockne Krebs

below/top: EDF Pylons, Kathryn GustafsonTerrasson (windvane), Kathryn Gustafson Shift and Turn, Topher DelaneyOCS poles for Seattle’s Rainier Valley, Norie Sato and Dan Corson

below/bottom: Oliver Garden, Topher Delaney Trackbed design for San Francisco’s 3rd Street, Ken Smith San Diego Children’s Hospital, Topher Delaneyphoto-simulation of colored railing




CELESTIAL CITY

Site:

• LightRailStation

Budget:

• $150,000,includesdesignfee,fabrication,andinstallation


• windscreens,elevatorglazingordoors,pavement,orotherarchitecturally-integratedelements

• suspendedpieces• interactivepieces

Goals:

• Usesmall-tomedium-scaleartthatengagespedestrianswaitingfortrains.

• Collaboratewiththedesignteamtointegrateartintoelementsofthestation.

• ExplorethepotentialtodesigntheentireStationasanartwork,ortolinkartconceptswitharchitecturalconcepts.(SeerequirementintheCityofSeaTacDesignStandardsstatingthattransitstationsshouldexpressathemeandincludeanarchitecturalfocalpoint.)

• Exploretheuseoftwo-dimensionalimagery,sincespaceforfree-standingartislimited.

Concepts:

• Createafocalpointthatcrystallizestheintersectionofthespace-to-timeandgravity-to-etherealitycross-axes,andtheTransformationthatoccursbetweentheirpoles.

• Explorecreatingaverticalaxisofart,connectingcelestialandterrestrialplanes.

Artmightpotentiallybeginontheundersideoftheaerialguideway,andpiercethroughthemezzanineandplatformlevels,pointingtothesky.

• Support“flight”themeofstationarchitecture.• Exploretherelationshipbetweenlocalwind

conditionsandfunctionsoftheAirport.• Thestationwillhaveaninterpretivedisplay

aboutthe“EpicoftheWind”myth,alocalNativeAmericanstorythatincludestransformationsofcharactersandlandforms.Explorethepotentialoftyingartintothismyth.Ifthisoptionispursued,artistmaycoordinatewithMuckleshoottribeforcontent

Roden Crater (skyspace), James Turrell

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CELESTIAL CITY

below: Curving Linear (train station), Shuhui Endo Wind Veil, Ned Kahnetched glass at Ransom Center, Austin




TERRESTRIAL CITY

Site:

• Base ofSkybridgeonInternationalBoulevard

Budget:

• tobedetermined


• pavement• lightsandprojections• sculpture• interactivepieces• waterfeature• plants

Goals:

• ItisrecommendedthattheCityconsiderincludingartworkhereaspartofitsfuturedevelopment.

• Explorethepotentialforanartisttocollaborateonthedesignteamfortheoverallproject,integratingartconceptsthroughouttheentirepublicspacetocreateauniquemeetingplace.

• Scaleofartshouldbedeterminedinconjunctionwithdevelopmentofthecontextualarea.Ingeneral,usesmall-tomedium-scalearttoengagepedestrianswhoarestanding,walking,sitting,orwaitingforabus;usemedium-tolarge-scalearttoengagevehicledriversandpassengers.

• Explorecreatingartthatcanbeviewedfrombuildingsandairplanesabove.

• Considerfocusingartonpavingelements.(SeerequirementintheCityofSeaTacDesignStandardsthataminimumof200squarefeetofdecorativepavementbeusedatprincipalgroundlevelentrypointstotransitstations.)

• Consideraccompanyingartwithlandscapeenhancementsand/orarchitecturalpavement,suchasilluminatedimagesprojectedontospecialpaving.

• ExplorespecificthemesandformsforartwithrepresentativesoftheCityofSeaTac.

Concepts:

• Thisisthe“touchdown”pointoftheartplanarea,theonespotwherepedestrians’feetmeettheground—thelevelatwhichmosthumanlifetakesplace.Exploretheuseofartintegratedintopavement,ortheelementofearth,toexpressthisconditionofthesitethatmakesituniqueinthecontextoftheNorthAirportEntry.

• CreateagatewayintotheCityofSeaTacthatexpressesthefuturepossibilityofagrowingcityuniquelylocatedatthenexusofthemajorair,road,andrailtransportationnetworksservingthisregion.

• DrawonthecurrentdevelopmentoftheCityofSeaTactoexpresstheconceptofTransformation.

• Referencesomethingempiricallyrealtoevokeasensethatthesiteisgroundedintheparticularsubstanceandcultureofanactualplace.

• Inadditiontoexpressingthefutureopportunityassociatedwiththecity’sgrowth,exploretheuseofartasanexpressionofthearea’sgeography(Highlinetopography),geology(glacialdeposits,spring-fedlakes),culturalhistorywiththeland(agriculture),andtransportationcorridors(originalbrickhighways).

• Useacontemporaryaesthetictorepresentandabstracthistoricalthematiccontent.

brickworks in India

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TERRESTRIAL CITY

left: Berlin Asphalt Painting, Topotek below: Paving, unknown artistUndercurrents, Laura HaddadRooftop Maze, Laura Haddad and Tom Drugan



FUTUREPORTOFSEATTLEARTPROJECT:

Airport Parking Garage Extension

Site:• ExteriorofParkingGarage,especiallyfocusing

onfuturenorthwallandnorthwestcorner.

Goals:• CreateagatewayintotheAirportTerminal.• Uselarge-scaleartthatengagesvehicular

passengers.• Createarchitecturally-integratedsurface

treatmentsorsculpturalattachments.• Accompanywithevergreenplantings(shrubs

andvines)alongthewestfaceoftheGarage.

Concepts:• Extendconceptsofthe“TranscendentCity”

artwork:portraytheideaofparallelworldsandmultipletimezonesthatconvergeattheAirportthroughtheairplanesandcarstravelinginandoutofitsenvironment.(Forinstance,eachfloorlevelcouldexpressadifferentlayerofparalleluniverses.)

URBANDESIGNENHANCEMENTS:

PlantsPlantingsshouldaccompanytheartprojects.InkeepingwithrecommendationsoftheLandscape Design Guidelines,careshouldbetakentoincludea richpaletteofplantsatallavailablesurfacesalongtheNorthAirportExpresswayanditsadjacentareas.Thismayincludegroundcovers,shrubs,andtreesonembankments,aswellasvinesclimbingonwalls.

AplanfordifferenttypesoflandscapeplantingsacrosstheNorthAirportEntryareaisintendedtoaccompanyandenrichtheConceptualVisionforartaswellasgoalsforindividualartprojects.Forinstance,strongevergreenbordersonthesidesoftheNAEmayaccompanythe“LinearCity”artwork.Inadditiontoactingasabuffertothedenselybuiltcontextualenvironment,theconstancyoftheevergreenplantscanactasacounterpointtotheTransformationoftheart,enhancingitsperception.Walls

Whenpossible,andwhennottreatedascanvasesforart,existingandnewretainingwallsshouldbetreatedas“greenwalls,”withplantsgrowingonandinfrontofthem.ThisisparticularlyapplicableforwallsbetweentheNorthAirportExpresswayandInternationalBoulevard.

Considerdesigningnewwallssothatlargesurfacesarebrokenup.Thiscanoccurspatially,withazig-zagconfiguration,ortexturally,withpatternsappliedbyformliners(asalternativestostandardsplit-finfinish).Newwalltreatmentsshouldbedesignedtointegratewellwiththeexistingcontiguouswallthatextendstothesouthandwillremain.

existing north side of parking garage signage on northwest corner

existing wall between NAE and International Boulevard

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IMPLEMENTING THE ART PLAN

Artist Selection Methods

DirectSelection.Becauseofthefast-trackscheduleforthePortofSeattle’s160thLoopRampandSoundTransitEnablingprojects(60%DesignDocumentsaredueinJuly2005),artistinterventionisrequirednowforthe“EmeraldCity”artproject.Itisrecommendedthattheartplannerswhodevelopedthisartplan,Haddad|Drugan,becommissionedtoimplementthe“EmeraldCity”project.Thistakesadvantageofcomplexknowledgeabouttheprojectandrelationshipswiththedesignteamthattheyhaveacquiredthroughworkingontheartplan.

InvitationalCompetitions.Selectionofartistsforthe“TranscendentCity,”“LinearCity,”and“CelestialCity”projectsshouldbegroupedintooneprocess.ItisrecommendedthatthatacuratorialgroupconsistingofrepresentativesofSoundTransit,thePortofSeattle,andtheartplannerteamselectapoolofpotentialartistsforeachofthethreecommissions.SoundTransit’sartistrosterwillbetheprimaryresourceforidentifyingthepools,butartistsofinterestwhoarenotalreadyontherostermayalsobeconsidered.Artistsselectedforthepoolswillthenbecontactedandgivenmoreinformationabouttheproject(s)forwhichtheyarebeingconsidered.Thosewhoareinterestedintheproject(s)mayelecttosubmitadditionalmaterials,suchasaletterthataddressestheirinterestinandinitialapproachtothespecificopportunity.

Aselectionpanelconsistingoftheartplanners,atleastoneotherartist,representativesfromthedesignteam(s),andrepresentativesofthePortofSeattle

andSoundTransitwillbeassembledtoreviewtheartists’materialsandidentifyasmallgroupoffinaliststointerviewforeachproject.Priortotheirinterviews,theshortlistofartistswillbegivenanorientationtotheconceptualvisionoftheartplanandspecificgoalsfortheindividualproject(s)forwhichtheyarebeingconsidered.TheartplannersandrepresentativesofSoundTransitandthePortofSeattlewillconductthisorientation.Theselectionpanelwillthenreconvenetointerviewtheartists,andmakefinalartistselectionsbasedonpastwork,interviews,references,andartists’understandingofandvisionsfortheproject.

OpenCompetition.Itisrecommendedthatartistselectionforthe“TerrestrialCity”projectbeconductedthroughanopencallforartists,limitingthecalltoregionalartistswhohaveanunderstandingofSeaTacandwhoareavailabletoworkwiththecommunity.

Aselectionpanelconsistingofoneoftheartistplanners,anotherartist,atleastonecommunitymember,arepresentativefromthedesignteamworkingonthesitedevelopment,andrepresentativesfromtheCityofSeaTacwillbeassembledtoreviewtheartists’materials.Ashortlistofartistswillbeidentifiedtobeinterviewedortodevelopartworkproposals.Thepanelwillreconvenetoconductinterviewsorreviewproposals,andmakeafinalartistselection.

Criteria for Artist Selection

Althoughnotessentialtothesuccessofhowtheartprojectsareperceivedonanindividuallevel,theunderlyinggoalofthisartplanistolinktheprojectssothattheirimpliedinteractioncreatesitsownconceptualartwork.Becausetheprojectsstretchoveranareaofmorethanamile,onewaytoenhancethiseffectistocommissionartistswhoworkincomplimentarystyles.InkeepingwiththeDesign Guidelines’visionofusingProgressiveModernArchitecture,artistsselectedforprojectsshouldhaveatimelessaestheticthatwillcontinuetofeel“modern”throughlimitlesspossibilitiesoffutureAirporttransformations.

Theseartistswillbestrongconceptualthinkerswithasite-specificapproachtomakingart.Theywillbeexperiencedatworkingondesignteams,andwithenvironmentalprocessesandarchitecturalintegration.Artistsshouldhaveabroadknowledgeofexteriormedia,andshouldexhibitamodernisttruthtomaterialsintheirpastwork.

ArtistsworkingonprojectsthatinterfacewiththeCityofSeaTacshouldhaveexperienceworkingwithcommunities.

Art Project Development

Artistsselectedforthe“TranscendentCity,”“LinearCity,”and“CelestialCity”projectswillmeetwiththeartplannersandrepresentativesofthePortofSeattleandSoundTransitpriortodevelopingconcepts.Thepurposeofthesemeetingswillbetofurtherorienttheartiststospecificissues,concepts,andgoalsthathavebeenidentifiedforeachproject,andtoansweranyquestionstheymayhaveattheonset.

Artistswillprimarilyworkontheirown,andincollaborationwiththeirrespectivedesignteams.However,ifprojectdevelopmentschedulescoincide,projectartistsshouldcommunicatewitheachotherduringtheconceptualdesignphasetoexchangeideas.

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Art Project Review

Reviewswillbeconductedatmilestonepointsastheartprojectsareindesigndevelopment.

TheAirportLinkUrbanDesignReviewCommittee,whichincludesrepresentativesofthePortofSeattle,SoundTransit,andtheCityofSeaTac,hasbeenformedtoreviewartandarchitectureprojectsatandadjacenttotheAirportthathavetodowithlightrailconstruction.Thestructureofthedesignreviewprocesswilbedeterminedbyalloftheagenciesinvolved,butitisanticipatedthatthiscommitteewillbeaprimaryreviewer.

ArtprojectsonPortofSeattlepropertywilladditionallybereviewedbythePortofSeattle’sArtOversightCommitteeandRoadwayProjectsVisualReviewCommittee.

WSDOTwillreviewanyprojectsontheirproperty.

Aspecialconditionexistsforthe“LinearCity”project.Theselectedartistwillbeaskedtoproposeconcepts,studyfeasibility,andprovidebudgetsforvariousartconceptsandelements,someofwhichwillbeenhancementstofunctionalpiecesfundedthroughthebaseconstructionbudget.Areviewwilloccuratthecompletionofthatphaseofwork,afterwhichadditionalfunding(ifany)willbeidentifiedandtheartistwillbegivendirectionaboutwhichconceptstodevelop.Theformatandpanelmembersforthatreviewwillbedeterminedastheprojectdevelops,andwillincluderepresentativesofthePortofSeattleandSoundTransit.

Projectsshouldbereviewedwiththefollowingcriteria:

• conceptualcontent• adherencetoartplanconceptualvisionand

guidingprinciples• coordinationwithotherartprojectsidentified

intheartplan• qualityofwork• appropriatenessofmaterials,forms,andscale• integration/interventionintocontext• safety• maintenance• budget• schedule

IMPLEMENTING THE ART PLAN


BIBLIOGRAPHY

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Barthes,Roland,“Martians,”The Eiffel Tower and other mythologies(NewYork:Farrrar,Stroux,andGiroux,1979),27-29.

Black,Archibald(ed.), American Airport Designs (NewYork:LehighPortlandCementCompany,1930).

Borge,JorgeLuis,“TheLibraryofBabel,”Labyrinths(NewYork:NewDirections,1962),51-58.

Callenbach,Ecotopia(NewYork:BanyanTreeBooks,1975).

Calvino,Italo,Invisible Cities(NewYork:HarcourtBraceJovanovich,1974).

Campanella,Tommaso,City of the Sun(Berkeley:UniversityofCalifornia,1981).

Crowley,Walt,“Seattle-TacomaInternationalAirport“Parts1,2,and3),”www.historylink.org

Dorpat,PaulandWaltCrowley,“SeaTac—ThumbnailHistory,”www.historylink.org

Fleming,Victor(dir.),The Wizard of Oz (LosAngeles:TurnerEntertainment,1939).

Foucault,Michel.“OfOtherSpaces,”Diacritics16(Spring1986),22-27.

Halprin,Lawrence,Freeways(NewYork:Reinhold,1966).

LeCorbusier,Aircraft(Milan:EditriceAbitareSegesta,1996).

Mitchell,WilliamJ.,City of Bits(Cambridge:MITPress,1996).Rowe,ColinandFredKoetter,Collage City(Cam-bridge:MITPress,1978).

Rushdie,Salman,The Wizard of Oz(London:BritishFilmInstitute,1992).

Schwarzer,Mitchell,Zoomscape(NewYork:Princ-etonArchitecturalPress,2004).

Willis,Daniel,The Emerald City and other essays on the architectural imagination(NewYork:PrincetonArchitecturalPress,1999),