PUBLICATION: UTAH STYLE & DESIGN, THAYNES CANYON
PARK CITY HOME BY SPARANO + MOONEY ARCHITECTURE FEATURED ON COVER OF UTAH STYLE & DESIGN / SUMMER HOUSE
JULY 05, 2018
Have you picked up the latest issue of Utah Style & Design? If so, you may be joining us in our delight at seeing another one of our Park City houses land the cover! Sparano + Mooney is thrilled to once again be a part of this remarkable design and lifestyle magazine. The article entitled, “Bohemian Rhapsody”, written by Natalie Taylor and photographed by Scot Zimmerman, showcases this home design nestled at the base of Park City, “where breathtaking nature, expressive materials and eclectic elements drive the compelling design.” Characteristic to Utah Style & Design, the pages are filled with full-page colorful photos, including those of this Thaynes Canyon home’s architecture and interiors, which showcases the owner’s personal artwork and style.
Owners Gwen and Patrick Reddish faced a difficult challenged when their previous 105-year old farmhouse situated on the land needed to be demolished. They wanted to keep their assortment of large trees when building a new home, and also wanted to incorporate elements of Scandinavian and European farmhouse style but in an updated, modern way. Sparano + Mooney Architecture was able to provide the architectural solution. By creating a long, narrow structure that “weaves in and out of the trees”, all trees remained untouched and a home emerged that “fit perfectly in the vernacular of the old farmstead site.” Elements from the owner’s original farmhouse were reused in order to maintain the feel of an old home - and preserve what was so loved!
Being filled with and built of stone, and distressed wood and materials, the architecture easily blends in with the surrounding nature, and a home in Park City wouldn’t be complete without incorporating the surrounding views. This house was designed to “seamlessly reach into the environment at every turn” as large windows and double-height ceilings throughout the home continually draw the eye to the outside.
This new home made from repurposed materials - and filled with rich colorful art and textiles - make this a fabulous hidden architectural gem in the Park City countryside. Thank you Utah Style & Design for featuring this eclectically styled and colorful home with your readers. We were honored to be a part of the process as the architects!
CONSTRUCTION UPDATE
CONSTRUCTION UPDATE: New Mountain Architecture
JUNE 20, 2018
With an anticipated occupancy in the early fall; all exterior materials are nearing completion and the focus is shifting to interior finishes.
We are very pleased with how the exterior wood cladding is coming together on site and the relationship it has to the textural boards from concrete.
The interior cabinetry is currently in production and we look forward to seeing the relationship the refined white oak interiors will have in contrast to the rough sawn cedar clad exterior.
Next steps include the final finish layer of landscaping to bring the site back to its natural state and reinforce the home's relationship to this beautiful setting.
SPOTLIGHT: CAMILLE ERICKSON
AN ARTIST AMONG US: The Art + Paintings of Camille Erickson
MAY 15, 2018
Without doubt, the Sparano + Mooney Architecture team are talented, driven, and creative. We work hard to deliver thoughtful design solutions to our clients, not to mention our commitment to an exceptional client experience and harnessing first-rate business acumen. Of course, our Salt Lake City and Los Angeles architects are highly skilled at turning numerous iterations of ideas and sketches into renders and plans. Putting pen, pencil and brush to paper is a key aspect of our practice and drawing skills are essential to the profession. But did you know that our team member Camille Erickson, head of Accounting and Human Resources, also produces beautiful paintings and is an enormously talented artist in her own right? We are astounded by Camille’s talent, and her ability to use both her left and right brain with equal flourish. We interviewed her to discover more about her work.
When did you first begin to draw/sketch and paint?
My mom is an artist and teacher and she had me drawing and painting as soon as I could hold a brush or pen in my hand. My first drawing that she kept is from under the age of 1. Although, I became very interested in art when I was in high school. I took classes in jewelry, drawing and painting and that is where I realized this was something I had a passion for. I then studied painting and drawing for my undergraduate degree, followed a number of years later by a master’s degree in accounting.
How did you learn to draw/sketch/paint?
I learned to draw and paint by watching my mom, taking classes, watching the great Bob Ross, and watching other family members of mine who are jewelers, cartoonists, and painters.
Did anyone in particular teach or inspire you to design your creations?
Besides the constant exposure to my mom, family members and the art galleries my mom took me to as a child, some great 20th century painters, Wayne Thiebaud, Chuck Close, and Edward Hopper, inspire me. I especially like Chuck Close’s prints and that got me interested in Japanese wood block printing (ukiyo-e) and etching. I learned this printing technique from a master Japanese printer at the Center for Book Arts in New York.
Do you still love painting as much as when you first began?
I do love painting even more than I did when I first began. I was just learning the mechanics of painting, how to mix color, how to prepare a canvas, and how to draw with paint. Now, when I see other people’s work I have more of an appreciation and love for what other artists create. I was at the Getty Museum with our office a few weeks ago and I saw these amazing paintings by Peter Rubens. I was particularly inspired by the under-painting/wash and detail in which he had painted the figures in a deep brown paint – they reminded me of a drawing. I see the world differently through the eyes of an artist and I love that art can evoke emotions.
Camille Erickson, ‘Salt Box’
Why do you paint? What inspires you?
I am inspired to paint; make jewelry, ceramics, prints; or draw a simple sketch because I see something that I want to make or remember. I would say one of my biggest inspirations is light and how light interacts with the space around us. In school, I was trained in classical figure painting, drawing, and sculpting, although lately I am not focused on the figure as much.
How does painting influence your professional work?
Working in an architecture firm like Sparano + Mooney Architecture is truly the best of both worlds. Kind, interesting, artistic and creative people surround me all day, while I am doing accounting, and this reminds me of the importance of staying creative. It is inspirational to be surrounded by the building models and the creative process that these “ideas” originate from and that is truly amazing.
Have you ever exhibited your artwork?
Yes, I have exhibited my work over the years. In high school I was in a student show at the University of Utah’s Museum of Fine Art. I have also shown my work in Helper, Utah; The Arts Student’s League, New York; and the Utah Women’s Artist Exhibition, Utah.
What is your favorite subject matter?
That’s pretty tough to narrow it down to a single subject matter. By medium I could select it: for painting and drawing it is the human figure, with metalsmithing and sculpture I am drawn to functional objects, and with printmaking it is still life objects.
What is your favorite medium?
I paint in oil; however, these days my favorite medium is clay. I just started working with clay this past summer.
Camille Erickson, "ukiyo-e woodblock print"
Do you like talking about your artwork and talent or do you prefer to keep it private?
For many years, I didn’t like talking about it, and I think that has changed, as it has become a more direct part of my life. I am producing work every week and that makes me more interested in discussing it. For me, sharing it is the best way to get objective feedback and helps me to continue working.
When is your favorite time to draw/sketch/paint, and do you have a favorite place to draw?
My favorite place to work is any place that I can remove all other distractions and really focus. Sometimes, that is at home, other times my studio, or just sitting somewhere. I draw at home every night. Since my son entered the 1st grade he picks an image for me to draw on his lunch bag. We started this tradition almost three years ago. This has been one of the best ways for me to stay active with drawing. My high school art teacher Marjorie McClure required us to draw daily in a sketchbook. I remember, with such dread, having to produce those sketches and trying to find a subject matter to draw. I still have all of those sketchbooks and it is great to have them to look back to.
Camille Erickson, "Master Chief Lunch Bag"
How do you title your work?
I generally don’t title my work. Mostly because it is not something I feel I am particularly good at. I tend to use titles, like “figure drawing 1” or “painting of a pear.” I know that isn’t very creative and my husband, who is a writer, is always encouraging me to explore the titles a bit more. I agree with him that a good title can actually make a piece of art better.
Would you like to add any closing thoughts?
Thank you Mom for dragging me to the museums and libraries as a kid and exposing me to art. I’ll never forget going to my first nude figure drawing class with my mom when I was barely 16 years old. Or how she would have us look across a rainy day landscape and pick out the colors and brush strokes like it was a painting!
We are so grateful to count Camille as a member of the SMA team and can't wait to see what she creates next...
CHICAGO ARCHITECTURE BIENNALE
ART, ARCHITECTURE, HISTORY + IDENTITY: The Chicago Architecture Biennial
JANUARY 03, 2018
Chicago may be known as the Windy City, but for architecture aficionados, the metropolis is a veritable treasure trove of world-renowned architectural gems. From historic structures including Frank Lloyd Wright’s Robie House (1910), Mies van der Rohe’s Federal Center complex (1974), and Bertrand Goldberg’s Marina City (1964), to more recent structures such as Studio Gang’s Aqua (2009), Chicago boasts numerous architectural landmarks. Though our firm of Salt Lake City and Los Angeles architects are based in the American West, we nevertheless have closely followed the most recent incarnation of the Chicago Architecture Biennial, a showcase of over 140 architects and artists, exhibitions and events across the city, free and open to the public. Hurry! The events come to a close in early January, so if you find yourself in need of inspiration to start the new year, make haste to this cultural hub and take advantage of the truly breathtaking array of architectural wonders on offer.
The second Chicago Architecture Biennial (CAB) is the largest architecture and design exhibition in North America, and makes use of the city’s breathtaking backdrop as the gallery for internationally-acclaimed presentations “showcasing the transformative global impact of creativity and innovation in these fields”. Make New History is the theme of this year’s CAB: practitioners representing over 20 countries were invited by the CAB’s artistic directors Sharon Johnston and Mark Lee (of the firm JOHNSTONMARKLEE) to participate in this city-wide presentation of thought-provoking creations and explorations of urbanism, the evolution of community identity and the impact of looking to the past to inform the present.
This is a deeply evocative and moving exploration of architecture that travels well beyond traditional presentations of architectural discourse. We are particularly impressed with the CAB’s emphasis on narrative, cultural examination, and the advancement of architectural design within a framework of accumulated conventions. How do we, as modern practitioners, assert our own identity and create the “new” when we are undoubtedly indebted to precedent? Indeed, the CAB seeks to explore this dichotomy and to highlight the ways in which architects, artists and designers working today are shunning the need to create the unparalleled in favor of incorporating historical models into their work; in other words, “committed to progress, but always from within an architectural tradition,…producing innovative and subversive works grounded in the fundamentals of the discipline.”
With this powerful statement in mind, the overriding purpose of the CAB and Make New History is to invite members of the public and well-versed practitioners alike to explore the ways contemporary architecture has the ability to assert an historical impact globally, irrespective of site and geographical boundaries. Topics include Image, Material, Building, and Civic Histories, and highlight a myriad of creative methods of architectural expression, from drawings, experiential environments, and performances to books, films, design objects and academic analyses of architectural thought. These topics unite the shared interests, concerns and practices of architects, artists and critics who are helping to shape the future – and, therefore, the history – of the industry and field. As Mark Lee explains, “buildings are not always the end result…We think that producing ideas through different mediums – perhaps before one achieves the chance to build buildings, or maybe in lieu of that work – is relevant to the changing state of the discipline today.”
The main exhibition takes place in the Chicago Cultural Center, which Johnston and Lee have transformed into complex, intertwined corridors, galleries, arcades and salons dedicated to juxtapositions of past, present and future incarnations of architectural design. For example, an exhibition of innovative experiments in contemporary architectural photography, curated by Jesús Vasallo, is on display, as well as a reconsideration of the landmark 1922 Chicago Tribune Tower. Numerous satellite events at off-site locations include educational programs with the Chicago Architecture Foundation, and free tours of the Frank Lloyd Wright-designed SC Johnson headquarters. The platform offers a unique assemblage of exhibits, large-scale installations, and creative programming with which visitors are encouraged to actively engage and consider through a global, critical lens.
Presentations such as the Chicago Architecture Biennial are key to the advancement of our field. They help underscore disciplinary concerns, draw new audiences to architecture and aid in the development of new architectural identities and modes of expression. If you were able to take part in this year’s CAB, we’d love to hear your thoughts on the event, and hope to see you in the Windy City for the CAB’s next installment in 2019!
ADRIAN VILLAR ROJAS AT LA MOCA
ADRIAN VILLAR ROJAS AND SPARANO + MOONEY ARCHITECTURE CREATE “THEATER” AT MOCA
DECEMBER 11, 2017
Sparano + Mooney Architecture and our team of Los Angeles architects and designers have established a fantastic working relationship with The Geffen Contemporary at MOCA, and we were delighted when the institution approached us to provide architectural services and interior remodeling for their latest exhibition of cutting-edge contemporary art, titled Adrián Villar Rojas: The Theater of Disappearance. We have also collaborated with MOCA on acclaimed shows by Matthew Barney and of works from the 1990s at the museum, and were more than happy to partner on this occasion to bring Villar Rojas’ eclectic and boundary-defying art to The Geffen’s savvy audience.
For this show, Sparano + Mooney Architecture worked with Villar Rojas’ proposed layout for the exhibit, made modifications in order for it to comply with current codes, such as building and fire, and also collaborated with structural engineers to ensure columnar components of the space held up.
Adrián Villar Rojas (b.1980) is a South American artist whose work embodies the abstract, abject and ephemeral. His object-based “environments” and gallery-specific interventions exist in a liminal space void of typical past/present/future dichotomies. Food waste, raw meat, concrete, geological formations and flora and fauna are juxtaposed in his work, and the viewer is asked to contemplate at what stage a “work of art” is created. Is it when the items are conceived? Installed? When they are revealed to the first visitors? Or when they break down, morph and decay? These so-called “post-human” artworks – some of which are inert sculptures, some organic totems and manufactured fossils, some inorganic relics – certainly defy canonical, art historical categorization. And, perhaps that is Villar Rojas’ motive: to treat the exhibition space as an evolving realm that promotes decomposition and obsolescence of these alien art forms, and to comment critically on the commercial nature of the institutional art world. Though the work may be at times obscure, there is nevertheless a romanticized notion to his approach. Villar Rojas creates art that is at once otherworldly and visceral and in doing so, we are confronted with contemplating uncomfortable truths about our own material existence in time and space.
Villar Rojas’ approach to curating his work is unique, but is strikingly similar to how we approach our own work as contemporary architects and designers. Villar Rojas produces art that is uncompromisingly site-specific; he often spends a great deal of time in the spaces he will exhibit his work in order to understand the limits and potential of these architectural interiors, and to garner as much understanding of the social, cultural, geographical, and institutional contexts as possible. In this way, Villar Rojas is able to consider the “poetics of space” and how a venue’s structural setting deeply affects a visitor’s perception of his work. At Sparano + Mooney Architecture, we explore hyper-specific cultural cues culled from each project’s client, program and/or site. This research is used to provide the architectural order and transcend convention. We too seek to construct a more meaningful relationship between modern architecture and the experience of its inhabitants. Therefore, the underlying organization of our work is a deliberate choice to position people at dynamic centers of architecture and to let space and form unfold around a continuous path of travel. Though our fields are quite different, we feel an affinity to the approach used by Villar Rojas and are pleased to have been a part of this exhibition at The Geffen Contemporary at MOCA. We look forward to the next opportunity to collaborate with this awesome Los Angeles museum and cultural institution!
AMBER ROAD TREKKING CABINS
THE AMBER ROAD TREKKING CABINS: Architecture Competition Entry by Sparano + Mooney Architecture
NOVEMBER 06, 2017
At Sparano + Mooney Architecture, we are always in search of creative outlets for our ideas and for new ways to innovate and promote sustainability in architectural practice. Submitting conceptual projects to architectural competitions is just one way that we attempt to advance our critical thinking, and our team of architects and designers recently put forth a tiny house proposal to the Amber Road Trekking Cabins architecture competition, organized by Bee Breeders in association with the Latvia Nature Conservation Agency, which calls for the design of several travelers’ cabins to be situated along the extensive and stunning Amber Road trekking path. The path will run along the beaches of the Baltic Sea, a remote treasure of natural beauty in Northern Europe renowned for the fragments of glowing amber that wash up on the region’s shores. Winning designs will be considered for construction as a means of boosting tourism to Latvia.
Sparano + Mooney Architecture’s entry was designed to accommodate four travelers and their basic micro-housing needs for 24 hours, to implement an amber-tinted polycarbonate façade for its aesthetic and technical characteristics, to harness the solar path and prevailing wind patterns for sustainability considerations, and to be constructed from prefabricated “flat pack” wooden structural components to minimize on-site construction and installation requirements. These variations make the cabins adaptable to most outdoor environments and weather conditions experienced along the trekking path throughout the year, meaning travelers to the area will be able to utilize the facilities on an extended basis and the Latvia Nature Conservation Agency can maximize its investment in this catalyst for economic and architectural development.
The Amber Road trekking path is planned to allow long-distance hikers the opportunity to traverse the country from the border with Lithuania to the border with Estonia. The total distance a trekker could hike would be 530 kilometers (approximately 330 miles), an arduous journey that would necessitate accommodations for the weary along the route. We took the opportunity to suggest structures that would both provide shelter and allow the occupants to indulge in the country’s scenic wonders. The competition brief stipulated that the architect’s designs be suitable for various terrain found along the route, and that they be constructed in a manner that would not disrupt the natural environment or interfere with the conservation and preservation of the landscape. Indeed, the competition organizers requested that the cabins pay homage to Latvia’s heritage and to have the potential to become cultural landmarks in their own right. Sparano + Mooney Architecture’s entry sees the translucent polycarbonate act as a colorful amber cladding covering the traditional Latvian timber structure. These tiny house cabins, scattered throughout the scenic landscape, will help travelers recollect and preserve their experiences here as amber-hued memories.
We are excited to have been able to submit our designs for this project, and should our proposal be successful, we would be honored to have our concept constructed in such a beautiful setting! Do you have an abstract idea you would like help exploring? From large projects to small, we are focused on delivering thoughtful, innovative, contemporary and sustainable design solutions in architecture to accommodate each client’s visionary, functional and budgetary requirements. We’d love to hear from you!
GLORIOUS GETTY
THE GLORIOUS GETTY: Art + Architecture
OCTOBER 23, 2017
Sparano + Mooney Architecture loves art and culture – and as contemporary architects in Los Angeles, we also adore examples of institutions in this great city that combine these passions and pursuits. Which is why we are crazy about the J. Paul Getty Museum at the Getty Center and the treasure trove it offers throughout its sprawling California campus. Housing an expansive collection of European paintings, drawings, sculpture, illuminated manuscripts, photography, textiles and decorative arts created from antiquity to the present, the museum serves diverse local and international audiences and continually offers groundbreaking exhibitions and programming to the public. The Getty Center’s overriding mission is to “inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting and interpreting works of art of outstanding quality and historical importance”. Now that’s a mission we can support!
The history of the Getty Center is storied and speaks to the legacy and prolific collecting tendencies of its founder, oil tycoon, industrialist and businessman J. Paul Getty (b.1892 – d.1976), who believed that art could be a “civilizing” influence on society. Throughout his life, Getty worked to make art available to the public and to promote the educational benefits of cultural artifacts. In 1948, he donated a significant portion of his collection to the Los Angeles County Museum of Art; in 1953 he established the J. Paul Getty Trust, and the following year he opened the J. Paul Getty Museum in his Malibu ranch house (the site now serves a mission focused on antiquities). After his passing, the Trustees looked to build upon Getty’s unwavering dedication to the visual arts, expand the museum and its collections, and offer a broader range of programming, educational pursuits and scholarly research opportunities to the art world and members of the public alike. With this mission to hand, the Getty Villa was conceived and constructed and the Getty Conservation Institute, Getty Research Institute and Getty Foundation were created and constitute “the Getty”. In 1983, the Trust purchased the 110-acre hilltop site in the Santa Monica Mountains that would come to house the current site of the Getty Center, designed by architect Richard Meier. Incorporating lush gardens and celebrating the site’s rugged topography, the Center opened to great art – and architecture – acclaim in 1997. Today, the Getty is the world’s largest cultural and philanthropic visual arts institution.
The Getty Center, while focused primarily on promoting and exhibiting the visual arts, is nevertheless an all-encompassing cultural institution, offering performances, film screenings, talks and lectures, tours and family events for all to experience its architecture and cultural offerings. Research and conservation play a crucial role in the Center’s operations, and educational programs for audiences of all ages engage audiences through the rich resources at the Center and Villa. For example, the education department offers a session titled “Drawing from Antiquity”, in which informal drawing lessons are taught on the grounds and students can sketch from works of art, architecture, sculpture and the gardens of the Villa. The course sounds to us like the perfect way to spend an afternoon honing our foundational skills!
The exhibition program is wide-ranging and never fails to innovate. Recent exhibitions have included “Giovanni Bellini: Landscapes of Faith in Renaissance Venice”, “Happy Birthday, Mr. Hockney” and “The Metropolis in Latin America, 1830-1930”. We are also excited about a forthcoming exhibition (opening June 26-October 21, 2018) titled “Icons of Style: A Century of Fashion Photography 1911-2011”, featuring works by industry stalwarts such as Richard Avedon and Helmut Newton while also recognizing the talent of artists less well-documented, including Neal Barr, Hiro and Ray Kellman.
Whenever we have a spare minute in Los Angeles – and especially when we are seeking architectural and creative inspiration – we head to the Getty Center. We are in awe of its collections and the dedication of its professional staff in continuing the passion for art, architecture and culture that J. Paul Getty originally established. It would be a dream to collaborate with this venerable institution. We hope to see you wandering among the collections and bougainvillea soon!
DAINES CONCERT HALL AT USU
NOW OPEN: The Newel + Jean Daines Concert Hall and Daryl Chase Fine Arts Center at Utah State University!
OCTOBER 19, 2017
The Utah State University Caine College of the Arts and Daryl Chase Fine Arts Center celebrate a 50 year anniversary this October, and to mark the occasion, we are honored to announce that the Newel and Jean Daines Concert Hall will open its doors after undergoing an extensive renovation and addition! Sparano + Mooney Architecture was integral to the design of the new performing arts facility and we are beyond excited to see our team’s hard work and vision come to life.
We would like to extend our greatest appreciation to our team of consultants on the project – including Newson Brown Acoustics, Cache Landmark Engineering, Inc., Landmark Design, Inc., Calder Richards Consulting Engineers LLC, Van Boerum & Frank Associates, Spectrum Engineers and Gramoll Construction – and to Auerbach Pollock Friedlander, who played a tremendous part in realizing this wonderful facility. We are grateful for your support and are proud to have worked with such a dedicated group of professionals on the Daines Concert Hall and Fine Arts Complex renovation and addition!
The Utah State University Fine Arts Complex Addition/Renovation consisted of adding an additional 15,000 SF of space on two sides of the complex and renovating 107,000 SF of space in the existing building. The crown jewel of the project is the renovation of the Daines Concert Hall (formerly the Kent Concert Hall). Upgrades include a new acoustical shell, acoustically reconfigured walls, removal of the existing ceiling, and upgraded theatrical audio and lighting equipment to enhance the acoustic performance of the venue for both performers and audience; all new theater seating; HVAC systems improvements to decrease ambient noise levels; addition of a fire sprinkler system; structural modifications to the ceiling to improve seismic stability; new catwalks and tension grid; addition of dressing room suites; and improved ADA access to the concert hall from the lobby and from the hall to the stage. With seating for 1,743, the Daines Concert Hall is a performance facility with secondary use for convocation, lectures and general assemblies.
The renovation of the Daines Concert Hall also removed the old ceilings, proscenium arch, existing electrical, mechanical, audio visual systems and existing seating. It added a gallery to both sides of the house and behind the stage. The stage was extended forward by 15 FT. The acoustics for the concert hall were of utmost importance. The walls for the hall were carefully designed to optimally direct the sound into the space. The new acoustic design allows for the sound to envelop the listener no matter what seat they might be in. The new gallery levels curve behind the stage, and this aspect permits patrons of a choral and orchestra performance to be elevated above the stage, giving them a more intimate experience. In an orchestra-only performance this vantage allows the patron to sit in these elevated seats behind the stage, giving them a whole new perspective of the performance. The curving natural wood on the walls lends the hall a warm and inviting feeling. All new seating in the concert hall provides the patron a wonderfully comfortable experience.
The mechanical ductwork increased in size to slow down the air movement, making the building comfortable and quiet. The structure has been opened, especially above the stage, making it inviting and expansive. New cat-walk throughout the space allows those working behind the scenes easy access to almost every corner of the Daines Concert Hall.
In addition to the Daines Concert Hall, the Fine Arts Center also saw the expansion and renovation of the Morgan Theatre Scene Shop and Costume Shop, which provides an additional 7,900 SF of space to accommodate design and construction of theatrical scenery and costumes. These improvements provide significant economic benefits for the Morgan Theatre due to expanded scheduling of the facility for its use as a rehearsal, performance, and teaching venue for Utah State University and the various theatrical groups that use the Theater. As part of the Fine Arts Center’s renovation, the Tippetts Exhibition Hall and Gallery has also been transformed and now shines as an example of a world-class exhibition space.
The Utah State University Fine Arts Complex Addition/Renovation results in an architectural landmark for both the Utah State University campus and Northern Utah, and our team is tremendously proud to have contributed to the institution’s cultural and educational landscape. We are grateful to have been a part of designing and realizing the Daines Concert Hall and the Fine Arts Center and look forward to another 50 years of arts and culture in the new facility!