Amanda Jones
Community: the College Experience
The
The Beaux-Arts style, a term
covering a wide range of architectural forms, can be translated as ‘Fine Arts,’
which accurately represents its emphasis on classics and artistic beauty in
buildings. This style adds an eclectic
flair to the late Neoclassical movement while still drawing inspiration from
Romanesque and Renaissance styles. Paul
Cret’s Spanish Renaissance style can actually be categorized as a sort of
subset within Beaux-Arts, the school of architecture he studied. So buildings on campus under this master plan
will include not only the Spanish-themed structures already in place, but also
new buildings that fall under the more general Beaux-Arts category while
retaining some key elements, which I will detail later. Some of the only characteristic attributes that
define this broad style include symmetry, spatial hierarchy, grandiosity, and
detailed ornamentation.[2] The photo to 
the
left shows Palais Garnier in
As suggested by its alternative name, Academic Classicism, the Beaux-Arts style functions well on college campuses. The size and grandiosity of buildings in this style match the physical needs of such a populous university without sacrificing aesthetic elements. Unlike Gothic, which tends to be “uncomfortable, ornate and pretentious,”[3] or Modernism, which embodies the impersonal and breaks away from all historical aesthetics, Beaux-Arts buildings are “user-friendly” as well as pleasing to the eye.[4] This style will allow construction of capacious buildings to accommodate the immense student population while also functioning to create a cohesive, academic, and aesthetically pleasing environment.
Architecture can also support UT’s
goal to be “a community striving to
preserve its past…while building a bold, exciting and dynamic future.”[5] What better architectural style is there than
one that draws on so many of the past cultures and time periods that make up
our heritage? Even the influence of the
Gothic style so common on ivy-league campuses can be seen and utilized in the
Beaux-Arts through its usually detailed decorations. The historical exteriors of Beaux-Arts
buildings exude the wisdom and strength gleaned from our past. Many of the existing Beaux-Arts buildings on
campus provide tangible examples: the Main Building, covered with symbols of
antiquity and forever reminding all who pass its walls that ‘the truth shall make
you
free’ (partly shown in the above picture), and the Will C. Hogg Building,
exhibiting “a frieze reproducing in stone the animals of prehistoric times, the
fossils they have left, the crystals and ores of minerals” on its walls.[6]
These links to our past are vital to
producing a university community that appreciates the unique traditions and
heritage of Texas, and since the Spanish Renaissance style represents an
especially significant part of our heritage (as well as provides practical
benefits with its use of pitched roofs and overhangs to create shade), it makes
sense that the Beaux-Arts buildings retain a decidedly Spanish flavor. This will also eliminate the need for
building an entirely new campus, since many of the original Cret buildings
exhibit this style cohesively. This
retention of key buildings and styles is of crucial importance to the identity
of the campus; after all, who could bear to see the 
alumni,
students, and corporations all around the world.[7] The photo on the left shows a well-known
image of the clock tower on the
In
the same way that we must be careful not to destroy cohesive elements that
contribute to the core of the university’s identity, we must also be careful to
encourage sufficient variety to stimulate the 
senses,
uniquely identify each building, and cater to the differing tastes of a diverse
student population. This must be done, however, without creating “a
series of disparate pieces.”[8] The Beaux-Arts style includes a large palette
of previous styles to draw upon for diversity.
Beaux-Arts buildings may be as ornate and grandiose as the Pennsylvania
Railway Station 
in
Beaux-Arts
style without seeming out of place or character. With so many historical traditions and forms
to draw from, the possibilities are endless.
Creativity will be encouraged, but not to the point where 
a
building clashes with or ignores the surrounding campus structures.
Above
all, cohesiveness should be apparent throughout campus, contributing to a
larger sense of purpose and identity for the university and establishing “the
sinews of community among our students, faculty, and staff.”[9] The original Cret buildings on the Forty
Acres can be used as touchstones when designing new facilities, however
classifying them as purely Spanish-Renaissance and using only that style can
lead to second-rate buildings. If the
only requirements for new buildings are red tile roofs, brownish bricks, and
overhangs, then even Jester passes inspection; but where is the tradition in
Jester? Where is the beauty? Where is the awe-inspiring feeling that you
get walking down the halls of Harvard or
Classical elements such as columns and arches will be required, as well as an emphasis on unique details for each building. Spanish-Renaissance characteristics that should remain include pitched roofs of red or brown tile, limestone and gold or orange brick bases, and use of iron or bronze. Light-colored glass is also encouraged. It should not account for a majority of the exterior on any building, however all buildings need to have enough windows to create bright and open interiors that, in turn, will facilitate bright and open minds.
The Main building
and other buildings that already fit these criteria should remain on campus;
however structures such as the communications buildings, the engineering
buildings,
Figure 6 - UT Communications and
An additional element of this plan
re-establishes the north-south and east-west axes of the original Forty Acres
as the basis for future construction of buildings and outdoor areas. To facilitate community interaction and
relaxation, buildings will 
be
arranged around plazas and courtyards, such as those already found in the Honors
Quad and between the liberal arts buildings on the South Mall. Statues and fountains will be encouraged as
key pieces of historical value on campus; however, they should be built from
cast iron or bronze in order to remain similar in appearance. I choose iron and bronze because they match
well with the limestone and gold brick materials of the buildings, and many of
the statues 
already
on campus or near it demonstrate this, such as the Littlefield Fountain and the
star outside the
Interior
design of buildings should also strive to create ‘courtyard-like’ spaces on a
north-south and east-west axis as much as possible. Communal areas in central locations with
plenty of seating will act as focal points for future structures, along with
alcoves for individual or small-group collaboration and comfort. These will facilitate learning from other
students as well as their professors, so that the students and faculty are not “disparate
pieces,” but rather a cohesive whole much like the buildings themselves.[10] Too long has quality been sacrificed for utility
and price in the structure of buildings.
Each structure should represent
With
all of these combined elements, the university campus will better embody “a
collection of ideal villages whose physical environment is central to and
supportive of learning.”[11] Buildings constructed in the Beaux-Arts style
will contribute to the identity and mission of the campus by creating a
cohesive physical environment that celebrates the university’s heritage and
traditions while providing the versatility and practicality necessary to equip
students and staff with skills for the future.
Re-emphasis on spatial awareness for buildings and open spaces will
contribute to an atmosphere that is conducive to community collaboration as
well as aesthetically pleasing. Statues
and fountains will contribute to the awareness of heritage while remaining
consistent with the buildings surrounding them.
Interiors will strive to reflect the same general emphasis on communal
and aesthetic principles wherever possible.
Overall, this master plan will establish the
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Location of SL project: Middle of the far North edge of the campus map (front side of the tower)
Notes