A Classically Modern Campus
By Mary Dauterman
The American university, or in our case, the
stateÕs flagship university, represents something beyond its buildings and
classrooms. The university is not simply a place of forced learning,
standardized rooms, and identical human beings; it should be a place that
actively teaches, where individuals can grow and mature. It should be a place
that embodies intellectual stimulation, comfort, and community. Many aspects of
UTÕs current campus fit this ideal, while other aspects still need improvement.
My ideal plan melds together several features of the existing campus and
incorporates ideas from architects such as Paul Philippe Cret and Antoni Gaud’.
Remaining classic and timeless, my campus will aim to blend
the old with the new. While preserving a Spanish/Mediterranean influence that
unifies the exterior of the buildings, my master plan will both visually and
functionally update their interiors to fit our modern needs.
The most
prominent flaw of the existing UT campus is a lack of synchronization and
coordination. This problem occurred when architects ignored CretÕs master plan
in the Õ60s and Õ70s, favoring modern buildings such as the Communications
building and the UTC. Architects for such buildings put function before design,
avoiding much thought concerning aesthetics; these buildings are
forward-looking and modern, but as a result, do not fit with the traditional
college campus. According to Stern, ÒIt takes a great architect to wield an
invisible hand.Ó [1] The
organization of buildings and space on campus should flow in a natural way; the
transition between old and new buildings should be seamless. If architects had
stuck with one style throughout UTÕs campus, dated-looking buildings could have
been avoided. I agree with McKinnell when he says, ÒContext is vital on
campusesÉItÕs important for a campus building to match its surroundings.Ó [2]
This is true regarding the 
campus in
relation to its natural surroundings as well as its buildings in relation to
each other.
My ideal
campus will pay close attention to this relationship; it will remain true to
the Spanish roots of Paul CretÕs design, which is reflective of the Texas
heritage and landscape. These buildings and the materials used in their
construction relate to the Texas climate, making them suitable for UTÕs campus.
The Spanish style brings to mind a collegiate, classical feel without being too
lofty. Plateresque arches, red tile roofs, and overhanging eaves providing
shade from the Texas sun will be regular elements of the buildings on campus.
The light color of the native Texas limestone keeps the atmosphere from
becoming dreary or foreboding. The very makeup of this stone is perfect for a
college campus: the impression of shells within the stone symbolizes a
connection with nature as well as a studentÕs personal pilgrimage to find his
or her self.
All
buildings irrelevant to this pilgrimage and not of Spanish design will be
rebuilt or remodeled in order to match my campus. Also, buildings will be
regulated in height, with no building exceeding four stories above the ground;
this way, they will remain closer to the ground and truer to the natural world.
Rather than increasing the height of buildings, floors can be placed
underground, thus creating a regulated, consistent campus. These buildings will
also be grouped according to academic focus; buildings will be arranged by
major and area of study, easing studentsÕ everyday walk around campus.
Additionally, more emphasis will be placed on openness and landscaping by
creating natural spaces between buildings. I will add several water
features—fountains, ponds, and creeks—creating a more natural feel
around campus. At the base of the tower, the highest point on campus, will be a
central water feature: a large fountain. Man-made streams will flow from this
fountain, divide the campus into sections, and culminate at a base fountain.
This water running through campus will not only be aesthetically pleasing, but
will also remind students of their part in the natural community and their
interconnection with all life on Earth. Native Texas trees such as Live Oaks
and Pecan trees will line walkways and scatter across some of the grassy quads,
creating
tranquil places for study or relaxation by bringing students closer to nature.
To stimulate the right side of the brain, more art will be integrated into
campus; symbolic statues that relate to their areas of study will be found near
their respective sections of the campus. These statues will span a variety of
artistic periods while remaining timeless and beautiful in their own right. A
series of sculptures that relates nature to the man-made will be placed throughout
campus, much like Dale ChihulyÕs glass sculpture installations.
One
of the most important aspects of my campus is the combination of the old and
the new—finding a way to relate the knowledge and love of discovery we
have gained from the past to the new and developing technological world around
us. This will be seen in the combination of elements found in Sutton Hall and
the Harry Ransom Center. There are
aspects of these two buildings that will fit my
ideal
campus. The general construction, design, and idea behind Sutton Hall, which Òestablished
an appropriate and distinctive vocabulary of materials with cream-colored
limestone, buff-to-orange brick, red tile roofs, and terra cotta detailing,Ó [3]
fit the consistent Spanish feel of my campus. The windows in the Harry Ransom
Center, depicting famous works from Shakespeare to Dorthea Lange, are 
interesting
and stimulating. My suggestion is to combine these aspects onto one building by
adding frosted glass to the Spanish-style buildings, visually linking the
viewer to the past and the present at the same time.
A further
continuation of this integration of old and new lies in the redesign of
building interiors. While the visible exterior of campus is extremely
important, beauty and design is too often ignored inside buildings. The
interiors of buildings need to be updated and modernized to serve our current
needs and contribute to a studentÕs sense of learning. The interior hallways
should be more decorative, with spaces for students to engage in conversation
or study. Within many of my buildings, hallways will be opened up and interior
versions of the long, flowing benches similar to Gaud’Õs at Parc GŸell will be
installed. Another idea borrowed from Gaud’ will be the use of brightly colored
mosaic tiles as decorative accents, both inside in hallways and outdoors on the
many fountains. 
The
most obvious spaces contributing to learning are the classrooms themselves. On
my campus, classrooms will be varied in size with emphasis on roundness in
order to promote a sense of contribution and individual importance. In smaller
classes, students should be able to engage in round-table discussions where the
teacher is both a leader and a member of the group. In larger classes, students
should not feel alienated from the teacher or from each other. Circular or
rounded classrooms with students surrounding the teacher will contribute to a
healthy, communal atmosphere rather than a room divided. As valuable as the
structure of the classroom can be for learning, the most important part of the
classroom should be the people within it. The white interior walls should be
slightly tinged with a color that motivates learning. However, the
excessive use of color should be avoided in order to prevent distraction. For
example, yellow and orange encourage stimulation and creativity and also Òincrease
oxygen supply to the brain, producing an invigorating effect and [stimulating]
mental activity.Ó [4] I will also
avoid using fluorescent lighting in classrooms. The interiors of classrooms
should not feel restricting and suffocating to the students, but rather like
natural support systems where students enjoy spending time.
Additionally,
the location of a university campus is crucial; this can determine if the
campus is a place students want to be or a place from which they long to
escape. One attractive aspect of the current UTÕs campus is its interconnection
with the city of Austin. Retaining
this blend of community, place, and academia on campus is important in my
master plan. The UT campus must be a distinguishing feature of the city, while
the city must play a major role in the character of the campus. Thus, it is
important that campus remain relatively open to the city in order to encourage
the examination of the outside world, utilization of knowledge, and the
continuation of learning.
Serving as a visual representation of this ideal
campus is my Second Life Òvirtual campus,Ó which has two parts: a display
building and a functional building. The exteriors of both show Plateresque
arches installed with modern windows (made combining images of Sutton Hall and
the Henry Ransom Center). I have used red tile as a roofing material,
reflecting the Spanish/Mediterranean style of my campus. Flooring in both
buildings and the walkway between the two are made of Texas limestone.
The first,
larger building serves as a showroom of ideas I will implement on my campus.
Walls in the first room of this building display features that will be
added—the elements of Spanish architecture, the use of landscaping and
instillation art, and the application of Gaud’ tile. These display walls are
embedded with related portions of my paper. The focal point of the second room
in this building is a three-dimensional model of my campus layout, which serves
to show how fountains and man-made streams will divide the campus. The walls in
this room are decorated as classrooms would be on my campus; they are a subtle
tint of yellow with a simple tile border, which is motivating yet
non-distracting.
The space
between my buildings is a representation of how I will treat landscaping on my
campus. The focal point of this space is a large fountain, decorated with Gaud’
tile. This fountain is embedded with a paragraph from my paper.
Landscaping,
including a fountain, plants, and instillation art, between buildings. Photo:
Second Life
Around this
space is a placement of plants juxtaposed with glass instillation art. The
instillation art mirrors the shape and color of surrounding plants, creating a
visually stimulating area on campus. This space shows how the natural world can
be replicated within a college campus, creating a closer connection to earth.
Dividing this outdoor space is a simple limestone path, which connects to a
smaller building.
This
building serves as a representation of a hallway or foyer that would be found
on my campus. I have created an undulating, Gaud’-inspired bench that is
decorated with a colorful tile texture. This space is designed to be
interesting and relaxing, where students can pass time between classes chatting
with each other or doing work.
This combination of virtual spaces—a showroom, model, landscaping,
and bench—serve to demonstrate the feel of my master plan as an updated,
inspiring, yet classical Spanish campus.
This campus master plan will teach the importance of connecting with
our past while looking forward to the future of our dynamic world. I will
accomplish this goal by keeping the Spanish-inspired exterior of buildings,
paying close attention to landscaping and space, and modernizing the interior
of buildings. Students will feel a sense of belonging on my campus, which will
be comfortable and stimulating, both intellectually and visually. My plan is
perfect for the University of Texas because it is both classic and modern; it
will stand the test of time.
Total Word Count: 1854
Word Count without quotes: 1793