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signal fires: Dallas’ Fire Stations by .J Claiborne Bowdon
// fire station 33 - photo: michael lyon
// laman residence photo: dror baldinger, aia architectural photography, mark menjivar photographer
// groveland house - craig kuhner architectural photography
// fire station 37 - photo: charles davis smith | faia
“As the landscape of the city evolves, our department must also evolve to reflect those changes.” It’s a simple statement of approach, delivered at the opening of the new Firehouse 37, and the circumstances that make the approach necessary, but to me it captures the moment we live in in a way nothing else quite has. Dallas’ Fire and Rescue Department is evolving, and just like the city itself it’s doing it at a remarkable pace, and-just like
Dallas itself- not just aesthetically, but functionally. Dallas as a city isn’t just a few destinations anymore; suddenly we have neighborhoods that are more than just areas with names. From West Dallas to East you can find thriving blocks of restaurants, bars, coffee houses, venues, and shops in lovingly renovated developments that sit comfortably alongside contemporary construction projects. This is the key to the distinct personalities that have emerged to burnish the names of areas that used to just
// fire station 37 - photo: charles davis smith | faia
be mentioned for the sake of location. As a city we’ve taken on the model of rejuvenating heritage structures and filling in the gaps with distinctive buildings of our own time, and this is just as true for the new fire stations as it is for any of the mixed-use developments that are popping up across the metroplex. Fire Station 37 designed by Dewberry, replaced the original, 60-year-old structure. Like the other fire stations featured in this article, Fire Station 37 is a LEED-Gold certified, carbon neutral building with the added benefits of
// aldwick residence - charles davis smith faia architectural photography
solar water-heating and geothermal heating and cooling systems, but the most impressive feature of this facility is the door system. Most fire stations have bay doors that open by either flipping or rolling upwards. Fire Station 37 was designed with a Four-Fold Door System. Brian Meade, one of the designers for Dewberry on the project, explained “we always start with these in our design budgets since they help reduce response time for the fire trucks to get out. They open in half the time as traditional sectional doors.”
// re station 7 3 - photo: charles davis smith | faia
// cobalt homes | nimmo architecture
// 16 vanguard way photo: thad reeves aia // fire station 37 - photo: charles davis smith | faia
It’s something that might not occur (hadn’t, clearly) to most people, but prescient strategy in service of the firefighters to help them do their jobs is just as important to these architects as the visual impact of the structurethough clearly visual impact is a concern as well. The building is unmistakably a structure built for today. It has a robust industrial presence highlighted with a life-instilling
and eye-catching border of red that Meade describes as “a symbolic, natural choice” to accentuate the shape and levels of the building. The design certainly isn’t shy, and it’s easy to see how it could “herald” the revival of northeast Dallas. This is a building that stands in sharp contrast to its surroundings, but as a symbol of reinvestment in the community it also proposes itself as a model of what will likely come in its wake.
Celebrate America // architect bentley tibbs photo: charles davis smith faia
// ooswouder residence - dror baldinger, aia architectural photography
Fire Station 33 is located on West Illinois Avenue, in between South Hampton and I-35, in the heart of Oak Cliff. Anyone that has been to one of Dallas’ best examples of a neighborhood revival knows that Oak Cliff is largely made up of heritage structures that have been standing for generations. Most of its residents have put considerable effort into restoring and giving new life to the modestly-sized Tudors that are the hallmark of the area. Bearing this in mind, it’s both sensitive and clever of BRW Architects, the
// fire station 33 - photo: michael lyon
firm behind Fire Station 33, to simply refresh the brick, bunker-like design that most of the older fire stations in Dallas have in order to more comfortably nestle the new station into its surroundings. It’s not a contrarian structure, defiantly exulting a style all its own, but anyone that would call it a “compromise” and consider that a slight is missing out on the subtlety and surprises that meet your gaze as you approach it. The awning that shields
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// fire station 33 - photo: michael lyon // 17 vanguard way - charles davis smith faia architectural photography
you as you approach the entrance reveals itself as a colorful collage of images- lit from above by the very sun it’s protecting you from. As with Fire Station 37, Fire Station 33 improves on its green bonafides by adding an ample clerestory of windows to act as a natural-light welcoming crown for the building. Less need for artificial light equals less energy expended, but, as BRW Architects’ website romantically intones, when artificial light becomes necessary in the evenings the windows “glow… as a symbol of protection for the community.” The idea of the station itself being an entity of safety isn’t so far-fetched. A fire station is much more active, with more moving parts, than your
average building, and the designs of these new stations reflect that. Fire Station 33 might look inert and straightlaced were it not for the columns-done in a much needed splash of joyful yellow-that, rather than standing vertically, are angled to project outwards to give a sense of spreading over the area that nicely compliments the protective glow the building casts at night. Fire Station 27 is the first multi-story fire station to be built in Dallas in 100 years (Fire Station 11 on Cedar Springs was built in 1909, and the fire station that is now the Dallas Firefighters Museum was built in 1907), and not because
// fire station 27 - perkins + will
of ego, but necessity. It’s officially a two-story structure, but as Ron Stelmarski of Perkins+Will, the design firm behind Fire Station 27, pointed out “Really it’s a three story building with the underground parking.” Located on Northwest Highway it boasts a potential LEED Platinum certification and a sophisticated layout that has more than tripled the square footage of the original station. Perkins+Will had a very tight footprint to work with, and have more than made the most of it. A “stacked” apparatus bay design helps by compartmentalizing the focus of each area and floor- this allows the western half of the
street-level floor to be devoted to the fire engines, which can pass through either the front or the back of the structure which improves both response time and reduces the impact on traffic flow. Obviously, as Stelmarski remarked, “You don’t want to clog up Northwest Highway,” and he and the other designers at Perkins+Will found a way to make the entrance and exit transition more gentle, and the pass-through design possible, by rotating the structure 90 degrees. It’s a brilliant example of economy that also gives the area a thrilling, significant new addition to its architectural landscape.
// fire station 32 - photo: parrish ruiz de velasco
// fire station 32 - photo: parrish ruiz de velasco
Fire Station No. 32 designed by BRW Architects is located in a neighborhood lacking an architectural identity, Fire Station 32 replaced a 60-year-old fire station which was under-sized, under-equipped and could not be renovated cost effectively. The new replacement station doubled the size of the previous building, and has had a positive impact on the way the Fire Department provides services to the community.
The new facility displays muscular brick forms balanced with the decorative qualities of exposed structural beams. Cement panels and large panes of glass complete the low-maintenance facades while bringing a defined sense of character to the site.
Fire is an uneasy force to live with. It can ravage acres of trees and pastureland, but afterwards the scorched remains of the plants create remarkably fertile soil for the regeneration of everything it took away. It has allowed us to keep warm, find our way in the dark, forge tools, fly, and in one form or another it provides the energy we need to generate electricity. The same qualities of loss and rebirth and innovation are just as much a part of gentrification and development. These fire stations are perhaps the best examples of how Dallas is coping with its new identity. Their overall look is a reflection of the areas they occupy, but the structures themselves are all made for a more efficiently managed future- especially in terms of making sure that the fire department can attend to the growing needs of the community. “Dallas is on fire right now” is a pretty common phrase going around town. We’re reshaping ourselves, and others are reshaping us as well, in that fire, and despite losses sustained and those that have yet to come to pass it’s all working towards a better Dallas: more navigable, more alive, and more safe thanks to the careful planning of multiple design firms and the initiative of the Dallas Fire Department and Dallas itself. // fire station 32 - photo: parrish ruiz de velasco
RIGHT DOWN THE LINE // linnea glatt. pierced 1 # , 2011. graphite on perforated mulberry paper. 18 × 18 in..
by Kendall Morgan
// learning to draw installation view
With his current “Learning to Draw” show, Barry Whistler pushes the definition of what drawing can be. Immediate. Affordable. Transformational. These are just a few adjectives used by artists themselves to describe the act of drawing. Often the very first artistic practice a child undertakes in their life, drawing represents—for fine artists—the idea’s genesis. This is why Whistler’s current “Learning to Draw” exhibition is a must-see for artists and collectors alike.
I thought it was a really interesting idea, putting all that work together,” says Linea Glatt, who has a piece in the show. “It’s a real study for students and maybe a teachable moment for collectors because everybody does it differently.” Says artist Jay Shinn of the salon-style exhibition, “Barry has a great eye and is a great curator. I think this is one of his best shows because he combines the work of so
// installation view - photo: allison v.smith
many artists, and it all flows. I love how he juxtaposes so many different ideas.” In the exhibition, drawing is defined so loosely that a book by R. Crumb, machine-honed photographs by John Pomara, “drawings” formed by holes punched by Glatt, and a print from Whistler’s private collection by Otis Dozier are all featured.
“Drawing for most people, it is a beginning,” muses Whistler of his curation, which was just under a year in the making. “I just wanted to provide some context that took it in all kinds of directions. Maybe it’s just my eclectic taste that I’m trying to share, from folk art to cyanotypes that Christopher Blay did to ink drawings by Toni LaSalle to a print by Claes Oldenburg.”
// installation view - photo: allison v.smith
The gallerist had been considering this type of exhibition for years—it’s inspired by both the 2018 opening of the Menil Collection’s Drawing Institute in Houston and a 2014 Dallas Museum of Art show “Mind’s Eye—Masterworks on Paper from David to Cézanne” that highlighted European masters. It was also the perfect show for summer when spaces tend to display the work of artists who haven’t had a show in the last year or might not be likely to mount one in the coming year.
“I was trying to include a handful of artists we represent but go off on a few other tangents if you will. Allison (V. Smith, Whistler’s wife) was poking fun at me, ‘Those aren’t drawings, they’re photographs,’ but it doesn’t say it’s a drawing show; it says learning to draw. It gave me the liberty to put a painting in and have that kind of variety.” Dallas, New York, and Berlin-based talent Shinn typically
// installation view - photo: allison v.smith
works with projection, painting, and neon. Faced with a shutdown of his practice during Covid and health challenges, he found returning to the beginning of his practice with colored pencils on paper was both enervating and healing. “Drawing really is a very broad word for me,” he explains. I’ve worked in neon for years, and neon is very much an extension of line. Drawing is where I started, and it is still the best way to pull ideas forward. I went pretty much
exclusively to drawing for a year, and these gold and silver colored pencil pieces (in the show) came from out of that time. With line and stripe, I was trying to build up a space that was grander than it actually was.” Known for transforming fabric into three - dimensional objects, Linea Glatt took a more minimal approach with her contribution to “Learning,” piercing mulberry paper patterned with graphite with a sewing needle. With a
// installation veiw, four framed toni laselle ink on paper from 1980
background in sculpture and public work, she admits her definition of drawing is “loose,” yet she appreciates its role in defining her more involved pieces.
of all these different interpretations of what a drawing can be. Drawings can be made out of mud—you can’t look at the media you’re using; we’re beyond that at this point.”
“To me, drawing seems to have become a means to an end, but I’ve always looked at it as figuring something out. It’s an investigative tool where I can move faster than maybe in another medium, an entry point, and a way of conceptualizing. I think the point of the show is to show a wall
Texan artist John Pomara has been challenging the definition of the medium since he first started showing with Whistler in the late ‘90s. The gallerist was inspired to work with Pomara after he viewed a group of tonal pieces featuring smeared dot patterns the artist created via a photo
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/ john pomara, - digital-distraction 4 ink on paper 22”x17” inches 2022
copy machine. For “Learning,” three works from the artist’s 2021 “Digital Debris” series were made through printing copy ink in layered images. The result resembles a glitchy test pattern on a broken television set, yet Pomara says it still qualifies as a drawing to him. “When I was in grad school in New York in the early ‘80s, I learned that in Europe, anything on paper is called a drawing,” he explains. “It’s more of a European outlook, but now because printing has become so common and digital, everyone calls it a print. I think there’s an immediacy of mak-
// installation view, john pomara’s unique archival ink jet works on paper
ing a mark (in a drawing), and I make my marks through technology.” Whatever form it may take, Whistler hopes time spent contemplating the show will stir every viewer’s creative impulse, sparking their imagination and enriching their daily lives.
“We all draw, and at a certain point, we think we’re not good at it and stop doing it. I remember seeing John Lunsford, the expert in pre-Columbian art at the Dallas Museum of Art, who would do these amazing doodles on his desk. We can all do that and choose to take it further, explore other avenues and get better at it.” barrywhistlergallery.com
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UNBUILT DREAMS by Hardy Haberman
I love seeing architects dreams. Their ideas soar off the page and construct themselves in my imagination. Having several designers and architects as friends I know that not all the concepts see the light of day. Those unbuilt or yet-to-be-built projects are the subject of the American Institute of Architects - Dallas “Unbuilt Awards” for 2022. Their purpose is to recognize outstanding work by local architects and honor the collaborative efforts of architects,
clients, and consultants who achieve design excellence. “The Unbuilt Design Awards represent a fantastic opportunity to recognize architectural work that doesn’t yet or may never exist; so much of our work as architects goes unbuilt and unseen by a larger audience.” said Unbuilt Award juror Natalya Egon, AIA, NOMA.
“It has been a pleasure to get a snapshot of what architects in Dallas are working on, and to see it through different lenses of scale, typology, and context.” It is a pleasure indeed. The winning projects this year include two of particular interest to me since both were proposed for Dallas.
One is entitled Deep Rooted Ellum from Corgan, a Dallas firm with over 80 years experience and projects around the globe. Their local projects include the new Parkland Hospital and the CityLine Development in Plano.
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Deep Rooted Elum I spoke with Unmesh Kelkar, Project Designer at Corgan about his award winning design. “The theoretical design is for the Deep Ellum Dallas Service Center,” he told me. “The problem was how to better utilize the site.”
The land now is a mix of utilitarian buildings and storage space for city equipment and vehicles. Unmesh noted, “This proposal is inspired by the deep-rooted culture of Deep Ellum and builds on this character to solve its two biggest fears: the threat of being taken over by high rise corporate development and unsafe walking conditions. The three main objectives of the proposal are
creating a 24-hour neighborhood, enhancing walkability, and ensuring ecological and economic sustainability of the area.” Deep Rooted Ellum takes a lot of inspiration from Jane Jacobs and her ideas of keeping block size in control. It creates interesting spaces at every turn. “Sometimes you design something and it becomes an alien concept,” said Unmesh, “This design is intended to
merge into the character of the neighborhood.” The design includes lots of walking streets and “slow streets” with reduced speed limits to calm traffic inside the blocks. It also features 6 blocks of housing and includes the concept of urban farms which would create somewhat of a Circular Economy. These farms would sell crops to the local restaurants and stores helping to subsidize rent for shared equity housing that is also part of the plan.
Rather than a rigid blueprint for construction, the project is a guideline for development that assures whatever is built fits the ethos of the neighborhood. It keeps block size small and provides lots of open spaces that can be utilized for special events and neighborhood activities. For Unmesh Kelkar the recognition of his work on the proj-
ect has been transformative. “I started working in 2019 at Corgan” he said, “ and it’s a big push for myself to hone in on conceptual ideas even more.” The project though very “high-concept” has real world benefits that could create a vibrant expansion of the Deep Elum neighborhood. I look forward to seeing its progress.
Fair Park Parking Garage Another winner is the Fair Park Parking Garage by Gensler At first thought you would hardly expect a parking garage to be a winning design, but this is no ordinary parking garage.
I spoke with Justin Bashaw, the project’s design director at Gensler. “We took our inspiration from the park itself and the local ecology of backland prairie,” he said. “We drew inspiration from natural forms to soften the unnatural form of the garage.” In 2020, Fair Park issued a revision to its master plan to include a 14 acre community park as well as a parking
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structure to recapture the parking that currently resides on the site. ‘Working with Fair Park First’, said Justin, “we included the idea of ‘hiding in plain sight’ in the original proposal. We wanted to immediately immerse visitors so that once they leave the foot print of the garage they are in the park” Hiding in plain sight is also in deference to the surrounding
community. The site has a long and sad history. In 1969, 300 families were displaced as the city used eminent domain to acquire the land for additional Fair Park parking. The community park and the design of the parking garage is a way to help rectify the past and provide the existing community with better access and more amenities. The community park has the garage integrated into the
design, providing over 1600 parking spaces as well as 80,000 sq. feet of operational facilities all tucked into the structure. According to the designers, “In order to compliment the uses of the park the garage site will focus on partnership programming associated with large park events to enhance the guest experience. This programming will take advantage of the site’s unique differentiators: height and views, creating spaces that are flexible and that allow a variety of uses that support the park.”
To achieve the goal the design actually allows the park to flow up and over the garage structure through a series of berms. Taking advantage of the garage’s height creates a new public space for Dallas, a town unfamiliar with dramatic topography. The landscaping and design will encourage people to engage in an outdoor activity rather than use the elevators. There are elevators of course, but the design will offer a compelling experience that will invite guests into the park. The exposed structure has also been repurposed to engage in and active way as well. A climbing wall adorns
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the facade of the garage elevators and the rooftop terrace features concessions and restrooms making it a space perfect for public and private events. When not in use, it can provide a serene vantage point for guests to relax and enjoy the view across the metroplex Justin noted, “the pathways accessing the levels are
sunken into the berms rather than just laid on top of them to add to the immersive experience”. Public spaces abound in the project and an event plaza is nestled near the shaded serpentine walkway that leads to the upper event deck. It is truly a garage unlike any other.
The berms and other artworks will be constructed of reclaimed soils from the initial excavations meaning that the rich blackland soil will never leave the site. Something Justin called, “re-wilding the prairie.” This project falls squarely in the yet-to-be-built category, but groundbreaking is expected sometime later this year. As a lifelong resident of Dallas, I look forward to this creative and imaginative addition to Fair Park, a place that
is not just a national historic landmark, but the focus of many fond memories throughout my life. Both Deep Rooted Elum and the Fair Park Garage are well deserving winners of the AIA-Dallas Unbuilt Awards and with luck they won’t be unbuilt for long. aiadallas.org
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// a unique and practical piece, the gallery cheese board with knife available. nambe
calendar your modern
Modern events and activities make for fun around the Metroplex.
THE FUTURE OF FAIR PARK Dallas Architecture Forum
WALKING TOURS Discover the Arts District + Fair Park Tram Tour Ad Ex
SUMMER SIZZLERS Preservation Dallas
LONNIE HOLLEY + BORNA SAMMAK + JOSEPH HAVEL NATALIE WADLINGTON Dallas Contemporary
LYNDA BENGLIS Nasher Sculpture Center
CARTIER & ISLAMIC ART: IN SEARCH OF MODERNITY Dallas Museum Of Art
JOOYOUNG CHOI Crow Museum Of Asian Art
JILL MAGID The Modern Art Museum
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art galleries
Modern art, exhibits, around the Metroplex.
SUMMER GROUP SHOW Valley House Gallery
ANA ESTEVE LLORENS Holly Johnson Gallery
VICKI MEEK Talley Dunn Gallery
SARAH ANN WEBER 12.26
USHIO SHINOHARA Kirk Hopper Fine Art
LEIGH MERRILL Liliana Bloch Gallery
BOTTOMLAND Sweet Pass Sculpture Park
DON SCHOL + PAM BURNLEY-SCHOL PDNB Gallery
NISHIKI SUGAWARA-BEDA Cris Worley Fine Arts