Overland Board Chairman Madison Smith (right) and outgoing CEO Rick Archer, FAIA, (left) appoint Principal Adam Bush, AIA (center) to President with eye towards firm’s future growth. ©Overland Partners, Inc. 

Overland Partners, a Texas-based architecture and urban design firm known for award-winning design work in Texas as well as the United States and abroad, has appointed Adam Bush, AIA, as their new President. Bush, who recently celebrated 16 years with the firm serving as Principal and Director of Overland’s Education practice, will lead Overland into the future, transitioning from a founder-led firm of four individuals that began in 1987 to a group of over 90 employees in San Antonio, Dallas, Denver, Salt Lake City and New York with an eye towards future growth.

“We are aligning our business structure with our core values of including new and relevant viewpoints and voices into the practice of architecture,” said Madison Smith, Chairman of the Board of Directors.

Bush takes over the reins from founding principal and notable architect Rick Archer, FAIA, who served as Overland’s CEO for the last seven years. Archer will continue to practice architecture with the firm and pursue opportunities related to lecturing, publishing, and thought leadership in areas of the built environment and a focus on education, sustainability, social equity, and design that inspires human flourishing.

Bush will continue his practice as an architect while leading the firm. He brings a depth of knowledge to complex building projects and collaborates closely with clients, construction partners and consultant teams to deliver highly sustainable, transformational projects of positive impact. Some of his most recognized work includes Patton Hall at the University of Texas at Austin; the Paul L. Foster Campus for Business & Innovation at Baylor University; transformation of the new Austin Community College Rio Grande Campus; the new University of Texas at San Antonio (UTSA) School of Data Science as well as UTSA’s Innovation, Entrepreneurship & Careers School currently underway in downtown San Antonio. He is a graduate of The University of Texas at Austin and holds a Bachelor of Architecture.

In addition to Bush being named President, the firm has announced the following individuals have been appointed to the senior leadership team:

James Lancaster, Vice President of Studio Operations

Michael Monceaux, Vice President of Architectural Services

Sebastian Ortiz, Vice President of Business Operations

Erika Picard, Vice President of Marketing & Brand

Bush said this is an exciting next chapter for Overland, with a multi-generational ownership structure that empowers young employees to become future leaders while honoring the founding principals who laid a strong foundation for the firm over the last three decades, and who continue to be a vital part of the firm’s future.

“Our new leaders are a vital part of the continuum and legacy of the firm,” said Bush. “We are celebrating a bright future for our creative community at Overland, as well as for the clients we serve,” he said.

Sensitive to environmental and aesthetic contexts, Overland is known for integrating technology, materials, art, and craft to create well-loved places that bring people together. An Architect Top 50 Firm, Overland has received more than 200 international and national design awards and has been widely published at home and abroad.

Overland Architect Jake Hyde Brings Energy to Design Practice, Firm Programs and Teaching UTSA Architecture Students

Resiliency Resounds in His Career and University Coursework

Everything architect Jakob Hyde, RA, WELL AP, does is humancentric. As a young designer, he strives to make architecture approachable, bringing together inspiring design with functionality. Such practice involves a high degree of empathy, not to mention creativity and deep dives into problem solving. But that is where Jakob, “Jake,” excels—researching, understanding, and ultimately creating a project that brings out the best in the people who live and work in the structures he designs.

From an early age, Jake knew he wanted to be an architect.

“I’ve always been obsessed with space, how it feels, and how people interact with the built environment,”

he said. While contemplating the world around him as he grew up, he took that inherent interest to technical school outside of Boston and studied architectural drafting, where he learned the principles of good construction drawing. By the time he reached college, he had a proficient software foundation for all that architecture school had in store.

While attending Wentworth Institute of Technology, where he was enrolled for five years across bachelor and master’s degree programs, he was immersed in the fast-paced energy of Boston. “I was thrust into an urban environment, and I quickly learned that it opened up a new window for me to study the ebb and flow of the city, the interaction of people with the built environment, and each other,” Jake said. The highlight of his university experience was the vibrant studio culture with open and collaborative dialogue that was part of each project. “I am a narrative thinker, so transforming robust words into graphics and diagrams is a natural process for me, and one that I was able to refine during my college experience,” he said. That same culture allowed him to test ideas in new ways and understand the collective impact of working as an individual, and as a member of a team.

“Working in teams can offer a multitude of perspectives on design, which many times is the best way to create impactful architecture,” he said.

The collaborative atmosphere he enjoyed at the university, coupled with a strong sense of community, are what attracted him to Overland three years ago. Currently on the design team that works with large universities, Jake said he appreciates the approach Overland employs to unlock the embedded potential of people and places, known as The Human Handprint™.  A human-centered design methodology pioneered by Overland, the firm uses the Human Handprint to guide clients through the design process and bring an intentional approach to connecting each client’s unique mission, vision and values to holistic sustainability and positive human impact. Personally, Jake strives to make architecture approachable, where beautiful design, sustainability and usability converge.

While working as a registered architect in a busy practice and coordinating the firm’s Lunch & Learn programs, what else could the 26-year-old put on his plate? A teaching gig. Jake is a new instructor at the University of Texas at San Antonio School of Architecture this semester, teaching Design 3 to second year architecture students. With a robust syllabus that includes some traditional assignments such as field sketching and modeling, the focus of Jake’s class is environmental resiliency.

The class has been tasked with designing a new community for residents living in San Antonio ten years from now, where increasingly extreme weather patterns yield unpredictable clean water and energy supplies. The studio posits that new structures will be needed to house these displaced populations, and will demand a holistic approach to both durable, long-lasting sustainability.

“We want today’s students to ponder a new model for how Texans should live in this new era of complex climate change, with ecological consciousness and resiliency in mind,” Jake said.

One of the most valuable lessons he tries to instill in his students is the understanding that the strongest and best ideas make use of careful, constant, and rigorous attention. “Not unlike editing a story, students are learning it takes many iterations to achieve something that provides value. And even then, it’s never finished,” said Jake.

While working with eighteen students over sixteen weeks, Jake not only hopes to expose pragmatic applications of architecture to the class, but also foster a closer connection to the design community at large. “I hope to use this opportunity to not only cultivate skill and design development, but to try and bridge the gap between the academy and practice,” he said. “Those two worlds can sometimes be disparate things. In doing what we do – as architects – you need a constant and continuous connection to both. I feel teaching can make you a better architect, and practicing makes you a better teacher – ‘iron-sharpens-iron’ that way.”

With his affable personality, creativity, practical design knowledge, and a deep appreciation for what collaboration can do, Jake hopes to shepherd a new generation of architects – or, as he puts it “at least these eighteen” to inspire thinking about collaborative problem-solving and the power of design to elevate communities. Optimistic about his students and the semester, Jake is looking for opportunities to bring Overland staff into each of his project reviews. “We have a really talented, creative community here at Overland whose feedback is pretty invaluable to me on a daily basis,” he says. “I’d be a fool not to employ that in a crit room, too.”

Rendering © Overland Partners

Zion and Other National Parks Expected to Expand as Outdoor Experiences Soar After COVID-19

Lace up your hiking shoes, grab your water bottle and head to your favorite park! Tomorrow, Saturday, June 4, marks the 30^th anniversary of National Trails Day, an event created by the American Hiking Society to promote discovery, education and stewardship at nearby parks. As Saturday approaches, Friends of Government Canyon will host hiking and native plant events in San Antonio, and Texas Parks & Wildlife has several parks featuring special events to commemorate the day.

Since COVID restrictions were lifted in 2021, visits to national parks have surged, increasing by 10 to nearly 30 percent (cnn.com), demonstrating the desire we have to connect with the natural world and each other through shared outdoor experiences. While communities and counties seek to explore and enjoy these special natural spaces, the need to expand the scope of our National Parks has become evident. One such example is Zion National Park, Utah’s first national park, and number ten of the most visited national parks in the U.S. (nps.gov), hosting five million visitors a year. With nearly 150,00 acres and diverse terrain—red rock desert, towering forests and spectacular vistas—outdoor enthusiasts clamor to visit Zion.

The west entrance to Zion, in the town of Springdale, provides the gateway for 80 percent of the visitors to the park. Its stunning plateau prairie landscape hosts a lodge that tucks overnight visitors into a private retreat. Expansive views, sandstone peaks, starlit skies and a roaming heard of bison on a 300-acre preserve are part of the attraction.

Overland was engaged to create The East Gateway—an alternate point to the park that is designed to take pressure off the west entrance and rethink how to create an authentic gateway experience to a National Park that is memorable and prioritizes conservation. The East Gateway will include a new Visitor Center, café, restrooms and full-service National Park lodge, and be a launch point to the vast trail system within the park.

Gateway Entrance | Rendering © Overland Partners

As visitors near the east entrance, they will encounter Applecross Station, where a roundabout will slow and organize vehicular traffic, and offer ample tree-shaded parking. Shuttle service will transport guests to the nearby Visitor Center, centrally located to the hub of activity at Applecross.

Overland, known for connecting architecture to the surrounding landscape, is incorporating materials into the designs that reflect the natural colors and textures found throughout Zion’s east gateway. Locally quarried sandy sandstone, beetle-killed wood, and weathered steel compose the building envelopes. The pale yellows and sage green colors of native grasses around the buildings are accentuated with brightly colored flowering native plants in the courtyards. The geologic formations of the site, the hills and the canyon, define the visitor center site and are the backdrop for the architecture.

Introducing visitors to Zion National Park, the purpose of Apple Cross Station is to be a starting off point to educate visitors about the historical, cultural and environmental significance of the place and make the most of the time in the park. A covered gateway leads to outdoor information stations with maps, trail descriptions and details for visitors planning their excursions. The exterior of the center blends beautifully into the landscape with its stone finish from the nearby Zion Mountain Ranch Quarry. Awe-inspiring views and peaceful places to sit both inside and outdoors encourage visitors to linger while waiting for shuttles. Apple Cross Station’s Visitor Center and surrounding buildings offer protection from the elements while relying mostly on passive strategies, only supplemented by very efficient mechanical systems. Sustainability informed the entire project, from the site plan and building materials, to the water and energy conservation strategies.

Outdoor amenities include spaces designed to provide options for thermal comfort appropriate for all seasons. Deep shaded porches and tree covered places provide cooler spots to enjoy during the summer while siting structures to capture prevailing breezes offer natural ventilation and cooling. Sunny areas are exposed in the winter, allowing visitors a place to enjoy the warm sunshine, and a communal outdoor fire pit will be enjoyed during cold nights. A water channel will run through the Visitor Center site and will transport clean water from a treatment plant to the agricultural fields to irrigate crops that will be consumed at the on-site restaurant.

Adjacent to the Visitor Center is the Café, a free-standing restaurant offering patio dining and a menu curated to local harvests from the organic gardens and greenhouses. An inviting courtyard with an herb-infused water filling station, orchards, natural gardens and walking paths connect to trailheads. The nearby restrooms building boasts a green roof that aids in natural insulation and adds to the outward aesthetic.

The new East Gateway connects visitors to the land and culture, creating experiences that celebrate the natural beauty and ecology of the park. Overland’s sensitive approach to protect the valued natural assets of East Zion starting with the visitor amenities and eventually lodging, will be carried throughout the design and construction process. A grand lodge, planned for the future, will be tucked into the surrounding cliffs with views into the park.

This project is fully funded; anticipated construction is slated to begin Fall 2022.

Anne Krause, Executive Director, Hemisfair Conservancy recognizes Overland with tree dedication and tribute. Image Copyright Overland Partners

“The true meaning of life is to plant trees, under whose shade you do not expect to sit.” — Nelson Henderson

This majestic elm tree is dedicated to Overland Partners Architects who saw promise in this park. Just like this elm, Overland’s vision began as a seed of an idea planted in the heart of the San Antonio community – Hemisfair. Watered with creativity and resolve, cared for by Overland, civic leaders and a band of passionate citizens with a shared vision of urban revitalization, new life continues to spring from their efforts.

Our elm recognizes Overland’s leadership, dedication, and countless hours of volunteer service to re-envision the San Antonio community and unlock its enormous embedded potential.

Hemisfair Conservancy recognizes Overland with tree dedication and tribute. Image Copyright Overland Partners

In 2005 when the Overland team, led by Madison Smith and Rick Archer, began reimagining the area, the first step was to address the challenges Hemisfair had suffered over the years from the lack of an effective master plan. They created a concept in the hope of prompting community conversations about what Hemisfair should become. As word of the concept spread, a stream of business and community leaders visited Overland’s offices to see the concept, and the conversation gained interest and momentum. Among them was then-Mayor Phil Hardberger, who set up a taskforce to explore Hemisfair’s redevelopment.

Hemisfair was included in a 2007 bond package that earmarked $3.2 million for general upkeep, part of which was used for the restoration of two historic homes and the surrounding grounds: Eager House and Carriage House, serving as the cornerstone in Hemisfair’s redevelopment. Carriage House was completed in 2012, the same year the long-awaited master plan was approved.

In August 2009, newly elected Mayor Julián Castro and the San Antonio City Council established the Hemisfair Park Area Redevelopment Corp., aka HPARC, a 501(c)3 nonprofit local government corporation governed by an 11-member board comprised of local leaders and two city executive staff members. The working board of highly skilled volunteers brought a diversity of talent from architecture and design, fine art, history, finance, marketing, and development. Overland’s Madison Smith chaired the initial board (2009 – 2013) and recalls the passionate energy and significant contributions each board member made. “We had no staff for two years,” said Smith, “so we were the staff. Everyone chipped in and we got things moving forward and done.” “Our conversations were lively, deep and meaningful. We engaged our neighbors city-wide and built real alignment while forging a strong partnership with the city,” Smith recalls.

Overland Principals Tim Blonkvist (left) and Madison Smith (right) stand with Hemisfair Conservancy CEO, Andres Andujar (center) in front of the elm tree dedicated to Overland. Image Copyright Overland Partners

The board built upon the fond memories and experiences of HemisFair ’68 and recast it in a contemporary light, connecting the past and future. They created a robust community engagement plan that showcased a vibrant, active urban park district that reintroduced people to downtown. The resulting vision was and still is to develop one of the world’s great public spaces. Private development stimulated by public investment is the economic driver.

The board’s first hire in 2011 was Andres Andujar, who was an active board member through the end of 2010, with a strong background in design and urban development. His vast experience in large civic projects included the Denver airport expansion, and the creation of the River North District and the redevelopment of Houston Street in San Antonio. “Overland’s critical role was creating a vision to kindle a conversation as to how to reimagine Hemisfair,” said Andujar, CEO of Hemisfair Park Area Redevelopment Corporation. “I see my role as carrying that vision forward.”

With Andujar at the helm, Hemisfair’s Master Plan of an urban district is centered around two parks – Yanaguana Garden and Civic Park – and weaves in residences, businesses and dining spots. Yanaguana Garden opened in 2015 with 4.1 acres of lush landscaping, towering arbors, plentiful shaded seating, adaptive play equipment, a sand play area and a splash pad. To call it a success is an understatement: The garden has hosted more than 3.5 million visitors – and 84 percent of them are local residents.

Civic Park at Hemisfair, a nine-acre signature green space, is currently under construction and phase 1 is expected to open in 2023. It will feature a large public plaza and courtyards, an event lawn and stage, and a connecting promenade that links to areas beyond the park. Water flowing through fountains, channels and pools, will tell the story of San Antonio’s deep historical connection to the river. The park will offer enriching and captivating experiences, drawing people together and strengthening our community.

The total economic impact of constructing Hemisfair is estimated at $880 million in new economic activity, and more than 4,000 jobs over a 10-year construction phase. When completed, Hemisfair will have an annual impact of $400 million for the San Antonio economy. The park’s impact extends well beyond parks and greenspaces to mixed use development, public/private partnerships and historic preservation.

“Every great city has a great downtown, and every great downtown has a great civic place. For San Antonio, that’s Hemisfair.” – Madison Smith

Overland Partners staff at the Hemisfair Conservancy tree dedication and tribute. Image Copyright Overland Partners

© Overland Partners Architects

The Late, Great American Artist Would Have Turned 98 on May 31st, 2021 

The stars at night are big and bright, deep in the heart of Texas, and sometimes they align to allow a once-in-a-lifetime project to be realized. Such is the case with Ellsworth Kelly’s Austin, the last great masterpiece by celebrated American artist Ellsworth Kelly at the University of Texas’ Blanton Museum of Art. The project came to fruition through a series of discussions among two friends, both UT Austin graduates and both well into their respective careers – architect Rick Archer, Overland Partners’ principal on the project, and art historian, gallerist and agent for premier contemporary artists, Hiram Butler. 

During a trip to New York in the spring of 2012, Butler visited with Kelly and Jack Shear, Kelly’s partner for more than 30 years and president of the Ellsworth Kelly Foundation. They discussed a design for a chapel Kelly had imagined over 20 years before. Butler asked Kelly if he would be willing to donate the design to an institution who would be build it? Kelly agreed with caveats – the structure would be publicly accessible and for a non-religious organization.  Butler reached out to Archer, with the proposition that the chapel be built in Texas. The Butler-Overland team had experience collaborating with artists on architectural projects. They had recently worked with artist James Turrell to bring The Color Inside, a permanent Skyspace installation, to the top floor of UT Austin’s William C. Powers, Jr. Student Activity Center, also designed by Overland Partners.  When Butler and Archer approached then UT President Bill Powers about bringing the chapel to campus, he immediately recognized the genius of the work. Archer recalled Powers saying, “It is quite possible that 50 years from now no one will remember what I accomplished at this university except bring this master work of contemporary art to Austin.”  

© Overland Partners Architects

So began the feverish quest in 2013 to assemble the team to procure funds and build the space, always aware of Kelly’s age, which at the time the project began was 89. Archer said it was a full-on race, with Andree Bober, Director of UT’s Landmarks Public Art Program, initiating the project; Simone Wicha, Director of the Blanton Museum of Art and Veronica Roberts, Blanton Curator of Modern and Contemporary Art, adeptly coordinating the project and procuring the funds to insure the project was realized and Tom Butler with Linbeck Construction providing preconstruction services.  Archer enlisted fellow Overland architect and Skyspace collaborator, James Lancaster as a critical leader of the project.  Together, they collaborated with a team of builders, engineers and artisans that could meet the exacting standards presented by both the artist and project. On several occasions, Archer, Butler, and Linbeck’s Tom Butler (no relation to Hiram) travelled to Kelly’s Studio in Spencertown New York with Blanton leadership. “We executed drawings and worked all hours of the night to obtain his signature on each and every aesthetic decision,” Archer continued. “We all knew that if the documents did not have his signature, the work would not be an authentic Kelly,” he said. 

Once the approvals and funding were in place, a deep collaboration was fostered between Overland Partners, design-builder Linbeck Group, LLC, global engineers ARUP, custom fabrication specialists Carlson Baker Arts, world-renowned stained glass artists Franz Mayer of Munich, and the Blanton Museum staff. Together, team members forged partnerships and pushed boundaries to bring Kelly’s artistic vision to life, while building a museum–quality structure.  

© Overland Partners Architects

Archer anticipated the powerful impact the work would have on the university, the city, and those who visited it, but not how the project, especially time with Kelly, would shape his personal view of the world. “I liken this project to working with Lady Bird Johnson (LBJ Wildflower Center, 1995 ) and artist James Turrell (The Color Inside, UT’s William Powers, Jr. Student Activity Center, 2013) – as you collaborate with them, you get a glimpse of how they think and what they value, and it opens up a whole different level of understanding of the world around you,” said Archer.  

Every aesthetic element of Austin was reviewed by Kelly, who had never been involved in designing or constructing a building before, let alone one for public use that had to meet code requirements and the university’s design standards. Overland’s team collaborated with Kelly on every detail of the design, including the height and exterior material of the structure, entry doors, building proportions, building systems, and smaller points, such as fire alarms and exit signs.  Originally, the entry doors were rendered in hefty steel, but as the design took form during conversations in his home and studio, Kelly said, “I’d like the doors to be made of something that feels and looks more like this,” resting his hands on the ancient oak table where they were dining. A Texas Live Oak that had been removed from the campus and stored off-site was the perfect solution. Pieces of lumber from the tree were hand–selected and repurposed into the main entry doors, a full circle nod to Kelly’s respect of the natural world. 

“Our team was there to advocate the artist’s vision without interjecting our aesthetic views of the design,” Archer said.

Indeed, complex design challenges required creative solutions. Bringing together the best minds in design, engineering and construction to work alongside Kelly, countless decisions had to be reviewed and deliberated.  The exterior material of the chapel is an example. Kelly originally envisioned the exterior to be smooth plaster, but Overland expressed concern that it would not do well in Texas’ extreme sun and heat, and suggested impervious stone instead. After reviewing diagrams of how the chapel would look made of stone, Kelly expressed discomfort with the grid pattern that was presented. Archer then suggested a more random pattern with size and placement determined by a computer algorithm. “Kelly liked the idea of artistic decisions being made by chance and had a history of throwing dice to determine color and pattern on earlier works.  He loved the computer proposition,” Archer said.  

© Overland Partners Architects

The 14 black and white reliefs representing Stations of the Cross, drawn 25 years earlier, were originally conceived to be fabricated of painted steel. Kelly had a very specific ideas of the black and white tones he wanted to achieve, specifically the very pure white. Archer suggested stone for the panels, and Kelly agreed, assuming the exact hues could be located. Through Overland’s international network of relationships, they were able to source black marble from Belgium that Kelly approved and connect with a quarry in Carrara, Italy that had been closed for more than 200 years to procure the same white marble used for Michelangelo’s Pietà. Archer was inspired by the abstract connection and meaning the stone held having been used by one of the great Masters to represent Jesus of Nazareth, while Kelly was unconcerned about its origins and more interested in its aesthetic qualities. “He did not ascribe meaning to his work, per se.  He did not want people to see him, but to see the art,” said Archer.  

What resulted are simple yet bold panels, that when viewed, reflect the luminous windows but seem to absorb the image of the viewer, evoking a deep, organic connection between them and the work. “Pure form and color with spatial unity ultimately defined Kelly’s work,” said Archer. 

Overland leaned into both craft and technology to formulate inventive ways to work with Kelly during the preconstruction phase, given his residence in rural New York. This included hundreds of computer–generated renderings, 3D models, and mock-ups that were exacting in scale, proportion, joinery, and other details in order to convey the artist’s precise visualization of the building.   

Ellsworth Kelly, Austin, 2015 (Interior, facing west), artist-designed building with installation of colored glass windows, black and white marble panels, and redwood totem, 60 x 73 x 26 ft. 4 in., © Ellsworth Kelly Foundation, photo courtesy Blanton Museum of Art, The University of Texas at Austin

While Kelly spent much of his life working on spectrums of color, this was the first project for him to use colored glass. Overland worked with the team from Franz Mayer who provided copious samples of different colored glass to Kelly’s studio.  The studio reconfigured a large overhead door where samples were installed for Kelly to test and study colors. In the final installation, Kelly wanted each window to be flush on interior and exterior walls. Each stained-glass window ultimately was made of three different colors of glass laminated together to achieve the perfect shade Kelly sought. “Franz Mayer perfected the color, and Linbeck assembled and installed each window with no edge detail, executing with perfection this essential component of the design,” said Archer. 

“For the site selection, we presented maps, aerials, and orientation scenarios around the Blanton campus. Kelly reviewed all of the options and drew a star with a smiley face on the spot where Austin now sits,” said Archer.  

Titled Austin, the 2,715 square foot chapel honors the artist’s tradition of naming specific works for the locations to which they are destined. After five years of meticulous design and construction, it opened February 18, 2018, Three years after Kelly’s death.  Austin has quickly become an icon. Its rainbow-inspired stained-glass windows create streams of color that change throughout the day, while 14 large-scale black and white marble panels, and signature soaring redwood totem, channel joy and reflection, an enduring legacy of Kelly and a gift of wonder to the world.  

“Austin has become a center of life on campus, where visitors enjoy a respite, students fall in love, contemplate the world, and where residents and tourists come to enjoy a reflective, sacred experience,” said Archer. “It is exactly how Ellsworth envisioned it,” he said.  

Like the lights of Broadway, the new Oklahoma Museum of Popular Culture (OKPOP) shines brightly on Tulsa’s Arts District as a beacon of entertainment on Main Street. Featuring Oklahoma’s influential musicians, actors and other artist in a wide range of industries, visitors to the new museum will journey through Oklahoma’s creative history, immersed in popular culture from yesteryear through today’s arts, music and culture scene.

The new 55,000 square foot, 3-story building, designed by Overland Partners Architecture + Urban Design in partnership with Tulsa’s Lilly Architects, radiates the toe-tapping energy of early old-time string bands to Western swing, from yodel infused blues to smooth, pop-influenced vocals and well-known generational performers.

OKPOP’s expressive personality shines brightly outward, captivating passersby and attracting visitors with strong angles and its shiny glass and ornamental steel panels. Its street-facing façade, almost 75 feet at its tallest point, dazzles with billboard-like signage and gold tone metal cladding on a cantilevered outcrop that is reflective and glamorous. Visible from historic Route 66 and across from the iconic Cain’s Ballroom, it confidently announces its presence connecting Oklahoma’s pop culture icons from the past and present into the future.

Through film, video, audio recordings, artifacts and cherished keepsakes, guests are immersed in the evolution of music through engaging, rotating exhibits on three floors that also includes a live performance space, an event venue, and a large terrace overlooking downtown.

“It’s like OKPOP has two egos—its outgoing, attention-seeking front face of the building, and its alter ego, the more subdued, contemplative back portion,” said Albert Condarco, Overland Architect, and member of the design team on the project.

Bob Wills’ original tour bus, beautifully restored and fully operational, greet guests and transports them to an earlier time when Wills, who with his band the Texas Playboys, combined jazz and country music to create Western Swing, a music genre that exploded in the 1940’s and endured for decades. While the museum is home base for the bus, it can be taken on the road to festivals and as a traveling marketing mouthpiece.

OKPOP boasts Oklahoma’s influence on culture through the arts, entertainment and media, yet it is more than nostalgia- tinged music and memorabilia. Immersing guests in a multi-sensory experience, Oklahoma’s influence on the pop culture scene comes to life through vivid and engaging exhibits, modern sounds and household-name artists who have cross pollinated Western, Pop and Rock genres, film, television, theatre, pop art, comic books, and literature.

Because of its flexible design, the new multi-purpose event center located on the second floor will accommodate multiple private events and gatherings simultaneously, such as weddings or corporate functions. Featuring a special acoustical system, it is designed for live entertainment, concerts and performances. Depending on the event, the space capacity ranges from 160 to 499 guests.

Nestled on the top of OKPOP, framing stunning views of downtown and Cain’s Ballroom, the Roof Terrace is an outdoor space for smaller, less formal gatherings, such as cocktail parties and receptions. A large, modern metal trellis adds drama and intimacy to the space, while native climbing plants provide shade during hot Oklahoma summers.

According to the Oklahoma Historical Society (OHS), the forward-thinking organization that created the idea to tell the story of “…the creative spirit of Oklahoma’s people and the influence of Oklahoma artists on popular culture around the world,” OKPOP is being built with $25 million in bond funds from the state to feature Oklahoma talents.

Condarco said OHS wanted to create a new building in Tulsa about the history of arts, music, theater and film, while connecting content to current culture. “OKPOP brings visitors up-close and personal to artists, sharing stories and personalities of the past while celebrating the future and connecting it to the here and now.”

“Since popular culture is about different types of cultural products that gain mass popularity and appeal, the museum will continue to explore new artists, materials and genres. Exhibits will change over time to stay relevant,” he said.

OKPOP is being built by General Contractor Nabholz Construction on land donated by Tulsan David Sharp and Interak Corp. in the Tulsa Arts District. The project broke ground October 23, 2019, however, construction and fundraising were slowed by COVID. Completion of the project is anticipated for early 2022.

“OKPOP will be a lively place to be entertained and educated at the same time,” said Condarco.

OKPOP Team:

Overland Partners – Design Architect

Lilly Architects – Architect of Record

Nabholz Construction – Contractor

Wallace Engineering – Civil & Structural

Arup – MEP, Acoustic Design, A/V, Fire Alarm & Fire Sprinkler Design

Haley Sharpe Design – Exhibit Designer

Schuler Shook – Lighting Designer

Howell & Vancuren – Landscape Architect

FSC, Inc. – Life Safety

It is important to understand that these images are not artificially manipulated. This is truly the way the slit scan camera sees the world.

Rather than suspending a single moment, this technique examines the passage of time. In his own version of a panoramic camera, a single sliver of space is imaged over an extended period of time, yielding the surprising result that unmoving objects are blurred and moving bodies are rendered clearly. This is no Photoshop trick. By re-imagining what a camera is and how it should work, abstraction becomes the norm, not the exception.

Instead of mirroring the world as we know it, this camera can records a hidden reality. Like a microscope or telescope, this machine expands our ability to perceive more about the nature of reality.

Sometimes, by the elimination of information, we gain a more complete understanding of the visual reality around us.

The Transient Landscape is a series of photographs exploring landscapes and cityscapes. The slit scan technique produces many strange time-based effects, including the absence of perspective and the extreme compression or expansion of objects based on their spatial relationship to the camera and how they (or the camera) are moving.

Moving by train, boat, car, airplane, cable car or foot, various forms of locomotion transport the artist and his camera to scan the landscapes. The result is a view of reality which is pure photography–unmanipulated, but with an inescapable visual twist based on a changed set of rules.

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With a number of catalytic projects already transforming downtown Lubbock’s landscape, Overland Partners Architect and Urban Designer Samantha Schwarze, AIA, shares how her team’s work with constituents resulted in a unified vision for the future of downtown Lubbock and a Master Plan Update that prioritizes next steps for creating a vibrant, sustainable place to live, work and play in the heart of the Hub City. In our latest video, Schwarze shares her experience and what is next on the horizon.

Read more about the revitalization of downtown Lubbock and Overland’s work:

Lubbock Avalanche – Journal
Downtown revitalization needs to occur now

Verdant green lawns, blossoms in beautiful hues and fragrances, wildflowers and prairie grass, and abundant native trees greet patients, healthcare providers and guests at The Children’s Hospital of San Antonio. As part of the hospital’s multi-year renovation and modernization plan to transform the Children’s Hospital of San Antonio into a world-class pediatric hospital caring for children that suffer from the most life-threatening ailments, the newly opened gardens and outdoor spaces are designed to promote healing and enhance emotional and physical well-being.

El Jardin de los Niños (Garden of the Children), was made possible by a generous $20 million gift from the Goldsbury Foundation. The gift included $4 million dedicated to creating a sequence of four different themed gardens on the hospital campus, which spans nearly one city block in downtown San Antonio.

The Play Garden is designed especially for young children who are patients, or may have siblings in the hospital, where outdoor therapy, lawn games, or picnicking are perfect. With soft green grass and plantings to attract birds and butterflies, the lawn welcomes lively play and exploration. The small open space is surrounded by deciduous Mexican Sycamore trees, providing shade from the harsh Texas sun in the summer, yet allow warming rays to shine through in the winter.

Overland Architect Brady Dietert, who worked closely with Overland Principal Rick Archer, FAIA, on the project, noted the context of the Play Garden space. “The nine-story building with colorful glass panels that decorate the exterior of the building act as a backdrop to the lawn, uplifting and inspiring play and lightheartedness in the green grass,” he said.

Next, a Prayer Garden pays homage to the Catholic roots of The Sisters of Charity of the Incarnate Word, the non-profit organization that operates the hospital, and offers a peaceful setting for prayer and meditation. Rick Archer collaborated with Landscape Architect Catherine O’Connor, ASLA, Principal of Co’Design, on the overall layout and architectural arrangements and forms of the gardens.

“One of the major goals of the project was to create and design a master plan that pulled together the existing site and create new forms that would unify the entire property,” said Archer. “Once that was in place, Catherine O’Connor added color, texture and interest through landscape elements that resulted in a harmonious campus,” noted Archer.

A meandering, crushed granite path forms the perimeter of the Prayer Garden and encloses a circular gathering space at the garden’s center. Clear and colored glass panels—2’ wide by 7’ tall– frame the space and provide a translucent framework for observing the garden beyond, while limestone slab benches offer seating for quiet repose. Twelve of the glass panels integrate color in reference to the Twelve Disciples and the Twelve Tribes of Israel. The colors, too, draw inspiration from the Bible: from blue as a color of God’s glory in Judaism; light purple symbolizing advent to the resurrection and the hope of everlasting life; white as the light of God. O’Connor also chose plants and trees that were noted in the Bible. The plant palette features three palm species, Arizona cypress trees with their distinctive blue-green foliage, dwarf olives, and shrubs with soft-colored and scented blooms such as honeysuckle, iris, and sweet myrtle. O’Connor noted that the plantings, which integrate a variety of greens, leaf textures, and heights, will become more full over time, adding a sense of privacy to the sacred space. At night, the panels are lit with LED lights, changing the garden into an ethereal space of reflection.

Adjacent to the Prayer Garden, dedication panels of clear glass are etched with “Garden of the Children,” biblical scriptures, and names of Goldsbury family members, in both English and Spanish, honoring Goldsbury family members, for whom the gardens were built.

Near the new main entrance on San Saba Street is the Culinary Garden where irrigated planters overflow with herbs and fresh vegetables. Visitors can view the gardens through floor-to-ceiling windows in the adjacent hospital café as well as a dedicated space where dieticians share healthy recipes and cooking demonstrations. Tucked away in the back of the garden is a covered pavilion used for special events and gatherings.

From the Café, guests can step out onto an outdoor deck, shaded by Cedar Elms, where tables and seating encourage them to sit, read, enjoy coffee or lunch, and soak up the therapeutic elements of the landscape.

The only garden not accessible to the public is the Memorial Garden. During a full-scale renovation of the hospital in 2014, burial grounds of early settlers and indigenous people were discovered during construction. After meetings with descendant groups, they communicated they did not want the remains and grounds disturbed for reasons related to their spiritual beliefs. To honor their requests, the hospital created this special garden, which is a long, rectangular stretch of land blanketed with prairie grass, wildflowers, and Sycamore trees.

No digging was allowed out of care and respect for the remains. Soil was added, the landscape raised, and trees were planted in large mounds of dirt. A sizeable rock cairn stands tall to signify holy ground. An elevated concrete terrace overlooking the garden offers visitors intimate views and a place to connect with the natural space, and a historical plaque tells the story of the people who inhabited the area hundreds of years ago.

While visitors cannot access the Memorial Garden, patients have a view of the garden. The newly designed green space also opens up the exterior of the building to nearby Milam Park, making the hospital feel more inviting and integrated with the city.

“Since the beginning of the project, Overland Partners has been in lock step with our mission and ministry of healing all children regardless of their family’s situation. This means treating the whole child – physically, emotionally, and spiritually while also supporting family members and caregivers through an incredibly stressful time. We turned to Overland for their experience with biophilic design and understanding the role nature plays in health and well-being.  Especially during the past year, our appreciation for safe, accessible outdoor space has never been greater. The gardens at The Children’s Hospital are such an important asset to the healing process for our patients, families and staff.”
Cris Daskevich, CEO, The Children’s Hospital of San Antonio.

A new model for resiliency and wellness for the destination traveler.

Opening mid-year 2021, Stanly Ranch will be the gateway to the famed California Wine Country, and will highlight the region’s ethos of sustainability and celebration of nature.

Stanly Ranch Site Plan, Napa Valley, California

Above all else, the resort’s identity will reside on the authentic, Napa Valley lifestyle and vernacular, immersed in the Wine Country landscape and designed for a new generation of hospitality serving holistic wellness and luxury.

Identity

Architectural Style

Interwoven with elegant landscape, the character of the resort will feature modern architecture and luxury interiors, inspired by the rustic agrarian, yet romantic context. Thoughtfully incorporated in the design, local materials such as rich woods and soft stones will reference the natural vernacular style and regional resources.

Pavilion and Lawn at the Resort Core

Much like the ritual of a wine tasting, guest experiences are crafted into a sequence of moments that engage all the senses.

A Curated Guest Experience

From the allée of fragrant eucalyptus trees upon arrival…

Allée of Eucalyptus

…to the vineyard-covered rolling hills of the property…

Local vineyards

…to the casual check-in where guests are greeted with a glass of local wine while enjoying breathtaking views of the landscape.

Reception Lounge | image courtesy of CCID

The buildings of the resort are spread throughout the landscape, tucked between vineyards and orchards, nestled into the site, and connected by vibrant gardens.

A Deconstructed Resort

Essential to the character of Stanly Ranch is agricultural open space, which inspired the design of the site as a network of interspersed buildings, interlaced with the landscape. The green spaces provide connection across the site and offer opportunities for organic interaction and gathering.

Cottage Exterior | image courtesy of CCID

Each event destination at Stanly Ranch provides venue experiences that elegantly blend the indoor spaces and activity with the outdoor landscape.

Events in the Wine Country

Stanly Ranch will provide a collection of event spaces for a wide range of scales and functions, from small corporate retreats, to grand weddings, and everything in between.

Bridal Suite | image courtesy of CCID

Meeting Room | image courtesy of CCID

Positioned just off the resort core, Cistern Hill will be home to a future winery with one-of-a-kind tasting experiences, continuing the estate’s centuries-old tradition of wine making.

A Future Winery

With wine at the heart of Napa Valley, the new winery on Cistern Hill, in walking distance of the cottages, will provide tasting and touring opportunities for Stanly Ranch guests, as well as local residents and visitors.

Cistern Hill

From sports therapy to weekend escapes, to a healing retreat, the destination spa complex will offer an extensive variety of rejuvenating treatments in a casual, sophisticated environment.

A Model of Health & Wellness

A Balanced Life

Supporting an active lifestyle is central to the ethos of Stanly Ranch. The resort will feature valley cycling tours, walking trails, group exercise, and yoga, as well as spaces that encourage active engagement with the outdoors.

Enhancing a noteworthy glass of local wine, stunning and complimentary cuisines round out the experience of wellness and luxury at Stanly Ranch.

A Culinary Destination

A signature restaurant at the core of the resort will showcase diverse menus from the essential to the experimental, featuring produce grown and harvested on-site, as well as other healthy, locally-sourced ingredients. Additionally, local teas, coffees, and more will be crafted at the resort’s own coffee shop.

Measuring success factors of achieving a holistic wellness retreat, the Stanly Ranch design team turned to an institution renowned in the industry for their evaluation of comprehensive health in architectural experience.

Wellness for All

To provide the essentials of wellness and a healthy lifestyle for both guests and staff, Stanly Ranch has been designed with an aim to receive Gold Rating by the industry-leading International Well Building Institute.

At Stanly Ranch, the Earths natural resources are treated with the same respect and carea s grapes are by a vitner.

Resiliency, Through and Through

Through study and calculation of Napa Valley’s climate and resources, Stanly Ranch is designed for environmental responsiveness and responsibility, exemplifying resiliency and the coexistence of the built conditions with the natural conditions.

In an area that experiences frequent droughts, the all-important resource of water has been throughtfully considered in the design, paving a way for a more efficient future.

Sharing Water

Investing in the future of the region’s water resources, the resort draws municipally-supplied recycled water across the Napa River to serve not only the irrigation needs of the site itself, but the needs of all adjacent neighbors and vineyards, thereby reducing the burden on the region as a whole.

Stanly Ranch is designed to generate 100 of its electrical needs by on-site solar panels.

Harvesting the Sun

Partnering with experienced technology teams, the resort intends to utilize solar harvesting for the entirety of its electrical demands, supporting the role of Stanly Ranch as a leader in sustainable, resourceful operations.

The mantra of “Living Local and Thinking Global” bears even more relevance now than ever before – a landscape-connectedness ethos which will be immersive in the Stanly Ranch experience.

A Deep Connection to the Land

The entire experience of the resort aims to feature strong connections to the land and the bounty that it provides. Guests will be offered responsibly harvested food, grown on-site and by neighboring farms. They’ll enjoy exceptional local wine, for which the region is world-renown. Even the flowers in the rooms will be grown on-site at the resorts many gardens.

Cottage | image courtesy of CCID

Overland Architecture + Urban Design

AVRO|KO          Integral Group          Nichols Partnership

BrightView          CCI Design          Auberge Resorts Collection

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