Prescott Muir Architects

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48 Years

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(801) 521-9111Call Visit WebsiteVisit Website Map & DirectionsDirections171 W Pierpont AveSalt Lake City, UT 84101 Write a ReviewWrite Review

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Places Near Salt Lake City with Architectural Designers

South Salt Lake City (1 miles)
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Salt Lake Architects With National Reputation.

General Info: Prescott Muir Architects, based out of Salt Lake City, Utah, offers services such as furniture design, city planning, building forensics, and project definition. These services have been used for a wide variety of buildings that include laboratories, libraries, museums, financial institutions, new media, performing arts, visual arts, medical, single-family residential, industrial, religious, and retail centers. The American Institute of Architects has presented Prescott Muir Architects with a number of awards for the company's excellence in its building projects.
Email: Email Business
Services/Products: Site Analysis
Payment method: cash, check, debit, mastercard, visa
Neighborhoods: Rio Grande, Downtown Salt Lake City
Other Link: http://www.prescottmuir.com
Categories: Architectural Designers, Architects & Builders Services

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Phone: (801) 521-9111

Address: 171 W Pierpont Ave, Salt Lake City, UT 84101

Website: http://www.prescottmuir.com

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Prescott Muir Architects

Kitchen Remodeling
Door Installation/Replacement
Framing
The new art building is situated to be the northern boundary to Salt Lake’s Gallivan Plaza, an opening in the downtown area of Salt Lake City. The plaza is the stage for outdoor events and concerts and is indeed the living room for the city. The Art Center is an extension of the new theatre and arts district, anchored by a new 2,500 seat theater on Main Street. The center is Utah’s premier exhibition space for contemporary art. The program will include grand gallery space, two exhibit galleries, one gallery dedicated to traveling exhibits, administrative offices, storage, framing, shipping and receiving, a café, outdoor seating, and an outdoor sculpture plaza that engages the neighborhood. Images
Fireplaces
Unlike the Michigan Avenue house, with its taught, urban façade and precisely balanced relationship to the slope, the Burgess Residence en- gages in an expressive dance with the landscape, with one wing of the house buried into the upward slope of the canyon while another projects over the downward slope and floats lightly over the garage and arrival plaza. Another comparison with a work of Hans Hoffman helps to illuminate how the formal Modernist vocabulary is adapted to looser, more dynamic ground plane. His painting of 1959, entitled The Gate, loosens the interlocking geometry of the figured fragments, allowing the bright, precisely painted rectangles to float free above of the green painted ground, which flows around the space of the painting, pushing up against and falling away from the precisely rendered rectangles. In some instances the dark green reads like a shadow, giving volumetric weight to the spatial ground of the painting. Similar spatial effects occur in the Canyon Residence with the shadows created by the lifted roof and receding garage doors above and below the blue-tinted glass walkway and the dark blue pool set into the rear stone terrace. The range of material and light effects are remarkable, adding dynamic, phenomenal qualities to Muir’s rich compositional palette. The play of light, material and space continues in the interior of the house. Dark stone and steel fireplaces punctuate the space from the ground up as colored shafts of light cut through the ceiling, illuminating cabinets of wood, glass and metal. As with the Michigan Avenue residence, the plan is divided into three zones with a large living and dining room flanked by a bedroom wing and master suite. However, as with the massing of the house, each part is given its own unique material and spatial quality.
Cabinet Installation

New Construction

Landscaping and Fencing

Landscaping
The site maximizes its open space with the use of native landscaping that is organized with consideration for the building’s form and views. Formal plant beds are orchestrated as extruded planes of color originating from the ground plane and fenestration to the outdoor garden areas. Plant material selections give consideration to the change in seasonal colors and textures that occur from the blooming flowers of spring to the red and orange leaves of fall. Images
Fencing
IT BY BIT The phrase “It by Bit” was coined by the physicist John Archibald Wheeler as a description for how the universe or other complex phenomena is comprised of the sum of bits of less complex or minute binary forms of information. This is based upon small demonstrable issues that lead to greater complexity through a compilation of yes/no deliberations. Truth can be derived from the analysis of simple controlled patterns or relationships that do not necessarily preclude the otherwise unexplained complexities of a whole system. The “less is more” rhetorical model so often heard in architectural parlance under this analysis leads to a “more is the result of less”. At the risk of being labeled a positivist with a simplistic adherence to empiricism and the scientific method, I intend to argue in this essay with the aid of our architectural projects and other relevant examples, that a methodical interpretation of repetitive patterns borne of individual decisions based upon use, specific to site and time can result in a richly varied and more readily regenerative architecture. However, given the less than successful attempts of Shadrach Wood’s to escape the entrapment of his own attempts at adaptability only to be frozen in time by the limits of technique, I fully appreciate the challenge of such an enterprise. The goal is to create an architecture that extends in an assertive way beyond the current negation of the cultural realm that certainly characterizes so much of the architecture being produced. Each conscious act of measurement or assessment is an act of turning potentiality into actuality, which is, in my estimation, that which distinguishes the architectural. The response to a specific direction, possibility or commitment derived from simple observation or calculation does not necessarily preclude other options, indeed it allows for exceptions to work within and acting against the normative elements of the design. This is not an architecture of absolutes or utopian paradigms and thus its position noticeably veers from the historical origins of modernity. The post structuralist argument that one act of will invariably is accomplished at the expense of another, assumes that all acts are simply manifestations of desire rather than actions determined by a measureable physical world or, dare I say, the predictability of genetically coded behavior. The Foucault argument is that each scenario represents fundamental manifestations of power. As a resistance to this refusal to act, each bit of information or decision is reduced to a measureable occurrence, thus providing a beachhead for systematic engagement. The alternative is a total subordination to will and the resultant alienation between content and representation, rendering the architectural irrelevant or simply interchangeable and unable to transcend itself. In this current era, where we have essentially conceded the impossibility of truth and beauty allowing them to be subsume

Window Installation/Replacement
Garage Door Repair/Replacement
Siding
The west side neighborhoods in Salt Lake are some of the most diverse in the United States, with over twenty languages spoken. The Bridge Affordable and Mixed-Use Housing project was one of the first to be built in the old rail yard area of the city. The housing element surrounds a south-facing interior courtyard that gathers the winter sun like an Anasazi cliff dwelling and provides a community precinct for gatherings. The skin of the building is an aggressive wrapper of deep-ribbed steel siding that is discretely stripped away to reveal the interior courtyard and recessed balconies clad in smooth red siding. This is an HUD affordable housing project where small amenities like 9-foot ceilings and shelves at entries to set groceries on are major achievements. The commercial base level includes a community gallery, a radio station, and other community-based nonprofit organizations. The master plan included a Buddhist temple and dedicated area in street for its annual Oban Festival. Images

Painting

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