Cornell University Library Digital Collections

The Easthampton Airport Terminal Design Competi 04, Floor Plan

Title:
The Easthampton Airport Terminal Design Competi 04, Floor Plan
Project Title:
The Easthampton Airport Terminal Design Competi 04
Collection:
John Clair Miller
Creator:
John Clair Miller
Project Owner:
Town of Easthampton, New York
Date:
1989
Location:
East Hampton Airport (N.Y.)
Location:
East Hampton, Suffolk, New York, United States (inhabited place)
Country:
United States
Identifier:
JCM_EHA_009
Culture:
American
Style/Period:
Contemporary
Work Type:
plan (formal concept)
plans (orthographic projections)
Competition Entry
Materials/Techniques:
graphite
paper (fiber product)
Subject:
airports
Image View Type:
General
Extent:
21.5 x 28
Description:
Award – Finalist
Design a terminal for two commuter airlines, numerous private and charter aircrafts and their passengers [no security control required]. The program included a passenger waiting area, airline offices, a baggage handling area, a flight control tower, a flight planning room, an airport manager’s office, food/drink and convenience facilities, and a garage for two quick response vehicles.
The competition offered an opportunity to explore possible visual connections between literal form and functional requirements, and to establish a program of intentions using a framework of two references: airship and garden. The project offered an opportunity to relate the forms associated with airships, or parts of airships, with the very specific, limited and practical requirements of an airport terminal
as well as to extend the formal aspects to the immediate area surrounding the terminal. The terminal was set in a ‘garden,’ a structured environment whose forms would also be reminiscent of the airship. The building and its garden extensions create an expanded, though contained, visual entity of an awaiting airship, both from the ground and from the air. The referential elements of airship and garden [including its formal organizing devices] are intermixed and experienced from the ground sequentially, beginning with an ‘axial’ vehicular approach to a ‘framed/staged’ view of an awaiting airship, followed by parking and walking under a ‘wing/bosque’ of green on ‘axis’ with the entrance ‘column’ capped with an Osprey ‘sculpture,’ under a ‘model airship wing’ of steel struts and glass skin, through the ‘fuselage/garden wall,’ complete with ‘tail’ and a search light on the ‘belvedere,’ and onto an interior ‘promenade’ leading to the ‘cockpit.’ At opposite ends of the walk is a summer bar – ‘grotto’ and a ‘loggia’ overlooking a ‘tail/parterre.’ The design was later revised, with a ‘wing’ roof, for a faculty exhibition at the Johnson Art Museum in 1990.
Rights:
The images in the John Clair Miller Collection (here presented as “Projects”, “Competitions” and “Collages”) and the John Clair Miller Image Collection of Twentieth-Century Architecture in Iceland are protected by copyright, and the copyright holder is their creator/photographer, John Clair Miller. Images in the John Clair Miller Collection were created between 1962-2007, and were digitized by Cornell University Library. Images in the John Clair Miller Image Collection of Twentieth-Century Architecture in Iceland date from 2001-2007, and were digitized from 35mm slides by Cornell University Library in 2016. Cornell is providing access to the materials for research and personal use. The written permission of any copyright and other rights holders is required for distribution, reproduction, or other use that extends beyond what is authorized by fair use and other statutory exemptions. Responsibility for making an independent legal assessment of an item and securing any necessary permissions ultimately rests with persons desiring to use the item.

About the collection

The John Clair Miller Collection is comprised of photographs, drawings, plans and elevations of executed projects and competitions that the architect undertook between 1962 and 2007. Projects include the Church of the Holy Spirit (1965), the Sagan Residence (1972), and the Malott Hall Addition (1975). Also included in this collection are his collage works composed of international ephemera.