Materials Conservation | Field Methods Fall 2016
University Baptist Student Union Conditions Assessment
UNIVERSITY BAPTIST STUDENT UNION 405 W. 22nd Street, Austin, TX 78705 INTRODUCTION The University Baptist Student Union building was proposed in 1948 and designed by local architect Carlton Brush and his associate J. Robert Buffler. Construction began in 1949 and was completed by early 1950. The building was necessitated by a growing UT Austin student population during the post-World War II years, which created a demand for more space and resources. The flat roof, minimal detailing, large swaths of uninterrupted brick surface, and clean lines emphasized by the thin, horizontal cantilevered projections give the building its distinctly Modernist aesthetic. In addition to being an early example of Modernist architecture in Austin institutional buildings, the Student Union is unique for its integration of art and architecture. The building features artworks by two nationally recognized Modernist artist—both of whom were UT Austin art professors at the time—Seymour Fogel and Charles Umlauf. Fogel’s mural, Creation, was a pioneering work in the ethyl silicate medium as well as one of the first examples of abstract painting on a religious building. Umlauf’s sculpture, Prayer, was also one of the first of its kind in the region. Additions and alterations over the years are part of the building’s living tradition. Through addition and adaptation, the building has retained its value and relevance to the Baptist and UT Austin communities. These alterations have created a palimpsest of styles, materials and massing; the major additions has occurred on the rear facade and are not visible from W. 22nd Street. However, the rounded windows with decorative concrete surrounds on the third floor of the north elevation have dramatically impacted the building’s integrity as a Modernist resource. Originally the building would have had steel-framed ribbon windows complementing the other extant windows; ribbon windows are characteristic of Modernist stripped-down aesthetic. The loss of this character-defining feature is unfortunate given the significance of the building as an early example of Modernist architecture in the UT campus neighborhood, and a significant regional example of Modernists art integrated into architecture. The building is suffering from some visible deterioration—particularly biological growth, efflorescence, applied graffiti, and corrosion—but most of the deterioration is minor or cosmetic, rather than structural. However, the mural and sculptural relief are both vulnerable and would benefit greatly from a maintenance plan and perhaps small interventions such as cleaning, monitoring, and stabilization. The large crack on the northeast corner and the displacement of the large granite tiles on the third floor north elevation are both also concerning.
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