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No.1 ENTRY SHELTER â&#x20AC;&#x201C; circa 1930? (Rittergrup-2010)

DESCRIPTION The heritage of the gateway shelter is unclear. It may contain some of the original stone from the early 1930s gift of the class of 1926, which served as the actual gateway to the campus when it only had a few buildings. The current (2011) structure seems to have been reconstructed, relocated back from the street and a roof added to provide shelter for guests, students and faculty.

An historic photo taken in 1931 shows the original metal gate work and larger dimensions for the stone piers, the existing gate may have been made from the original stone slabs and modified to fit the canopy. Additional research will try to discover if any of the elements were recycled and used in the current shelter located near the former site of the gate.

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.1


No.2 SCANDINAVIAN PROW - 1992 (Rittergrup-2010)

DESCRIPTION

The sculpture, a reminder of the university's Nordic roots, is 25 feet tall and weighs 2200 pounds. In the spring of 1992, the Viking ship prow made its way from Anacortes, Washington, to its present location in front of the Scandinavian Cultural Center. The designer is a boat builder with Nordic connections. Date: Spring 1992 Artist: Paul Schweiss Paul Schweiss recounted the project in December, 2010. “I finished my boatbuilding apprenticeship in Norway, learning both traditional wood construction, and the ancient method the Vikings used to build their boats ….The old method uses no temporary forms or molds, but rather utilizes the clinker, or lapstrake planks themselves to define the vessels' shape. The boats literally seem to grow from nothing, giving rise to the term 'built by eye'. It was these techniques that we used in my shop in Tacoma to build many boats for people. My involvement with the Prow Project started back in about 1980, when Dick Brynestad showed me the preliminary drawings for a sculpture to help define the entrance to the Scandinavian Cultural Center… when I visited the site and saw the main walkway, with the curved descending stairway, I immediately thought of the pictures in Norway of the Viking Ship remains being uncovered, with the prows literally coming up out of the ground. I drew up a plan, and made a budget, and eventually got the contract to build the Prow. The stem member is laminated fir and is socketed into a steel receiver that is imbedded into quite a bit of concrete below. This is what actually keeps the structure upright. The planking is Western Red Cedar, and the fasteners are copper rivets and roves from Norway.”

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.2


No.3 CENTENNIAL BELL - 1990 (Rittergrup-2010)

DESCRIPTION

The steel and brick Centennial Bell was a 100th-birthday present to the university in 1990 from then-President and Mrs. William O. Rieke. It sits in Red Square, across from Eastvold Chapel. The bell structure is 12 feet high by 15 feet wide. The bell is rung for certain occasions. Date: May 27, 1990 Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the university level for 15 years. He currently lives in Washington State with his wife and son, where he maintains his design studio. The past 20 years Mr. Torrens has striven to produce quality designed functional works of art from recycled and industrial materials which are pleasing to the senses.

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.3


No.4 MARTIN LUTHER - 1984 (Rittergrup-2010)

DESCRIPTION

This bronze bust of Martin Luther commemorates the 500th anniversary of his birth on April 30, 1484, and stands outside Eastvold Chapel in Red Square. It is one and a half scale and was commissioned by the 500th Anniversary Committee. Date: April 30, 1984 Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the university level for 15 years. He currently lives in Washington State with his wife and son, where he maintains his design studio. The past 20 years Mr. Torrens has striven to produce quality designed functional works of art from recycled and industrial materials which are pleasing to the senses.

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.4


No.5 THE SISTERS - 1983 (Rittergrup-2010)

DESCRIPTION

This metal sculpture is named in honor of Agnes Houten Stuen (1883-1982), a teacher and wife of a professor Ole Stuen. Esther Hougen Davis (1896-1979) was a bookkeeper at PLU during the 1930s and 1940s. The sculpture was commissioned and paid for by George Davis, PLU regent and son of Esther Davis. A base plaque reads, “A lifetime of caring, loyalty and service to the community and university. We remember them with love.” This sculpture is on the south side of Red Square Date: June 5, 1983 Artist: Douglas Charles Graham Creation is my way of life. Creation, notes Webster’s dictionary, is “The world and all things in it.” When one sees this world full of potential, where elevated awareness takes you beyond blind doors, where lateral creativity constantly exposes new ways of sharing and understanding: when you see and understand this you will understand my way of life. My career to date spans four decades and to try and explain my works of creation, I have found after years of trying, is not possible. So I leave you with this; my creative life is constantly changing, on this site you will experience this change, you may or may not understand it initially, check in often and you will begin to understand my creative process, share your thoughts with me, for one of the elements I love most about my creative existence is sharing. Everything is a brush and Paris is worth the Mass. -Charles Graham

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.5


No.6 EASTVOLD STAIRWAYS – 1952 (Rittergrup-2010)

DESCRIPTION

The etched glass windows located in exit stairwells of the building illustrate the different functions of Eastvold as the center for music, theater and radio. The windows are framed by terra cotta surrounds. The etchings and their surrounds perfectly capture the moment the building was designed as the last example of campus gothic architecture to be built on the PLU Campus. Notice the “PLC” for Pacific Lutheran College, which became Pacific Lutheran University in 1960. Date: 1952 Artist: Unknown

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.6


No.7 ROSE WINDOW - 1952 (Rittergrup-2010 /Tacoma Library – Richards Archive)

DESCRIPTION

Dedicated in 1952, the eight foot diameter stain glass rose window was designed on a theme suggested by PLC religion professor Jesse Pflueger which depicts the “Agnus Dei, Christ the Victorious Lamb of God”. The lamb beholds heaven and is surrounded by eight semi-circles which radiate from the center and four (of eight) spaces beyond describe “four living creatures” a lion, an ox, an eagle and a human face; the other four are the prophet’s symbols, Jeremiah’s scroll, Isaiah’s coal, Ezekiel’s turret and Daniel’s lion. Along the outermost ring are symbols for the Trinitarian Dogma, the Dove (Holy Spirit), the open Bible and Luther’s Crest of Arms. The Rose Window is the inspiration for the familiar PLU logo and is visible from Red Square and the chapel. Date: 1952 Artist: Cummings Studio - San Francisco Cummings Studio, founded by Harold W. Cummings, was established in 1928 and was located in So. San Francisco. It was considered by many in the field as one of the leaders in the national stained glass industry for decades. In 1978, Cummings and his son Bill moved the studio to North Adams Massachusetts where it quickly established itself by restoring historical stained glass in notable buildings in the Northeast. They specialized in large complex stain glass installations and restorations and were one of the first studios to design, fabricate and install dalle de verre (faceted glass set in concrete) in the United States. The studio closed in 2007.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.7


No.8 RUNE STONES – 1976 (Rittergrup-2010)

DESCRIPTION

The Rune Stones is a sculpture consisting of five weathering steel shapes placed around a single tree and two benches. Four of the metal runes are moveable and the varied Corten steel shapes create a dynamic ensemble. The “stones” have the following bead weld inscriptions: The visit of Olav V, King of Norway October 20, 1975 The visit of her highness Princess Astrid of Norway October 26,1983 The visit of King Harald V and Queen Sonja of Norway October 26,1995 The Visit of Crown Prince Haakon of Norway March 20, 1999 Members of the Stortinget September 6, 1978 In memory of the Founding Fathers Norwegian Immigration 1825-1975 The Rune Stones was given by the 150th Sesquicentennial Commission. Date: September 8, 1976 Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the University level for 15 years. He currently lives in Washington State with his wife and son, where he maintains his design studio.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.8


No.9 RAMSTAD TERRA COTTA – 1947 (Rittergrup-2010)

DESCRIPTION

The Ramstad Hall terra cotta reliefs depict the various disciplines that occur inside the building, which was originally devoted to science studies. Terra cotta was used in place of stone for ornamental pieces on many buildings of this period. Eastvold Hall and Xavier Hall are examples of terra cotta use on the campus. The late 1940s mark the end of terra cotta’s popularity with the advent of modern architecture which eschewed ornament. Date: 1947 Artist: Unknown Terra cotta is a clay-based unglazed or glazed ceramic, where the fired body is porous and red in color. Its uses include vessels, water pipes, and surface embellishment in building construction. The ornamental plates on Ramstad were most likely made by Gladding McBean Company, the premier manufacturer of terra cotta on the West Coast. Their Bay Area factory still maintains an extensive library of molds that are regularly used to replicate damaged or destroyed pieces.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.9


No.10 ANDERSON CLOCK TOWER - 1970 (Rittergrup-2010)

DESCRIPTION

The Anderson Clock Tower has displayed the time to students outside the University Center since 1970. Herman and Vivian Anderson funded the original 60 foot tower and the later restoration. The new clock tower is made of Alaskan yellow cedar and has new cedar benchwork around a reconditioned concrete base and lighting to illuminate the clock. Date: 1970 Fabricator:

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.10


No.11 PARTHENON â&#x20AC;&#x201C; 1984 (Rittergrup-2010)

DESCRIPTION

Cameron Schoepp is a student artist who graduated from PLU in 1986. He approached Dean Richard Moe with an idea for a sculpture which was eventually approved by the Dean and the Campus Art Committee. The artist dubbed it "What the Parthenon Would Have Looked Like if the Greeks Had Ball Bearings." Within the formal frame of the structure are three curved plates set on ball bearings that allow the plates to rotate in the wind. This sculpture is located on the southwest corner of Mortvedt Library. Date: 1984 Artist: Cameron Schoepp Cameron Schoepp has lived in Fort Worth, Texas, for the past 21 years. He received a B.F.A. in Sculpture and Ceramics from Pacific Lutheran University in 1984. He received an M.F.A. in 1987 from Texas Christian University, and currently heads the undergraduate and graduate sculpture program there. A native of Chicago, Schoepp works as a sculptor at his studio in Fort Worth, Texas and heads the sculpture department at the University of Dallas. He works in a variety of materials including concrete, steel, limestone and lead. He exhibits widely and lectures frequently on his work, including the Kimball Museum and the Museum of Modern Art in Fort Worth and the Anchorage Museum of Art and History in Alaska. His work is included in numerous public and private collections, including the San Francisco Museum of Modern Art.

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.11


No.12 UNTITLED – 1981 (Rittergrup-2010)

DESCRIPTION

This sculpture was commissioned by the Dean Richard Moe and sits at the southern corner of the entry to Mortvedt Library. He very much wanted the artist to attend PLU but he couldn’t afford it so this commission enabled him to attend the school. The bronze sculpture, approximately eight feet long by two feet wide by ten feet high, sits on a granite base which in turn rests on a concrete plinth. Date: 1979 Artist: Charles Lund

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.12


No.13 THE FOUNTAIN (SHALOM) – 1982 (Rittergrup-2010)

DESCRIPTION

This large brick and steel sculpture has weathered since its installation near the entry to the Mortvedt Library. It is constructed with stainless steel combined with a hand burnished finish. It measures 16 feet high x 4 feet wide. The fountain is installed on top of a four sided brick angled base placed inside the brick pool. The sculpture was donated by John Heussman Sr. in memory of John Heussman Jr. (1961-1981). There is a plaque with the poem, “The Fountain” by R.P. Jones. It is located due west of the library on axis with the main entry. Date: April, 1982 Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the University level for 15 years. He currently lives in Washington State with his wife and son, where he maintains his design studio. The past 20 years Mr. Torrens has striven to produce quality designed functional works of art from recycled and industrial materials which are pleasing to the senses.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.13


No.14 Valhalla’s Doorbell (Rittergrup-2010)

DESCRIPTION

The metal sculpture entitled Valhalla’s Doorbell was a gift to Pacific Lutheran University from Dr. Richard and Marcia Moe. It is located on the lawn of the southeast corner of the School of Arts and Communication. It is approximately ten feet tall and has a donor’s plaque. This piece continues the theme of bell and basic geometric shapes that the artist was examining in this era. Date: Unknown Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the university level for 15 years. He currently lives in Washington State with his wife and son where he maintains his design studio. The past 20 years Mr. Torrens has striven to produce quality designed functional works of art from recycled and industrial materials which are pleasing to the senses.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.14


No.15 SCHOOL OF THE ARTS– 1988 (Rittergrup-2010)

DESCRIPTION

The School of the Arts sign is a combination of materials including neon letters that spell out “arts”. This is one of many sculptures done by the artist that are spotted around the campus. This sculpture was commissioned by the School of Arts and is approximately eight feet long and eight feet high. It is located at the western entry of the upper campus. Date: 1988 Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the University level for 15 years. He currently lives in Washington State with his wife and son, where he maintains his design studio. The past 20 years Mr. Torrens has striven to produce quality designed functional works of art from recycled and industrial materials which are pleasing to the senses.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.15


No.16 GLASS ROSES – 1995 (Rittergrup-2010)

DESCRIPTION George Lagerquist commissioned glass artist Dale Chihuly to create a work that would celebrate Eastvold Chapel’s Rose Window. Chihuly produced four large glass roses, each made up of nine pieces, or petals. Each rose color is a different theological symbol: green for God the Creator, blue for the Trinity, white for the Luther rose and red for Jesus Christ. The roses hang on the east courtyard wall of the Mary Baker Russell Music Center.

Date: 1995 Artist: Dale Chihuly Dale Chihuly was born and raised in Tacoma, Washington. He received a bachelor of arts degree in interior design from the University of Washington in 1965 and later a Master of Science in sculpture from the University of Wisconsin. He went on to study glass in Venice on a Fulbright Fellowship and received a Master of Fine Arts at the Rhode Island School of Design. In 1971, with the support of John Hauberg and Anne Gould Hauberg, Chihuly founded the Pilchuck Glass School near Stanwood, Washington. In 1976 Chihuly was involved in a head-on car accident, during which he flew through the windshield and was blinded in his left eye. After recovering, he continued to blow glass until he dislocated his shoulder in a 1979 bodysurfing accident. No longer able to hold the glass blowing pipe, he hired others to do the work and pointed out that it allowed him to see the work from more perspectives and enabled him to anticipate problems faster. Chihuly describes his role as "more choreographer than dancer, more supervisor than participant, more director than actor." He has had numerous shows, his work is ubiquitous and his fame great.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.16


No.17 JAMES HOLLOWAY MEMORIAL – 2002 (Rittergrup-2010)

DESCRIPTION

The James Holloway Memorial is a transparent etched glass slab with a memorial “Excellence” plaque mounted on a brick base. Dr. James Holloway (1960-2001) was the University Organist and Professor of Organ and Church Music at Pacific Lutheran University where he served as a studio teacher, musicologist and choral conductor. He created the newly established Mentorship Program for Vocations in Church Music at PLU and taught in the Honors program and the Freshman Experience program. Dr. Holloway was murdered on campus by a mentally unstable assailant in 2001. The memorial is sited in a quiet corner of the Mary Baker Russell Music Center courtyard. Date: 2002 Artist: Kathryn Wold Sparks, Designer Kathryn Sparks was the curator of the PLU Gallery and a close friend of the deceased. Her memorial design characterizes the wide ranging nature of James Holloway interests. David Keyes assisted with the installation and fabrication.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.17


No.18 GENERATIONS OF OAK– 1995 (Rittergrup-2010)

DESCRIPTION

The three plate Corten steel “Tree” was donated by R.Gene and Esther Grant and dedicated to honor the visit of Their Majesties Harald V, King of Norway, and Sonja, Queen of Norway on October 26, 1995. The plates are attached to a cast in place concrete armature. The overall dimensions are approximately eight feet wide by one foot thick by 12 feet high. The monument is located on the lower campus below the Music Center. The inscription reads: “Peace is deep in our roots, hope is high up in branches' reach. Oh, we are not unmoved, unbuffeted, unbowed --- the wind and storm may leave us bent and scarred at times; we draw up strength from the rich glad soil and raise ourselves up most when we bear up those trees nearby who need this strength which is rained down as compassion and is poured out as grace on us in sunlight's healing waves. So shall we stand, joyful, stretching forever upward to grow closer to the light. In this we hope; in this, we find our peace.” Date: October 26, 1995 Artist: Kathryn Wold (Sparks) Kathryn Wold Sparks was the artist and she also served as curator of the PLU Gallery. David Keyes assisted with the installation and fabrication.

PLU HISTORIC RESOURCE INVENTORY – V.II JANUARY 2011

5.2.18


No.19 FLAME VICTORY - 1979 (Rittergrup-2010)

DESCRIPTION

The stainless steel kinetic sculpture is in the middle of Mills Plaza, which is located in between the swimming pool and the Memorial Gymnasium. Mills Plaza was dedicated in 1965 in honor of Fred Mills and the statue is in memory of Dagny Skattebol Tenwick (1883-1978), Cory K. Carlson, and Victor F. Nelson (1906-1977). The stainless steel kinetic sculpture is approximately 20 feet tall and 16 inches in diameter. Date: 1979 Artist: Tom Torrens Tom Torrens received his first degree in Sculpture and Design from Indiana State University and his MFA from Washington University at St. Louis and has taught sculpture on the University level for 15 years. He currently lives in Washington State with his wife and son, where he maintains his design studio. The past 20 years Mr. Torrens has striven to produce quality designed functional works of art from recycled and industrial materials which are pleasing to the senses.

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.19


No.20 UNTITLED - 1967 (Rittergrup-2010)

DESCRIPTION

The weathering steel sculpture is located in the North courtyard entry of Tingelstad Hall, which was constructed in 1967 and named for Oscar A. Tingelstad, president of PLU from 1928 to 1943. The statue was commissioned by the building architects, Robert, Billsborough and Price and donated to the University. The overall dimensions are approximately four feet wide by ten feet high. The material, form and color of the sculpture harmonizes with the building. Date: 1967 Artist: Harold Balzacs Harold Balazs was born in Ohio in 1928. He received invaluable hands-on experience working in his father's sheet metal and air conditioning business where he developed metal fabrication skills working with complex shapes. Balazs moved west to join his parents and continued his studies at Washington State College, where he received a Bachelor of Arts degree in 1951. By the mid-1960s, Harold Balazs had become the leading liturgical artist in the Northwest, often incorporating enamel on steel works. Internationally known for his large-scale enamels on steel, he ingeniously adapted studio practice to industrial settings. His experience with public art led to a three term appointment as a Washington State Arts Commissioner, during which time he helped draft Washington State's "percent for art" legislation. The Northwest Museum of Arts & Culture owns 30 works by Harold Balazs. PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.20


No.21 GULSRUD WINDOW - 1981 (Rittergrup-2010)

DESCRIPTION

The 9X18 foot stain glass window is located in southeast corner of the Mortvedt Library ground floor. The window was a gift of Ernest and Muriel Gulsrud of Santa Monica, California and is dedicated to the memory of their grandparents and all Norwegian-American immigrants. The colors are mainly blue grey and opal white and the design itself is open to interpretation. Date: 1981 Artist: Mark Gulsrud Mark Gulsrud received his degree from California Lutheran College in Thousand Oaks California. He earned an MFA from the University of Puget Sound in 1979. Many of his works are in the Southern California area.

PLU HISTORIC RESOURCE INVENTORY â&#x20AC;&#x201C; V.II JANUARY 2011

5.2.21


 

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Master Plan and Landscape Inventory: Volume II