Richard Keating Selected and Current Works

First Federal Savings and Loan
Design/Completion 1978/1980 i&iit ~I 1978 4=11980 4=

Little Rock, Arkansas ;J'1i~. IWI'W~ffl
First Federal Savings ~-~~Hlr*$1Hr
158,000 square feet 158, 000 Jfl-/J~R
Skidmore, Owings & Merrill, SOMJJI::*f)f
Richard Keating, Design Partner
l11!1!t1tt · ~~.~it-EtfkA
Steel frame
ilXJ~fi;J
Caledonia granite, glass, aluminum
!11fJ![$Je5W.:re~;g,.$J , fg
First Federal Savings Plaza featu res a

light-filled atrium flanked by seven floors
of executive office space. The atrium
roofline steps down in one-story
incremen t from the bu ilding's full height
to the fourth level. Th e 90 x 90 foot sp ace
serves as the banking h all an d is bordered
by a garden o f seasonal flowers. The white
interior wa lls and clear in ulated glass et
the lobby off from the bronze aluminum
and bronze reflective g lass of the exterior.
Floors and tables of p olished StLaurent
marbl e combine with the warm colors
of the carpeting and furnish ings and are
highli&_hted by polished stain less steel
detail throughout.
- r
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18
I Interior view. interconnt"cting stair I ~-, •tt£-m~
2 Atrium banking hall 2 ~n-ttHT'FIJ!:kff
First Federal Savings and Loan 19

3
20
Allied Bank Plaza ~~~li~"T :k .
Design/Completion 1979/1983 iiit~I 1979 i¥11983 ~
Houston, Texas ~tn~~WTfH
1*WTtJ! •
Century Development Corporation 1!t~~Jtt~PJ
Skidmore, Owings & Merrill, SOM $:9tJ1fi
Edward Charles Bassett, Partner in Charge
Richard Keating, Design Partner ft~$ · lt~WT · e:r~Y"~itf*fftj!t
1 ,800,000 square feet lll!1!t~·~l!.iiitittkA
Trussed steel tube 1 , 800, 000 SJZ1f1i:R
Green reflective glass and stainless steel curtain wall, fli§..,#;J~
black granite base ~f51~J'tJlt-lU:;f ~ilftil;#ll
~f5:tt~;f!f£~
The 71-story Allied Bank Tower (now First

Inter tate Plaza) is located essentially at
the center of d owntown Houston. The
tower i ited so that its flat sid es are in
alignm ent with ne ighbo ring facades,
unifying the building and th e skylin e. 11
The semi-curved form was achieved by
juxtaposing two quarter-cylinder shafts
which are offset by on e bay. The
com bination of planes and curves allows
l I
for the constant interplay of sunlig ht on
the tower ' surface and also reduces th e
bui lding's substantial mass.
I n contra t to the surrounding dark
granite hig h-ri es, this building is light and
fluid, with its upper 70 stories clad in an
uninterrupted kin of reflective gree n
glass. At g rade, the building is sheathed in r
polished black gran ite with a 5-foot
tainle steel band capping the junctio n '
of the granite and glass. This use of rich
materials and careful de tailing a lso ._'
/
11 ~11
provid e a human-scaled ense of entry
to the building.
Continued
2:~ 11 ~a9JDC-Et'tifi::km<llt£a9~- m~
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I Site p lan 1 -~~WilE

2 Houston skyline 2 ~W£~7(~~
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3
Allie d Ban k Plaza 23

•
Approximately 65 per cent of users enter

the building through H o uston 's downtown
pedestrian tunne l system which protects
against the city's infamous heat, rain,
and humidi ty. As the tunnel enters the
building it becomes a glass corridor,
bi ecting a sunken plaza which provides
views and sun ligh t to the underground
path. Double-deck express elevators
shuttle pas engers to skylobbies on floors
34-35 and 58-59, where they transfer to
local elevators. This arrangement keeps
the core to a manageable size-there are
27 elevator shafts running 56 cabs.
The lower skylobby incorporates
horizontal trusses tying together the
bundled tube structural systems in each
half of the plan. These structural elements
are prominent in the two-floor public
space and are clad in white paneled wood
casings rather than in a high-tech material.
*~~%~~m•.~~~~•*~fiA
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24
4 kylobb)
5 Lobby •
-
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A ll ied Ba nk Plaza 25
Bank of the Southwest Tower Competition E'WJ~Rfr:kJI51fW
Design 1983 t1ttt 1983 ~
Houston, Texas f*WfiWf ••:flf'Wfffl
Century Development Corporation t!t~Jf~~~
Skidmore, Owings & Merrill , SOM $~EJT
Jll!if• • ~g. t1ti.t*tk.A
2,300,000 square feet
2. 300 ' 000 .lfl-1f~R.
Trussed steel tube
m~m'lf~~
Granite, travertine, glass
. ~lf<1;g ,m!X.o, llt•
The proposed design for the Bank of th e

Southwest Tower accommodates a varied
program of office and retail. As designed ,
the weight of the building is carried at its
corners, allowing the structural eleme n ts
to be extended above the roofli ne of the
tower to support a second building which
is circular in form and topped by glass.
The restaurant occupies several tiers of
space under the glass dome and the
observation levels are located immediately
below. In what would have been the
second tallest build ing in the world, at
1,370 feet, a 360 degree view of th e Texas
countryside would have been possible.
•
At the ground level, an expansive p laza
results from the structural concepts, as
well as a daylig h t park at the tunne l leve l.
The four structural pedestals at the
corners house lobbies, three of which
carry the identities of major tenants at the
street and tun nel levels. The fourth
pedestal contains the service elevators as
well as the lobby for the observation and
restaurant levels.
wm•fi*~~~rrn~~§~-~~~
~~-~•m o ••~rr~m~.*~~••
~~~~*~~.~~~~-*~~~ili~~
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~~~~w. ~~~•*m~ili-~~~
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•
I South view
2 Southeast view
•
26
San Felipe Plaza ~-~·JfM*-•
Design/Completion 1982/1984 i&l:it~I 19821f:/I984 1f:
Houston, Texas f*WTtJ!,ttlR:f'WT:J+I
The Farb Companies ~1s-0RJ
Skidmore, Owings & Merril l, SOM 4J:~JYr
lm~ttl · ~g , i&l:itiH:k.A.
1 ,000,000 square feet
1, 000 , 000 .1jl- "Jr1i: R
Slip formed concrete core, steel frame
$#EffMi±~·C.'~~ , iN~~
Polished Caledon ia gray-brown granite,
glass, stainless steel ~11!$JB.TIE!I:YG**1K15:m~~
lft~.::f~ilil
San Felipe Plaza is a 45-stor y office tower

located o utside the central bu iness
district of Houston. In respon e to its
somewhat suburban se tting and resulting
high visibility, the tower was sculpturally
formed to have an ever-changing presen ce
d epending on vantage point and light
conditions. Th e curved facad e elongate
the perspective view of the towe r, g iving it
a thin , elegant appearance. This is
enhanced by a ca cade of se tbac ks and
glass, circularly d etailed as a counterpoint
to the main fr ame of granite and glass.
:¥:J!f!J M:km ~-J§£ 45 ~~11'~*~ ,

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28
1 East view 1 .*i)l~~~-
2 Site plan 2 ,(il.ljl- iW 00
3 En try court 3 }..Cljc!f
San Felipe Plaza 29

4
30
Trammell Crow Center *¥EL: ffi ~ · 5l ~ ~ 'L'
Design/Completion 1981/1985 • ~it ~I 1981 if/1985 if
Dallas, Texas i51UWf' ~*.U'tf'Wfffl
Trammell Crow Company ~jU~~ · %~0~
Skidmore, Owings & Merrill, SOM.*f!Jf
JJ!it~ · ~J! . ~itil--f*A
Steel frame
1' 750 ' ()()() .ljZ- :n ~ R.
'Wl~~
Polished and flame-cut autumn brown granite, bronze
reflective glass
JJ J'tAU ~ =E.~Jii-@. ;{t j5cj !5 ,
Ci~-@.&Jlt~~
Olive Street
Th e first of th ree h igh-rise buil dings
de igned by Keating in downtown Dallas,
the Trammell Crow Center is a key
architectural component in the
comprehensive master plan for the Dallas
Fine Arts Di trict. The ro·wer is designed to ,,..,.. fpl I 13!1
serve as the "campanile" for th e d istricc
0
This analogy is reinforced by the tower's
cruciform hape and it classic
composition of a base, haft and top. a --
Th e tower is se t back from the stree t by 0 Q
I
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an extensive public pl aza and two-story
- I
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entr y pavilion which further integrate th e Q)
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tower with the street and the adjacent, (!! <
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lowe r-scaled cultural institu tions. u:: [J o Cl uu c
(!)
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The tower i clad in a combi n ation of d b
pol ished and flame-cut autumn brown
granite and bronze reflective glass. Bay
windows rise at different height on th e
facade to a five- tory loping glass pyramid
which houses executive suites with
spectacular views of Dallas. T h e lobby, with I
its three-story rotunda of white marble,
provides a focus for a Rodin scu lpture. -
The remainder of the lobby reflects the
axial symm etry of the crucifo rm floor
plan, with walls clad in panel of West Harwood Street
African rosewood deta iled in bronze, and
a pattern of marble floor paving.
J!~~jf 1£Jii !iLWT Til c:f 'L' tiit 99=: ~ i\t m •
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I Typical floor plan 1 ~?l£JiPfffi

2 Dallas skvlint•
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3 North facadt' 3 :ft.lL iii
32
'
Tramme ll Crow Center 33

4
34
6 7
8
Trammell Crow Center 37

9 Lobby reta il 9 ;k.ffrf!~~'tfiftf/;5
10 Lobby ro tunda 10 AIJIMJ~;kff
I I Meuanine bar 11 ~ mm~
12 Tramme ll Crow receptio n 12 *ftil ~$ · 1£W ttf#fl
12
T ra mme ll Crow Cen ter 39

Texas Commerce Tower
Completion 1987 19871f ~I
Da llas, Texas :ltsV!WT.~:s*lifPWT
Trammell Crow Company ~tll~$·J'l~0 iil
Skidmore, Owings & Merrill, SOM ]J*ffr
~~~ · ~}! .~it ~tk
1, 400, 000 .1Jl- 13 ?tf R
Concrete poured in place
ttU~f ± ~ftf
Gran ite, glass, cast stone
;tt;M !/:L ~~ , ~JJ$:(5
Designed as a companion building to

the Trammell Crow Center, this building
derives its basic form from its p redecessor
yet maintains a distinct identity. The
55-story tower is clad in gran ite, ru ticated
at the base and polished above. As the
tower rises, the granite give way to glass
forming a gian t opening, the build ing's
pred ominant skylin e feature. The
opening, or ky window, is 75 feet high ,
27 feet wide, and 80 fee t deep, an d
separates floo rs 41 through 49. At floo r 50
the gap is bridged, providing full floors
above the sky window. T he floo rs on e ithe r
side of the opening provide approximately
9,000 square feet for tenants requiring less
space but wanting prime views.
~lt$t~~Hl:#f$ · 5f.~9='~C.,t'J9~~~.
Jt£*?~~~ §IDT1!" , @XA~ § B$Jf~t'J9~
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jJPj 0 :m*JJlb\ 41 ~ ~ 49 ~lD~* ¥um so
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t'J9~~fliifR~~~ 9,000 .l!'-Jr.R , II.~!~~
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1 ll$l:J"ifi!(I9!11J$
2 ~~ ljl- 'iii 00
3 ::kJI;<~:ft
I Oe;-tail a t base
2 ite plan
3 Tower vit-w
2
40
3
Texas Commerce Tower 41

4 Entry vestibule
5 Base and garden
6 Fountain
7 Pedestrian e::n try
4 ACJ:;kff
5 .l#$t$JiUO~!m
6 I!Jt-*
7 tp-fiACJ
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42
7
Texas Commerce Tower 43

9
Te xas Commerce Tower 45

The Wilshire Buildings JJ&1Fim*JJfm
Beverly Hills, California lt$~J L1J, :bo~HIJe~
Columbia Savings & Loan iH~ tt]f~1kffi~0~
Skidmore, Owings & Merrill, SOM~~[;Jf
Jll!itttl · ~ g , WJtii'ttA.
Four buildings we re designed along

Wil hire Boulevard, two of which were
built, two of which remain as fully
•
documented de igns. Three of the
buildings, located east to west at
Robertson Boule,·ard , La Peer Boulevard,
and Elm Street, were conceived as a trilogy
of buildings for Columbia Saving & Loan.
A fourth building at Canon Street, facing
the heart of Beverly Hills' retail district,
was designed fo r different purposes.
I 2 3
The sites for the Columbia Saving ~$W*m~~mm~$W*~~rr~~

buildings are on the south side of
•m~ . ~~~-B~·· · ~~~~-~B~
Wilshire Boulevard , several block apart.
#~$ o~ -g~~*~D.*Itl~M~~ffi
The predominant influence on the
architecture is the boulevard itself which, ~*m , ~ · ~$*m~~$~*•·~~~
as a major thoroughfare, is experienced ~-ffilt~~4m~0~~ ~ -~ o ~f~~
primarily from the automobile. To th e
motorist, what is perceptible is the rhythm
*•· OO~It$~L1J···~~~-~--~
~~IIi]~ fflit
iffl ~# 0
of the street wal l and the edges of
~~*•~~-~~$W*m~mtu.~
buildings. The Columbia Savings buildings
have individual ch aracter but form a ~~~-~ o mB~R~~~-~~*~*m
unified concept. Coloration, cale, and *~· ~~~~~±•*mL~B~±•~~
composition vary but the basic premise $ o H$A~~~~~mm~ w~~~~-~
remain con istent-facade made up of a ~~~ o •ffilt~~4*mu~~~c~~
set of planes organized on an expressed
tt , mxm~- ~M~~~ o ~~~ffl , R~
tructural frame.
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I Wilshire La Peer/ ICM Headql.lanns I tlLJt$j;:JJI'I<JJ$.$ilfj;:li/ICM .~fll5

2 Wilshire at Elm 2 Elm j;:Jj£JgJit.1J'ilfj;:lf
3 Wilshire at Catio n 3 -(tfmj;:Jji'I<J~$JMj;:JJ:
46
3
Wilshire La Peer/ ICM Headquarters 49

The courtyard provides a transition from
the traffic and movement of the street.
The almost symbo li c front door and g rand
scale of e ntry is achieved by organizing
intel'ior circulation as part of this space so
that each user of the bui lding is visua lly
and functionally a sociated with the
courtyard. The p aving, fo11nta in , and black
pyramid (by a r tist Eric Orr) a re all
designed to inhabit the pace and prO\·ide
a focus in to the cou rtyard. At th e interior
en try of the building, Indiana limestone,
flamed-finish green granite, and stainl ess
·teel are combined with fi gured maple to
connect the architecture with th e interior.
••mu•~•~~~~·-~~~~~~
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A~~~#~ ;WA D·~~R~~*o8~
~~~~ ' ~*~~~~~~(ffi~*~~~
fl. . ~$i2:~), $~~-~51Jd:E § 0 ~
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4
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50
4 Emry courtyard 4 AOlfUt
5 Ele-va Lion 5 .:il.iii
6 Elevawr detail 6 It!~~$
7 Street front 7 IDW.l!iii
Wilshire La Peer/ ICM H eadquarters 51

Wilshire at Elm
Design/Completion 1987/1990
Beverly Hills, California
Columbia Savings & Loan
Skidmore, Owings & Merrill ,
Richard Keating, Design Partner Loading
54,000 square feet
Steel frame
Limestone, granite, steel, glass
The Wilshire at Elm bui ldin g is located six

blocks west of the ICM Headquarters Office space Retail
bui lding and marks th e weste rn boundary

of the building trilogy. It is a sim pier
ex ploration of the principles used in th e •
i
JCM building but con tinues th e limeston e r
plane wi th its fragmented rhythm of I

substance, excavated , pace, and structure.
0 20 40 ft G)
N
Whi le the gestures are less extravagant
here than in the h eadquarter building, I Plan 1 ~ffiTOO
a close exam in ation reveals g reat attention 2 ;\/orth elevatio n 2 ~t.U: ffiT
to both the d e tailin g and th e enginee ring 3 Street front 3 'lffi m.u: oo
of details.
Ebn *ftl~Jil.~i.ti*II
tii.t ~I 19871¥11990 fF
lt$.f!J LlJ , :bo.f!J11~SIEffl
Jfffi It~f* *ffi~llH7
SOM ~~f)f
111!~-·~~.tii.t-fr-f*A
54, 000 3Jl )J~R
m;af!l
1517<15. ~~J ~. m. JJtJ$1
Elm :kma9~~iti:kJ!l:tf ICM ,~,$W1J!~,

=~~ ~~~~m ~a9~-,~~~-m•~
.=:$8B a9W$:illJi!.o 't; It ICM ~~ $a912:i.t.mt.OOU •
~~••~,m~~~wm•m~.#~~•
ili~-~~,~~~~~~~~(f9~--- o
~*•m~A$:k•~~~••.mff•••~
~~~~-'t;~@~-$a9£#~tt#OOfiOO
a9~1ti'£I o
•
•
52
, •
•
4 Entry
5 Lo bby
-
6 Lo bby
7 En tr y ca n o p y d <' tail
5 6
54
7
Wilshire at Elm 55
Wilshire at Canon
Design 1988
Beverly Hills, California
Columbia Savings & Loan
Skidmore, Owings & Merrill,
90,000 square feet
The project site is at the diagonal

intersection ofWilshire Boulevard and
Canon Street. Responding to the distinct
ch aracter of each street, the design
combines a rhythm in the structural
configuration that is comprehensible from
passing automobiles along Wilshire \\lith a
tranquillity in the facade as viewed by
pedestrians o n Canon Street.
The front wall is recessed from the street
under a canopy of architectonic e le ments
and behind a precisely designed garden.
The part of the facade which curves out to
meet the d iagonal align ment of th e site
with Canon Street was planned as a focal
po int for the project, to incorporate the 1
glass coatin gs and technology of artist
James Carpenter. The garden is con ceived L
as papyrus emanating from a perfect black [
granite plinth. It is in counterpoint to the
building line and is periodically [
interrupted by linear void spaces
corresponding to the buil ding's structural
•
rhythm.
~tm*mrt-J.mt~im*JJr 2
G)
~tt 1988~ N
lt$~J rlJ , :J.Jo~J11JE.F.

if~ lt5IF.fir-tiffi17NtH1"
SOM$*JiJT 1 Street front 1 lltli w.rz: ilii
311!~H3 • ~g , i&ttt-EH:kA 2 Site p la11 2 .~ :srz. ilii
90' <XX> .ljl :n~ .R 3 Axonometric 3 ~~m
3
56
Sun Bank Center ::t: ~a ~ll f r 'fl'1::.
Design/Completion 1983/1987 -0tit~I 1983 1¥119871¥
Orlando, Florida ~ ~ $.~~11!~#1
Lincoln Property Company/Sun Bank *il m:tl!!.tz:0 ~ ~ :;t IS!HIHJ-
650,000 square feet (office tower) 650' ()()() .lJZ- 1r~R. (1}0~~)
98,000 square feet (park building)
98 , 000 .lJZ-}j~R. (~$~)
Skidmore, Owings & Merri ll,
Richard Keating, Design Partner SOMlJJ:*Flf
Poured in place concrete J1Ut~ · ~g, -0tit~tk.A
•
Precast concrete, glass, alu minum JJi! ~ 71-UJ£±
Bt1atJ7!Ui±, lltJt*!, m~~
The entire deve lopment project

encompas es a fu ll block in downtown
Orlando. Its characte r derives from an
understanding of the beautiful quality of
daylight in ce ntral Fl o rida. The materials f l!C E -
p :;;c > - ,.i .,
and details respond to th e con text of the
region a well as a concern for budget and
construc ti on. The lattice which is used as a
fo rmal element at both the very large and
ver y small scale-even into th e interior of
the bank-creates a co hesion between
each of the com po n ent and m an ipulates
the play of light throughout the day. A
light granite was u sed for the towe r, while I I I
detail elements, in cluding the smaller
office building, are all precast concrete.
Continued
m1'-7f~J.Y! § ~~ 7 ~~ $r=P 9=' ~c., a9-1'- .... ....

80o[l]o08
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. 58
1 Plan: ne w tower and e xisting building t l!l-lti Ill : NT~ l1l ~~ lUt
2 South view 2 m- 1ll19~ X!il.
Sun Bank Cente r 59

3 4
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60
3 Entry fro m pa rk 3 EE!~$~:iti:A@$ta9AD
4 Building e nLr y 4 @$tAD
5 Pa rk building 5 ~$~
6 Ba nking ha ll 6 ~fi:kff
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Sun Bank Cente r 61
Pacific Atlas .:*;: .1¥ 1¥ lfiiJ ~ El: JOT*.
Design 1988 i:iit 1988 ~
Los Angeles, California ~~li)l., :bo~JfiJE:SIE:Hi
USA Pacific Atlas ~~~.ijl-~!WJ~1ll:WT~~
34-story tower, 55-story tower, 34 ~m~. 55 ~m~
550-room hotel
550 Of(B] a9~tl1f
Richard Keating, Design Partner SOM $*J9f
.
Jll!:« ·
~ ~g , iitt-EH:k.A.
The site for the Pacific Atlas project

consisted of an entire block of downtown
Los Angeles between th e cen u·aJ business
district and South Park, an area which h as
long been targeted for revitalization.
The proposed project included two office
towers, a h otel and a public park.
The organization of the site plan is based
on a pair of crossed axes-the primary
axi runnin g parallel to the street g rid and
the secondary axis shifted at an angle to
the first. Th e relationship between these
axes i the foundation for the architectural
and functional decision . The buildings
are placed accordingly, with the 34-story
tower at the southwest corner, the 55-story
tower mid block on the east side, and the
h ote l occupying the whole of the north
edge. Together these elements create an
internal urban park, the public focus of
the project. Formal access to the site
occurs in two places at points where the
two axes m eet the perimeter.
Continued
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64
I Ae1 ial dew
2 South \'iew
> =--
-
•
2
Pacific Atlas 65
The architecture of the 34-stor y tower,
designed for Phase I, reflects the
underlying premise of the site plan.
The influence of the primary axis is
evident, but th e disruption caused by the
di placed axis is more emphatic. The
north elevation is at a rig ht-ang le to the I
primary ax is, while th e south wall is
I I T >-
push ed out to the angle of the secondar y
axis. In response to th e freeway, from
which motorists would see the building for
only a few second s, the south facade is an
easily perceived, gracefu l curve of green
glass, scaleless except for a large window
revealing th e angle of the primary axis
inside. The n o rth facade, which is see n '
•'' f
from downtown and the park below, is : t-,_
sl iced by an arc and appears to reveal ' .. p-t
layers beneath the ou ter wall. J[. ..1 !~ p
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1-1 I Wi I N ti tt 89 34 fi! :*: m89ll $Llxt.

M.&~7A00-~89£*&ao~--89·
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3 Plan
4 Site plan
5 West elevation
6 Aerial view
3 ,
•
7
3
West view, 55 story Lower, Phase II
~ j}j :tliflU
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5 WJL.OOOO
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Pacific Atlas 67
Stockley Park Competition Wfi=£5e~IJ0~-·
Design 1988 i&tit 1988 ~
London. England ~~~~00
Stanhope Properties, Ltd Stanhope 9J .!&("=~ 1!&0 RJ
Skidmore, Owings & Me rrill, SOM $:9}Yf
J.!!!lt~ . ~g ' i&tit~-f*.A.
•
The Stockley Park office building, outside

London, England, pro posed a sense of
urbanity within the openness of its
uburban setting. A long, low-rise plan was
ch osen to minimize the building's impact .•
•
on the surro undings and to provide . .' • • r
con tinuous views from within.

Landscaping d efines the characte r of the
project, integrating it into the natural
se tting and providing a transition from
surrounding to building. A tree-lined . . .. • • •
- _,
'·
. . . .
road approaches the area, crosse a stream I . . . ::::;
. .
and passes through a semi-circu lar portal
• •
. .
.•
. .
into the site. The pl anting along the road . . .
then becom es more formal, culminating
in a garden court in front of the building.
Here the landscaping is highly refined
with pl ants, fl owers, a nd water combined
'vith works of art to create an e legant
o utdoor room.
Continunl
--ii- .
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1 Plan
2 Soulh elevation and c nLry
68
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Stockley Park Competitio n 69

A si mple plan of two flo o r plates 60 feet
wide, separated by an atrium 30 feet wide,
provides the greatest possible flo or area l
fo r interior fun ctions. Uninterrupted

areas of easily d~visible space organized
around private offices, and the utilitarian
functions of the ceiling grid, allow - •
maximum flexibility. The atrium is a r '-------- - =f:~~

-r--~
---=== -
•
linear, sun-filled sp ace crossed by bridges
connecting the fl oors. Landscaping in the
interior space is in the form of trees
hanging in pots from the cei ling, evoking
a Magritte painting.
l !). . .
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3 East elevation 3 Jl\JtW

4 North e levation 4 ~tJtW
5 South e levatio n a t"entr y 5 AD~IWJtW~$
6 Section 6 ~IJW OO
7 Atrium. planter d etail 7 tpJl, ~4m ~:t&!IB$
8 Axonometric 8 tllllfOO
70
--
3rd at Mission m-.=.f~i!!~::k~
Design 1988 -&it 1988 1f:
San Francisco, Ca lifornia IB~ ilJ , 1111.fU11Jt. .illi. ffl
Wells Fargo/Crocker Properties/Hines Interests ~$WT · 11~~n-;:fit~- R:m:lt!!.rc~ ~ ~#ii~Wi
Skidmore, Owings & Merrill, ~~~
SOM $%-JYT
1!1!~~ · ~J~, -&itil"f:kA
To accommodate the very rea l and precise

needs of Wells Fargo Ban k, this scheme is
based on a fu nctional plan . The bu ilding's
ch aracter recogn izes San Francisco's
architectural he ritage without
compromisin g the m odern constr uction
tech niques or the needs of the user. It also
recogn izes its larger contextual role as a
corner bui ld ing in relation to now-
completed adjacen t buildings. The
fenestration attem pts to work with in the
recurring construct of vertical rhythm and
careful scaling th at is prevalent
th rougho u t the city. Accomm odatin g
350,000 square feet of fl oorspace and a
cour tyard of historic gold rush
icon ography, it would have been a major
cultural and business gateway to the
downtown .
I
•
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~m:iltTis~ w ~ll1Jtffl'~ . f§.-m*t&~~~
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1Jt . ~~~~ili~~OO~~@$t~~~~~ o
nfiHilit.JJ oo~~~1I~~$~~Hmmita~
tt~ . M~~~~m~~~~•m~#~•fl 2
§h"o @1JtiiimJ:J 350 , 000 .1Jl-1J~R . ~~fll

~ m~~Jl~~@..:JJ,t<Gt~tfli~»!~, JE~~
J:JBtt~~~&~~~~~fllft~AC o
1 Site pla n 1 .~lfitiOO

2 South e levation 2 m1roo
:~ Museum court 3 i:W~ttt~Wit
4 Wes Le le \ a tion 4 i!!iJ'Liti
3
72
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3rd at Mission 73
Aichi Corporate Headquarters -~~~li£.. $
Design 1988 iiit 1988 1F

Tokyo, Japan
Aichi Corporation
*ffi , 13
~1:ll~Hff
*
68,000 square feet 68' 000 ~ 1r~.R
Skidmore, Owings & Merrill, SOMIJ*J!Jf
Richard Keating, Design Partner ll1lt~ ·~l!. ii~il-tk.A.
This corporate headquarters building was ~

'
. . .. .. ......... . . ····· -· -········ · ·--· -·--·--
'' ···-----------·-· ···--------
d esigned for a location o n the south sid e . ····-·········o
..: ..:.
of Shinjuku-Dori, one o f Tokyo's major .•.
.• .•
.••.
•
streets. The 18-story, 68,000-square-foot ••
•
tower is set within a garde n to provide a .• 0 .....
............ ....
buffer from the chaos of the street. The
•
• ...... .. . . ..
building plan con i ts of two d islocated .. •.•
.• ••
square , juxtapo ed on to a nine-square •
• .••
grid. It accommodate the maximum floor .• •

•
.•
.•.
•
area allowed on the ite while meeting
••
Tokyo 's complex zoning ordinances •
.•
•
•
.
regarding hadow ca ton to the street and •
...'
surrounding properties. To achieve this, .• .•'
•
compu ter were used intensively to test

••
• .•
•
'• '
. •
and adju t the building's dim ensions, .'
• ... •
•
height and place ment on the site. .

•
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-~~~A•~~*~~•••z-~•
m-~~*•~•~ 0 ~•~8~.•moo~
68,000 Jf-:/J~.R ' ~1£--i'~gg ~, k-({fllti~
mmk~~~ o ~~~~~~ooru~-1'~~~
n%m~.*~~n1'1J~ZL o ~1£m~~
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74
I ite pla n I .~~ifiill!
2 No rtheast fa ce: view from Shinjuku-Dori 2 *~tiJ!~?H!i!: l>\f/Tni- ~~::kJlvll$t
3 hinjuku-Do ri vi<:-w 3 l>\f/T7f!i-lliJ~::kW1JioJ#l!$t
Aichi Corporate H cadquarlers 75

Solana Marriott Hotel ~m~ · QdJ!!I!~~~
Design/Completion 1987/1989 iitt ~I 1987 ~/ 19891f:
Westlake, Texas ~WT~~, ~}'lg.:Wff~l
Maguire Thomas Partners !:b :§E jJ\ • ~ f?7 WT l.t iH:.kA 0 PJ
180,000 square feet 180,000 3fl-1J~R.
SOM ~*Elf
JJIEftit{ · ¥ g . iiitiH:.kA
Walls: integral color plaster, some with figured cherry wainscoting: Verde
Tinos marble; Asahi urice" glass C:~~-@~···*-~*ffl~~~*tt•M.~V~e n~*$
Millwork: figured cherry veneer; acid-washed bronze; polished Andes
granite;
15' Asahi ~~ 0 "*@"
~-*~#:~~~*ttMOO.~~~.~MWf§*~~~ o
Paving: Arizona sandstone with patterns of polished Andes granite,
French limestone and gray Spanish limestone • ~ = ~ .¥..f1J ~JJ~ :E- .1-1 J:: • _too*~ lfB't~
~@WYf3f15!K15 o
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~ ~ .7M • •wr r! ~ ;ob'(;o f:U
The Solana Marriott H ote l c hall e nges the

image typically associated with a business
h o tel. Its architecture is bold and colorful
and , \\'hile respon sive to the hue and
vastness of the Texas prairie, is unlike any
architecture in the region outside the
Westlake campus. The interio r was
d esigned to comple ment the strong form
and color of Ri cardo Legorreta 's exterior
architecture, while introducing a level of
d e tai l and texture important in creating
an intimate e nvironm ent for th e
individual guest.
The architectural language is established
by the stone wedge and curved ceiling
element at the main entry, the
asymmetrical cone over the bar, and the .}. ~ .....
n _.-r.;:rr
:~ 0 .. 0 ~.: ,.c
i
columned , vau lted pre-function area. ~~ I. ~H.
~ ..,
--L
I
With varied textural finishes and a rich r

"-
color palette, the resulting e nvironment is 00 0 '-9J \ .
• • • .. • 0 • • • 0 • I I I
on e of distinctly separate space. unified by ~
r I I l.nrfC
glimpses of one from another. The ~ lnrlml"1n i I g

~ · [2~·q
w "· ~~
diversity of interior spaces reinforces the
architectural concept of sequential
-
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-- 1tv
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discovery and surprise rather th an
imm ediate comprehension; som e are lively
-
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and dramatic , oth e rs contemplative and
simple.
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2 Public a rea pla n
:~ Entn·
76
3
The hote l bar was designed as a dramatic
space. There, the ceiling is formed by an
asymm etrical con e rising 40 feet and
topped by a glass oculu . Durin g the d ay,
sunlig ht fill s th e room , playing o n the
vari ety of pattern and brilliant colors u sed
for wall and furnishings. At night the
ceiling i like a tele cope fill ed with stars.
*t«t§PE.flti'it:lt ~~IHi ~ ~ fBJ o :ffJJ~

m.~~~~ -~~~~~~R~~-~~.
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4 Axono mctric lounge 4 ?WP~~~m

5 Lig ht detail 5 ;tJJHIII$
6 Lounge • 6 ?§P~
7 T}'pical room plan 7 f,J; 11£ [ii] i'itit

8 Reception 8 itt.¥~
6
78
American Honda Headquarters ~~*IE~~~~,$
Design/Completion 1988/1991 tstlt ~I 1988 ~/1991 ~
Torrance, California rc~WT, bo~HIJP.Sifffl
American Honda ~IE*EEJ0~.~$
800,000 square feet 800, 000 JJl- n~R
SOM lJJ:*EJf
~~~ · ¥H, ifiHt*tkA
Steel frame
Precast concrete, glass
mtafi;J
Bi ibfH!Ui±, llt$i
The 100-acre site for the American

Honda H eadquarters was cit-signed
as a linear campus; bu ildin gs and parking
are orga nized by a pe d estrian spine
extending the length of the site. The
d o uble-height lobby of th e administration
build ing straddles the sp in e wh ile the
700-foot-long, two-story se rvi ce shops
(the Technical Center) define one edge.
A 15-foot-h igh retaining wall extends
from the administration building to
provide a base for the two-story data
processing faci Iity.
The buildings total 800,000 square feet
of floor pace and share a similar
aesthetic , characterized by tex tured
precast concrete pane ls co mbined with a
tinted glass a n d m etal window system.
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g_Ef{lf!t±l99 t5 ~R~~±iif'F1-J .=~ ·~~
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4 t'i t.t!Htl: J.!l! "P {.'
s *.JLiti: .~$~ltJHJL~
I Shop facility and headquarters entr)' •

2 Site plan
3 Data Center
4
5
Data Center
..
Ea~t eleva tio n: headquarters and computa
buildings N
0 200 4 00ft ~
80
3
•
5
Ame rica n Honda Headquarters 81

· Gas Company Tower !1¥~0~*·
Design/Com pletion 1988/1992 iitt~I 1988 ~/1992~
Los Angeles, California m.f3liJt. :bo~J11JE.SIE
Maguire Thomas Partners
.:fb ~~ · f6 .:fbWTli~:~-i*A0 ~
Skidmore, Owings & Merrill, SOM$*Flf
JJ!:ft:~ · ~ff . iitt~-f*A
1 '750' 000 .:If /J~,R
Aluminum and glass curtain wall; Barre Grey
and Lanonline granite stone cladding fgfl1l}t$i.:fi , Brure Grey fn lanonline 1.Etfq:fi~ifi
This 55-story tower is a compact,

street-defining fo rm that rises up to a
boat- haped blue glass volume intended
to evoke the official sym bol of the Gas
Company. Most of the curtain wall is based
on a 5-foot panel unit without corner
joints that is quick to erect and appears
seamless.
The steep site has been used to create
a series of interlocking lobbies whose
m onum en tal scale is reli eved by retail
spaces, canted screens, and an internal
window that provides views of the park
for visitors descending the escalator.
The company cafeteria and o the r public
spaces are located in a low-level ection
that protrudes from the base of th e towe r,
anchoring th e building fi rm ly on th e
n arrow site and reinforcing the lower scale
of adjacent Pershing Square. A slot left
ove r to the n o rth was treated as "borrowed
space" fo r the main lobby and embellishe d
with a block-long mural by Fran k Stella.
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I Axonometric
2 View fro m Pe r'lhing Square
82
2
Gas Company Tower 83

3 5th Street elevation II I I 111 1 I I I I I I I I IU 1 I I I I I I I I I I 1 I 1 I I I I 1-1 L I I I I I I I
4 Floor plan , lobby lt:vcl ~~ I ,~J\ I I I

5 Rotunda entry I
II I I ,.! I
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7 Grand Street e levation
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Gas Co mpany Towe r 85

8 Lobby: view from the east
9 View through lobby to fountain and mura l
8 .bUt\ iii fl::kff

9 ill:i::kfftt 17JUUIIM iliii
86
Gas Compan y Tower 87
British Petroleum Plaza ~ ~:fiim~~*
Design/Completion 1990/1992 i&Ht~ I 1990~ /1992~
Houston , Texas 1*WT~, ~R:fViWTtN
British Petroleum ~~~'ittl0~
480,000 square feet 480, exx> .lfl-1f ~R
Concrete
m~±
Precast concrete, glass curtain wall
~ffi!Jtm•± . ~-*~il
British Petroleum Plaza is located at the

extreme western edge of H ouston, Texas. _j
The building is o rien ted north-south ,
creating a dominant image from th e
adjacent freeway an d providing a clear .. ·.
.
view and orientatio n to down town
Ho uston on the horizon. This orientatio n '0
is further marked by the gesture of th e 0
stainless steel canopy at the building top.
The base of the building extends beyond
the tower to accommodate the need for ..
larger floorplates and houses data
processing, the cafe teria, and the . ..
employee fitness center. A glass-walled,
.. .
. .'
... ....
air-conditioned p edestrian link connects ...
' •'
th e garage to the office tower, providing

weather protec_tion and views to the
landscaped courtyard .
I I
·,
The lo bby interior i minimal, focusing o n

the richne and texture created through
..
the combination of g lass, wood paneling ..
and sto ne. BP Plaza is uncomplicated in
form, balancing the n eed fo r maximum
efficiency inside with an appropriate
outward ae thetic of conser vative elegance ..
and quality. . ..........
~~~~0~*m~~~-~~~ffl~~
99
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I Site plan
•
2 Entry coun
3 East view
2
88
3
British Petrole um Plaza 89

4
90
4 Entry 4 AO
-
;) Plan 5 ~moo
6 D etail a t entry 6 AOfal$
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British Petroleum Plaza 91

BMC Software Headquarters BMC *X14:0~ ,~, $
Design/Completion 1991/1993 11ti.t /~I 1991 ~/1993 ~
Houston, Texas -f*WT'Wi,itt1l ~WTffl
BMC Software Inc. BMC ~#-0~
600 ,000 square feet 600 , 000 .ljl-1f~R
Steel-framed structure; concrete shearwall lateral system; m ~~ = tmlf±?'rfitpt rtJ.:t•~ ~;
post-tension beams with 42-foot column-free spans
42 ~Ritf llJ'iJl!Fo "*~
!9H&Jtiti±, ~$!
The new BMC Software Headquarters

building is based o n d eceptive ly simple
elegan ce and form integr ated into a
complex landscape and site d evelopm en t. 0 0
Th e site is borde red o n o ne sid e by a 0 0 0
freeway and on th e o pposite side by sing le-
family ho mes. The future d evelo pment of .
I 0 0
an additio n al o n e million square fee t o n . '' I .)
.J ·-~ 0
the site was a furth er conside ration. () a o ~
r..) o o
Th e sch eme adapts the front yard/ back ----~
yard arran gemen t typical in su burban .v ' •l"\ _,t """
'•
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'..:-' o a o o o~
Am erica to a corpora te se tting to achi eve
_.; J .> .)
•. ,) ·~) 0 Q 0 0
public and priva te spaces. The overall site
is plan ted with d eciduous trees, formin g a \. I ...)
grid with 40-foo t centers. At the center of

the site i a walled court whi ch gives access
to both the bui lding and the visitor
parking. Inside th e court the landscape
ch an ges to a more precise urban setting
organized at the ped estri an scale. Th e
scale is emphasized by a stand of per fec tly .
spaced indigenous evergreen pine trees se t ·.::11 :::! :; ..,,: ••.) 3· i .)
into a sh all ow recess in the cente r. l
G)
The pace within th e court all ows for a N
wide variety of m ee ting and ga th ering

expe rien ces and casual dining, and will be
a central feature in future phases of
d eve lopme nt.
Jf89 BMC ~f4~ i!fJ l~~,$:k~~r - frt!~

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I Site plan
•
2 Site model
3 Easr f;~cade
-
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94
-
BMC Software Headquarters 95

•
96
8
98
7 Entr y
8 Lobby d e tail
9 Lo bby
10 East elevatio n
'
II Typical fl oor plan
7 AO
8 ::kff~$
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BMC Software Headqua rte rs 99

Opei-Krelsel Office Building IKX3i:·5e-~$~i}~
Competition 1994 ~I 1994 ~
Frankfurt, Germany f!~>tm . ~~E
Georg von Opel ~~ · ?!b · W\3f:~li]
312,163 square feet 312, 1633fl-1f~R.
Glass, dichroic glass, steel ~- , ~fg~$.! , m
•
Because of its location and proximity
to maj or roadways, the Opel-Kreisel site
provided a significant opportunity to
create a major new office building which
was also a visual gateway to the city center.
The schem e is a direct response to these
ite conditions.
The subtle, curving facade of reflective
glass is both a landmark and an elegant
termination of the row of buildings along
the Theodor-Heuss AJlee. T he facade is
interrupted by inset con cave bay windows
that serve as a counterpoint to the large
wall while offe ring extraordinary views to
the surrounding area.
The elevator and se rvice core is
constru cted from poured-in-place
con crete with mechanical louvers and
o penings in metal, providing a sculptural
con trast to the glazed curtain wall.
The Franklin Street wing is carefully scaled
to respond to the adj acen t buildings in
height, fenestration, and materials. Its I 2
mass is relieved by a large o pening that
provides views across the park immed iately
to the north.
•
mr~ ~ · ~~~~~*~~~~rr~
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• 3 East view 3 *00~~~
4 Soulh view 4 '*ltM~~~
5 Thcodo r l lt:uss-AIIee l~tcad e 5 ntl.!l~$-f*Wf#WJ::kitt:Q: Tfii
100
(
Opei-Kreisel Building 101

Hewlett Packard Business Center •••*a:fl i&
)
Design/Completion 1993/1995 0ttt~I 1993 ~/1995 &f.
Atlanta, Georgia ~j€tSIF.ffl . SIF.~~*
Hewlett Packard Company mtt-lfti~0 i¥.1
600,000 square feet 600' 000 .ljl-::tf~ R.
Concrete frame tlUi±~f1iJ
Precast concrete, glass, steel
m
Biifi!H~tll±. Jltlfl!.
The H ewle tt Packard building site is in

a suburb of Atlanta, Georgia where the
terrain con ists of rolling hills and lush
vegetation. The master plan uses the
topography of the site together with n ew
land caping to create a precinct fo r th e
office tower, successfully shielding the size
of the develo pment from th e lowe r
sightlines of adjacent residences. ·
To accommodate the sizeable parking
structure required, the hillside was
excavated so that parking and specialized
computer areas could be placed partially
under ground. The deck top over the
parking structure is landscaped to create
a garden at the southern , formal entry to
the building. The building fram es the
longer view to the sky and treeline beyond.
The richness of the architectural
expression is attained through the
manipulation of the facade to
complement th e scale of the garden side,
rathe r than the larger scale of the freeway
and surrounding n eighborhoods.
Continued
••*~~~*••&~~M~ffl~~~ I South facade

2 North view
**~~~.~~~®~~wfr~~~~tt 3 East view
·0~~--~~fflT~*··~-%~~ . •
~~~~~~~~*~~.~~~~*~7 - 1 m1riti
~~~.~~-~*~~~~~~~~~~~ 2 ~t007'~~
3 *lf7'~~
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~tk$i1t~Jl6mi~~~Rll o
102
Hewle tt Packa rd Busine s Cen ter 103
4
Furthermore, th e unique large- cale

elements of the Hewlett Packard
program-the cafeteria and computer
facilities-are placed outside the main
building to provide an optimized
configuration for each of their specific
functions. While the computer facilities
are buried from view, th e cafeteria offers
employees a distinct change from the
office environment. Facing the garden
and outdoor dining terrace, the entire
room is bathed in natural light from
above.
~~~.m••* ~ J&B~~*R~md$
?t tWff~ttJt:tnm~f£±~z~~. ~f!m
~~m~~~~~.mfi•~•~•w~tto
n-•mmtt;tll!t£jtlff, -".1rJ;t~JJJ, «ffJJlU~
~Im-~~~0~~~~~~~·~•~ 0
w~~~~P~~m••ft.m~•ff~ma~
r&mJtztf:t o
4 ~~tr9JU~
s ~~tr9JUt
6 W:$~~ti!S
7 Afi"iAllt
4 Lower courtyard
5 Upper courtyard
•
6 Parking structure detai I
7 Ped estrian link
6
104
--
8 Lobby
9 Dining terrace
I0 Pe destrian link
8 jeff
9 m•lJZ-~
10 A~iiitt
I I
106
LO
Hewle tt Packard Bu ine s Cente r 107

II Cafeteria detail
12 Cafeteria
13 Cafeteria detail
11 *lffmfflS
12 11Jf~Pi
13 11Jffmff!S
12
108
13
Hewlc tl Packa rd Busin c Cente r 109

International Center ~ ~'FJ:Pit'\
Design/Completion 1993/1997 tii.t~I 1993 ~/1997 ~

Dallas, Texas i5~Wi, ~J'l~WitN
Harwood-Pacific *ffi~-:t~n~~
Phase II: 215,000 square feet =MI~: 215,000.lfl-1i~.R
Phase Ill: 200,000 square feet
Plaza: 50,000 square feet =:WJI~: 200,000.lfl-1i~.R
Building: precast concrete, glass, granite, aluminum ::k.JJI. : 50, 000 lfl-)j~.R
Plaza: precast, glass, granite m~:~~m•± , ~-,~~~ , ~~~
Lobby: glass, granite, copper ::k.JI: ~fliiJ,fih ~- ' ~~~
::k.ff:~- , ~~;s- , 4lli}
The site plan is organized so that each

building is a sociated visua lly and
r.
physically with a substantial garden and
fountains. The buildings rigorously adhere
to demands of efficien cy and flexibility-
simple rectilinear structures with
maximum lease space, structural systems,
service cores, and mechanical ystems-
but \"'ith a level of detail and finishes
typically a ociated with larger buildings.
Parking is hidden from view beneath the
plaza as is truck loading.
u_ "'- -'
The focus on the plaza provides a unique
natural environment for daily office
activity, in contrast to most downtown
Dallas office environments.
00
L) ')
~ O r'l
,., oo
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~ .. Hll4r~·C.,~t!L~-~ ffi~~=®~:li:~
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1}*~~% Jiltxt tt 0
110
I Site plan 1 ~Jftiti
2 Northwest view 2 i!!i:ft~71-~
3 Southeast view 3 *lfl.ool?~~
In ternational Center Ill

1 Executive dining area: uppe r n oor 1 ~iQimB9~Jmffl«f2r.
2 Garde n dining a rea: main fl oor 2 ~~*mB9~1mffl « f2r.
' •-.r;,•-...
.
'...•
T e nneco Employee Center 115

-
.)
Tenneco Employee Ce nter 117

Renaissance Center 3t~-~lfl 1 1)
Design/Completion 1985/1989 tii.t~I 1985 &¥11989 ~
Dallas, Texas :J;5j)!Wf,.Jtf'Wfffl
Prudential Insurance Company of America ~~~Pil~~~RJ
Skidmore, Owings & Merrill, SOM$~Nf
Jj!~- · ~g,titr~tk.A.
Structural steel frame • 1'650' 000 .lfl-1I~R.
m~f1il
Blue , silver and green insulated glass curtain wall
M~, m~~~~~~~~.u•••
Built in the early 1970s, Renaissance

Center enjoyed a prominence on the
Dallas skyline, but over time was surpassed
in quality and image by n ewer buildings
developed around it. Aesthetically, the
building had a strong identity on ly at
night through its double-X patterned
night-lighting; during the day, it was
nondescript. Inside the building, materials
were dark, dated, and worn, and the
circulation lacked clarity. The building
also had no street presence, unremarkable
and undefined entries, and a lack of
human-scaled elements.
The design approach was to address the
fun ctional issues of systems upgrades while
at the same time correcting image
problems th at had contributed to an
inability to attract and retain tenants.
Continued
I
~£~~~~0@~m•ft•~. ~-~
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uo ~~~nW.~@~~~~~~~~B~
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-~~~~~.H*~~$.M~B~·~
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ati&~H~~.fiiJJ!, f.§ ::J;) *fl(J(J ~- B ~ ~ '!& i31
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I Dallas skyline 1 llittWT:X~~

2 Befo re renovation 2 ilUtzntr es ~~ :AAJ.
3 South view 3 ltlil*,nJ.
2
118
3
Renaissance Center 119

6
Renaissance CenLer 121

9
124
9 Food cour t
10 Pyramid restaurant
10
Renaissance Center 125

-
First National Bank San Diego £~•~-~ntarr

Design/Completion 1988/1993 i9:i.t~I 1988~/1993~
Equitable Real Estate
*iEOJJ&;z:*~
580,000 square feet 580' 000 lfl-}J~R.
White Cippilino marble with stainless steel inlay; w.~~m•i!Xs'€5 Cippilino :kl.!I!E;
Roche De Cry limestone; blue pearl granite;
flamed impala granite; Verde lssore marble; Roche Do Cry E !X 76 ; 1i f$~ 'f5 :ft ~ ;s. ; it .1< :ft
figured maple; frosted glass ~;s.; Verde Issore :kl.!I!E; EE:ft~J!c; miP31tlW
Originally completed in 1982, the

Columbia Center (a the building was
formerly called ) was designed to
accommodate a variety of tenants as well
as the First National Bank of San Diego.
The building also had three levels of retail,
designed to complement the City's
original plans to build its conve ntion
center adjacent to the building.
The building's problems were typical of its
genre-dark materials and finishes which
showed the effects of 10 years' use; non-
complian ce with current code regulations;
as well as changes in use over time. The
lobby had been planned to g ive maximum
access to the original three levels of retail, •
and included an unnecessary escalator.
Since the heed for the retail element had
disappeared, the configuration of the
lobby was inappropriate for its actual use.
The circulation through the lobby was
confusing and cluttered, a fountain
separating the parking garage shuttles
0 H-h +-- .... o
from the building elevator lobbie .
Continued
0 0
~Jl$t.Je:~ if-ffi tt51F. tp IL'' T 1982 ~~

I o .le:#~~wm~*~m?~~~if~- 00
0 0
~-fio :k~~~=m~~~m. ~~M~:k
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~J!$tf¥~~J'iili!~JPl~Jl$ttf'~M~~'
~M lO~~~m.ttM~~ooB~~.~~ 1
~~MB~llJ~o ~?'~. ll.ifilfa;f!BJ~~#. Jl

$t~ffl~~~BF~~~o.le:~#~:kff~=
m~mm~Tfi:k~~fi~n.:kff'f'~~~
-~m~~:k~§~~~offirE*~~m~
~mT.:kff~~~~~~~~~~~~~~
m~~o:kff~~~~m~~~x-.-~~
:JJt:m:k~~~ff ~W$:%*1J?t1f o
128
I Site pla n 1 ~~ .ljZ- iti 00
2 Alrium befo re re nova tio n 2 i~U!lltr B97cff
3 Atrium afte r ren ovation 3 ~ilstf97cff
First National Ba nk San Diego 129

7
Fi rst Natio na l Ba nk San Diego 133

-f*J)f~I.Y.I!*JJ[
Houston Industries Plaza
Design/Completion 1988/1996 i&tit~I 19881f/I9961f
Houston, Texas #Wfii, l.lJ~~WT1H
Houston Industries #WTfft!Iit#!m
1,100,000 square feet 1, 100,000 3Jl-1i~R
Steel, diagonally braced frame m, i411l!lifiJ
Granite, glass, stainless steel 1tpg:~L ~JilJ, /F~m
The transfor mation of this building for

Houston Industries is a un ique exercise
in architecture, rehabilitation, and city
building. Built in 1972, the existing
building's neutral facade and
straightfor ward floor plan created a
timelessness and efficiency that eludes
some buildings of the 1980s. Over the
years, however, the relatively elegant and
simple flush curtain wall has been allowed
to deteriorate into a patina of chalky
discoloration. Moreover, the original
concept of a base subordinated to retail
under a glass skirt had been a failure, and
the building suffered from the lack of a
clear entry. The circulation pattern
leading to the elevators was confusing and
inappropriate for a first-class office
building. The materials of the plaza, lobby,
and public spaces were inappropriate for
a building which must project a corporate
identity.
The redesign creates a symbol of the light
company on the Houston skyline that is
effective 24 hou rs a day. This "lantern in
the sky" provides screening for mechanical
equipmen t and is complemented by a
70-foot-high light tower on the plaza. 1 2
Continued
~~~I~*M~~~~-~~-m~
rr,£~~~mm~~~~~~~ o **mm
r 1972 !f: , ffii:1f*JI~!XfS31. iii~Mlti~iJU
~~~~oo~~7 -~~ so!f:~~~•m~
~~~~mtt~•*oMw . ~•~oo~•
~ · **~~tt~M~~-~B~~~. ~~
~•mm,BM~fS o ~~~~**~-~~~
~~m,~~~~-~~~rr•~~B~n
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a9mt~~ql!m~. i!~!¥i-tl!*f-~-mt~11'
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~~~~-r~~~~w-~m~~~~~~w
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~- o ~~··~~nm··~m~~--~7M
~. *!¥i*M~~w~Ra~n•~~o
•
1-4 Studies
5 During reconstruction
3 4
138
-
Houston Ind ustries Plaza 139

Th e light tower is a streetscape element
of ignifican t scale, which typifies the
continuing efforts of our practice over the
past 20 years.
The skin of the tower has been completely
transformed, as have the base of the
building, the internal circulation, and the
lobbies, while the structural system has
been upgraded, asbestos has been
removed, and handicapped access has
been improved.
The external expre sion at the base not
only reflects corporate soli dity, but also
works with adjacent urban elements and
spaces including th e corn er plaza across
the tree t and its Dubuffet culpture, the
Tenneco Foun tain, the Al lie d Bank entry
element, and the strong ba e definition of
each of the urrounding build ing . T he
con tinuity of the urban landscape is
enh anced on this block, which provides
extensive seating as well as kylights into
the pedestrian tunn el system below.
Continued
nm~-~§*R~~mm~~~m~$
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:i:~~~;fll Ef f&J't~ o
140
6 Top during reconi>truction 6 ~.@WJ(EiJ~lJifi!
7 C ity skyline 1 ~mx~~
8 R<·construction: base and entry s ffl;fiHu.A. o ~~m
Ilou ton Industries Plaza 141

The redesigned building lobby transforms 9 Towe r befo re ren ova tio n
the previous confusing circulation pattern 10 Mod el: view fro m north
II Base e nlr y prior to re n ovatio n
into one that unites access from the street,
12 Ligh t towe r
the tunnel level, and a bridge level,
13 Base a nd e ntry: night view
culmina ting in an indoor park at the
second floor. The materials and details
reflect the charac ter of the corporation , 9 i&liUtra<J::k.M
10 -~: ~~t!IJ~~Xl\1.
present and future technology, and the
11 ~:lilftH~.Ii! )dJ
focus on employee amenities. Thi project 12 tftlf
represents a unique opportunity to bring 13 Jil;Ji!'"AO: :a:;a
toge ther needs and opportunities, timing,
vision, and a fundame ntal alignment of a
multitude of people and roles. In the end,
a city benefits, a corporation is more
viable , and design is un compromised .
•
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Houston Industries Plaza 143

Memphis Brooks Museum ~$lOT·$ · 5llfi.4tDte'
Design/Completion 1986/1989 ~tt ~I 1986 &:F/1989 &:F
Memphis, Tennessee ~EWWT, IB~IDiffl
The Memphis Brooks Museum ~$Wf · :tpft1tWT1fB~111r
40,000 square feet (new addition) 40. 000 .1Jl-1r~R (Jf:l:fb )
40,000 square feet (renovation)
40,000 lJZ-:/f~R (~jl)
Richard Keating, Design Partner SOM$~Yf
Steel and concrete Jll!:ttttl·~l!.~tt~-f*A

Precast concrete, aluminum min®ttUi±
BtttH!ll{±. m~~
The program for Memphis Brooks

Museum called for a major addition that
would provide expanded gallery space,
visitor services, educational space, staff
offices, and improved facilities. There
were three existing buildings of very
different styles on the site: the original
Neo-classical building d esig ned by James
Gamble Rogers, built in 1916; and two
subsequent additions in 1955 and 1973.
In response to the challenge of adding
onto a regional landmark, the new 40,000-
square-foot, two-stor y addition was
designed to complement the 1916 I
building while maintaining integrity as a
modern building. The fenestration of the
facade, design of the details, and choice of
materials were all approached "vith respect
for the beauty of the original building.
However, contemporary eleme n ts reflect
modern sensibilities and the needs of
today's u er-a grand hall for public
functions, a restaurant with outdoor
seating overlooking a park, and a dramatic
entry with a metal grid for banners and
.
s1gnage.
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1-2 Model
3 New entry rotunda
Memphis Brooks Museum 147
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4 Lobby 4 "jeff
5 Museum sto re 5 111#'1-nllll$
6 Loggia 6 ~-
7 Administratio n a nd dining wing 7 fi~lli'Wi*IC~
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Memphis Brooks Museum 149

Tokyo International Forum Competition *Jit"~~~)$~·
Competition 1989 1989~ .JlJ¥
Tokyo, Japan
Taisei Corporation
*Jit' EJ
::k.lilt0PJ
*
1,400,000 square feet 1,400, <XX) Sf!-1J~R.
1,500-seat auditorium
5,000-seat grand hall 1,500 ~{lza<J~~ff
Skidmore, Owings & Merrill, 5' <XX) ~{lz a<J ::kff
Richard Keating, Design Partner SOM$~Ji]f
Steel Jll!iHI · ~g , N:itiHxA
Granite, stainless steel , glass m
~i5Q~,~~m,1Jt•
The design for the Tokyo Internation al _j

Forumw~aresponseooiliedi~~ent ~~·~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
character of ilie urban context, and an
expression of the o rganization of a
complex program. To ilie west of ilie
building stand the regular blocks of ilie
Marunouchi at a consistent height of 11 2
feet, creating an imposing wall of gran ite,
stainless steel and glass. Beyond this lies
the Imperial Palace, symbolic an d
impenetrable. In response to iliis context,
the exterior of the Tokyo In ter national
Forum offers a monumental facad~ rising
above ilie Marunouchi blocks, ooward ilie
Imperial Palace, and topped by a wing-like
canopy. Significant is the visual
penetrability of the structural frame which
reveals the various functions of the
building, including ilie tair tower which
forms an inverted cone.
Continued
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1 Site plan
2 Mo del
150
. . Tl. . " . . " . . . . ' . ' . . . ,
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T okyo l nLernational Fo rum Competition 151

The intention was to facilitate circulation
to the various uses of the building and
extend a universal message of accessibility
and the free exchange of ideas. The
project was designed to accommodate the
flow of many people arriving from all
directions and at various levels. A central
public court is the focus of the project and
an important orientation point for visitors.
Its character evokes the mass spectacle of
the Shibuya Crossing, animated by video
screens carrying images of the city, its
culture, performances, and art.
The central court is flanked by two
primary blocks into which the rest of the
building's functions are divided for clarity.
Conference rooms, reception facilities, a
roof garden, and a 1,500-seat auditorium
are located in the south block. The
northern block houses a 5,000-seat hall
with a roof of stainless steel and g lass
clerestory windows to let in natural light.
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Tokyo International Forum Competition 153

Department of Ecology Headquarters ~~$.~$
Design/Completion 1991/ 1993 •
liit~I 1991 if:/ 1998 if:
Lacey, Washington
~~.$!.itoiffl
State of Washington
320,000 square feet
Steel-framed structure with a concrete shearwall
lateral system
Precast concrete, glass curtain wall
The site of this development is on a vast

meadow at th e edge of a dense forest,
adjacent to a historic abbey and college.
Because this bui lding houses an
environmental protection agency, an
overriding criterion wa that it be. a model
for future environmentally conscious
office development. Materials and
construction processes had to be
ecologically sen itive.
The competition requirements stipulated
a program of 312,000 square feet with
surface parking for 785 vehicles. The
scheme, however, challenges the
guide lines, structuring the parking in
order to preserYe the meadow as an
•
integral project component and ym bol
of purpose. The building is located at the
forest edge on areas of ex i ting root and
soil problems. The building height
respects the tree-line and screens the 0 I) c 0
parking structure from view.

The building anchors itse lf to the "garden
plane"-the landscape eleme nt extending
from the entry court through th e lobby
and into the meadow. Rough fingers of
stone mark the building entry, eme rging
upwards through the horizontal plane. 0 a c 0 0
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and fire stair tower at dusk 2 -fflltlt.t ~ iE f].fQ ~.1<. ~~
154 ...:. ;;~ ; ; ; ·_ :~:.~:.:. :·-·~:·. · ..........

•
Department of Ecology H eadquarters 155

3
4
Entry drive and main entry
Building view fro m meadow
*
3 ;st m~ IE n
4 _b.U;t PJZ~:U Jlilt
5 lm e rior a trium: o ffi ce wing 5 ~ J;l;J .Ill~ : 11-0~ tMt
156
Santa Monica College Library Expansion ~-JE~~~~~~~ tfi' jj.
Competition 1994 1994 ~ jE.
Santa Monica, California ~~Je -F ' 1Jil~Jf1Jejfffl
Associate architect: Rotondi Architects ~fFlt$t!fifi : ~ ~l!!!llUJt!fifi.:971JT
15,000 square feet 15,000 .ljl-1J~R.
•
Wood slat and glass main enclosure
*t&if, 11t.fF:h±J!~HII~tf*4
•: '
The existing campus of Santa Monica
College i a com pact group of buildings
restricted from further expansion by the
surrounding neighborhood. Two eras of
con truction activity on th e campus are
clearly observable in the orienta tion and
scale of the buildings. The existing library
occupies the center of the campus and
essentially straddles the two underlying
planning grids.
This proposed addition establishes both
the physical and intellectual center of the
campus while accommodating the grid
collision. The predominan t form of the
library is the Oval Room, which is bowl-
shaped with soft flooring to accommodate
a range of seating possibilities. Above the
room is an egg-shaped chamber intended
as an area of total concentration and
.
qmet.
The garden spaces outside consist of
a trellised park with a bank of public
telephones, and an academic grove that
encourages students to take advantage
of the climate and tudy out of doors. A
controlled outdoor reading room located
on top of a protruding wing of faculty
study rooms provides a similar outdoor
experience. The large screen above the
symbolic building entry faces out toward
the academic grove and campus, and
offer numerous possibilities as a means
of electronic communication.
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2 A.xonometric
3 Mo del •
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Santa Monica College Library Expansion 159

San Bernardino Government Center ~ In ~ iJ!l ilr il& lf.f Jfllt..
Design/Completion 1994/1997 ~i.t~I 1994~/1997 ~
San Bernardino, California ~JJ! ~i!!!it, :bo.ftJ11~SJEffl
State of California :bn.f!J m.~e SJEffl
300,000 square feet 300, ooo lfl-1f~R
Steel
Precast concrete, glass, stainless steel
m
§$J7tt§± , JJt- ,.lf'~m
This initial scheme fo r the new State of

California Government Center in San
Bernardin o includes two office buildings,
a parking garage, and an extensively
landscaped public plaza. The comp lex also
includes a retail e lemen t at the ground 1-- -
_!_ __
L--r--r,::r - r-- ~IW
levels of each of the buildings and garage.

~
The ove rall goal of the City of San I
Bernardino and the State of California is r~ -: ~rn~Jttm:tTitf.1
to foster economic growth and revitalize
langui bing down town areas. Therefore
the project wa conceived as a public
place, providing amen ities for users of the
buildings and general d owntown visitors.
The focal point is the public plaza which
is lushly landscaped. Both buildings are
entered from the plaza and from the
streets which they border. T he character
of the bu ild ings is civic and timeless and
was driven by the State's mod est budget
and need for maximum interior
accommodation. The image of the
-- -f!-+- - - -------- -----
--'-1--
1
buildings is achieved through the
fenestration and detail of the curtain
wall of precast con cre te and g lass.
*
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I Site plan 1 .~ lfl- ilii

• 2 West elevatio n 2 l.!i~?H!\1.
3 Illustration 3 7&})!00
160
•
an Bernardino Government Cenler 161

Elihu M. Harris State Office Building 1~--f* · M · iJt !l[#}fffl !IJ-1}:*:~
Design/ Completion 1994/ 1999 iitt~I 1994 &f:/1999 &f:
Oakland, California ~5t~ , :bo.f!J.t~Jesrrffl
Dinwiddie Construction/State of California T ~illin!1Jt0 iU /JJO .ftHIJeSlrffl
700,000 square feet 700' ()()() .lf-}J~R.
Precast concrete, glass, aluminum, stainless steel ~Mm•± ~- , ~~~ . . ~~m
>Q
The aim of the State Office Building
design is to maintain the functional
9
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imperative wh ile respecting contextual I

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issues to provide a design response that is
clear from all angles-at the skylin e, at the
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pedestrian level, and at the north and 0 0--0 0 .r- ""O-O
south facades. Of great concern was the -- ......... ..FL
deve lopment of a design that illustrated

the tability and stre ngth of the State of
California while acknowledging the
history and civic spirit of Oakland.
The distant perception i more dependent
on form and the play of light and harlow.
In thi case the precisely sculpted top,
with a distinct corn ice lin e and horizontal
gesture to the west, is unique on the
Oakland skyline; but rather than being
aloof and self-referential, it draws from
the context and embel lishes it. The
perception of the building complex from
a closer position is dependent on elements
of scale, details, and materials.
Continued
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162
2
Elihu M. H a rris Sta te Offi ce Building 163

The purpose of the landscaping and street 00 0 0 0 0 0 0
•
amenities is to create a direct continuity '
with the Civic Square and City Center I
I
I
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areas. Ultimately, the landscape d esign will .1=":!r:r"GI'i0N
help to integrate the adj acent buildings

and provide a variety of vibrant outdoor 0
environments for State employees and 0
visitors to the State Office Building.
0
The facade of the State Office Building
will be white cast stone, green and pewter 0
glass, and charcoal mullions with stainless
steel and aluminum details. The ·~·
0
articulation of the stone and glass will be
further enhanced by texture and shadow- • ~~ 0
*•
lines. The appearance of the curvilinear •
0
cornice-the building's signature
element-varies with the quality of light
' --:n!f'• ·"
during the day: against the bright sky it is I

d ·
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composed as a precise shadow and reveal; ~~ ~~~~~~=~~r~~
n7"'1r.Y J • - ·--
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at night it is a unique source of light.
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5 West e levatio n 5 WJiiii

6 East e levation 6 *JL:iii
7 So uth e levatio n 7 iWJiiii
8 No rth elevatio n 8 :ltJi iii
6
166
•
Elihu M. Harri Stale Office Building 167

•
Tower City Center Competition #i!mzil= 'fl,t,Jf•
Competition 1989 1989~ Jl~
Cleveland, Ohio Jt~J;Ji:~ ' ~~iftffl
Tower City Associates ~mz:ttFJJ.~
1,000,000 square feet 1' <XX> ' <XX> .lfl-}j1i:.R.
Skidmore, Owings & Merrill, SOM!J*f!Jf
Jl~~ . ~g ' ifil:it-frttA.
Granite , glass
~p!Q!S- , 1Jtllt
Tower City is a mixed-use development

covering 10 square blocks between the 0
core of downtown Cleveland and the / \
Cayahuaga River, the city's natural
boundary to the south and west. Phase III
of the project includes Tower City Center,
a 40-story office building of 1,000,000
square feet. The building is d esign ed
differently on the west and east sides to
reflect its dual role as a part of the central
core to the east and a symbol of new
growth to the west. The tower's eastern
facade i a cur\'ed, blue g lass form which
visually recedes into the expansive
Midwestern sky. The curved wall ,
combined ·with a 300-foot-high spire on
the top, gives the building extremely
vertical proportions, reinforcing its role
as a gatepost.
The project u e the river' edge a a
major amenity by combi nin g small
harbors, residen Lial towers, park , and
retail pace.
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I Site plan
2 Model: view from south
170
3 Tower: south e levation
4 Tower elevatio n
5 Lobby plan
6 Tower elevation
7 Tower e levation
8 Compute r rendering '·
9 Section
10 Computer rendering
•
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4 m~.u:oo
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Tower City Center Competition 173

Wilshire Ambassador Competition lit$iM*f1!!~-·
Competition 1987 1987 if rtJ¥
Los Angeles, California ~~iiJL, 1m*J11JESIF.7H
Trump Associates ~~·f)}~
Skidmore, Owings & Merrill, SOM$*PJf
Jll11l1f! · ~~.iittiltkA
2,500 , 000 .lfl-1J~R.
Aluminum, granite, glass
fail~ , ;(~~~' ~-
The underlying concept of this scheme is

to characterize th e building as part of the
natural continuum of Wilshire Boulevard,
the linear corridor which is as much a
symbo l of Los Ange les as the Hollywood
sign. Through the creation of an extensive
I I II I
garden, the open space is advanced as an
important urban park. More importantly,
through the addition of significa n t retail •••••••
and elements of pedestrian activity, the ------------
de ign seeks to enhance the Wil hire
corridor and introduce the kind of energy
found in Times Square o r the Shibuya
Di trict of Tokyo.
The building' hape, and its progress
from base to the top, are logically
integrated with functiona l and
architectural criteria to allow for a
continuous, efficient structural ystem.
The lantern / he lipad at the top not only
erves structural needs, but al o provides a
beacon visible mile out to sea and far into
I DOD D DO
th e d esert. The play of light through the
slots in the upper part of th e building and
the gentle taper provide hourly drama
aero s the elevations.
Continued
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174
I Site plan
2 Site mode l
..
\
'
Wilshire Ambassador Competition 175

The structural system concept was
determined o n the basis of efficien t wind-
load resistance and consid erations of
occu pan t perceptions of m o tion during
wind gusts. Additionally, the structural
system had to provide adequate resistance
and ductili ty to withstand strong seismic
motion. The lateral stiffness for wind-load
resi tance is optimized by placing columns
on the exterio r of the shape and
interconnecting them by means of vertical
trus es. Apertures in the building provide
sub tantial d ampening of wind m o tion .
~~~~-~~~~~~~~~~m~•
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• o ~,~.am~~-•~m.~~~~~~
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176
3 Elevation
4 onh view
Wilshire Ambassador Competition 177

Trammell Crow Center Irvine ~!U:-$ . 1l ~ q:a ,c,~
•
Design 1989 lilt 1989 ~
Irvine, California ~X • .1Jo.l!HIJeiir1tf
The Trammell Crow Company ~t2¥i$·1l!J'0~
Skidmore, Owings & Merrill, SOM$:91-f!Jf
l11!1!ftl ·~g ,iiltittkA
Within this large and significant site,

which could become the centerpiece of an
urban area, the strange geometry of the
pre-existing building provided a clue to
the ultimate formal attitude of the master
plan. The master plan incorporates not
only the existing building, but also the
underlying platting or grid syste m of the
surrounding and adjacent development,
including "down town" Irvine, the freeway,
and the back bay ecology.
Recognizing the freeway frontage and its
inherent associated imagery, an array of
office buildings focuses on a transit stop
. , • 0
which in turn becomes the central 0 • 0
pedestrian hub of development. Parking

for the office buildings, while above grad e
J:
for economic reasons, becomes a retail
frontage at the base and an en closed form
from the freeway, creating the central
urban space. Future offices, housing, and
retail extend from this sp ace in a phasing
strategy that provides flexibili ty, yet
maintains the overall cohesive character
for the development.
a~•~~~~$ ~~·& ~ §*~m~ ~

••~.-~~•~••~M%~~a•oo•
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~~g*,'E.*7~Mtt, ~~~-*7*~
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178
RTD Headquarters Competition R'ID ,~ $ -·
Competition 1991 ~- 1991 ~
Los Angeles, California #&~Wl, 1JDftJ11.1ESIE7ti
Catellus Development -F*fftWi2t.ll0~
600,000 square feet EOO,<ro~1r*R.
This plan for the new RTD Headquarters

building includes not o nly an architectural
proposal, but also a reorganization of the
entire master plan of the Southern Pacific
railyards property.
To integrate the property into the larger
city of Lo Angeles and the adjacent
d own town , two streets-Sunse t Boulevard
and Los Angeles Street-were extended
into the property as the primar y bu~iness
addresses; the first by ren aming existing
streets, and the second by strategically
bending Los Angeles Street into the
depths of the property. This creates a
primary public open space in front of the
historic train station which would also
provide a foc us for the Olvera Street
Marke t, binding togeth er two currently
separate but important cultural landmarks
of Los Angeles.
A bus loop circles around another area of
open space that slo pes down to bring I
-
sunlight to the lower level train baggage
arrival area and the transit line, o rganizing
each mode of transit to a single point of
confluen ce. The pro posed tran sit
company office building is located
adj acent to this setting, creating a visual
symbol of the transit systems and activities.
Continued
Jil¥1 RID ,~$j;:JI1J~~-&§ffiTJf$t

~rr.~~mT~m~m*~~~~~~~~ 2
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180
The architecture of the building expresses
the technology of transit and is oriented
towards the future. Placed at the edge of
the property beside the freeway, the
building would have exceptional
prominence in the region. As the train
..
mu eum would form the building's
ground level, the historic trains would al o
be visible from the freeway.
An important opportunity was tO en han ce
the primary arrival intO Lo Angeles by
train and future high-speed rail. This was
achieved through a dramatic Palm Court
and train shed structure that would
provide an important urban symbol.
*~~~~~~~~7~~~tt*,#OO
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182
Context
2 Stadium and park 0
3 View fro m the north

4 Plan
I )CJJ*
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Texas Range rs Stadium Competition 185

Texas Rangers Stadium Competition f*5l WEWT~ 1Jii.:if fl.A. mf;tJ iim ft Jf
Competition 1991 ~Ji¥ 1991 ~
Arlington, Texas IWIIR.~,it\1lW£Wiffl
Texas Rangers Organization M.fl ~Wi~ ilfJ~ ~ 11 J1U11.¥;J
12,000-seat stadium, 4,000 car spaces t2,oo:>-t-8H.U: a<J~~~, 4,oo:> m~*~*m
The program for this project includes

the Rangers St.adium , an adjacent Little
League Field, a Hall of Fame, and an
administration building. The special
element of the project i baseball, and its
role in American culture, both pa t and
present. Expres ed in vision, sound, smell,
taste , and song, it is intertwined with a
notion of summer aftern oons and
evenings, hot dogs and beer-a time when
junk food is legitimate, and meaning and
history are as important as the game at
hand.
Wrigley Field and Fenway Park are reve red
as special ballparks, but their most
distinguishing feature i that they are part
of their surrounding urban fabric to a far
greater extent than more modern
stadiums which tand as i olated elemen ts
in an asphalt sea. This scheme sought to
use the characte r of the Arlington urban
form which is defined by its organization
along the highway, the stadium itself, and
large local amuse ment parks and the ir
associated parking.
Continued
1
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184
Parking lots at large entertainment venues
are typically ignored, o r are badly planned
and disorienting. The proposed plan
organizes the parking along the USGS
survey grid, between landscaped
ped estrian walkways which intersect at
retail/restaurant/ entertainment nodes
marked by towers. These intersec tion s of
activity provide opportunities for revenue
generation through sales of fast food,
tickets, etc. As a counterpoint to this grid,
th e primary access road, the ballpark, and
the Hall of Fame define their own
geometry. The stadium design is fo cu ed
on the movement of daylight across the
colorful crowds and the transition from
the late afternoon light of the early
innings to the pitch black sky at the end of
the game.
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5 Food kio ks 5 -stfrt•

6 View from the stands 6 »-flatt~;u~
7 Entry sequence 7 AOJ¥~J
8 Little league field s ~ JL~~j:g;IJ~
Texas Rangers Stadium Co mpetiLion 187

Los Angeles International Airport Master Plan Proposal 53~ ill. 00 ~~ fJl.:$ .~Ill • •
Design 1994 lit!- 1994 4=
Los Angeles, California i!~iiJL , :bo.ftlfliiM~ffl
This proposal would eliminate the upper

level roadway that currently provides for
departure drop-off, and wh ich traps
carbo n monoxide fu mes in the arrival area
below. A large, se mi-open trellis str ucture
would envelope the internal area of the
passenger zon e, making a major
architectural statement.
Extension of the terminal facili ties would
take place to the west, wi th a new
international terminal overlooking the
Pacific Ocean , itself a metaphor for the
association Los Angeles has with o ther
Pacific Rim countrie of origin and
de tinatio n.
The road system would extend to the
beachfront. This would allow the volume
of traffic betwee n the airport and the
Cen tury Freeway to be dou bled by looping
traffic one way in and o ne way ou t. Truck
and airfreigh t services can expand along
the southern frontage where direc t
freeway access can be incorporated. The
proposed subway transit system can be
accommodated in a station and alignment
down the center of the passenger area to
accommodate tho e who arrive or depart
by train in the same manner of efficiency
and grace as other passengers.
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188
•
Morgan Residence •m-t±~

Design/Completion 1978/ 1980 ~tt ~I 1978 :£F/1980 ~
Snowmass, Colorado
Wii.li!bWi ,f4~~$11i
Neil Morgan
JB11\ ·.ll#*fl
SOM$9§-fjf
Wood frame f~IB!t~ · ~g, ~tt~tkA
Redwood siding, metal-clad wood windows *~~
!r-*~ , ~H!him&*il
This re idence is located alo ngside a ski

run in Snowmass, Colorado. The primary J
•
intent of the design is to respond to th e
un ique ski-in/ ski-out site, th e views, and
the surrounding aspen groves. To prese r ve
a many trees as possible, th e house is
orien ted perpendicular to the slo pe of
the hill. The bui lding steps down in the
direction of the primary vi ews,
conformirlg to h eig h t restri ctions and
providing outdoor d ecks at the tree-to p
level with sigh tlines to th e ski run and the
m oun tains beyond. The bui lding
orientation and th e use of glass are
carefully arranged to provid e maximum
solar h ea t gain in winter and balanced
\'ie ..vs, predominantly to the north.
Sp ecial attention has been p aid to the .-- ..
entertainm ent function of the h ouse and
th e dramatic master b edroom and bath.
--
r- ,...__
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......
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I Site plan 1 .(iiljZ- iii

2 Axo nometric 2 ~mll!l
3 Woodnm Street fro ntage 3 $ffi.#.jjj~~
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Mo rgan Residence 195

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r--
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4 Garage level
i - 5 Guest room level
'
0 6 Living roo m
7 Master bedroom
8 Nor th view
•
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I' _ ... :y
9
10
Terrace view
View fro m ski run
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Morgan Residence 197

4949 Yoakum ~1.] -F 1zBJ 4949 -i}
Design/ Completion 1980/ 1982 iiit~I 1980 :f¥11982 :f:F
Houston, Texas 1*WT'W!.111lf'Wfffl
3,200 square feet 3, 200 .lfl- 1r~R
Skidmore, Owings & Merrill, SOM -~f!Jf
lll!~f!·£Jf.iittil"tk.A.
Wood frame
Stucco *~~
~=BJJ<ile
Built on a 60 x 125 foot lot in an urban

area of Houston, this house provides the
anonymity and security desired by th e
owner a well a openness to the garden
and sunlight. H idden behind a vine- 0
covered wall , the house is entered th rough 0
a garden court. All major trees o n the site 0
were preserved and full advantage was
taken of a monolith ic windowless party
wall along the outhern property lin e.
Internal functions accommodate a
bedroom and upper level deck as we ll as
a galley kitchen serving a large
entertainment and dining area. T h e
exterior expre~ion of the house is left to
the patterns of windows cut into ivy-
covered walls (a stron g tradition in the
neighborhood ); the focus is on the quality
of livin g with in, and the experience of
sunlight and landscape without sacrificing
•
ecunty or pn• vacy.
it~Urrf*WT~~I.K , 6:it!! 60 x 12s ~

R o ~~~f!Jf•m~e~.~~tt~-~BM
tt~~~~ ~ ~~ttW~~~~~~ o1t~ ~
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~~~~ o ffl:itl!L~f!Jf~~~W*~~~Mr
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(i!~*I.K~~ -~A~-ffl'~to o ~ S4: m m
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I Axonornetric from tht: north
2 Ea~! facade
4949 Yoakum 199

4949 Yoakum 201
Santa Monica Beach Hotel ~ - JE~j$~~tll
Design 1987 1987~ ~it
Santa Monica, California ?k~~ -F , 1JD;f!J:fi.IB5IHH
Michael McCarty lli1l$ · 3l-F~
250,000 square feet (160 rooms) 250, <XX:l lfl-1r!i:R ( 160 1-..W l's])
Skidmore, Owings & Merrill, SOM$9}}9f
JJI!~~ · ~g ,iiif~tkA
The Santa Monica Beach Hote l was to

have been located o n one of the most
beautiful beaches in California. The site
encompasses the former estate of 1930s
film star Mario n Davies, which was
destroyed by fire leaving only an historic
guest house.
The hotel is low-rise and scaled to
minimise impact on th e beachfront. The
mass of the building is broken up around
three courtyards, in keep ing with the
character of neighboring homes. The
architecture is kept simple in o rder to
create an elegant backdrop for the special
landscaping program and the exten sive
collection of sculpture, paintings, and
o ther pieces by Los Angeles artistS.
Rooms are ori ented aro und two of the
cour tyards which face th e beach . The
third courtyard faces the coastal access
road and provides a gracious and distinct
streetfront and entry.
~•m~•~-~~*&~bo~mm ~ffi
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1!Jllil~riH!i3LW~'IffimA a o
202
I Beach view
2 Model: view from Lhe south
j \lew from Palisades Park
4 View from rooms loward bungalows
5 Oct:an fron lage
I tli tAl:!H~.
2 •m: m•~~Xli
3 »..S~J ~$Wi 01Zi;14f l!J I¥J:l!H!!.
4 ».m fiiJ fi mtJ9:tH~.
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Santa Mo nica Beach H otel 203

Katsu-ura Condominiums ltt»>**
Design 1988 ~tr 1988 ~
Katsu-ura, Japan
Taisei Corporation
a*. Jfttll
:k.mt0~
380,000 square feet (425 units) 380, (XX) 5JZ-1r9iR. (425 1-l)l]t)
Skidmore, Owings & Merrill ,
SOM.*ffi
Jli!~HI · ~g , ~tr~tk.A.
.• ·,
)/d;/'·J
Sited on a bluff on the Bossa Peninsula /
in Japan, the Katsu-ura Condominiums

) } )
I ( •
-~;f;-;:
present a dramatic silhouette against the •
sky and provide residents with far-reaching
and unobstructed views of the Pacific /.J
-
_/ ~ ,"
I
I
I
Ocean to the southeast and outhwest. /
The siting of the 425 units allows for 1~ ·-· /

/
/
' .'· / )
southern sun exposure for every unit
and for common outdoor space. /· / ·' - -- ~
. • •
\
The design of the complex was conceived
'
'I' -
tO complemen t the rugged topograph y
// J.
/ < /
/
and fragmented geology of the area. '
• I
•
\
Two 18-story, single-corridor slabs are d
/
I
/ ~ , .... II
'
juxtaposed on the site. Con ceptually, the "/,
......
"/_/:.... ' / ~
')
project was planned as one long structure ,...-; / /
___...... ...
---
~ r
disjoined i~to two pieces and connected a t I '
'
the top by a four-story bridge. ....;__/

/
~
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The bridge creates a grand portal r
/
14 stOries high and 157 feet wide. )

/ (
,
Approaching the project on a meandering ' .... / ••
' ' - '
road from the nearby fishin g village of ..._ -~ I'
~/"- ,\_
v·
/
Katsu-ura, the portal is seen above, /. /
/
,
symbolically celebrating the point where _) . 1/7 /

//_j
• ' I '/,
I // .
/ !
the earth meets the sky. Entry into the '

I 1
' // ....t '
development is through a long tunn el, ( / •
creating a dramatic arrival at the portal

,/};; ,., I /
/ t
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I N
and large circular motor court.
C)
M~0•~•~s*m•••~~~~~.
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lJZ-~~~ 0 TfiJtiJ~A:f:J'tiiJ~JfftMJJJJ! 425 ~0
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L.~~ili~~~~~~~ o ~A**~g~
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f£tJ9JJJ~J~~§:X~rt:$:J!~ o
204
I Site plan
2 Typical floor plan
3 Entry view
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Katsu-ura Condominiums 205

4 Site model: ae rial view 4 ~j&m~=~•
5 View fro m below 5 f'llmDt~t
6 View from the village 6 ».
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Katsu-ura Condo miniums 207

Ocean Boulevard Condominiums #fjtF:;kil:i}.
Design 1989 iitt- 1989 ~
Long Beach, California *tAt, :bD-"HI.fej[ffl
The Mendik Company flil!l1l1}UJ
550 units 5501'-.tli.:lG
Skidmore, Owings & Merrill, SOM$-*Jilf
J!!~HI · ~g, iittiltA:A
BiittJm•±, ~-
The project was designed in two phases

to attract the growing number of people
-
moving to the area of Long Beach,
California. One 30-story tower and one - - - - - -- -
45-story tower are p laced on the ends of
the site and angled to minimize
- - -
obstruction of ocean views from buildings
to the north of the development. The
north side of the tower are parallel with -
the existing urban grid in order to
integrate the project with the rest of - -
downtown. The outh ides face the ocean
with unimpeded views of the nearby
- - -
harbor and beach, and Catalina Island in
the distance. I -
The 550 units were all designed with
balconies, large, tinted-glass windows, and
elegant interior spaces. Some are two
- -
stories, and corner units have a 270 d egree G)
view of the coast and city. N
At the top of each tower is a helipad

cantilevered off one extreme, giving the
buildings a dramatic kyline presence.
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3 First and second phase
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Ocean Boulevard Condominiums 209

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8 Waterfront view s lMffJ!lW".IUt
Montecito Residence -~-~~~
Design 1994 iiit 1994~
Montecito, California ~ff~fE. :bo*'J:fiJB~ffl
4,000 square feet 4,000 .ljZ:/J~R.
Organized on a 3.5-acr e site with a

pre-existing guest house, this design
establishes a clarity of back and front,
entry and circulation, privacy and view.
From the entry motor court with guest
parking, the sequence of movement flows
past a courtyard and vineyard to the front
door. The private garage functions from
the sam e courtyard but, with blind doors
and internal access to the house, does not
detract from the more formal sequence of
arrival.
The house is linear in plan with a clear
architectural bias toward the internal
property, the vineyard, the garden, and
ultimately the view to the Channel Islands.
All this is planned to accommodate the
indoor/ outdoor lifestyle made possible by
the warm climate; the dominant "room "
becomes a two-story semi-scree~ed deck
with a commanding view and an edge of
water created by the flush lap pool and
h ot tub.
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Laser Interferometer Gravitational Observatory (LIGO) itt:}'{; =f )~'{S(JJ ~ s I jJ ~J\l.iJltl ~ ( LIGO)
Design 1994 ~tt 1994~
Livingston, Louisiana and Hanford , Washington
~~••·~· -~~~ffl. mm• . $~•ffl
Caltech/MIT l~713J\ ~* 0 'iiJ /.~rtfJli!I ~ ~
560 acres 560~fif
Steel structure m~~
Metal panels, concrete ~JiiUfi , titlE±
Together, the LIGO and N IF projects

represent the unique collaboration of
architecture and engineering tha t in many
ways was the impe tus for the form ation of
DMJM Keating. In both cases, the
importance of accommo d ating r esearch ----
and technology was far greater than the
structure itse lf. H owever, it is our
conten tion that ar chitecture can suppo rt
the purposes of such facilities, in terms of
both quality and fun ction. Both programs
involved accommod ating sophisticated
scien tific equipment and support spaces.
In the case of LIGO, the equipment (in
ver y basic terms) measured the effect of
gravity on light. The measurements
advance, and are ultimately hoped to
confirm, various theories abo ut the
un iverse and its fo rmation.
In bo th proj ects, the enclosu re was
designed to allow for a greater emphasis
on the special needs of the interio r. LIGO
was d esigned to enhance the simple
beauty of the fo rm created by the main
statio n an d its 13,123-foot-long laser arms
that extend to fo rm a rig ht-angle. The
focus was on the landscaped berm that l
would allow for visitor obser vation from
above and aid in the con ceptual
understanding (and therefore funding) of
the effor t withou t significant interference
or breach of secu rity.
IlGO ~ NIF J:.Di § fl)~~ 7lt$tt~tit~I

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216 Laser Interferometer Gravitational Observator y (LIGO)

National Ignition Facility {NIF) ~I® 00 ~.Q!k ~tft~~Jifi (NIF)
Design 1995 iitt 1995 &¥
Livermore, California ~1~~$, bo~J1I.Je51Effl
Lawrence Livermore Laboratory
200,000 square feet
.
~~m ~J~~$~~~
200, 000 ljZ1J~R
Steel structure
m~~
Metal panels, concrete
~..-l&.ntti±
The NIF project accommodates lasers

running along both side of the building,
in mirrored corridors that focus on a
single point.
The mirrors amplify the energy of the
lasers to create energy equivalen t to that
of the Sun. Ultimately, the purpose of the
experiment was to derive self-generating
energy from fusion.
The design concept was based on
creating a center fo r the support facilities.
The building wa surrounded by a pool of
water that would serve as a cooling pond
for the facility, which h as critical
temperature requirements. The structure
was taken to the exterior of the building to
provide an uninterrupted interior space.
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National Ignition Facility (NIF) 2 17

SA Land Master Plan SA Land ~~Ill ij!:i.f
Design 1995 ~it 1995 &¥

Bangkok, Thailand .42~.~~
SA Land SA Land ~Wj
12,000,000 square feet 12. (XX). (XX) .lJl-:n~ R.
The developm ent of this rna ter p lan will

play a critical rol e in Bangkok's growth as
the city moves quickly into the 21st
century. The project' functional priority
is to accommodate 800,000 transit
passengers a day (800 buse an h our) in
the combined bus/ rail terminal. Other
- r-q ,
components include retail, office, hotel, - ~- - '
and parking.
While the project seeks to integrate itself
within the context of the city, it remains
a visible point of difference. The towers
and main retail componen t form a strong
stree t facade, accented by the entries
which will feature graphics and electronic
media devices. These elem ents combine to
create an active retail frontage to tie into
the existing street wa ll of Phahonyo thin
Road. Pushin g the vehicular entries to the
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uninterrupted pede trian circulation
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for the en tire length of the project. This ·, . ~
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SA Land Master Plan 219

While pedestrian circulation is
continuous, the strong street wall is
interrupted by the creation of a grand
plaza which forms the portal in to the
terminal and extends the project's
character beyond the boundaries of its
site. The plaza serves as a focal point for
outdoor public activity, and also provides ."""'. . .. . . . . . . .
--
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the city with space to breath. This break in

the density of the city creates a space
strong enough to act as the threshold to
th e terminal and large enough to handle 0·
. .
the sheer number of commuters that will -
pass through it.
The elevated train station and park-side
bus drop-off are also linked to this space 4
by their positioning and architecture,
which relates to the implied circle of the
C?J
plaza. The plaza's landscaping, pools, and
fountains are brought into the interior of
the project, blurring the line between
public and private space.
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SA Land Master Plan 221
National Museum of Korea • ~ ~ .ll. t.fj!f?JJ m
Competition 1995 ~~ 1995fF
Seoul, South Korea &~ . ~~
Associate architect: Hee-Lim Architects itfFlt$t!fili:fiii · *lt1JtJlifi.~JYT
1,000,000 square feet I,ooo, 000 .lJZ-/J~R
Reinforced concrete ·fti91£1i71Ui±
Cast-in-place concrete, granite, wood, dichroic glass, stainless steel, ~~m~±,~~*'*~,~~~-,~~
ceramic tile
m,~~
The program includes 1 million square

feet accommodated in two wings-a main
gallery wing and an education wing-
housing curatorial and educational
functions, children's museum and special
areas. The site plan was based on
'secu larizing' the museum from the
pervasive urbanity which surrounds it.
Historic precedent was found in the legacy
of important Korean buildings, many of
which are walled environments. A
perimeter wall serves to organize the
museum and garden, and is penetrated by
portals which are symbolic of the
transition from present to past and future,
and of a country in transition.
The underlying concept of the building
and its grounds is a recurring balancing
of positive and n egative; open and closed;
history and future; summer and winter; 1
urban and pastoral.
Continued
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National Museum of Korea 223

The site is exceptional in its auspicious
geographic relationship to the ciry of
Seoul. The sim ple diagram of th e design
belies the powerful effect of the garden
that is invoked by long avenues of tree
reflected in huge pools of water. While on
one hand the facade of the museum is an
aspect of con tainment, or wall of the
national garden, it i also a representation
in color, form , and materials of a wide
range of Korean artifacts, from pottery to
palatial roof-lines. The galleries themselves
accommodate exhibits ranging from hand-
held objects to stupas and pagoda up to
10 stories in height.
5
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6 Site sectio n: building and garden
-~~,~ o ••~~#~fioo~m~&•ili~ 7 De rivative of g ateway
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National Museum of Korea 225

Samsung Aerospace Advanced Park =~7tt~a*'fl!l r&
Design 1995 titt 1995 ~
Sachon, South Korea ~JII, :(!tiE
Samsung Corporation .=: &~ii'J
Associate architect: Samwoo Architects it~ll1Jt!frli: .:::*ll$t!frli$~JYT
8,000,000 square feet (site area: 618 acres) s , <XX), <XX) .lfl-:n1i.R <J=t=Hm iii~ : 6ts1i Iii>
The goal of this master plan is to develop

a comprehensive facility plan for an
aero pace industrial com plex that focuses
on state-of-the-art commercial aircraft
manufacturing and assemb ly as we ll as
o ther aviation-re lated faci li ties such as I
testing, ma intenance, component
production , and warehousing. T he master
plan also includes an admin istrative/
resea rch and welfare complex that
supports the workforce with commercial,
recreational, educational, resear ch ,
cultural, and health facilities. The master 2
plann ing study includes a new u ti lity
infrastructure d evelopment an d airfield
requirements.
Functionally, the d esign of each of the
buildings within the master plan is
predicated on a rectangular plan based
on standard build ing modu le dim ensions. 3
As the most flexible and economical
config uration for the required pr ogram ,
the rectangu lar plan is altered only wh en
di ctated by a special pur pose. Given th e
n ature of aircraft assembly li nes, storage
·yste ms, and office systems (furn itu re,
lighting, etc.), these bui ldings, organized
on an orthogonal system, maximize the
usage of each square foot of space.
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1-3 Elevation of hangers
4 Site model
5 Site plan
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Samsung Aerospace Advanced Park 227

Tokyo Electron America Inc. * ~ Jt! =r ~ [@ ~ ~~~ i } iS]
Design/Completion 1995/1997 iiit~I 1995 iF / 1997 1F
Austin, Texas ~wrrr , ~tn~ PWT#I
Taisei America Corporation
*!11.~00~iil
100,000 square feet (site area; 59 acres) 1oo.ooo JJZ-/J~ .R. u=tHt!fiif~ : 59 ~ar >
This project involves the master planning

and d esign of fo ur phases of buildings
outside of Austin, Texas for a company
that manufactures the machin ery for
computer chip fabrication. The master
plan arranges the buildings around the
hilltop site and, through landscaping, the
hill is rein fo rced as a place and focal point
for the project.
The two office buildings are oriented to
maximize views toward d owntown Austin
as well as to form an en trance to the
project. The buildings rely on a language
of seamless, large-scale moves in an
attem pt to magnify the tension between
foreground and background; an
expressio n of our contemporary condition
in which the seemingly infinite cale of the
universe can be held within some thing th e
size of a computer chip.
1
The office building is seen as a "processor"
of sales and service, its mirrored glass
en velope a slice of silicon slipped between
an overhanging roof and a base of rough-
cut stone. Th e par ts and training building
is seen as a "stronghold box" of company
information. The building's slotted
windows provide strategic views to the
outside while its concrete shell protects
the techniques and parts necessary to
prolong the products' lives.
The lobby-a two- tory space running
th roug h the office building-is the "gate",
connectin g views d own to Austin with the
axi up to the hilltop . The various polished
and mirrored surfaces in the lobby begin
to blur boundaries and expand space-a
metaphor for the d ematerialization of
matter by information .
• I Motor coun
2 Lobby
3-4 Site plan
228
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T okyo El ec tro n Ame rica Inc. 229

Korea Development Bank -~~--~T
Design/ Completion 1995/1999 ~tr~I 1995~/1999~
Seoul, South Korea
&~.-~
The Korea Development Bank ~~~JtHtH7
Associate architect: Hee-Rim Architects
~fFJlm!fili : fiil·*~•!fili~~Yr
1• CXX>, CXX> lJZ1i1i:R
Steel
Glass, aluminum
m
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The new h eadquarters building for the

Korea Development Bank occupies a
prominen t site on Seoul's Jeoudo Square.
The site h as a unique civic position as it
is within close proximity of the National
Assembly building and the Han River
(a strong cultural element in Seoul), -~
and borders a significant open space
reminiscent ofTiananmen Square in
Beijing or Central Park in New York.
The bank is the financial engine for the
substan tial transition curren tly underway
•
·-L:
•
in Korea which will shape the country's

emergent role in the 21st century.
Philosophically, the premise of the design
con cept is to express a sen se of stability
and permanence appropriate for the
bank, as well as a progressive spirit
representative of the bank's role in the
growth of the Korean economy.
I
0
Architecturally, the headquarters building
has the responsibility of both containing
and continuing th e adjacent open space
and acknowledging the National Assembly
which anchors the adjacent boulevard.
By placing the banking hall at the corn er,
its unique shape creates the d eflection
toward the government building; at the
same time the cor n ice line nine stories
above continues the edge of the open
space. •
Continued •
•
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•
•
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I Site plan 1 ,~ljl- iti
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2 Building plan 2 Jl$tlt~11ff~
3 View through atrium 3 EfUl$1:*/f
230
3
Korea Develo pme nt Ba nk 231

Beyond the banking hall are two wings of 1' 1
an office building separated by a grand
internal atrium. Each wing derive its
external character from the adjacent and
varying urban condition. The east wing
faces the open pace, so maintains a grand
scale. It appears to float above the trees
and derives its geometry from a wide angle
ofvision in the foreground. In to this mass
is carved a very large window that
punctuates the facade at a scale that serves
as a focus.
The banking hall is the focu of the
building and ser ves allegorically a the 4
rock in the river of transition that
repre ents stabi li ty and permanence.
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232
•
7
4 Secti o n n o rth-so uth

5 No rthwest elevatio n
fi o uth west e levati o n
7 o utheast e leva Liou
8 \\"t·~t \'iew
9 Eas t view
4 m-~t~Jw
5 W:ft.TI:W
6 WmJZW
7 Jt<:f:fiJZW
•
8 W ~7H!il.
9 *~~~~~
9
Korea Developme nt Ba nk 233

8
O cean Boulevard Condo miniums 211

Richard Keating Selected and Current Works

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First Federal Savings and Loan

Design/Completion 1978/1980 i&iit ~I 1978 4=11980 4=

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First Federal Savings and Loan 19

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Trammell Crow Center 37

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bui lding and marks th e weste rn boundary

plane wi th its fragmented rhythm of I

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The Stockley Park office building, outside

con tinuous views from within.

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Stockley Park Competitio n 69

fo r interior fun ctions. Uninterrupted

maximum flexibility. The atrium is a r '-------- - =f:~~

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Design 1988 iiit 1988 1F

This corporate headquarters building was ~

grid. It accommodate the maximum floor .• •

compu ter were used intensively to test

height and place ment on the site. .

Aichi Corporate H cadquarlers 75

The Solana Marriott H ote l c hall e nges the

With varied textural finishes and a rich r

glimpses of one from another. The ~ lnrlml"1n i I g

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