Posts tagged with "SOM":
This week Dallas is celebrating its newest landmark, a goodie but not an oldie.
The Landmark Commission voted on Monday to designate One Main Place, designed by SOM's Gordon Bunshaft, as the city's newest landmark. Beyond its waffled exterior, the 48-year-old International Style tower houses 19 floors of offices and a Westin Hotel spread out over its 33 stories.
Usually, buildings have to be at least 50 years old to be considered for landmarking, but officials made an exception for its high quality design and its singular place in Dallas's history. The New Orleans–based owners sought the designation for one particular reason: historic preservation tax credits.
The gridded concrete and granite building, though, is already listed on the National Register of Historic Places. According to its designation report, One Main Place was supposed to be part of a three-phase redevelopment of downtown Dallas that was proposed in the 1960s. That superblock scheme, which would have replaced downtown with Corbusian Cities of Tomorrow, was never realized in full.
According to the Dallas Morning News, one preservation expert told the Landmark Commission that Bunshaft's building, like Dallas' pedestrian tunnels, merited protection because it reflects a specific approach to planning that prevailed in the city through the 1980s.
One Main Place is "the center and genesis of the tunnel system," said Jay Firsching, a senior historic preservation specialist at Architexas. That system was proposed by Vincent Ponte, the Montreal urban planner behind his city's famous tunnels that keep pedestrians out of the cold during long Quebec winters.
To become official, though, the landmark still needs the Plan Commission and City Council's approvals.
Back east, Bunshaft's SOM designs are getting recognition by another landmarks commission: In 2015, New York City's Landmarks Preservation Commission added 28 Liberty, an office tower and plaza in Manhattan's Financial District, to its roster of protected modernist buildings.
The new Los Angeles U.S. District Courthouse is located downtown midway between City Hall and the Walt Disney Concert Hall, and it’s a worthy companion to those exemplary civic landmarks. Skidmore, Owings & Merrill (SOM) won the competition four years ago with a simple yet powerful design: A cube of folded glass that seems to float above a recessed base. The nine upper floors are suspended from a multi-dimensional roof truss system supported on four structural cores—a strategy that halves the amount of steel a conventional building requires and makes it more resistant to a blast than one supported on columns. Architects and the Clark Construction Group collaborated on a design-build program that brought the building to completion in 40 months, and it expects to secure LEED Platinum rating.
Few buildings achieve so much, so quickly, and SOM has made a significant contribution to the renaissance of Downtown L.A., which is still a work in progress. A park designed by OMA and Mia Lehrer + Associates will occupy the long-vacant block fronting City Hall, and a Frank Gehry–designed mixed-use complex, repeatedly delayed, may soon begin construction to the west across from Disney Concert Hall.
As SOM design partner Craig Hartman explained, “We began with the concept of a courthouse that had the appropriate scale and massing and strengthened the civic axis of First Street. The facades had to achieve transparency and clarity of expression, qualities that express what Americans hope to get from the justice system.”
To exploit the drop of 25 feet from Hill Street to Broadway, the building was raised so that—as Hartman noted—the topography flows under it and it stands apart, accessed by steps on three sides and by ramps that slice up through gardens to either side of the entry. Steel bollards provide an unobtrusive security perimeter. The downtown grid is 38 degrees off from a true north-south orientation, which complicated the architects’ task of protecting the facades from solar gain. Rather than rotate the building, they folded the glass. About 1,600 chevron-shaped units of high-performance, blast-resistant glass were craned into place, and nearly all of them have an inner baffle on the side that receives direct sunlight. That cuts solar gain by half, and a rooftop array of photovoltaic panels further reduces energy consumption. The elegance of the detailing at the corners and along the upper and lower edges is the product of intensive research by SOM, which constructed full-scale mock-ups and worked closely with curtain wall manufacturer Benson Industries.
The upper stories are cantilevered 28 feet over an entry plaza, shading people who are waiting to pass through the security barrier inside the glass doors. From there, they emerge into a soaring atrium with south-facing baffles that channel light down to all 10 levels, including the 24 courtrooms on floors five through ten. “The whole building is about light,” said José Luis Palacios, design director at SOM with Paul Danna. The courtrooms are lit from clerestories facing in and out to achieve a harmonious balance. United States Marshals deputies share the third floor with the holding area for the accused. The 32 judicial chambers occupy the periphery with sweeping views of the city. Artworks, including a multi-level work by Catherine Opie, enhance the minimalist interior.
The public has free access to the upper floors and to a tree-shaded patio in back, which is flanked by low, meticulously detailed glass wings. Jurors gather in one and a cafe occupies the other. Many cases are settled by mediation, even on the day scheduled for a trial, and there are breakout areas with comfortable seating on three upper levels to accommodate these encounters. Only a small amount of artificial light is required and this is provided by energy-efficient LEDs.
The architects’ main client was the General Services Administration, whose Design Excellence Program has done much to enhance the quality of federal architecture country-wide. But SOM also worked with a committee of judges, headed by Justice Margaret M. Morrow, who enunciated 10 guiding principles for the design of the courtrooms. “Decorum, fairness and equality are the essentials and those haven’t changed very much over the years,” explained Hartman. “But judges have different opinions on how to express those qualities and it’s surprising how much latitude there is in the layout. Judge and jury need to see the face of a witness, but where are they all to sit?”
To refine its design and win approval from the judges, SOM did a full-scale mock-up of their courtroom, which groups all the parties closely together. Sidewalls clad in ribbed gypsum reinforced plaster assure good acoustics, for audibility is the highest priority of all. A tilted ceiling diffuses the natural light, and every position—including the raised dais of the judge—is wheelchair accessible.
“America’s civic buildings offer a permanent record of our democracy’s values, challenges, and aspirations,” declared Hartman at the opening. Though the SOM courthouse is a demonstration of these ideals, the reality is that ever fewer Americans can afford a day in court, given the dizzying rise of legal costs. That’s the next big case for judges and legal associations to ponder.
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