Posts tagged with "Cesar Pelli":

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Remembering César Pelli’s lost mark on the Midwest

César Pelli, the world-renowned architect who passed away in July, will likely be remembered for his largest and most recognizable commissions: the Salesforce Tower in San Francisco, the National Museum of Art in Osaka, and the Petronas Towers in Kuala Lumpur, among others. But unlike many buildings designed by "starchitects" these days, some of Pelli's most compelling and controversial work has fallen by the wayside of mainstream industry discourse.

In 1968, municipal leaders in the architectural Mecca of Columbus, Indiana commissioned Skidmore, Owings & Merrill (SOM) to devise a masterplan that would reverse the deterioration of the city’s downtown area. Among other recommendations, SOM highlighted the need for a new shopping complex in the central part of the city—a project that would help to enliven streets and reduce consumers’ reliance on less centralized malls in the suburbs and exurbs. The city set aside two square blocks for the project, along with three additional blocks for parking, and waited for investors to take on the venture.

No bites came. After waiting in vain for property developers to take over the project, the Irwin Management Company, controlled by local businessman and head of the Columbus-based Cummins Engine Company, J. Irwin Miller, bought the lot. In order to build a state-of-the-art shopping center, Miller hired an architect still in the incipient stages of his career, a young Argentine-born man with six completed projects under his belt. César Pelli soon arrived in Indiana and made several suggestions regarding the composition of the center, including that a significant portion of the site be designed as a community gathering space.

Between 1972 and 1973, Pelli built a complex consisting of two main buildings. The first building, the Courthouse Center, named for its proximity to the historic Columbus Courthouse, housed conventional shopping mall. The other building, called “The Commons,” was connected to the first by a single glass envelope and housed a 63,000-square-foot, multi-level public space. Under 38-foot-tall ceilings, Pelli designed a 2-acre park that he compared to Italian piazzas, complete with benches, planters, and playgrounds for children. The bronze-tinted glass reflected enough light to prevent passive heat gain but also allowed for sweeping views of the street from inside. The atrial space became a popular venue for public events, with enormous structural elements and sloping roofs that towered above visitors. As locals increasingly frequented The Commons, the adjacent mall assumed “The Commons Mall” as a colloquial nickname.

The Commons represented Pelli’s first contribution to Columbus’ built landscape. The building stood alongside great modernist masterpieces by the likes of I.M. Pei, Harry Weese, and Robert Venturi—all of whom were commissioned through an altruistic program established by Miller’s foundation. The industrialist persuaded city officials to hire architects from a list of five blue-chip designers that he had assembled, agreeing to pay their top-dollar fees himself. Miller believed that high-quality buildings would help attract investment and talented engineers to the town, both of which would bolster the Cummins Engine Company’s business prospects.

César Pelli, in fact, had first visited Columbus in 1956 to tour the Eero Saarinen-designed Miller House, which was still under construction. Completed at a time when much of his portfolio consisted of buildings in coastal states, The Commons was also Pelli’s first project in the Midwest. He would go on to accept several commissions in the region during the following decades, primarily for institutional or corporate projects in urban centers and college towns. The Commons was the architect’s only built structure in the state of Indiana until 2011, when he finished the Advanced Manufacturing Center of Excellence, also in Columbus.

With its bulky, monolithic facades and expansive glass curtain walls, The Commons was viewed by some as a precursor to Pelli’s Pacific Design Center, which he finished in Los Angeles in 1975. The latter achieved far greater renown than the former, but their shared design cues are unmistakable. As Pelli’s career advanced and he reached the upper tiers of architectural prominence, his affinity for seamless glass designs gave way to a material approach that often included both glass and stonework—a stylistic choice more characteristic of the postmodern era. Many of his 21st-century commissions signaled a return to the glass curtain wall, a medium that has achieved greater flexibility and versatility since the 1970s. The architectural significance of The Commons weathered many of these fluctuations, so much so that it played host to the Pritzker Prize ceremony in 1994.

Eventually, in the first years of the 21st century, it became clear that The Commons and its adjacent mall were facing an upward battle against deteriorating physical conditions and increasing maintenance costs. The Irwin-Sweeney-Miller Foundation bought the property in 2005 and began to mull over strategies for redevelopment, ultimately concluding that the retail space would have to be torn down. As part of the plan, The Commons was also almost entirely demolished in 2008, leaving only its steel skeleton and Chaos 1, a site-specific kinetic installation by sculptor Jean Tinguely. The building that replaced it, still called The Commons, was designed by the Boston-based firm Koetter Kim.

In a city where architectural heritage is both a huge point of pride for residents and the lifeblood of a burgeoning local tourist economy, Pelli’s building is one of few major structures ever to be dismantled. Much like César Pelli himself, it lives on today not only through photographs, drawings, and individual memories, but through an architectural legacy that extends well beyond walls.

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Remembering César Pelli

The death of César Pelli at 92 on July 19 marked the end of an era. Yet the firm he headed with Fred Clarke and his son Rafael Pelli continues, with dozens of important and innovative projects underway. Pelli’s modest demeanor belied the fact that he and his partners designed over 300 buildings and 68 unrealized or theoretical projects. The best known built works are the Petronas Towers in Kuala Lumpur (briefly the tallest buildings in the world), the colorful glass-skinned Pacific Design Center in Los Angeles, the complex Cleveland Clinic, the American Embassy in Tokyo, and the recent Salesforce Tower and Transit Center in San Francisco (the tallest building there). In New York, they built the 1977-84 addition to the Museum of Modern Art and its residential tower, the World Financial Center—now dubbed Brookfield Place—in Battery Park City, the unusually contextual Carnegie Hall Tower, the Theodore Roosevelt Federal Building in downtown Brooklyn, and the pioneeringly energy-efficient Verdesian apartment building in Battery Park City, along with numerous other buildings that fit into their surroundings so well that they are not easily recognized. An office building for Trinity Church on Wall Street, the Yale Biology Building, the one-million-square-foot Bulfinch Crossing in Boston, a Natural History Museum in Chengdu, China, the Google Tower in Austin, Texas, and 3.3-million-square-foot Union Park in Toronto are among dozens of buildings underway now. Given the size of the practice, the complexity of its projects, their international range, size, scale, and sensitivity to place, it is surprising that the work of Pelli Clark Pelli has not received more critical attention. It is not something the partners sought. Doing innovative work and treating colleagues well has always been the firm’s priorities. César Pelli was one of architecture’s real artists and intellectuals. He was born in the medium-sized city of San Miguel de Tucumán, Argentina, where one of the most innovative architecture schools in the world opened just before he matriculated. His father, Victor Pelli, was an innovative tinkerer who loved to make things. His mother. Theresa Pelli was a professor at Resistencia, who taught alongside the mother of the woman César would eventually marry, Diana Balmori. They got to know one another in architecture school, and then applied to various graduate programs together around the world. They ended up moving to the United States, where César earned a Master’s degree at the University of Illinois. It was not easy. Other young Argentinians they knew soon returned home. Diana once told me that they sold their wedding presents to make ends meet, but that fact that she spoke excellent English helped. Then, César’s professor recommended that he join the very busy office of Eero Saarinen in Bloomfield Hills, Michigan. That move was not easy for Diana either, who had two young sons, but it was there, on the lush Cranbrook campus, that she developed an interest in landscape design. Saarinen’s office, enriched by the opportunity to design the $100 million, 320-acre General Motors Design Center, had attracted talented young architects from all over the world. César soon became the one Saarinen trusted with some of his most challenging projects. The firm was thriving with numerous enticing commissions. Eero had recently remarried journalist and architecture critic Aline Bernstein Saarinen, who wanted to move to the East Coast where her career, and increasingly Eero’s, was centered. Lonely in Michigan, she often invited the Pellis to join them for lunch. But soon after the birth of their son Eames, Eero developed a brain tumor and died within days. The firm moved to New Haven as planned to finish his work. César was in charge of two of the most challenging projects: the proto-postmodern Morse and Ezra Stiles Colleges at Yale, which imaginatively acknowledged Gothic Revival buildings nearby, and the TWA Terminal at JFK (then Idlewild) Airport in New York, which has now been restored and turned into the centerpiece of a new hotel. When Saarinen’s work was completed, some associates formed a successor firm, Kevin Roche John Dinkeloo and Partners, but the Pellis instead moved to the booming Los Angeles. César went to work first for the pragmatic commercial firm, Daniel, Mann, Johnson & Mendenhall from 1965 through 1968, then to Gruen Associates from 1968 through 1976, often collaborating with young talented international architects he had known at the Saarinen firm, such as Anthony J. Lumsden. By the mid-70s, Pelli, who had been teaching part-time at UCLA, decided he would like to work in architectural education. He was offered deanships at UCLA, Harvard, and Yale, that last being where he moved in 1977 and had been living ever since. Soon he was invited to expand the Museum of Modern Art in Manhattan, so he opened the original Cesar Pelli & Associates office in New Haven, which continued to grow after he stepped down as Yale dean in 1984, but which still operates on an open-minded academic model. Over the years, Pelli worked on and off with Balmori, who herself developed an innovative practice in landscape design. She died in 2016. César Pelli is survived by sons Rafael and Denis, as well as dozens of colleagues, friends, clients, former students, and admirers. His legacy is enormous.
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César Pelli, Argentine architect of the modern skyscraper, dies at age 92

Argentine architect César Pelli passed away on Friday at his home in New Haven, Connecticut, according to a state news agency and government officials. He was 92 years old.  The award-winning architect was responsible for designing some of the most famous skyscrapers in the world, including the Petronas Towers in Kuala Lumpur, Malaysia, The Landmark in Abu Dhabi, the recently completed Salesforce Tower, and the first phase of the adjacent Transbay Transit Center, both in San Francisco. While Pelli was largely known later in his career for his innovative glass towers, his earlier years in architecture were majorly influenced by who he worked with and where he lived.  Born October 12, 1926, in San Miguel de Tucumán, Argentina, Pelli completed his undergraduate architectural studies at the Universidad Nacional de Tucumán. After briefly working in the country, Pelli moved to the United States in 1952 to pursue his masters at the University of Illinois School of Architecture. From there, he worked in Michigan under Eero Saarinen for a decade, designing small pieces on projects such as the TWA Terminal at John F. Kennedy Airport.  Before starting his eponymous firm Cesar Pelli & Associates in 1984, Pelli held leadership positions at Daniel, Mann, Johnson, and Mendenhall and Gruen Associates in Los Angeles. At the latter firm, he designed his seminal Pacific Design Center in West Hollywood, the all-glass, 1,600,000-square-foot facility known as the “Blue Whale.” In 1977, Pelli began his 12-year tenure as dean at the Yale School of Architecture in New Haven, where he continued to live until his death.  Seven years into his deanship, Pelli received the commission for the 1984 expansion and renovation of the Museum of Modern Art in New York, which, according to the New York Times, forced him to open his firm. He then went on design the World Financial Center and Winter Garden (now known as Brookfield Place) in Lower Manhattan, additional terminals for the Ronald Reagan National Airport in Washington, D.C., and scores of towers in London, Hong Kong, Buenos Aires, and Jersey City, among other global cities.  In 2005, Pelli renamed his studio to Pelli Clarke Pelli Architects, giving credit to his long-time partner Fred Clarke and son Rafael, who assumed a large role in the company. His wife, Diana Balmori, was a landscape architect, urban designer, and a partner on his team as well. She passed away in 2016. They are survived by another son, Denis, and two grandchildren.  Though Pelli didn’t open his firm until age 50, the impact he made on architecture within the last four decades of his life was widespread. He designed hundreds of buildings and was awarded just as many times for his efforts. Pelli received the profession’s highest honor, the AIA Gold Medal, in 1995.   In response to Pelli's passing, Robert Ivy, chief executive officer of the AIA, provided the following statement: “César Pelli was a consummate architect, teacher, and mentor. Rooted both in the creative legacy of Eero Saarinen and the pragmatic leaders of west coast development, César transformed skylines around the world and influenced the modern city as we know it. A master of both the urban scale and the carefully conceived individual detail, he leaves a legacy that stands as tall as the buildings he designed and as rich as the lives of the many architects whose careers were shaped by his generous teaching.” 
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Cesar Pelli announces he will design a new South Asian Museum in downtown Dallas

On the heels of designing Dallas’s McKinney & Olive tower, his first in the city, Cesar Pelli snagged a competitive proposal as the architect of the Shraman South Asian Museum and Learning Center. The new museum will be located at the corner of Woodall Rodgers Freeway and Field Street in downtown Dallas. Specific details on the museum have yet to be released, but it will be the first museum in the United States exclusively devoted to South Asia; much of the collection will be focused on India. Although Pelli is best known for building some of the tallest towers in the world, the museum is not intended to be a skyscraper, but rather a new cultural addition to the burgeoning area. The proposed 4.7-acre site will be a few blocks away from the Perot Museum of Nature and Science and the not-yet-completed Victory Park complex, making it one of several exciting new additions to the neighborhood.
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As Boston continues to ponder its Brutalist city hall, professor suggests covering the behemoth with a glass veil

Like so many Brutalist buildings around the word, Boston's iconic City Hall has not necessarily endeared itself to the public. Since it opened in the 1960s, there have been calls to update the building, completely overhaul it, and to demolish it outright and start over. There have, of course, also been calls to preserve it. The latest idea to revamp City Hall comes from Harry Bartnick, a Suffolk University professor, who wants to cover the structure with a tinted glass curtain structure. In an op-ed in the Boston Globe, he called the idea "simple, obvious, and cost-effective." "The generally outward sloping angle of the glass would impart a feeling of greater stability, and redistribute the visual mass toward the ground," Bartnick argued. "Translucent glass would allow the original wall-surface variations to still be seen, but now softened by filtration through the glass 'veil.'" He continued that the intervention would help the building's efficiency by establishing a "climate-controlled, passive solar interior environment." There are no plans to actually move forward with this project, but, as Bartnick noted, his idea comes as the area undergoes major changes including a new residential tower by César PelliBoston Business Journal also recently reported that Center Plaza, a 720,000-square-foot, mixed-us complex nearby, is set to receive a $25 million facelift. Along with new retail tenants, the CBT Architects–led transformation will update exterior walkways, street-level lobbies, and the existing rooftop.
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Photographer Wayne Thom captured Late Modernism like no one else, and now his archive is looking for a home

As 1970s and 1980s architecture returns to vogue, a new recognition of those associated with its making and documentation also arises. So it is with Wayne Thom, long the preeminent architectural photographer of the large, Late Modern building by the large firm. Thom began photographing in the late 1960s and his work in Los Angeles, the Western U.S. and beyond to the Pacific Rim documented changing tastes and approaches toward the architectural subject. Hundreds of images are on view on his website. It’s a distinctive and significant body of work, but one without a home. Presently Thom is looking for an organization or institution to take on his sizeable and meticulously organized archive. As time goes on, Thom’s remarkable work seems increasingly ill-suited for sequestration within any one house, including his own. Born in Shanghai in 1933, Thom was raised in Hong Kong, and emigrated to Vancouver in 1949 with his family that includes brother Bing Thom who went on to become a highly noted Canadian architect. Arriving in the States in 1964, Wayne graduated from Brooks Institute of Photography in 1968. By the following year he was working with A. Quincy Jones (“A.Q.”) who gave him his big Los Angeles break. Jones, and others whom Jones later introduced on Thom’s behalf, were impressed with approaches that would over time become Wayne Thom hallmarks. These include the use of natural light only, no props whatsoever, and big buildings—particularly the high rise, as his subject. A breakthrough assignment, Wayne’s prominence further rose with his image of the 1971 CNA Park Place Tower in the Westlake section of Los Angeles. Completed by Langdon & Wilson, CNA Park Place was the first all-over smooth-grid mirror glass skin building—a soon to be corporate vernacular—completed in the Western United States, and likely the Country. Thom’s image of the building overlooking Lafayette Park and the people within it won the First Award of the Pittsburgh Plate Glass (PPG) Architectural Photographers Invitational in 1973. Among his clients through the 1970s, Thom frequently worked with the A.C. Martin office where he photographed a variety of projects including their various Downtown LA projects, the underrated (and unfortunately renovated) Sears West Coast headquarters, and even an A.C. Martin–designed jet interior. In that decade he also began steady, multi-year work as the primary photographer for William Pereira (“Bill”); San Francisco’s Transamerica Building was among his many Pereira assignments. Among other publications, Thom’s images were featured in Progressive Architecture, Architectural Record, Architectural Forum, and Domus—where he photographed for Gio Ponti, the magazine’s founder. His award-winning Bonaventure Hotel image is the February 1978 Progressive Architecture cover. Architect Arthur Erickson, whom Thom knew since his much earlier Vancouver years, tapped him to assist in assembling the team of associate architects, landscape architects and designers that ultimately won the 1980 competition to redevelop Bunker Hill sponsored by the City of Los Angeles Community Redevelopment Agency. In a highly publicized coup, they battled against the “All Stars” team, which included Barton Myers, Frank Gehry, Ricardo Legorreta, Charles Moore, Cesar Pelli and others under Maguire Partners Development. Yet says Thom, “We won the battle but lost the war;” aside from a single Erickson building and the hardscape (Two California Plaza was completed by A.C. Martin) the rest of Erickson’s winning scheme was never realized. Thom continued in full-time practice until 2013, when he curtailed his workload. Living in Rowland Heights, he maintains meticulous records for his thousands of negatives and slides plus hundreds and hundreds of proof books and presentation prints. Now, he’s interested in releasing all of it. In addition to his artifacts, the photographer’s memory is institutional and he seems to have known every single Los Angeles Late Modernist, with insightful if not funny tidbits on most of them. If it all possible, his basic hopes are that archive stay intact and be made available to the public.  
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As Westweek wraps up in West Hollywood's Pacific Design Center, developer floats an unlikely expansion scheme

The Pacific Design Center (PDC), designed by Cesar Pelli, is celebrating its 40th year, and last week it wrapped its biggest yearly event, Westweek, which featured panels, lectures, and the debuts of furnishings and interior resources from over fifty companies. We just learned from Curbed LA and the LA Times that the PDC's new Red Building, which opened in 2013, just signed its first three tenants (which will include retailer AllSaints and media company Whalerock), occupying 65,000 square feet of the 400,000 square foot building. Despite this recent track record, PDC developer Charles Cohen hopes to build an ambitious new project, called Design Village, on the Metro-owned bus yards adjacent to his property. According to Curbed, the complex, designed by Gruen Associates, would include 335 residential units, a 250-room hotel, a movie theater, outdoor amphitheater, and restaurants, clubs, and bars. But they report that WEHO city council has voted to asked Metro not to extend their contract (set to expire next month) to Cohen, so the project seems likely to remain unbuilt.
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Foster + Partners Reveal Initial Renderings for San Francisco Tower

The latest playground for big-name architecture is San Francisco's Transbay District. As AN reported this spring, the city's forthcoming Transbay Transit Center has spurred new projects from some of the field's biggest names, including OMA, Studio Gang, Cesar Pelli, and Foster + Partners. Less than two weeks after Studio Gang revealed plans for its twisting tower in the district, Foster + Partners is out with some images of its own. Don't get too excited—they're fairly vague—but they were enough for San Francisco Chronicle architecture critic John King to call Foster's plan, "gasp-inducing...from the ground up." Here are the basics: the shorter of the two towers rises 605 feet and is entirely residential. The other includes apartments, offices, and a hotel, and tops out at 910 feet, which will make it the  second-tallest tower in the city. The tallest prize will go to Cesar Pelli’s 1,070-foot-tall Salesforce Tower that is currently under construction. “If built as now envisioned, the San Francisco tower would be equally futuristic, with brawny structural columns slicing across a mid-block space 80 yards wide,” King said, referring to Foster's taller tower that was designed with Heller Manus Architects. “Except for the elevator lobbies at the rear of the plaza the tower would begin 70 feet in the air, clad in glass and held in place by diagonal columns forming giant X's along the outer walls.” Foster considers the tower's appearance in the city's skyline just as important as how it meets the street. “At ground level, the buildings are open, accessible and transparent—their base provides a new ‘urban room’ for the region, and the new pedestrian routes through the site will knit the new scheme with the urban grain of the city,” Foster said in a statement on his firm's website.
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On View> Chicago's Graham Foundation Presents "Everything Loose Will Land"

Everything Loose Will Land Graham Foundation 4 West Burton Place, Chicago Through July 26 Everything Loose Will Land explores the intersection of art and architecture in Los Angeles during the 1970s. The show’s title refers to a Frank Lloyd Wright quote that if you “tip the world over on its side and everything loose will land in Los Angeles.” This freeness alludes to the fact that this dislodging did not lead to chaos but rather a multidisciplinary artistic community that redefined LA. The exhibition features one hundred and twenty drawings, photographs, media works, sculptures, prototypes, models, and ephemera. The presentations function as a kind of archive of architectural ideas that connect a variety of disciplines. Projects by Carl Andre, Ed Moses, Peter Alexander, Michael Asher, James Turrell, Maria Nordman, Robert Irwin, Frank Gehry, Richard Serra, Coy Howard, Craig Ellwood, Peter Pearce, Morphosis, Bruce Nauman, Craig Hodgetts, Jeff Raskin, Ed Ruscha, Noah Purifoy, Paolo Soleri, Ray Kappe, Denise Scott Brown, Archigram, L.A. Fine Arts Squad, Bernard Tschumi, Eleanor Antin, Peter Kamnitzer, Cesar Pelli, Andrew Holmes, Elizabeth Orr, and others are explored. Curated by Sylvia Lavin, Director of Critical Studies in the Department of Architecture and Urban Design at UCLA, the show began its journey at the MAK Center for Architecture and then traveled to the Yale School of Architecture before arriving at the Graham Foundation.
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Pelli Design to Transform Uptown Dallas into Class-A Office District

Crescent Real Estate Group is making a play to bring high-end business tenants to Uptown Dallas—an area better known for twenty somethings living above their means than big-name office tenants. In order to attract this kind of clientele, the developer has hired architect Cesar Pelli to design a dramatic new building that is promising to change the face of the neighborhood. “We didn’t want it to look like just another suburban building that you’d plopped down in Uptown,” Crescent CEO John Goff told the Dallas Morning News. “Rectangles are boring, and we have a building that is much more interesting.” The building is dramatically different from any other structure around the Big D. The 24-story tower rises from the corner of McKinney Avenue and Olive Street like a giant glass wave crashing down on the southwestern architectural scene. Sited across Olive Street from the Ritz-Carlton, the high-rise portion of the project slants nine degrees over a podium base, which includes space for shops, restaurants, and a parking garage. This two-story volume—one of the largest retail centers in the area—is clad in large glass windows offering spectacular views of a new street-side park. The $200 million project is the most ambitious in Uptown since Crescent built the Philip Johnson–designed 400 Crescent Court in the 1980s. The two Crescent structures could not be more different, however. Johnson looked toward the past for inspiration, while Pelli’s structure is decidedly more modern. “Buildings have changed, and the technology has improved dramatically,” said Crescent senior vice president Joseph Pitchford. “This will be a more contemporary expression than you see in Uptown.”
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Cesar Pelli To Overhaul New Orleans' Louis Armstrong International Airport

With terminals at Washington D.C.'s Ronald Reagan International Airport and the Tokyo Haneda Airport under his belt (among several other transportation hubs), Cesar Pelli is no stranger to the challenges of designing airports. The New Orleans Times-Picayune reported that the Argentinian-born architect, who assisted Earo Saarinen on the iconic TWA terminal early in his career, will now collaborate with two New Orleans–based firms, Manning Architects and Hewitt Washington Architects, to redesign the Louis Armstrong New Orleans International Airport to coincide with the city's 300th anniversary in 2018. The roughly $650 million project will involve demolishing old parts of the current terminal and adding a three-concourse, thirty-gate terminal on a 42-acre sit on the north side of the airport. In addition, the proposal calls for a $17 million hotel, new power station, highway ramp, and 3,000-space parking garage. Pelli explained his approach to designing airports in an interview with the Washington Post in 1997: "I like airport terminals that have lots of natural light, that are spacious, that make you feel comfortable, where being there is a pleasant thing," he said. "It is also important that directions be easy to follow. Unfortunately, most airports have been designed primarily for the convenience of the airlines. People are just an inconvenience."
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Pelli Clarke Pelli's Transbay Tower Breaks Ground in San Francisco

Last Wednesday, Pelli Clarke Pelli's long-anticipated Transbay Transit Tower, at San Francisco's First and Mission streets, finally broke ground, and architect Cesar Pelli was on hand to help turn dirt with ceremonial gold-plated shovels. At 1,070 feet and 61 stories, the tower would be the tallest on the West Coast—at least until AC Martin's Wilshire Grand opens in Los Angeles—and seventh tallest in the nation, taking the title from New York's Chrysler Building. At the ceremony, Pelli told the San Francisco Business Times the tower is "svelte but dynamic, elegant, and very gracious." The developers, Boston Properties and Hines, delivered a check for more than $191 million to the Transbay Joint Powers Authority (TJPA), which owned the 50,000-square-foot parcel of land before the sale was wrapped up this week. Completion for the whole complex is set for 2017, although that still looks like an ambitious goal. According to the Business Times, Boston Properties CEO Mortimer Zuckerman, responding to a name gaff from Mayor Ed Lee, dropped hints that Facebook may be the future anchor tenant of the tower. As AN recently noted, the horizontal component of the Transbay project, a $4 billion transportation terminal being built next to the tower, looks to be shedding its glass facade for budget-saving perforated aluminum. transbay_tower_gbreaking_12 transbay_tower_gbreaking_03 Pelli Clarke Pelli's video rendering of the entire Transbay complex. See videos of the tower here and here. transbay_tower_gbreaking_04 transbay_tower_gbreaking_02