Posts tagged with "Texas":

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Shortlist announced for the National Medal of Honor Museum

The Medal of Honor is the highest military honor a U.S. citizen can receive, and the organization that supports it, the Congressional Medal of Honor Foundation, sent out a call for submissions last year for the creation of a museum that would highlight the award's values. The foundation outlined a vision for a museum to put the achievements of the medal's 3,500 recipients and history and values as they’ve stood since the Civil War in the foreground. Arlington, Texas, was selected in August as a fitting setting for the new National Medal of Honor Museum, and on October 16, the foundation announced a shortlist of four high-profile teams comprised of both architects and landscape architects with distinct visions for the project. The list includes: Davis Brody Bond, LLP and Michael Van Valkenburgh Associates (Landscape Architect) Ennead Architects, LLP and Hargreaves Jones (Landscape Architect) Fentress Architects, Ltd. and Civitas, Inc. (Landscape Architect) Rafael Viñoly Architects and MPFP (Landscape Architect) The master plan calls for not just a new building to be placed on the site but extensive landscaping as well, with the intent creating a unique surrounding context for the space. The museum will be a part of a larger Entertainment District plan for the city of Arlington, which will include other urban attractions like retail and sport stadiums, so the museum grounds will need to be tailored specifically to the history of the award: Situated to serve the needs of urban visitors, while also creating a unique sense of place.  All of the shortlisted teams have extensive experience designing large-scale public works as well as museum commissions, from the Denver International Airport to the September 11th Memorial and Museum in New York.  "Working with the City of Arlington and these world-class architects," said Joe Daniels, the foundation’s president and CEO, "we are confident that we are on our way to creating a truly iconic museum that reflects well upon the recipients of the Medal of Honor and all those who have given of themselves for our nation." The winning design team is expected to be announced in January 2020. 
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David Adjaye’s Ruby City is an imposing monument to art in southern Texas

Ruby City is an oddity. Sited in a formerly industrial zone south of Downtown San Antonio dotted with islands of gas stations and fast food signs, and abutting a neighborhood known for its artist community, the 14,000-square-foot contemporary art center designed by Adjaye Associates is, by nature of its history, location, and design, a study in contradictions. In 2007, the late Linda Pace, daughter of salsa and hot sauce magnate David Pace, reached out to David Adjaye with a sketch of Ruby City, which she envisioned as a center to present her then 500-piece-strong art collection to the public. An artist herself, Pace would draw her dreams after waking up and have these sketches fabricated into sculptures (the institution's inaugural exhibition includes a work by Pace that renders the word STAY in fake blue flowers). Pace’s idea for Ruby City came during one of these nocturnal fantasias, when she envisaged a complex of towers and minarets in blazing red. Pace met Adjaye shortly before her death from breast cancer to discuss the project, and 12 years later, the building is finally opening. The result is far from a collection of windowless spires but is still, as Adjaye told Texas Monthly, “very shy.” On approach, my initial impression was of a thick-shelled aardvark or beetle, the building’s heavy stone massing and brilliant red color standing in stark contrast to the sea of parking lots nearby. The red, terrazzo-like concrete used to form the facade has been rightly celebrated by critics ahead of the building’s opening; the material was fabricated by Pretecsa, a company based outside of Mexico City, and is also strategically deployed in custom curbside bollards and benches in the sculpture garden. In person, its rich color is true to the photos. Despite the fortress-like street presence, Adjaye has tried to make Ruby City feel inviting. The way the entrance canopy gently lifts from the building and cantilevers over the plaza like the opening of a cave lends some much-needed lightness to the massing, a touch that’s mirrored on the reverse side, over the parking lot. Part of the inward-facing design is practical, as anything built in southern Texas must defer to the elements. To combat the harsh sun, two layers of curtains, one blackout and one shade, have been installed across the windows in all three of the building’s central gallery spaces; the building will be open only four days a week, with the blackout curtains otherwise drawn to protect the collection. Ruby-tinted steel grates, resembling crenelated brick from the ground, have been installed across every skylight to protect against monster hail. Once inside, it becomes clear that Adjaye Associates and executive architects Alamo Architects took great strides to enliven what could have become just another set of white-walled galleries. Flourishes abound. Pulls and fixtures were all designed in-house at Adjaye’s office, as were the molcajete- and metate-inspired benches and reception desk textured in rough, crinkled concrete. Faceted skylights brighten the steep, lengthy staircases, which are specifically designed to block the view of the second floor until visitors nearly reach the landings above. What at first seems to be a straightforward path through two extra-tall exhibition spaces (the third is currently ensconced in blue felt for an installation of Isaac Julien’s Stones Against Diamonds video, which will run for two years) actually meanders and reveals plenty of side passages and nooks with alternate views of the route just traveled. Similarly thoughtful, unexpected details are everywhere: an “eyelid” panel juts away from the building over a window on the second floor to direct views downward to the sculpture park; a conference room centered on a pair of doors taken from Pace’s bedroom is clad in timber; the adobe-colored concrete plaza extends inside to the reception area and into the elevator; a triangular cutout hidden in the overhang above the entrance looks to the sky but is only visible from directly below, Adjaye's James Turrell moment; a central gallery tall enough to comfortably, surprisingly, fit 16-foot-tall sculptures typically reserved for outdoor installation. These moves all spice up an interior that can still feel, at times, a bit too staid. There are now 900 drawings, paintings, videos, and mixed-media pieces in Ruby City’s collection, as the Linda Pace Foundation has combined its holdings with Pace’s personal acquisitions. Exhibitions will draw only from the permanent collection, and will likely rotate every two years, with the kickoff show, Waking Dream, presenting a twisted take on domesticity from international and local artists from the building's opening on October 13 through 2022. Combined with strategic views of Chris Park, a one-acre landscape of palm trees and bamboo groves down the street that is dedicated to Pace’s late son, from the double-height side corridor before entering the galleries proper, there’s enough discovery in both the art and the building to keep visitors coming back. In the end, the gestures add up, turning what could be a simple experience into something more multifaceted.
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MARC FORNES / THEVERYMANY uses computational design to realize a breezy Texas pavilion

At Texas Tech University in Lubbock, Texas, the New York-based MARC FORNES / THEVERYMANY has constructed the Zephyr Pavilion, a flowing structure of cantilevered, aluminum forms designed through complex computational means. By modeling geometries computationally, Fornes and his studio were able to devise a method of building the pavilion that optimized material thickness and strength such that the structure and the skin are a single piece and the entire pavilion is able to freely support itself. The team used progressive assembly, building the pavilion like a complicated, flexible puzzle instead of out of pre-built pieces. This process also did away with the need to use scaffolding during the project's construction. With diagonally-oriented stripes rippling across its surface, the hollow canopy is formed of five different typologies working together: a locked edge, continuous lines needed for structuring the build-out of the more bulbous parts; a loop column, which pulls many lines to a near singular point; a funneled bridge, or pinch, where areas that are too large require a funnel to connect surfaces, decreasing their radii, and therefore making them stiffer; a creased spine, where a groove is made down a central axis; and a self-supported cantilever. These forms were discovered and codified in the pavilion through first creating the overall topology and then using local form-finding algorithms, rather than operating on the entire structure, which allows for more freedom without sacrificing structural integrity. The final "pieces" could then be slotted together. Fornes has previously used similar methodologies for projects like the Pillar of Dreams in Charlotte, North Carolina.
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The iconic Round Bank in Bellmead, Texas, will be demolished

Among the Czech Stop kolaches, Robertson’s roast beef stands, and Buc-ee’s along Interstate 35 through Central Texas, the American Bank in Bellmead represents the most recognizable of icons. The characteristic round shape, with its namesake perched above like an Ed Ruscha painting, is the boldest of statements among a sea of pole signs and fast food joints. The Waco Tribune-Herald has reported that the iconic bank would be demolished in 2020, after recent attempts to determine a remodel for the structure was deemed “not economically feasible to get it up to serviceable condition for banking,” stated CEO Dana Hassell in the report. The renderings rekeased show a smaller replacement that evokes the round shape, framed by vertical wing walls clad in aluminum. Upon hearing of the impending demolition, preservation groups across the state have responded swiftly to save what Evan Thompson of the nonprofit Preservation Texas calls “a landmark.” Designed by then Dallas-based architect Durwood Pickle, the American Bank was conceived as a landmark from the outset, intended to create a lasting visual statement. In a 1978 interview for ENR, Pickle explained that the owners “wanted the image of at least a five-story building but they did not need that much space.” The 71-foot diameter, two-story structure was instead built atop a raised landscape plinth. A lightweight fiber-reinforced concrete (FRC) shell, one of the few early examples in the State of Texas, attaches at the second level and rises upward to become a five-foot high parapet. The entire composition places the building above the interchange level to frame the bank clearly within view. An invitation to conduct drive-up banking radiates outward from the round shell, setting up a very clear and bold statement at ground level and from above. It is a statement that the current replacement proposal fails to attain. Pickle’s intent clearly foreshadowed the bank’s impending concerns, however, its intentions were toward something greater, an experience rarely seen and that is quickly disappearing from our roadside theater. “People love this building because it's different,” explained Thompson. “It was designed with the intention of being a roadside landmark—and for forty years, it has been. The Round Bank is obviously one of the architectural highlights along the otherwise monotonous and repetitive stretches of interstate between Dallas/Fort Worth and Austin. Because the Round Bank provides a visual anchor for all those who sail along (sometimes fast, sometimes slow) I-35, its loss would be disorienting and damaging and a total waste.” The state-run Texas Historical Commission is also looking into the structure’s potential for historical tax credits. The loss of the American Bank would be an unfortunate one, visually of course, but also as an essential identifier for Bellmead and the Waco region. In capturing these images for the article, Dallas-based architectural photographer Parrish Ruiz de Velasco, shared his thoughts on the bank that is located near his family home. “It is one of those landmarks that you can’t miss and I think it is important to the community,” explained Velasco. “Upon sharing images I received several messages from friends and people I’ve never met, all saying the same thing—Gotta love the Circle Bank!” All photographs used in this article were taken by Parrish Ruiz de Velasco. His work can be found at parrch.com
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#modTEXAS is crowdsourcing midcentury design across the state

Inspired by Oklahoma City’s Okie Mod Squad, a new group of midcentury modern architecture lovers is documenting the leftover treasures from 50 years ago in Texas. modTEXAS, an Instagram crowdsourcing campaign started by Amy Walton and several statewide preservation organizations, is using the hashtag #modtexas to collect content centered on mid-20th-century nostalgia.  Launched in January, the campaign has thus far garnered over 2,000 posts with a range of images featuring famous architecture such as the Johnson Space Center in Houston, to a not-to-miss modernist church in downtown Dallas with a spiral exterior staircase. Even old signs and interior decor are popping up. Walton changes the theme of photographs that can be tagged each month as well. For example, August’s theme in multi-family, and a former photo editor at the Dallas Morning News took a shot of Paul Rudolph’s Brookhollow Plaza. 
To cull together support for the campaign, modTEXAs is working with some major groups on the project including Preservation Dallas, the Texas Historical Commission, the North Texas and San Antonio chapters of Docomomo, and the American Institute of Architects chapters in Corpus Christi and Dallas. As Walton gleans information on the documented projects from various posts, she’s sharing stats and geotags with the groups for their own conservation efforts. D Magazine reported that a real estate site called Candy’s Dirt has also joined the campaign and has created a map of where photographs are taken. Of course, many people are hashtagging images of architecture in more metropolitan cities around the state, so it’s unclear what treasures might be threatened in rural areas if more awareness isn't built on their existence. 
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The Architecture Lobby calls for pledges against designing detention centers

The Architecture Lobby (T-A-L) and Architects/Designers/Planners for Social Responsibility (ADPSR) are once again calling on architects to boycott the design and construction of immigration detention centers and deterrence infrastructure.  Both groups issued a joint statement in April of last year condemning the U.S. Justice Department’s zero-tolerance immigration enforcement policy, and are now asking architects to sign a pledge saying they refuse to participate in projects that have anything to do with border walls, Border Patrol stations, Immigration and Customs Enforcement (ICE) offices, detention facilities, or juvenile holding centers. The pledge also encourages architects and affiliated industry professionals to speak out against the reportedly atrocious conditions of these facilities and to organize in their individual workplace or educational institution to combat any involvement.  “These violent and racist policies are designed to cause fear and chaos,” said T-A-L and ADPSR in a joint press release. “[They] target those seeing asylum and refuge, and weaponize the built environment against immigrants.” According to both advocacy organizations, architects have the responsibility to “uphold the public’s health, safety, and welfare,” and because of this, they must stand up against such human rights violations. Not only is T-A-L trying to get more architects on board via this pledge, but it's also offering services to firms, universities, or groups that need help organizing in the workplace or creating divestment campaigns.    You can read the growing list of pledge supporters here and sign on yourself. This call comes on the heels of the American Institute of Architectsrecent release denouncing the conditions of detention centers at the U.S.-Mexico border. Per its Code of Ethics, AIA members are also urged to “uphold human rights in all their professional endeavors.” It said its members must support government policies and regulations that enhance transparency on the issue, as well as fight for the creation of standards that improve the health, safety, and welfare requirements of all buildings. The AIA also called for building inspectors to ensure that structures are in full compliance with current building codes and that any violations regarding health and safety be fixed immediately.  Though these leading architectural organizations believe that socially-responsible architects should be in no way involved in reforming immigration detention centers or similar buildings, there are some architects that think the opposite. Last summer, when CityLab reported on T-A-L and ADPSR’s initial call to boycott, it highlighted the opinion of one designer at Gehry Partners who believed design professionals “should take the lead and devise alternative environments to house immigrants with dignity.” Instead of staying silent, architects should advocate for facilities with natural light, ample space, good ventilation, access to the outdoors, and privacy, she said. It seems, however, that the most pressing architectural issue here is not the creation of new detention centers that are designed in a healthy way, it's that the ones currently being used weren't programmed for housing hundreds and thousands of migrants in the first place. Last July, AN published a piece on the brief architectural success of the Tornillo-Guadalupe International Bridge near El Paso, which opened in 2016 and was anticipated to support a slew of traffic. Though the structure was highly-lauded as a “collaborative binational security effort,” wrote Erseal Kripa and Stephen Muller of AGENCY Architecture, it was a failure due to lack of an economic engine. The site became a census-designated tent city known as Tornillo, where it held thousands of migrant children until it was shut down in January. U.S. Customs and Border Protection announced it will reopen the site this week to house adults instead due to overcrowding in nearby Texas detention centers.  These situations and calls from both sides of the aisle raise the question of whether architects should step in to revamp the current conditions by offering their design services, or should they instead use their voices to urge political lawmakers to end the detainment of migrants altogether? Is this a black and white issue? Is it ethical for architects to do both?
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Southern border wall could run through SpaceX's Texas facility

Elon Musk’s woes aren’t slowing down, as Bloomberg has discovered that the Trump administration’s proposed U.S.-Mexico border wall would cut through the SpaceX launch facility in Boca Chica, Texas. The 50-acre facility, which received $20 million in incentives from the Texas state government, is being used to build and test a new spacecraft called the Starship, which Musk hopes will one day deploy from a SpaceX Falcon rocket and ferry passengers to Mars. The reusable, stainless-steel clad shuttle has been in the news recently for ignoble reasons, namely because it was knocked over by the strong Southern Texas winds last month. According to documents from the Department of Homeland Security (DHS), the border wall would cut directly through a SpaceX launchpad. Rio Grande Valley representatives are pushing to have the facility exempted from any border wall construction, but SpaceX has been conspicuously quiet—a company official told Bloomberg that SpaceX is trying to lie low and avoid drawing DHS’s attention. “The Department of Homeland Security and U.S. Customs and Border Protection recently requested SpaceX permit access to our South Texas Launch site to conduct a site survey,” James Gleeson, a SpaceX spokesperson. “At this time, SpaceX is evaluating the request and is in communication with DHS to further understand their plans.” As negotiations over the fate of the border wall drag on (and break down), it remains to be seen whether lawmakers will be able to come to a compromise over border funding before February 15. After the record-breaking 35-day partial government shutdown was temporarily halted to give the House, Senate, and President time to maneuver on border security, it now appears that, if no agreement is reached, border wall construction could begin via a national emergency declaration. Regardless of whether Congress allocates $2 billion, the full $5.7 billion, or nothing, border wall construction has been previously funded in fits and starts. Even as deliberations in Washington drag on, the National Butterfly Center (also in the Rio Grande Valley area) filed an emergency restraining order this week as excavators began laying the groundwork for a 36-foot-tall wall that would cut through the nature sanctuary.
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Trial run of high-powered security scanners proposed for Seattle plaza

Smart cities, such as that planned by Sidewalk Labs in Toronto, are coming under increasing fire for their potential misuse of data gathered from their residents. Now, technology company Radio Physics Solutions (RPS) is working with Seattle-based Vulcan Inc. to install and demonstrate a scanning system across a public plaza capable of detecting concealed weapons from nearly 100 feet away. The scanning system, using a patented technology titled MiRTLE (also known as Millimeter-Wave Radar Threat Level Evaluation) developed by RPS, is proposed to operate across five workdays. If approved, RPS and Vulcan Inc. would have a 60-day window to implement the trial. In an application filed with the Federal Communications Commission (FCC), RPS states that the system is capable of conducting over 3,000 scans of the plaza per second operating at a spectrum of frequency ranging from 71 to 100 gigahertz. While the Transport Security Administration and a high school in Texas have tested the technology, it has not yet been applied to an entirely public space. Additionally, past installations were mounted along rooftops while those for this trial are proposed at ground level. Besides concerns related to the scanning of lingering pedestrians and those with no intention of entering Vulcan’s headquarters, extended exposure to high-frequency radiation (potentially millions of scans over the course of many minutes) is not without its risks. In a statement to GeekWire, Gary King, CEO of RPS, responded to these concerns noting that RBS takes “safety very seriously, both in design and use of the product. Our safety calculations were presented to the FCC, which was completely satisfied with the safety of MiRTLE. Someone eating lunch in the plaza is very safe." While the proposal is still awaiting FCC approval, the agency has passed all of RBS's previous scanner trials.
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National Butterfly Center prepares to fight for survival as border wall construction begins

As the budget battle in Washington D.C. threatens to shut down the government over border wall funding (again), bulldozers in southern Texas may soon raze swaths of the National Butterfly Center as the already-funded portions of wall prepare to rise. The Sierra Club filed a Freedom of Information Act (FOIA) request in 2017 after surveyors appeared in the Butterfly Center, a 100-acre nature preserve that’s home to rare butterflies, plants, and endangered birds, and workers began clearing land in July of last year. The resultant draft feasibility report from the Army Corps of Engineers released in November of last year painted a grim picture of what would happen if the 33 miles of piecemeal border walls in the Rio Grande Valley were built. The 15 proposed walls, most of which would have a 12-foot-tall concrete base topped with 18-foot-tall steel bollards, would cut through homes, cemeteries, churches, state parks, and the National Butterfly Center. The Corps would also clear a “no man’s land” on the southern side of the wall that would extend out 150 feet, and include 120-foot-tall surveillance towers. Lights, underground motion sensors, and access roads would connect to the barren side. The Animal Legal Defense Fund and two other nonprofit groups had sued the federal government over what they claimed were breaches of the Safe Drinking Water Act, Endangered Species Act, Native American Graves Protection and Repatriation Act, and 25 other federal laws. Unfortunately, the Real ID Act allows the federal government to waive federal laws to expedite border construction projects. And on December 3, the Supreme Court refused to hear an appeal of a lower court ruling in favor of the Department of Homeland Security, allowing construction to proceed. If the wall moves ahead as planned, the National Butterfly Center claims that 70 percent of the preserve will be trapped on the southern side of the divider. The Center fears that the wall’s construction will destroy their visitor revenue as well as the butterflies’ habitat, and has started a GoFundMe campaign to cover their legal fees, operational expenses, and possible demolition expenses in case the wall is built and later needs to be removed. Construction in the National Butterfly Center is expected to begin in February.
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Texas judge halts school construction after 95 bodies unearthed on site

Last week, Texas judge James Shoemake ordered the Fort Bend Independent School District to halt construction after the remains of 95 black prisoners were unearthed on a property it was building on. The site, once known as the “Hellhole on the Brazos,” was the former Imperial State Prison Farm, the infamous home of numerous prison camps and sugar cane plantations where slaves lived and worked in hellish conditions before their subsequent deaths. The property is located in Sugar Land, now one of the wealthiest and fastest-growing cities in Texas just southwest of Houston, but which once served as a graveyard for slaves. It was there, after the district broke ground for a new school, where archaeologists exhumed a massive, 19th-century graveyard of nearly 100 bodies that had been concealed five feet beneath the soil in dilapidated pinewood caskets for decades. According to NBC affiliate KPRC, Judge Shoemake ordered the school district to halt construction so that the human remains could be examined and investigated at the site. “This find is very different from any other,” Judge Shoemake said in an interview with KPRC. “We have a history that’s different. I want some more effort. This is important stuff. Families and communities are affected by this. You came here for permission [to build]; I’m not going to give you permission.” Sugar Land has a unique and shocking history. In the late 19th century and early 20th century, the town, located along the Brazos River, served as the epicenter of the country's sugar industry. The convict-lease system flourished throughout the region, targeting former slaves who were leased by the state to private businesses and forced to work in coal mines, plantations, railroads, and state projects. According to The Washington Post, the black “convicts” were imprisoned into the system for offenses as minor as homelessness, flirting with white women, or petty theft, yet they were made to work from sunrise to sunset in the fields, occasionally until they “dropped dead in their tracks.” The Fort Bend Independent School District’s construction site encompasses land that was called “Imperial State Farm Prison Camp No. 1.” Conditions were so horrific that prisoners wrote songs about how they would rather die than live another day of beatings, whippings, and slaving under the hot sun. Private contractors did not care about the health and well-being of their workers. According to W. Caleb McDaniel, a history professor at Rice University in Houston, the convict-leasing system experienced tremendously high levels of disease and mortality. If a prisoner died, a contractor would simply demand a replacement prisoner from the state. More than 3,500 prisoners of ages ranging from 14 to 70 years old died between 1866 and 1912 when lawmakers finally outlawed convict leasing out of utter shock at the death rates. This past summer, a team of archaeologists requested permission from the Texas Historical Commission to conduct a more thorough investigation of the human bones salvaged from the cemetery. Their main goal is to perform DNA testing on the remains in order to identify the prisoners. The Fort Bend Independent School District shares this ambition, telling KPRC that “our sole mission is to educate students and we only exist to learn. The more knowledge we have the better. We want DNA testing. We want answers, we want to connect the body with the name, and we want to tell the story of an individual.” As of last week, Judge Shoemake said he hopes to reconsider his decision to halt construction by March 2019.
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Goodnight Charlie's is a contemporary honky-tonk with Texas roots

“We didn’t want a Disney World experience at Goodnight Charlie’s, so we pared back,” said Gin Braverman, principal of Houston-based Gin Design Group (GDG), about the city’s Montrose neighborhood’s newest (and only) honky-tonk. “We didn’t want it to feel contrived.” In order to flesh out project architects Content Architecture’s contemporary structure for a musical lineup that ranges from twang to tonk, GDG began with Goodnight Charlie’s good bones and dressed them with simple, vernacular elements. The rectangular structure’s cedar-clad exterior is complemented by interiors of warm, accessible materials that would be at home in Texas’s barns and farmhouses. Rough cedar and plywood dominate the interior, materials evocative of the simple, collaborative approach a community might take in a barn raising—and the cooperative process that came easy for the interior designer and Content, whose practices share a building. Galvanized aluminum paneling wraps an angled wall behind the bar and around the door to the kitchen—a utilitarian choice that ends brilliantly, as the aluminum picks up and diffuses the multiple light sources in the room, including a lattice of raw lightbulbs, the fresh neon signs of the bar logo, and a cheeky crescent moon behind the stage. Bar storage is achieved with rolltop doors set within a steel structure, where a rotating narrative of bottles and ephemera is allowed to build naturally, a scheme Gin Design Group put considerable intent behind. “It was important that nothing appeared staged,” Braverman added, “so the finishes and fixtures align with that direction.” Nested tables with benches in hardwood provide a flexible gathering space within the performance area, while warm leather high-top chairs in burnt sienna encourage patrons to (figuratively) saddle up to the wide bar top, rendered in concrete and powder-coated metal. Beyond the bar area is a real-life Texas porch that opens out to the neighborhood, complete with swings hung on long steel chains and classic picnic tables. Looking up reveals the structure’s exposed trusses and cedar louvers. The restrooms are more intimate and detailed, with a portrait of Goodnight Charlie’s namesake—Charles Goodnight, the first cattle rancher in the Texas Panhandle—separating genders. Inside there are farmhouse sinks and white tile that has a handmade texture. Wallpaper takes on a Federalist air, the red print featuring the Texas seal, the Alamo, and an eager American eagle above a wave of stars. “The materials are just broad enough,” added Braverman. “They are a nod to Texas in general.”
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New Cityplace tower could finally come to Dallas, Texas

A new tower could finally join the existing Cityplace tower in Dallas, Texas. The current 42-story building was originally planned in the 1980s as part of a massive 140-acre development that included plans for twin towers on either side of North Central Expressway, but an economic downturn foiled those plans and only one tower was ever built. But Dallas News reported this week that the site's current owner, Cityplace Co., is planning a large new hotel and office tower for the site north of Lemmon Avenue and south of Blackburn Street. The developer is pursuing a tower larger than the site's current zoning allows and will presumably not match the original tower with a twin, as the now 30-year-old plans intended. The existing Cityplace tower is the tallest building in Dallas outside of downtown and has housed office space since it was designed by Cossutta & Associates and opened in 1988. At the time it was Dallas's most expensive tower to build. The surrounding development was originally planned to house over 60 other office towers, but plans for the complex fell through after the savings and loan crisis of the late 1980s hit the region and tempered the area's oil-fueled growth over the previous decade. Today, Dallas, along with the rest of Texas, is enjoying a building boom as jobs continue to grow in the region. In 2017, Texas led the nation in corporate office construction projects, and the Dallas-Fort Worth area was among the most active metropolitan regions. Cityplace Co. is slowly developing properties across the original development's neighborhood, and other developers have gotten in on the game as well. Forest City Realty Trust is partnering with Cityplace Co. to build a 23-story luxury residential tower in the area, and earlier this year Highland Capital Management bought the Cityplace tower and announced plans to upgrade the building and add restaurant and amenity spaces.