Richard Keating, Selected and current works

First Federal Savings and Loan Design/Completion 1978/1980 Little Rock, Arkansas First Federal Savings 158,000 square feet Skidmore, Owings & Merrill, Richard Keating, Design Partner Steel frame Caledonia granite, glass, aluminum

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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. I

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Allied Bank Plaza

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Design/Completion 1979/1983 Houston, Texas Century Development Corporation Skidmore, Owings & Merrill, Edward Charles Bassett, Partner in Charge Richard Keating, Design Partner 1 ,800,000 square feet Trussed steel tube Green reflective glass and stainless steel curtain wall, black granite base

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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. 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 for the constant interplay of sunlig ht on the tower ' surface and also reduces th e bui lding's substantial mass.

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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 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 provid e a human-scaled ense of entry to the building.

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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.

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Bank of the Southwest Tower Competition

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Design 1983 Houston, Texas Century Development Corporation Skidmore, Owings & Merrill , Richard Keating, Design Partner 2,300,000 square feet Trussed steel tube Granite, travertine, glass .

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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.

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San Felipe Plaza

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Design/Completion 1982/1984 Houston, Texas The Farb Companies Skidmore, Owings & Merril l, Richard Keating, Design Partner 1 ,000,000 square feet Slip formed concrete core, steel frame Polished Caledon ia gray-brown granite, glass, stainless steel

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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.

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Trammell Crow Center Design/Completion 1981/1985 Dallas, Texas Trammell Crow Company Skidmore, Owings & Merrill, Richard Keating, Design Partner 1,750,000 square feet Steel frame Polished and flame-cut autumn brown granite, bronze reflective glass

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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 serve as the "campanile" for th e d istricc This analogy is reinforced by the tower's cruciform hape and it classic composition of a base, haft and top. Th e tower is se t back from the stree t by an extensive public pl aza and two-story entr y pavilion which further integrate th e tower with the street and the adjacent, lowe r-scaled cultural institu tions.

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The tower i clad in a combi n ation of 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 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 African rosewood deta iled in bronze, and a pattern of marble floor paving.

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Texas Commerce Tower Completion 1987 Da llas, Texas Trammell Crow Company Skidmore, Owings & Merrill, Richard Keating, Design Partner 1 ,400,000 square feet Concrete poured in place Gran ite, glass, cast stone

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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.

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The Wilshire Buildings

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Beverly Hills, California Columbia Savings & Loan Skidmore, Owings & Merrill, Richard Keating, Design Partner

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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.

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The sites for the Columbia Saving buildings are on the south side of Wilshire Boulevard , several block apart. The predominant influence on the architecture is the boulevard itself which, as a major thoroughfare, is experienced primarily from the automobile. To th e motorist, what is perceptible is the rhythm of the street wal l and the edges of buildings. The Columbia Savings buildings have individual ch aracter but form a unified concept. Coloration, cale, and composition vary but the basic premise remain con istent-facade made up of a set of planes organized on an expressed tructural frame.

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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.

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

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The Wilshire at Elm bui ldin g is located six blocks west of the ICM Headquarters 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 JCM building but con tinues th e limeston e plane wi th its fragmented rhythm of substance, excavated , pace, and structure. Whi le the gestures are less extravagant here than in the h eadquarter building, a close exam in ation reveals g reat attention to both the d e tailin g and th e enginee ring of details.

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Wilshire at Elm 55

Wilshire at Canon Design 1988 Beverly Hills, California Columbia Savings & Loan Skidmore, Owings & Merrill, Richard Keating, Design Partner 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 glass coatin gs and technology of artist James Carpenter. The garden is con ceived 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.

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Sun Bank Center

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Design/Completion 1983/1987 Orlando, Florida Lincoln Property Company/Sun Bank 650,000 square feet (office tower) 98,000 square feet (park building) Skidmore, Owings & Merri ll, Richard Keating, Design Partner Poured in place concrete • Precast concrete, glass, alu minum

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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 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 detail elements, in cluding the smaller office building, are all precast concrete.

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Design 1988 Los Angeles, California USA Pacific Atlas 34-story tower, 55-story tower, 550-room hotel Skidmore, Owings & Merrill, Richard Keating, Design Partner .

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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.

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Stockley Park Competition

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Design 1988 London. England Stanhope Properties, Ltd Skidmore, Owings & Me rrill, Richard Keating, Design Partner

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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 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 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.

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BMC Software Headquarters

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Opei-Krelsel Office Building

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Competition 1994 Frankfurt, Germany Georg von Opel 312,163 square feet Glass, dichroic glass, steel

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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 mass is relieved by a large o pening that provides views across the park immed iately to the north.

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Hewlett Packard Business Center

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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

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International Center

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Design/Completion 1993/1997 Dallas, Texas Harwood-Pacific Phase II: 215,000 square feet Phase Ill: 200,000 square feet Plaza: 50,000 square feet Building: precast concrete, glass, granite, aluminum Plaza: precast, glass, granite Lobby: glass, granite, copper

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Renaissance Center

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Design/Completion 1985/1989 Dallas, Texas Prudential Insurance Company of America Skidmore, Owings & Merrill, Richard Keating, Design Partner 1,650,000 square feet Structural steel frame Blue , silver and green insulated glass curtain wall

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First National Bank San Diego

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Design/Completion 1988/1993 Equitable Real Estate 580,000 square feet White Cippilino marble with stainless steel inlay; Roche De Cry limestone; blue pearl granite; flamed impala granite; Verde lssore marble; figured maple; frosted glass

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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; noncomplian 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 from the building elevator lobbie .

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Houston Industries Plaza

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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.

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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.

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Houston Ind ustries Plaza

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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

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Ilou ton Industries Plaza

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The redesigned building lobby transforms the previous confusing circulation pattern into one that unites access from the street, the tunnel level, and a bridge level, culmina ting in an indoor park at the second floor. The materials and details reflect the charac ter of the corporation , present and future technology, and the focus on employee amenities. Thi project represents a unique opportunity to bring 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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143

Memphis Brooks Museum

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Design/Completion 1986/1989 Memphis, Tennessee The Memphis Brooks Museum 40,000 square feet (new addition) 40,000 square feet (renovation) Skidmore, Owings & Merrill, Richard Keating, Design Partner Steel and concrete Precast concrete, aluminum

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Tokyo International Forum Competition

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Competition 1989 Tokyo, Japan Taisei Corporation 1,400,000 square feet 1,500-seat auditorium 5,000-seat grand hall Skidmore, Owings & Merrill, Richard Keating, Design Partner Steel Granite, stainless steel , glass

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Department of Ecology Headquarters Design/Completion 1991/ 1993 Lacey, Washington State of Washington 320,000 square feet Steel-framed structure with a concrete shearwall lateral system Precast concrete, glass curtain wall

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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 parking structure from view.

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San Bernardino Government Center

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Wilshire Ambassador Competition

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Recognizing the freeway frontage and its inherent associated imagery, an array of office buildings focuses on a transit stop which in turn becomes the central pedestrian hub of development. Parking for the office buildings, while above grad e 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.

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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.

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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 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.

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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.

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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.

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Texas Rangers Stadium Competition

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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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Los Angeles International Airport Master Plan Proposal

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Design 1994 Los Angeles, California

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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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4949 Yoakum

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Design/ Completion 1980/ 1982 Houston, Texas 3,200 square feet Skidmore, Owings & Merrill, Richard Keating, Design Partner Wood frame Stucco

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Santa Monica Beach Hotel

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Design 1987 Santa Monica, California Michael McCarty 250,000 square feet (160 rooms) Skidmore, Owings & Merrill, Richard Keating, Design Partner

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Ocean Boulevard Condominiums

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Design 1989 Long Beach, California The Mendik Company 550 units Skidmore, Owings & Merrill, Richard Keating, Design Partner Precast concrete, glass

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Montecito Residence Design 1994 Montecito, California 4,000 square feet

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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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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.

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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 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 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.

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Design 1995 Livermore, California Lawrence Livermore Laboratory 200,000 square feet Steel structure Metal panels, concrete

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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 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 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 by their positioning and architecture, which relates to the implied circle of the 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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Competition 1995 Seoul, South Korea Associate architect: Hee-Lim Architects 1,000,000 square feet Reinforced concrete Cast-in-place concrete, granite, wood, dichroic glass, stainless steel, ceramic tile

The program includes 1 million square feet accommodated in two wings-a main gallery wing and an education winghousing 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; urban and pastoral.

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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 handheld objects to stupas and pagoda up to 10 stories in height. 5

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Design 1995 Sachon, South Korea Samsung Corporation Associate architect: Samwoo Architects 8,000,000 square feet (site area: 618 acres)

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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 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 .

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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 roughcut 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.

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Beyond the banking hall are two wings of 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 rock in the river of transition that repre ents stabi li ty and permanence.

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