TEXAS SOCIETY OF ARCHITECTS A NN UA L C ONVE N TI O N
AN N UAL P R O D UC T S EX HlBITI ON
Burr Engineers STATE-OF-THE-ART Caddnmn CONVENTION CENTER Let's Celebrate Our Texas Tradition! Ccnunic CuolingTower Clark & Shuck A~M>Ciutc,. Inc The new George R. Brown FRIDAY, NOVEM BER 13 Cons1ruc 110n Tuchnology Convention Center will l..ub<1r.iltlric~ Opening Night Party 3:30pm- 7:30pm Cu~mm Building Product:. house the 1987 Annual Cusmm Castmgs Products Exhibition. What SATURDAY. NOVEMBER 14 Dc,igm.:d PcrfomunccA~soc. better place is there to see Exhib iLo; Open/Seminars 9:30am-3:30pm Devoe & Raynold, The Du nne Company first hand what new build Exhibit Hall Luncheon 12:00 noon- 2:00pm Eaglc Luke Concn:te Producti,. ing produc~. materials, Convocation/Reception for Electric Utility Comp,11111:s orrexru. and services are available 3:30pm-6:00pm Elgin-Butler Brick Co Newly Licensed Architects Ford MmorCo.lFord Glim D1vi.!lwn to architects in Texas than Gener.ii Elcctm:/Struc1un:d Pmduct~ al this state-of-the-art faci l Gn:cn Expectation~ ity scheduled for comple 1l orpc:r & Shumw, Hcrrnun Miller, Inc tion in September of 1987. FREE ADMISSION PROFESSIONAL Jm.:ksou·, Lummon Avenue Poucry ..,...... ______1l1e exhibit hall is open to PROGRAMS/ SEMINARS L<111g & McMkhael i',fa',(mry ln,lilutc orrexa., all area building and design On Saturday, November Negley l'n 101 Co COME FOR INSPIRATION. proFessionals and their 14. attendees may choose The Ncogard Corp11ru11on clients ... Architects, from over 18 programs on NcvunmrCorp COME FOR IDEAS. Pello Windt1ws & Oo<,r. employees of architectu ral a variety of subjects l'run. Inc . finns, engineers, contrac throughout the day. Prm,ocn, Inc BUT, MOST OF ALL, tors, inierior designers, Rib-Roof lndu,lrie!> Rooflilc. Inc. COME FOR AGOOD TIME. builders, landscape archi Schim,cr Engineering Corpom1ion tec~ , and developers. Southern Building Cude Congl'f!5~ A PARTIAL LISTING S1nnhard NOVEMBER 13-14, 1987 OF EXHIBITORS: 11:ctum. lnc./l lou:.1on VISIT OVER 200 Tcxa,. Cunv~ & Awning Co .. Inc Amcgn Con~truc1ion. Inc. Tcxns Gas U11h11cs EXHIBITING ARMS American Olcanlilc Co. Firms from throughout Anu:m:anlilc Supply. Inc . Tcxu, Granite Cmp For more information on Tcxn, lndu~1ric.,. Inc Andcr~n Winduwull~ anending or exhibiting, Texas and the United States l110ro Sysrcm Products n ,c Applictl Ans S1udm 'Jiinity Bm:I. & Supply Co .• Inc. plcasecall 512/478-7386 will beon hand to display Architectural Pruduct~ their newest product inno As~ociutu,n Adm111b1r.11ur., United Stutll!> Gyp:.um Co for details. U.S. lmcc. Inc. & Consulum1s vations and introductions Wei.co Di~inhu1lon. Inc. A~sumncc Service,. Inc ~ao1 llou~1on·,~1gn»hn't", C\1\lllci.) ot AU\lm W1 I\Onan ithlOf\' C.tHlrt Au11,11 n ltubt,~ I ilir.at)' in all key fields-interiors, Bin,wungcr Gia~~ <.:o. exteriors, lighting, office Bol'\lcn lnc./Chcm1cal D1\•1s1on system~, energy systems. Buwman '111c & Supply pmcti cc systems. CAD/D. Bn:kkc Ois1ribuwr.. CAM ... John P11.. r11 S>11lll \tunics, CA \I ORE WINNERS John R llatKlnnon AnchoraR•· AK Johnnoc P Rut h \\uhrog1011 DC I he rono" Ing IIJ11 tnclutles 01her winners who \\Ill 12kc home cash, Jnnll h11n Miller ltlnnnpolb \IN ,;mm au10 cruneras, por12ble iv's, portable ~tercos, and walkman-typc Joy FOR YOUR COPY OF THIS YEAR'S ''TOP 100 ENTRIES" PROJECT DESIGN MANUAL (selected from over 1100 entries) l'n111plc1c Lhe informalion below and send your check for UU.00 10 cover postage and handling to: \\on 01HJr Ot.>sign Manual IH(1S Smllh 3480 West S:111 l.ake Chy, ULah 84104 The judging, supervised by Mr John J. Lahosky, PE, F.5Q, President/CHO l'IL,tse ~end me _ __ copies of the 1987 "1bp 100 Entries" of Ellerbe Assocla1cs. Inc., Minneapolis, Mlnn~1.a. wa$ conducted 11ruwc1 design manuals at SI0.00 each over a 1wo day period In Salt Lake City The judging panel also Included Mr. James S1erllng, Senior Vlce President or '\l'clton Bt.,cket My du:ck for s. ____ ls enclosed. Associates, Santa Monica, California; Mr. Phlllp C Favro, Na1lonal Fire N,11111 Code Consultant; and Mr. John G. Degcnkolb, Natlon;d Code Consulllltlt and fire Protection Engineer. l1rr11 Alltlrt·\~ ------WATCH f'OR NEXT YEAR'S EXCITTNG COMPETITION. 111\ ------PRIZES AND DAT~ TO BE ANNOUNCED ______Zip ______~1.111• LATER THJS FALL. BEST OVERALi. DESlGN The First Annual APP LICATION Won-Door Design GRAND PRIZE Mr. Gregor)' Schiller of Contest with more G.T. Design, Denver, than S40 ,000.00 in Soc.>r~ .,...-,-iuM P->Ult..OQJt. Colorado, opened hls highrise building to th e cash and prizes ,.. M<>CTI'- ...-.muoes ...-~) """L""""' ..,,... .,.._ _,.... ~~. sun by using Won-Door closed for entries ~~,:.'&N~~~~·~..::::: FireGuard doors. and March I, 1987 and subsequently opened che judging took place electric roof of his new March 12th and 13th. Mercedes 190 to th e sun as well as he drove off with the grand prize. The competition was designed to Mr. Schiller used lhe folding fi re doors for th e combined stimulate better purpose of achieving fire understanding and separation hetween the creative use of atrium and adjacent tenant FireGuard folding spaces a11d by capitalizi ng fire doors. Based on on the door's unique abillcy to store out of the way, the more than 1100 was able to permit direct design entries, access to the sun h11 the architects around building's large indoor solar the country panels on each floo r. discovered, first In the evening, the doors hand, bow folding automatically close allowing fire doors could be lhe stored heat 10 dissipate used to solve tough throughout che building. building code requirements and still preserve special design features such as atriums and open stairways; provide substantial cost savings by allowing lower cost Mr. Phil Schroeder, of construction typesi Archicectural Team Th ree and achieve 1 s t P RI Z E in Tempe, Arizona, and hi! maximum revenue wife Cyndi will soon be island hopping on a by increasing Carrlbean cru ise thanks to leaseable space. his prize winning entry. Mr. Sch roeder's project used the foldlng fire door'i wide span (105 feet In his application), curved track (10-foot radlus), and tight stacking capabilities to mec1 1he code-required occupan cy separation and to provide shared " multi use'' space with in a church parish hall and nursery. The space can ~IIIIVQ -- now be used a multlludc of different ways. The cos savings estimates of not Iii& having to provide a separate nursery were ·--=-- more chan S272,000. The H ,500 cash :,ward won b)' Mr. Larry Frapwcll. 2 n d P R I Z E ()f the 1111 1 Partnership In Newport Reach, California, was In recognition of what the judges called, · 'The hcs1 design for elevator lobbr separation ... they'd ever seen!" -- Mr. John Myefski , of Murphy/Jalrn in Chicago, 3 r d PRIZE will be looking at Ills new VCR :ind color television while the prospective tenants or his retail shopping mall will be looking down w the beautiful open lobby below , both thanks to his award winning folding Ore door design entry. Mr. Myefski 's design not onl y allowed for acldition:il noors to hf.' open to the lohhy, but also pro1•lded elevator lobby separation, stairway separation, and added securit y protection. Mr. William Hanson, of Curlis Bcauie & Associates 4 t h P R I Z E In Seattle, Washington, improved the view of the tcnrum or a 270,000 sq. foot co mmerci al hullcllng b)' opening the lobby to the third floor thanks to his use of Won-Door foldin g fire doors. And. thanks lO his winning entry, Mr. llanso n wlll lmprovl' his own vie11 through the lens of his new color cam corder SEE BACK COVER FOR A CO~fPLETE LIST OF THE MORE TUAN 100 OTHER WINNERS! THE WINNERS! Meet the more than 125 winners in the 1st annual Won-Door Design Contest. Mr. Grcgury T. Schiller Woo-Door Corporation G.1·. Design Denver, Colorado 1865 Sou th 3480 West Grand Prize winner Salt Lake City, Utah 84104 1-800-453-8494 ·r(''Ql, ArthllM ,,,,uhluhr,I W\' "'"rf CONTENTS \'f'fJrh l,J ,1,,. T.-,,u Sor-1,n ,ifArrlutrrt.-r, U/Ju-wl 1Jr'Rwu:.uuun •>/,,.,.Tr~" R,~um r,f rh~ A.mtrtru.n ln.,rltutrn/ Arrhur-ro lltJ rnyfor. llon MA. latn,111 tr Vu r P,rwlrm EDITOR 11.Jt'I \Vnrrrn n,m,o MIINIIOINO !;OIT()R C'lw.rl~1 F. I-SIi l'Ulll IC'A nONS CX!MMITl'F.1:; Jh,t:h C11r,mnt:l.mn, f)flllm (ihmrmm11; LETTERS 6 IJl,(/lum/\, Ali\ Wlrhllu f'111/1, Sur.Inn l'e,nl>t'rt1J11°lluuRlt. A.IA, .\'.u11.A.n11J"J•J, n11/d l/C1111l/w,, ,AU .A.,lfn!l,Wn, GIIINrt ABOUT THIS ISSUE 15 llr,ifmnn Ii/A 1/l)uJUNt. I t;murd J..,unr, Aflt SmrA,itr,,u,,. A'utl,rnn l"111, I\I.A , 11ntr1t.: Gn-ulJMonrl,,,,J. AJA , llouu,,n, R,>l~n Str,nl,;,rnt, Alli. ,\uu,n w,111, [N THE NEWS 16 U'illt,•n. AIA, l)uflm Corpus Christi cnmes lwme w its ll'llterfro111 to holster dow11- CONTRIUU11NO l'JllTORS Om·1,I ww11 tourism: the Josephine The(lfer in San A111011io is adapted Brmltn. FAIA. 0,11/tu /Jur(,/ /Jlllim <:,11nlmtls;,. M1.u.t., 11,rnumtJ,al. A.IA. to gh-e a new lwme w a pe1:(ormi11g arts group: Te.rans play a t\i;,n,-, (f'1lurm<1I <(1Mulumt/ , StrpJ,,.n 1-"01. 16 llouuun, J,mr,•P,,ul l-4 ulln. Au:uln L.,rn hig part i11 the America11 Society ofArchitecmral Perspectfrists. G111t.td, Al.A, IJull.o. n.rtl1JWt-lf.1il1 t1tL AIA. RIHA CollrKr St1Wt11t PRACTICE 27 Cor>rivt1119117 h) Iii, r«~•Soci<1yof Stoll' law in Texas requires xm·emmema/ hodie.~ in Texas w ArthilcCl) Control JOO rlrc-uhuloo f)0\11.1~ J>-&ld .11 t\u~11n 11nd 11dd111tm11I ruatlmg 11egmiatt• fees after picking archiwcts 011 the basis of experience nfth,Cl-, l'OS1'\\IIISTER S,,uftul,ll't'H r /oinJtn If, and q11alijicatio11s. but a ruling by the Auomey Gt'lleral has rci11- r~,a, Att"h1tc,1. /JOh V,in,,..,•Jf/ f,,~.-, ,u.1nn. Tl'.tu, 1XiUI 1roduced price hidding to the process and made life mor(! n mf11s r,t,phmr, ($/1)-17/l 7J,l/(J i11g. ,11hvript,o;,pr11 rn .SI? tJll1wr,n1r/flr nit 111,-n,f1rn. $/,tr Y! Jm· T,-u,~ r~ttlrnt• und$/._I( tX1/t1rmlJ1t"1-1r1,.,.;l1/1l,T,1u,1 mr,J •••ilhln 1hr • mWnt'nlflf l fn1trtf SIUlt'I LOW. RJSE CORPORATE HEADQUARTERS 28 Hrprt'4lutm1nt'ft11/urpon1,Jf'lllft1rtc,I Companies nw1•i11g to tlw suburhs w11 use physical layo/11 to , or,r,m" ,rhm,, •·rUtrn '"'""""'"' u uru th pmltihltn.l U•r of lklmr, "'"' s1re11gll1e11 cnm11111nication and i11teractio11. and 1hey ca11 mak,· IIIU-Jl(t~ '-1 fin.Jurr"" un1I -1rni1 r-o1 in,.,,,,,., ""'u,dulurtul~·rrti,ln,: dtJrJ ntll ,•omtiUttf their employees feel more l'a/ued. By Joel Warrc•n Bama 011 tndr,nrntf'III h> TS.A or J\1.1\ , no( •ltJrA r1htu11r,J c·,H111n.•n1 nrr.-,J,mJ,, rt/Irr, an '"1/Jrllll nf""''"'" ()f rlthtT or~11nrrntlm1 l ~S\' l/11.J/l-t/7V 28 \lrmhrr R,,,,;,..,, Pc,ld1tu11mn CORPORATE ARCHITECTS 35 Ak,/,1 ,ifC,rrulmion, lru 1lrcltirects ll'urking for a public wili~v. a developer. and a major lcu, rc:h11cc,u rtnt,/r1xu,.,lln1l1rA\fl'\ lnrlr, nfArrhltt'rt"n,I l'rnr11/lrnl, hospital share e.\71erie 11ce from 1he miter side of the wble. By u,ml'1blt'1n muµ,,-llbmnt, Charles Gal/min l'liA OFFlC.:~RS:Jnm<',I C/u111 IM/1 L~llu..,. PretJ;Jrm Jnhn ()nh G,-..,-, l'ollr),!.rStlltwn; Prrtidtnl Ell'tt, J Tvni PIANISSIMO: 4'fhln. fll. MrAllrn, Vitl'I'(,-u1Jrn1: J11n THE VERY QUIET MENIL COLLECTION 40 n,,- f,r.J\munl/11, \1,r,.J'r.-odtm. Nm fl Hmlr, hi/A, lfouurm, Vuv l'rnuf,-,,, Richard lngerso/1 considers Dominique de Meni/'s m•11• world t.;1,,mJ KJmu•, Jr 4,w,n, Vu,. l'r,,ftl~tu F1t111(S li:tlh. 1-A.IA. llt•io.ttm class 11111w•11m in Ho11s10 11 and tmces ifs strengths mu/ weak SfNtldn. ChutJ. Ctvjl, 1ho11r,, Trnuurrr; f)r, 'Tin/or, C'A l .• llon A/A nesses ro the rams of rite design. Auwn. l-0 1rrwtn t' Vu r l 1r,..ftdt1n1 WHAT ARCHITECTS DON'T KNOW TSII ROAROOF OIREL.URS Gon ,.,,,,,,,, At11frnr ('lit,Jttrr. J'kµu,/r{ J. ABOUT LIG HTING IJkl.t'nnn, \mar-1/lnChr1ptrr, Ll\4l lf't1r., Au,tm C'1t,,,,,,,... Jul,10 \I c.;r,l1,t1U, H,a:.r,, CAN HURT THEIR DESIGNS 48 Cltt,pttr.Gf't"~l:. ("1t,14•i1r.Jr, c,..,,,~ Austin architect Charles Tlw111p.,·m1 sheds some fight 011 light -10 Cfirnll Cht1111n·. 811111/tJ/JH,u. II. />,1/liu C:hnp1rr J11mrJ.A W,fjfi,rd hi Ptu.u ing for this special advertising section. Ch11p1,..,.--A' Jlt1tnf'4 Rrt,{m, 1-,,rr w,,,,,._ t.'lmptrr All,nG W,i·m.,u1h llr1>co1,m Clw111rr. Rwh1lrlr, Gum,.. ,~"'"' Nii, ON THE COYER: Cemral stairs at 1ltc Frito-Lay Headquarters, Crundt' Vo/It\ Clwµtt't. Jmtt'h t \VJ,u_., l.uNNK"k Cltnptrr, Clu1rlt'1 I """"'-'· Plano. by Lohan Associates. Photograph by Nick Merrick. NflrthemtT,TtuClulplt'r.Strph.-"H S,mtM SunAn1,,-,1luChJ11t1,·r. P"utN Hedriclt -8/essing Jiu ,. Svui/,,a.i1 Twu c,,,,,.,rr: Gnlf/lt )f':i4. H'lJrt, Ch11ptt:r /),will N i\ft'1,J'('rJnuth W«"JtTt'.J.usCluzJ1t,.,. J11t t1r COMING VP: Garde11s.frr>111 San Amonio fll Gafre.won. put ,, 1_,1,,r,., Jr Wul11ml-,11/1t'ht1{'tr, . /)r Am\ Frt'f'mnn I.Ir, tan l\nl"nm the Texas landscape center stage. tl'ublt, Mtnrbr,J ~ For more 111l01mar1on on Won-Door, circle I on Reader Inquiry Carel 5 LETTERS EDITOR: Lawrem:e Sped.·, recent THORO rnanife:,to on the future of architecture in SYSTEM Te,a, (TA. Jan/Feh 1987) wa, cnor [8] mou:.I} eloquent and compelling. but it-. PRODUCTS umi:.:-.ion:. were :,tunning. It b impm,i ble. I think. 10 wlk about the contribu tton:. of Texas un.:hitech without citing Texas Dealers those of one person in punicular. After all. there "a, on ly one Texas architect Best Service Building Materials ever honored wi th the AIA Gold Medal. PO Box 17379 There ha,; been only one whose pioneer San Anlon,o, Texas 782 17 512 349·4301 ing ad, ancc, and fom,u lation, in modem Blue Diamond Company school de:,ign arc con:-.idcred even today. PO Box 15787 Dallas, Texas 75215 some 40 year:.. later. of ,eminal value. On 214 428·1331 ly one Texa!> architect authored. wi th hi, Lynwood Building Materials rnlleagucs. the ,tandurd text on program 1201 Wesl Elsmere San Antonio, Texas 78201 ming now u,ed in architecture ,chools na 512732•9052 tionwide. And only one fin,t put the 811111•11 T,mer, /'13X. h, /:,J,.,,,, C11rml/ FA/A Featherlite Building Products Corp. .. ,cam approach" into n.:ality. I which i:. J P.O. Box355 Abilene. Texas 79604 now widely fo llowed management pnu.: 915 673-4201 tice ,, orld,, ide. EDITOR: We ju\l received the '>plend1d Fealherllle Building Products Corp. Needlci,l, 10 :,ay. there was only one March/April '87 is~uc of TA. which PO Box425 Round Rock. Texas 78664 Bill Caudill. To omit Caudill', name and included excellent material ahout El PaM>. 512255·2573 thai of the finn he founded. CRSS. weat... the .. foreign legion" ofTcxa.,. Thant... you Fealherlile Building Products Corp. 5020Acom cns Spect... ·:, argument and the value or hi, for thi:. coverage. for we do get lonesome Houston, Texas TT092 mcs,age. out here sometimes. 71 3'956-6417 171c El Pa,o Civic Center photograph Featherlile Building Products Corp. PO Box99n Ram/It• Po/Incl. on page 40 b a Julius Shulm .111 :-.hot with El Paso. Texas 79990 CHSS one of his favorite '> trokeo;. llooding the 9l5·859-9171 //011.111111 pla,a for interc:..tmg rcllec11011'. Incidental Feather1tte Building Products Corp. PO Box489 ly. thb was a Joint-venture proJect of Gar Lubbock. Texas 79048 EDITOR: Your March/April l\!,UC io; land & Hilles and Carroll. Daeuhlc. Du 806 763·8202 , uperb. beginning ,, ith the cover reproduc Sang and Rand. a joint venture . FeatherUle Building Products Corp. PO Box991 ti on or our photograph or the Ba,.,ett I found a pencil , t...ctch of the Ba:..:..ell Midland Texas 79702 To,,er. So many arch111:c1ural thing:, have Tower that I made in 1938 from my 915 684-8041 Featherllle Buildlng Products Corp. been happening in El Pa,o recentl} that office windm, 1n the penthou-,e of the El PO Box67 your coverngc wa, an eye-opener. even to Paso National Bank Building. diagonall y Converse, Texas 78109 512 658-4631 someone who tric:. to :,tay up 10 date. aero~~ the <;trcc t. I wa:-. 11 young architect Featherllle Building Products Corp. 171c article on I lcnry Trol.t i!, al,o grati j u'1 out of ,chool wort...ing for TroM and PO Box4TT25 fying. I laving worked with plum, ttnd pho Trost at the tune. It was certainly unfortu Dallas. Texas 75247 214 637-2720 tographs of hi, building, for IO years. I nate for me that Mr. I lenry Tro~t had died Jewell Concrete Products am .. 1111 1mprc,,cd to ,cc the variety and in 1933 and I did not get to t...now him per PO Box6396 -;cope or hii. work. sonally. Tyler Texas 75711 214 592·0752 One point I can·, rc,1:-.t challenging. Thanh for an issue that mean, much Jewell Concrete Products T" ice }OU refer to El Pa:-.o a., the ,ixth 10 u, in El Pa:-.o. P.O Box5669 Longview, Texas 75608 largest city in Tcxm,. though it has been 21 4759·4437 Edll'i11 W. Carroll. FA /A the founh-largc,1 fur at lea,1 IO yc.1r'\. Jewell Concrete Products Thi:-. i:-. a point on which El Pa~oan, have Carrn/1. 011 Sa11i: anti Ra11d PO. Box7115 El Pu.1·0 Waco, Texas 76710 bccoml! somewhat sen1, iti ve. It bother!) u:, 817772·3440 .i bit to be mi l-undcn,tood or ignored. Jewell Concrete Products Your Fl Pa-:o ,....,ue \\ ill go a long \\ ay PO Box3484 Temple. Texas 76501 toward mal,,ing us feel better. EDITOR'S NOTE: Thanks to Mr. 817 TT8· 1396 Carroll for correcting the credu, on the El Mar) A Sarh,•1 Pa,o Civic Center. and for perm",;ion to 11,•wl. Su111l1 wt•1·t Coll£'C'tir111 publbh hi i. drawing. 1:·1 />a"' P11hli1 Lihr,11~1· £1 Pa,o 6 TeuuArtlt11t'll Mu1•·J1111t• IW/l seepage r.roblems, Thoroseal's waterproofing ability isn t inhibited because Thoroseal loves water Damp walls help Thoroseal cure in a ~ that allows the surface to "breathe'', prevent ing damage from the build-up of water Vapor. Penetrates deep into the surface. Thoroseal's exceptional filling qualities seal pores and voids, assuring complete and permanent protection from moisture penetration. As a matter of fact. Thoroseal combines so well with the substrate after it's brushed or THORO troweled on that it won't chip, peel or crack. Total waterproofing that saves time. SYSTEM Whether you're using Thoroseal for in mmlCI\A PRODUCTS B @ •v- .... -11,r- terior or exterior applications, abo.ie or belON· Circle 7 on Reader Inquiry Card ...... v ...... _. Masonry sets you free . .l Yo ur creativity is unrestrained when you choose to design and build with masonry. Nothing else offers so much freedom ofc hoice in color, texture and scale. Style, form and contrasts are limited only by your imagination. And there's nothjng more practical eirher. Masonry's natural building qualities. its narural beauty, its natural insulating properties, and irs natural durability are undisputed. These qualities become even more important when the direct relationship berween a building's quality and its occupancy level are brought imo focus. Masonry was made for building - and allows the flexibility in design necessary to convey your concept. So. you see, there's no need to compromise quality or creativity. Masonry sets you free. Masom, ln,t1tuk Circle 11 on Reader Inquiry Card , •• • .... ,,,~ · ABOUT THIS ISSLIE hile attending 1he Universi1 y of Richard Ingerso ll , edi1or of Design St. Thomas in Houston in Lhe Book Re1·iew (now the country 's mos1 in W la1e '60s. I spent a lot of time teresting archi1ec1ure magazine). answers in Welder Hall, which was Lhen the cafe that question in "Pianbsimo: The Very teria and s1uden1 center. Like O(her build Quiet Menil Collection." The new muse ings in the scc 1ion of the campus de um shows a rare consonance of architect signed belwccn 1957 and 1959 by Philip and client. Ingersoll says. making it ex Johnson with Hous1on archi1 ec1s Bohon actly what hould have been buih. It \Veltler Hall 1111 1/,e U11frt'r1/11• a/St . Tltomal & Bamsionc, it is a steel-frame-wi1h gives. he says. a greai an collection the n1mp11s '"'·' ,ll'H/ltll'Mark Rothko and Rene Magritte urchitec1ure. they ncvenheless drag along along the walls. II was a wonderful an unresolved question: do suburban offi ce place-cenainly it was to a kid raised down campuses help or hun the citic~ I.hey leave wind from the Houston Ship Channel behind '? Paul Kennon. FAIA. says that mostl y because of the public-spiritedness such facilities arc ncw-uge company of John and Dominique de Mcnil. who had towns. which can be good or bad. dcpcnt.l loaned their an for our edification. ing on 1he skill or the architects and the Which brings to mind the new Menil will t'l f 1he client. Collecti on. opening in June. I wm, t.l b Reyner Banham has described the cussing it after a concen recently with Menil Collection as "the world's bigges1 Raymond Yin, a partner with David and UPS depot." By the same affec1iona1ely Yin Archi1ects in Austin. a friend whose irreverent token. the Menil Collection opinion I respect wilh its gray-bungalow neighborhood. Take the fringe of bony-Yic1orian now mostly devo1ed to the foundation and "leaves" as a separate issue. I said: you iL'l spin-offs, is a kind of company town. have to approve of the calm. dignified And, for me al least. iu; role in Houston quality of 1he Menil Collection's interior is clear. With none of the monumen1aliz spaces. along with the way i1 fits the ing. historicizing tricks considered neces neighborhood. sary today. 1he Menil Collecti on has Bui Yin said he didn't like it. The im reached ou1 archilectumlly 10 become agery employed by tJ1e architects was ap Hous1on • most psychologically powerful propria1e for the colleclion and its patron, new ce111er. We have the uncompromising he said. Bui 1ha1 wa.~n '1 enough. "Haven't vision and public beneficence of a very larchitects l established that we already private fomily 10 thank for it. know how 10 do a cool. monas1ic build ing'!" he asked. "Shouldn't the Men ii -Joel Warrell Barna Collection have something different?" Te.m~Arclt11,,c1 Mt/\ ·Jmw 1987 15 NEWS Edited hy Charles £. Gal/min CORPUS CHRISTI COMES 1hreatened by cutbacks contempla1ed by (housing local and naruraJ history collec HOME TO ITS WATERFRONT fedeml budge! balancers, interest in the tions), designed by Page Southerland potential of 1he tourist trade has rev ived Page; the Harbor Playhouse. by Morgan Corpus Chris1i seems 10 be learning a in Corpus Christi. Using hotel-occupancy Spear Associates: Heritage Park, filled thing or 1wo from Baltimore. Miami. and taxes, public-priva1e ventures. and tax with histori c houses. many of them res1or San Francisco, and the Texas coast will increment zones. local officials and mem ed by James Rome Associales: and the soon be a more inieresting place as a re bers of the business community have be convention cen1er, by SHWC. Inc. and sult. gun planning to bring ou1 the best in Cor CRS Sirrine of Houston. In this cily of nearly 350.000. with its pus Christi's unique down1own/bayside A rather bland expanse of green space economy long based on the petroleum area. remained unused at the center of these de refining industry and the nearby Naval Air The rebinh of the bayside ac1uaUy be velopments. A group of citizens named S1ation. most attention from outside has gan in I 972, with construction of John The Foundation for Sciences and Arts focused on the new city hall. designed by son/Burgee·s nationally acclaimed Art (which has backed each of the projects, Tafl Architects of Houston with Kipp. Museum of South Texas at the very en starting with the An Museum of South Richter & Associa1es of Corpus Ch ri sti. trance to the pon. Gradually. 01her pro Texas) wants to complete the connection and the new Corpus Christi Cenirnl Li jects. mostly the work of local offices. with the other facilities by means of a pro brary, designed by Morris Architects of were built near the Johnson/Burgee mu ject called the Watergarden, which Houston in joint venture wi1h Wisznia seum in an area called the Bayfronl Sci promises 10 be a welcome cool spot in and Peterson Associates (now Wisznia & ence Park: 1he Corpus Christi Museum summer and a complement to the bay Associa1es). Now that's changing. Cities on the east and west coasts have gained from public suppon of well-defined beach front and harborside areas that are enhanc ed by adjacent retail and commercial de velopment Several groups in Corpus Christi are working to bring similar bene fiLc; co their city. They have embarked on a series of ambitious projects-The Water garden. Dock One Markel, and 1he Texas State Aquarium-to bolster the waterfront, the city's finest asset. Once the central baysidc area of Corpus Christi was one of the best in Texas. with fine hotels and busy downtown streets leading to the waterfront and to a number of docks with T- and L-head configura ti ons. But over the lac;1 two decades subur ban shopping centers pulled much of the commercial vi tality out of downtown, and a combination of official ac 1ion and local inauemion had the effect of steering tour ism away from the cit y to nearby Padre Island. The bayfrom and docks came 10 be seen as the private domain of locals. But with the oil industry in a downturn and the future of the Naval Air Station Vine-draped per.~olas s11rro11ntli11t1 lite stcpp~d fou11tain promis,• to be a welcome cool spor in rite summer. 16 TexasArchi1ec·r Ma_v·J1111e /987 facilities year round. the city is in the process of installing new that has been missing for most of a genera The $2. 1-million Watergarden project, shades and benches along the People's tion. Corpus Christi, residents say. has designed by landscape architects Zion and Street T-head dock. an area until now come home 10 its waterfront, and now lhe Breen of New York working with local ar used mostly by city residents. city wants the rest of Texas to know chitects Wisznia and Associates. is sched These combined improvements, it is about it. uled for completion late in 1987. The hoped, will lure paying customers 10 Cor Foundation for Sciences and Arts is rais pus Christi to enjoy a lively atmosphere -Robert Steinbomer ing funds to split construction costs with the City of Corpus Christi. Municipal funds are coming from a dedicated in crease in the hotel-occupancy tax. The design for the Watergarden calls for a low. grassy central area surrounded by cascading water steps and topped by a vine-shaded pergola circling the site; the focal point will be a waterfall at the edge of the circle formed by water nowing from the terrace in front of the Johnson/ Burgee museum. Adjacent to the Bayfront Science Park. the Corpus Christi Port Authority is plan ning to convert two cargo docks into a waterfront marketplace and restaurant area. to be called Dock One Market. Port Authority officials we re considering state ments of qualifications from several devel opment teams as this issue went to press. Also planned for Dock One Market is a loading zone to serve a high-speed ferry Backers ho{Jt' the Watergt1rdn1 ll'i/1 //1•" c111111eLwrfor rite differe/11 facilitil'S s 11rro1111di1111 it. that will carry passengers to bayside points of interest. including another new tourist-oriented feature. the Texas State San Antonio's Josephine Theater Phase one includes the renovation of Aquarium. Now being designed by the -Bolsters Plans for St. Mary's the theater itself. along with construction San Antonio firm Phelps/Garza/ Street of the separate tavern/bar and parking Bomberger, the Aquarium will be built spaces. The 7.000-square-foot theater will across the port almost cxacll y opposite The performing arts have never really be gutted and redesigned to meet acousti the Art Museum. fl ourished in San Antonio. due partly to cal and sight-line requirements for live Still other water-related facilities in the the lack of appropriate facilities. But with drama. Phase two. scheduled to begin in offing include a proposed 22-acre touri st/ the conversion of the Josephine Thea 1988, involves the conversion of existing recreation facility for the north end of ter-one of the last of the old-style movie industrial buildings next door into rough Corpus Christi Beach. at the base of the houses left in the city-into a major per ly 10.000 square feet of office, restaurant, causeway that runs from the city to the forming-ans complex. the Alamo City and studio space. The buildings will be nearby community of Portland. Finall y. Theatre group will receive a dynamic new linked through paving and landscaping. home, and local support for the perform ''The mascer plan addresses the ques ing arts should get a much-needed boost. tion of how we can rie in all these differ Scheduled for completion in early sum ent uses and create a sense of place." says mer 1987, the $640,000. two-phase pro Riehm. ject involves the conversion of a movie The master plan also addresses another house into an intimate, 300-seat dmma issue: the role of the Josephine Theater theater. Plans also call for a tavern/bar. a project in a newly emerging urban "corri restaurant. dance studios. and offices for dor." Located on the southern edge of a businesses and other cultural groups. fem-bar and neon strip known as St. "It wilJ be a mixed-use complex. a mix Mary's Street (which many hope will be ture of artists and busi-nessmen that will come San Antonio's equivalent of Aus be unique because it doesn't exist rnowl tin's Sixth Street). the Josephine. it is E9 in San Antonio," says architect Michael hoped, will spread prosperity to what is Area map. showing: I. Te.ws S1111e Aq11uri11111; Riehm of Riehm, Owensby. Guzman. the now a district of industrial shops and 2. DockOncM<1rket; 3. C11rp11sChri.fliM11uw11: firm overseeing the adaptive reuse of the warehouses. ./. Art M11se11111: 5. Com·1•ntit111 Center; 6. Harbor Plt1ylta11se: 7. Wt11crgarde11: 8. Harbur Bridge Josephine. "I think this project is important not TexasArd1itect May ·J1t111' /987 17 Texas Society of Architects 1987 Design Awards Call For Entries: C clebrnlmg ,ts 33nl year, TSA's Desig n Awa rd., Program seeks to recogni,e outst;inding ,1rchitectur;il projects by Texas firms ;ind to promote public interest in .1rchitectural c, ccllencc. In the past, winning pro1ccts bv TL•xas archilL->cls have bL-c n scll'cled from l'Vcry region of the state, as well ,15 in other .,tale!, and other counlriL-..., . Winners have come from onL'-person ofrices and the st11te's l;irgcst firms; winnmg projects have rnnged from simple onl'..'-room buildings to elaborate h1g h-m,e offices. Texas architects are in vited to submit one or more entries for considera tion by an eminent jury. Winner., will be honored .it a brunch and s lide prc<,entation during TSA's Annunl Meeting in 1 lou !> lon, November 13-1 5. In ,1ddition, the projects will be prom inently dbplayed in the yc,1r-cnd issue o f Te:m~ Ard 11- lt-t'I magazinl' and publicized in newspapers and maga L.incs throughout the state. Tum //,,• ,~,g,· fc•r 111/11m111/11m 1111 nmtt,t rul<'S 011d 1111 t'lllr11 /om, Eligibility: Awards: Entry Package one side of a letter-size sheet Requirements of white paper. This paper Any new or adaptive-reuse Certificates will be Checklist: must be folded and placed project in General Design or presented to the architects inside the slide-carousel box. Interior Architecture com and clients of winning Each entry package must Do 1101 write 11011, 1111111e or pleted after January I, 1982 is projects at the TSA Annual contain the following items, the firm 11n111e 011 this text eligible. Individuals or firms Meeting in Houston on which must all be mailed or sheet. may enter any number of November 15. Selected slides delivered to the TSA offices projects anywhere in the of the winning entries will be in the same container on or EntnJ Fonn: world. shown at a brunch honoring before the July l deadline: Blank entry forms are found Restoration projects-re the winners. on the next page. Photo storing a building to its origi For publicity purposes, ar • a boxed slide carousel with copies of the entry form nal condition-are not eligi chitects of winning projects slides should be made for multiple ble, but adaptive-reuse proj must submit 12 copies of an • a one-page descriptive text entries. Place the entry ects, involving substantial B"xlO" black-and-white • a completed and signed form(s) in an envelope with modifications to serve a new glossy photograph of one entry form, in an envelope the fee(s) and tape the enve function, are eligible. view of the winning project. marked with the entrant's lope to the outside of the Entries must be submitted Publicity photographs must name and taped to the out carousel box. by a TSA member who was be received at the TSA offices side of the carousel box registered as an architect by August 3. • an $85 registration fee (per Fee: with the Texas Board of Ard1i TSA will retain five slides of entry) in the envelope lnclude a registration check tectural Examiners at Ute ead1 winning project for ar along with the entry form for $85 for each project sub time the project was execu chival purposes. Texas Arcl,i marked with the entrant's mitted. Place the check in an ted. Where responsibility for tecl magazine will require name and taped to the out envelope with the entry form a project is shared, the de original-not duplicate-slides side of the carousel box. and tape it to the outside of sign architect must be a TSA of each winning project for the carousel box. Make member and all participants publication. The original Slides: d1ecks or money orders pay who substantially contributed slides wiU be returned after • Each entry must consist of able to TSA. No entry fee will to the work must be credited. the magazine has been no more than 20 slides. be ref1111ded. Projects must be submit- printed. Entrants are responsible ted in the name of the firm for submitting Kodak that executed the commis Carousel slide trays that For Additional sion. If that firm has been dis function and in which the Information: solved or its name has been Deadline: slides are in proper order changed, an individual or suc and position. For questions about rules cessor firm may enter proj The fee, entry form, text, or other information on the ects in the name of the firm and slide submission must • The first slide of each entry competition, call Lucretia in effect at the time the proj arrive at the TSA offices in must be a title slide, con Crenwelge at 512/478-7386. ect was executed. Multiple the same container and at taining the following entries of the same project by the same time, no later than information: 1) project type successor individuals or firms 5 p.m., Wednesday, July 1, [see entry form!; 2) project wi ll not be accepted. 1987. Lnte ent ries will not be size [in gross square feetJ; For multi-building projects, nccepted. and 3) project location. the architect submitting the project (or portion thereof) • Following the title slide, must designate authorship of Return of Entries: each entry must include: ead1 portion of the project. - one slide of a site plan or Entries from Austin, Dal aerial photograph with a las, Fort Worth, Houston, graphic scale and compass and San Antonio will be points (interior architec Judging: returned to chapter offices ture projects are exempt by July 27. Entries from other from this requirement); A three-member jury of chapters wiJJ be mailed - at least one slide showing eminent national practi individually. the plan of the project. For tioners will pick the winners. a multi-story building, Project authorship will re include only those slides main concealed throughout necessary to describe the the jury deliberations. building arrangement and Awards will be given in two envelope. Sections and categories: General Design other drawings are and Interior Architecture. optional. lf included,sec The list of project types on tion location must be the entry form is only an aid indicated on the to the jury and does not im appropriate plans. ply that a winner will be cho sen from each subcategory. Text: Fill out tlze TSA reserves the right to Each entry must include a entry form disqualify entries not submit written text describing the ted in accordance with these project, with the program re at the bottom of tlze rules. quirements and solution, on facing page Texas Architect Subscription Card Plcuc cn1cr lbc foll""''"I wlhcnplir"' lor Ibc 1mn ll,tc,l t,cl.,.. ~h ,,..,., f1C'f )<>r Pnm.f) bu,inc-. m,lu;if) lcbc NTRYFORM Design Awards Owner (al project completion): _____ 1r1.•c tion.,: Entry Form l ompll'k n n l' Imm f'l'r Architect: Clist finn name, key learn members): In·. lnn11n pll'll' form, or PROJECT CREDITS Entrant's , 11rrl'cl into rm.1t ion m.n Name:______, u lt in Ji~qu.1lific.1l ion. \\nil· , ..u , 11r 111 , 11.111 1< 1111 Title:. ______,, ,,11t,1d,· ,,t .111,·Jl\ ,·l,•J't' , II t' !h t• 1t'lll f'l1•1l',! 1•11 !1 \ Finn Name: ______Consultants (landscape, structural. MEP. etc.): 11111,) llh ld,· t ill· 1 ·ll\, ·I,'!'•· "If: \\ It Ii ,I t I ll'l h. 111 11h' 1111unt P l S.'-; fPt ,,,il h I''"lt t I ,i.·n·d Address: ______ l.1J't' { h,· I'll \ ,·I, 'I''''" I I,,, a1-,1,k ,,1 th,· ,,1111 11 ,,·I .. 1 City/Ztp: ______General Contractor. ______,l,·,,·1111-,.-.i .111 .t 'I' ll.I 1'1,· '1111' l'.1• k,1):,· t, ,):l'llh'l lil Telephone: ( \ f .j(II I '\Pl\\ t111d ill\\l'I ,-.1 111, l \ -s:-111 TBAE Registration Number: Photographer: ______,, 111h>r111 .11 1r ,11, .ill I 11, 11'1 1,1 ,, 11\\l'l);t• ,I I , J2 i:-S-:-,1-,, NO POSTAGE NECESSARY IF MAILED INTHE UNITED STATES BUSINESS REPLY MAIL FIRST CLASS PERMIT NO 3149 AUSTIN, TEXAS POSTAGE WILL BE PAID B'V ADDRESSEE Texas Architect 1400 Norwood Tower Au ·1in. Texa~ 7870 I NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES BUSINESS REPLY MAIL FIRST CLASS PERMIT NO 3149 AUSTIN TEXAS POSTAGE WILL BE PAID BY ADDRESSEE Texas Architect 1400 Norwood Tower Austin. Texa~ 7870 1 PROJECT lNFORMA TION I certify tltnl /he i11fon11alio11 provided Project Name: 011 this entry form is correct; thnl tJw s11b111ilted work WtlS do11e by /lie par ties credited; that I am nutllorized lo Project Location: ______represe11I /hose credited; that I nm n TSA member registered witll TBAE; n11d l},n/ I have oblai11ed pen11issio11 10 publish the project fro m both the Building size in sq. ft. ______owner and the photographer. l 11nder Month and year of completion: ______sla11d that any entry that fails to meet these requirem1mls is subject lo dis Category (choose one) : __ General Design q11nlificnlio11. Interior Architecture Signature: Project type: (check one) Corporate Office Building _ College Facility B.ink _ School (primary o r Dale: ______Retail Building secondary) I lotel and/or Restaurant _ Residences and Apart- Public/Civic Building ments (multifamily) S85 entry fee per project enclosed:_ Industrial Building _ Housing (si ngle-family) check number. Ml.-d1cal Building _ Urban Design This Is entry #_of _ total entnes Rl'llgious Building _ Other (spoofy) ___ will be updated with aluminum and mir rors for dramatic effect The lounge area will use theatrical lighting, wi th colored spotlights pinpointing tables below. Sepa rating the waiting area from the stage. a cunain will ri se ten minutes before per formance time and aUow visitors to pro ceed to their seats. The curtain will then close. thus ending one experience of the space for the theater-goer and signali ng the beginning of another. -Blair Calvert Fitzsimons TEXANS' DRAWINGS ATTRACT ATIENT ION AT NATIONAL ASAP CONVENTION Meeting for lunch in Boston one hot summer day in 1984. Steve Rich. Frank Costantino, and Steve Oles began lamenting that people like them s.elves, ABOVE: Axo110111etrir of '"""''ated Jo.rt•phine Theater and adjoining shops. BELOW: The original Jrm!phi11e. with careers in architectu ral drawing. seemed so seldom 10 meet or communi only because of what it 's going 10 do for cate with each other. They decided it was theater in San Antonio, but also because it because there was no structured way for will create a pocket on St. Mary 's Street. architectural delineators and illustrators to which is becoming an important urban see and evaluate each others' work. In corridor," says Riehm. stead of leaving it at that, they arranged ln the site plan, the architects have an exhibition to remedy the problem-the rried 10 develop dynamic pedesrrian first annual ArchitecturaJ Delineators Ex oriented spaces, like those on Austin 's hibition at the Boston Architectural Cen Sixth Street. 10 guide funher development ter. It was a modest beginning, lasting along St. Mary's Street. "St. Mary's Street doesn't have the architecturnlly sig a sense of drama out into the street. Like NEWS, continued on page 52 nificant bujldjngs that Sixth Street has," a stage set that changes with every scene, remarks Riehm, "but if you look at suc exterior lighting will change periodically cessful urban spaces you realize that it's throughout the night. If the theater-goer the people-spaces in between, not the in arrives for a show at 7 p.m. and leaves at dividual buildings, 1ha1 make them dynam I I p.m., the theater may look entirely dif ic." ferent. A large outdoor projec tion screen The architects plan to connect the tav with slides of upcoming performances ern/bar and the theater by means of a will add 10 the kinetic experience. heavi ly landscaped pedestrian alleyway Built in 1946, the Josephine Theater fa that might someday link in tum to other cade-"a '40s-style facade with lots of pedestrian spaces on adjoining spaces. A angles thar don 't make any sense"-wa<, courtyard on the east side of the theater later al tered, according to Riehm. In ren will provide greenery and a stopping ovating the facade. the architecL<; plan 10 place for pedesrrians. remove incompatible materials and to em "What we're trying to develop is a set phasize quirkiness with color. The adja of standards," says Riehm. "Because we cent industriaJ buildings, which wi ll have a 101 of frontage along St. Mary's house offices and studios. will get a mild Street. we want to develop some intensive facelift. but the basic forms will remain pedestrian-oriented site-development fea the same. tures right to the sidewalk." Entering the theater, the visitor will The architects have also explored the pa<;s through a lobby into a bar/waiting idea of pulling the theater experience and area. The lobby, with its angles askew. "Te.tas Stair Capilol D"me:· by James Record Texas Archi11u·1 May• )1111,• /987 23 OF NOTE I lous1on arch11ccts Kell) Van Gel Bruce Goff:. Ba,in~er House in der and Rick Zieve received an award Nunna.11 , O1.:.lu.homo, has won thi.: EL/ER of merit in the thin.I annual / Houston Economy Plumbing Supply 71 3/864-6331 Professional Liability Problems Moore Supply Co 7131223-4921 Nacogdoches Demand Professional Advice Moore Supply Co, 7 131564-8331 The crisis in the professional lia derwriters. and continually moni Pharr S & S WhOlesalers Supply bili1y insurance market has severely tors dcvelopmems in Lhe dynamic 5 121787-8855 impacted design professional !>. profe ssional liability insurance San Angelo Coverage may be unavailable or market. Additionally. many firms AAA Wholesale unaffordable. even for firm s with still quulify for the TSA Endorsed 9151653-3311 spotless claim records. Spectacular Professional Liability Program San An1onlo through International Supply ol San Antonio rate hikes, decreased limits of lin CIGNA insurance Com 5121223·4275 bility, and more restrictive terms arc pany. Administered by Assurance Meyer Supply a fact of life. if protection can be Services. Inc. 5 12 224-1 731 found. Please allow us to assist you or your Teurkana Double Jay Supply Where do you turn for advice in insunrnce agent. Comact Steve 2 14 793-221 t Sprowls, Carrie Sealy or Connie this traumatic situation? Wichita Falla Assurance Services, Inc. has access Hatch at Assurance Services. Inc. Connor-Gibson Supply 81 7 767-2506 to major professional li abili1y un- for details. As.\urunce Sen·ices. Inc. 12120 Hi~hwny 620 North P.O. Box :?U2591l -- Al"tin. Te.,:t\ 78720 15 121 25ll-787-I - {fltlUl 25:!-9 I IJ 24 C1rc1Re 24 on eader lnqu,ry Gard Tc.rns Arc/111rc1 Mm,.Jrmc 1987 • y FRESH WATER DEAS1 New designs. new finishes. new shapes place Eljer sinks at the center of C Americds kitchens. In styles. sizes and colors as varied as your imagination. U) CD ( OD C • c-- - 'Cl) u rill \ . CD ) Circle 25 on Reader Inquiry Card THERMOSTATIC. Temperature control indepenJenc of volume conrrol. Anti-scald safecy in a lavacory valve. C lean Swedish design in chrome, bronze or white finish. PRACTICE AG Opinion Cn•cm•s Fee Co11ji1sio11 an state or local government bod was passed. ~ays. "This reverses the in tailed specificati ons have been issued. but ies in Texas require architects 10 tent of the la w. The way public officials such specifications cannot be wri 11en for C make compet itive price bidl, for operate. it's onl y natural to expect that architec1ural work. critics <;ay. Bidding public commi !)!> iom,? price will d1·ive uut every other consid onl y forces firms 10 follow minimum The am,wer is no. if you go by The eration. Competence will be secondary." standard.-. of perfonnance. serving the Texas Profei.!> ionul Services Procurement Most Texas architects wis h state law public badly. according to critics. Act. which since 1971 has prohibited LL<; followed the federnl statute governing Several states pem1it agencies to ask ing competitive bids to select architects professional procurement. Called the about lees during the selection process. for government-funded projects. Brooks Act after its sponsor, Texas Con but onl y Maryland has required selection Then again . the answer muy also be gressman Jack Brool,.s. the law require:. by competiti ve bid. In 1985 that require yes. if you rely on a Texas Attorney Gen federnl agenciesc 10 hoose a firm based on ment was overturned, after it was shown eral's opinion from 1984, which guides that competitive bidding had created a <;tute agencies. In 1984, 1he Texas A11orney cumbersome state bureaucracy and was In the wake of the AG's opinion. General said s1a1e and local gov uc1Ually twice as expensive as a negotiat school dis1ric1:., municipalities. and ernments could ask archileCls ed-fee system for professional services. county government:. statewide have asked San Antonio engineer Paul Silber says architect!, to submit information not only ahollf fees hefore awarding pub he has found a compromise that has al on thei r qualifications for projects. but lic contrac1s-despi1e s1ate la~· lowed local officials 10 a!>k for fee infor also on the fees they wou ld charge. barring competitive bidding. A mation from profc~~ionals and yet has The situation has most architects riled. San Amonio engineer may hm•e kept competitive bidding out of the selec "The state law says one thing. but the A1- found a way to cw 1hrough 1he t ion process. 1orney General has interpreted it to mean resulting confusion. When Bexar County officials soli cited 1he opposite.·· says James Foster of the design proposals for a Justice Ccmcr 10 San Antonio-based firm Marmon Barclay be built near the count y courihouse. fees Souter Foster Hay!>. Foster head!, the competence first. 1hen negotiate a fee. If were pan of 1he infom1a1ion required from TSA Government Affair1, Commi 11ee. the parties can't agree on a fee. the agency each team. Bui Silber says Lha1 he con The law says government bodies in can negotiate wi1h the next firm on the vinced county orficiab. by visiting them Texas cannot hire ceriain types of profes list unul an agreement is reached. and explaining U1e law. to have each team sionals. including architects and engi In Texas. however. the trend is away supply fee info rnia1i on in a scaled neers. "on the basis of competitive bids." from the Brooks Act Competiti ve envelope. which wall opened onl y after Selection must be "on the basis of demon bidding bills have been introduced ench the ranking on the basis of competence strated compctem:c and qualifications" and legislative session since 197 1. and a bill and c.iualilicmions had been made. "It once selected. architects and other profes 1ha1 would permit, but not require. state worked just the way it was supposed to sionals .:;hould be paid "at fair and reason agencies 10 take the lowest bidder for ar under the law," Silber says. able prices:· The law also says that fee chitectural services was introduced by Working with other officials under the bidding ''is lhe most likely procedure for Rep. Richard Williamson earlier this cloudy circumswnccs crca1cu by the 1984 selecting 1he ... mos1 incompetent prac year. Anorney General'<; ruling wi ll be difficult titioner" for vital public work . Backers of such measures argue that for other profe.~sionals, Sil ber says. but In 1984. however. Manox·s office is governments. responsible for gelling the his experience shows that the sealed sued a ruling telling state officials: 'The most for each ta x dollar. should be able 10 envelope method can work as a com clear tem1 s of the act itself du not merely find out how much architects and other promise. "Otherwise. somebody is just permit the consitleration ... of fccs ... bu1 re profossionah. will charge. just as they going 10 have 10 take one of these govern quire it." The law only prohibits choos would wi th other comractors. Opponents ment bodies 10 court, and then Manox ·s ing solely on the ba-;is or the low bid. Lhc argue 1ha1 competitive bidding modeled opinion wi ll be shown 10 be the illogical J\G said. on bids from construction contractors perversion of the law that it is.'' Paul Sil ber, a San Antonio engineer doesn ·1 produce lower architects· fees. who served as a legislator when the law Contractors bid on projects only after de- -Joel Warren Bama Te.ta., Arr/111cn Mr11··J11ne 1987 27 COMPANY HEADQUARTERS IN THE SECOND AGE By Joel Warren Barna exal> is undergoing what may someday with parking, trouble wi th long waits for eleva be called the second generation or sub tors. trouble wi th high office rents. trouble T urban corp 'X Tt'..Wf Ard,irt't·r Mu1 .. Ju11r 1987 Fromier: The Sub11rba11i:ario11 of the United type now proliferating (CRSS is design ing TOI': Sd1/11111ha11er Cemer·.r l111ild- Stares ( 1986. Oxford University Press). says some of the biggest with the Chrysler Research 11111s are faced III adoqu1n and linked hv 11·11/k11·uy., 1111dl'r 11w111/ r,mfo . Lhe shift to Lhe suburbs ha5 done linle but Center outside Detroit and the new 3M head harm. According to Jackson. the most impor quarte rs in Austin) are nor annihilating cities. CENTER ('vttrior and 1111eru,r tant single aspect of Lhe decentm.lization of Kennon argues: they are the principle nodes 1w1/l.1· r,f i11dfru/11ul 11ffin•., Ji,lltM American life following World War U "involved around which future urban form is emerging. rhe line fl} rhe , ,myon edg,· 0111- the location of the work place. and the erosion "The corporate headquarters projects we are sidr. J1il'i11g t!arl, 1,jjirr 1111iq111• lt11!11 and sighr lines. of Lhe concept of the suburb as a place from seeing in Texas and elsewhere are like the old which wage-earners commuted daily to jobs in company town. recycled at a different scale:· Lhe center.'' Unimpressed by the announced Kennon says. "Each one becomes its own cul logic of most companies in pulling up stakes. tural center. playing a much larger role in the Jackson reports that "studies have pointed out lives of the people who work there than the tradi Lhat the most important variable in determining tional office sening does. making a community the direction of a corporate shift was the loca within a community." tion of the home and country club of the chief The choice to move to the suburbs. Kennon executive officer of the particular company.'· says, is essentially a neu!I" L ___ _ kela. Lnli • :;s !': Si-/1/umherger Austin Cemer: main floor plan TexusArdtirur May·June (987 29 BEW\V: modt'I photogr(1ph n/ A11s Lions for telephones and word processors. Some strarify themselves-that is. to undo the effects t111 CemerfJM. rl1•si_~11etl l>y CRSS businesses-banks. broker.ige houses. adver produced in a corporate culture by having mar ,,, de.Hratify 11111/tipk fi1111·tim1s. ti sing finns. corpora1e law offices. and others keting on one floor. executives on anorher. and thm need 10 be at 1he beck and call of 1heir custo product development fragmented on several mers-must siay in the denses1 pan of the city. other floors. The suburban campus, by com Their presence. in fact. defines what consliLutes parison. offers a company the opporrunity to an urban core in most Texas cities. set up physical space 1hat more closely mimics Other company types. however. seem to grow the connections be1ween components and to a point at which they need 10 redefine them people within the enterprise that the compuny selves, 10 restructu re themselves physicall y and wants to foster (or perhaps to create). psychologically. Mos1 often they need to de- Equally impommt 10 many companies is !be ability to do something impossible within the neutral grid of a developer high rise: 10 demon .,. smue in long-lasting architectural tenns that the employees are important for their individual contributions to the company. The most impres ' \ sive of the suburban campuses. from General \ Foods to Texas lnstnimcnts to Gener.ii Motors. have shown these duaJ goals-increasing com munication among employees and giving them a place 10 work where they feel special. To accomplish this. the company can pick a great site and allow the architects to respond to it appropriately, then pay for building in lhe amenities that most downtown office workers wish they had easier access 10: jogging trails. healU1 clubs, picnic tables in the trees. and views from of1ice windows that make them feel they are working in a park. not a sea of concrete and glass. Because their employees are usually whi te-collar idea-producers. working on non repetitive tasks. companies in basic research and technological development seem 10 gain the most by moving from a high-rise tower 10 an office campus where workplace egaJitarianism and individuation are given physical fonn. The projects presented here vary widely in scale and cost. but aJI address the factors out Austm CemertJM. tL\'0110111£•tric lined above. From large and expensive to smaU and penny-pinching. they are sunny, well-sited, well-built, and ru11 of a playful desire to bring the people inside the facilities into contact with the best of the natuml feaiures around them. Schlumberger Austin Systems Center Austin None of the recent office campuses in Texas surpasses the Schlumberger Austin Systems Center in sensitivity 10 site or anention to em .I ployee individuality. Designed by a joint ven ture of Howard Bamstone Architects of Hous ton and Robert Jackson Architects in Austin, the project matches almost perfeclly the corpo rate culture at Schlumberger, the high-powered but reclusive giant of oil-field technology. And. A1mi11 Cemer!JM. mu111floor p/011 if anything. the design fits its site even more perfectly. 30 Tews Arrhi1ec1 Mny·J1111t.' /987 The Schlumberger Austin Systems Center is Houston-based architects CRSS have worked to a loosely linear aggregation of five office/lab capture many of the same qualities that Schlum oratory/service buildings behind an entry pavil berger has. ion along the edge of a narrow limestone can John Rudquist, principal architect within 3M yon, occupying just 20 acres of a 438-acre site and project coordinator for the work in Austin. in the hills northwest of Austin. The buildings, says that the company had the experience of a reached by a twisting walkway from parking previous research campus near St Louis to draw lots hidden by the cedars and live oaks that on-it featured buildings so scattered that em cloak the site. are one or two stories talJ, have ployees often drove berween them. For Austin. steel frames, and are clad in a soft-colored igne 3M wanted a facility that would use the qualities ous stone called adoqufn from Mexico. They of the site to overcome size and bring people are linked by a walkway framed in heavy fir tim from marketing, product development. and ad bers. which continues within each building as a ministration together. The company lives on skylit axial corridor-called "the broadway" by high-tech research: 3M expects to make 25 Jackson and Bamstone. It widens our ro em percent of its annual revenues from products brace feeder corridors with informally furnished developed within the last five yea.rs. "Our main meeting areas. product is thought," says Rudquist. He says that The chief objective of the new campus, com the company wanted "to foster the chance en pany officials say, was to stimulate interaction counters and meetings that we know are neces among employees from all levels of I.he facility sary to spawn new thoughts and solutions." At and from all parts of the operation. the same time. future growth had to be built "They didn't want the new facility to be in into the planning for the facility. any way stratified," says Howard Barnstone, The heavily wooded 162-acre site includes FAIA. "They wanted the space arranged so that steep slopes and allows excellent views of the the newest engineer right out of college and top norr.h Austin hills, including an overlook into managers would be bumping into each other Bull Creek Canyon. day after day, to share ideas and solutions to The entrance is at the highest point, allowing common problems." a preview of the entire facility. Trees line the As a result, all offices can be reached only corridor to the public entry court, which is sur through the broadway, and the entire complex rounded by general administration offices and is fuJI of places to meet. The real character of public areas, including a dining facility, library, the project comes through in the individual of auditorium, and company store-the "hub." fices, which convey a sense of individuality Extending along the canyon rim from the that counterbalances the togetherness empha "hub" will be two five-story wings containing si1..ed elsewhere. All have excellent views into eight laboratory modules. A "paseo" or atrium the surrounding hills and canyons, accentuated street, lit with fresnel lenses produced by 3M by the idiosyncrasy of their shapes: interior and that will bring in light without heat gain. will exterior walls bend to follow the canyon walls link the offices. The paseo will be spanned by outside. bridges at the upper levels, bringing people into "People have a very personal attachment to the meeting rooms and busy circulation areas at their own offices, with their special shapes and all times. special views," says John Warren, head of I.he It will be, according to Paul Kennon. FAlA, operations at Schlumberger Austin Systems chief designer of the project, the center of a new Center. The complex as a whole, Warren says, "urban cluster" within the emerging collage that ''is a success.'' will be Austin in the future. Austin Center/3M Frito-Lay National Headquarters Austin Plano Perhaps it's a trick of perspective caused by Frito-Lay, the Dallas-based snack-food pro the fact that Schlumberger is quietly complete ducer. wanted a national headquarters that would while the 3M is undergoing clamorous construc attract and maintain a staff of highly motivated tion, but it seems that in size and complexity professionals and consolidate top management of program Schlumberger is to the new 3M personnel in a single expandable location. The Company divisional headquarters and research company chose Lohan Associates. a firm known center going up nearby as the dragon fly is to nationally for its corporate-headquarters designs the jet fighter plane. Phase one will house (as well as for its history as the successor to 1,800 employees in 1.75 million square feet of Mies van der Rohe's firm), and together the ar work space. Even at this scale. however, chitect .and client chose a hilly site around a 31 Te.wsArcl1itec1 May·J1me 1987 \\n/{i11nq ll11wESTO RIGHT Mo A11 arrwl ,·it•w nf the Frim-u ,y small lake in Plano, 20 miles north of Dallas. maintained a Dallas office for five years, says, ltt•adqrwrrl!rs .t/Wll'S 11s pos1111111 at lnstead of putting a rectilinear building on "We had two choices with the site: either to tltr 111p of a smnll luke. Im,· ,m " hilly S//1' 111 Pla1111. the landscape. Lohan Associates designed a four build on the high pan of the slope and look story, 500,000-square-foot building with three down, or build in the valley and look out." wings follTling a triangular courtyard around the Choosing to build at the end of the lake made lake's end. wilh one of the wings bridging the for better views. ft put the parking lots. for the lake. The narrow ends of two of the three wings most pan, out of sight, and it put the workers extend 10 the parking lots. Windows on each of at the level of the trees, not looking down at the three levels used for offices face onto the them, Lohan says. In addition, he points out, it courtyard or out onto the site, which was exten accomplished something much more imponant sively landscaped. There are large and spectacu in making the building work: it allowed walk larly appointed ancillary functions: a dining fa ways from the parking lots to enter the building cility, a fitness center. and the Management at the second office-floor level (actually the Conference Center. third noor of the building), one level below the Dirk Lohan of Lohan Associates. which has top fl oor and one level above the ground floor. 32 Te.mJ· Arc/1i1ec1 May·June /987 This. more than any other factor, maintains the office furnishings (except in the execu1ivc areas. ·'pedestri an environment'' that both client and ar where materi als are decidedly more opulent and cturect wanted. special furni shings speak the language of snack "If we had put the building up on the hill food empire). A special "whi1e-noise" system side, wi th cmries at ground level. it would have blankets open offices. keeping conversations pri been a 1hree-story elevator building. and people vate and making concentration 1!,lSicr. Every would have ridden from place to place:· Lohan thing at Frito-Lay. from the corporate art col says. "But it 's very much a pcde.c;trian buildi ng. lection rotating through the building to the deli Th:u 's why we made the two major stairs cate detailing of wood in the employee dining monumental. with di rect views of 1he outSide. area, is crisply but wrumly handled-it's mod 10 make the experience positive." ernism at its most humane. The wide windows bring light into 1he open plan offices. where it plays off neutral. low-key Steak And Ale Headquarters Dallas At tbe opposite end of the spectrum from j Frito-Lay in cost. the new Steak and Ale Head ~ quaners now under construction in Dallas never [ theless embodies a number of the same modem ~ ~ ist virtues a!. its larger. more expensive cou- f EXt!<'11tfr11 ,·m,fl're11a mom Mui11 ••isiwr· s c111ru111'1' /1111.-r rnurtyartf Mm11 flour plu11 Tt!.W.\ Ard111ec1 Mur·J1111e 1987 33 ~ \; °',. . •.. ... _,,,, ...... ____ .. -....\ Molll Drove Srt ok 1111d Ale Headqtwrters ..r i1e plan S1tak and Ale Headq1wners. mod,•/ slrowinf? lake and "1•t•i/" sin. Designed by Cunningham ArchitcclS of Dallas, Steak and Ale lacks the pedestrian ori en mtion of Frito Lay. bu1 ii demonstnlles similar auention 10 using the si1e 10 architectural advan tage. A 240.000-square-foot. six-level building, it has precast concrete s1ructural members ihat allow wide expanses of space without columns. Sumk and Ale: explndctl tu nnnmemc- The scale of the facade is broken into bays that accentua1e functional areas. The most imponan1 veil and symbolically connecls the lake with of these is the entry. behjnd a landscaped struc White Rock Creek. which runs 10 the west of tural frame. which Gary Cunningham calls "1he the building. Escalators and balconies in the veil.'' The veil stands be1ween a lake and a four atrium link the noors and connec1 indoors and s1ory atrium. A small fountain and pool starts ou1. At the Steak and Ale headquaners. from a polished graniie "creek bed" that runs be Cunningham Architects have made the most of tween lhe elevators in the atrium; it bisects the the amenities offered by the site. --- J./ TexasArr /111ec1 Ma-'" )1111<' /987 CORPORATE ARCHITECTS: THE COMPANY AS CLIENT by Charles E. Cal/ari11 rchitecturaJ graduates across Texas u uion because "they didn 'I reall y feel we had a "Any architect who has seem 10 share a common dream: to place." Mos1 did so. And while the situation has spent his time in A apprentice under one of the improved immensely in the past 20 years. he corporate life will be a "greats." build a reputation with one or 1wo says. there are still states that will not count better architect for stunning creations. and senle back to enjoy a work experience for a corporation toward the having been there." skyrocketing career. three years of preparation required for the Archi - William Ulmer, Chair, It isn ·1 until new archi1ec1s enter 1he world of tectural Registration Exam. (Texas is not one of AJA Corporate Archi work and travel a few of the many paths avail them.) tects Committee able that they find an area they arc comfortable Though it may not be quite as gratifying as specializi ng in. For many the career path ulti privace practice. Ulmer believes corporate archi mately leads 10 theo doors f a corporation. be it tects have helped companies realize that good an ins1ilu1ion. developer. or multinational com design is good business. "You jus1 have 10 have pany. a lillle different mental set 10 work in a compa The world of corporate archi1ec1ure is large. ny. We have 10 swallow our own personal pride di verse, and growing, according 10 William B. and have pride in our company." he says. "Any Ulmer. chairman of the Corporate Archi1ec1s architect who has spen1 his time in corporate life Commi11ee for the AIA and senior architect for will be a belier architect for having been there.'' Eli Li ll y and Co. "I would say without question As Texas works iLc; way out of the slump. it's the fastest-growing group of architects in many of the corporate archi tects of the future side the AJA today," he says. He believes the will be living and working here. Three veterans number of corporate archirec1s will continue 10 of the field, all wi1h varying backgrounds and ex grow because private practice cannol absorb all periences, provide a glimpse of life ac; an archi of the architectural graduates nationwide. tect working for a large company. While Terry As their numbers ha ve increased. so have their Quiroga has worked for Southwestern Bell in staius and importance within the field. Corpor San Antonio virtually his enti re career. the other ate architects 1oday enjoy the respect and accep two have both worked extensively for architec tance of their colleagues for the mos, pan. al tural tirms. But Howard Templin works for a though that wasn't always the case. It· s a sensi major developer, Trammell Crow Company in tive point with some in the AlA even today. Ul San Antonio. wl1ile Bridgette Schleicher mer says. but about 20 years ago corporate ar works for an institution. the Texa'i Children's chitects were asked 10 resign from the organi- Hospital in Houston. Southwestern Bell Terry Quiroga, AIA @ Telephone Southwestern Bell, San Antonio Terry Quiroga, a manager of archi1ec1ure he round out Bell had a staff of architects and a with Southwestern Bell in San Antonio. staned position open. His familiarit y with the company. working for Bell pan-time when he was a stu along with the good pay and benefits. won him dent at Texa,; Tech University in Lubbock, and over. The decision to work for Bell earned him has been with the company ever since. some rdlling from friends. who felt his design Quiroga, who has a gift for telling good dreams could never be reali zed in a big com stories, tells one about his early years in Bell pany. that says a 101 about corporate archi1ec1ure in A few years later pan of his new territory in general. As a new graduate he had 1he same cluded his old stomping grounds around Lub dreams as his counterparts: a job in a private bock. h was an interesting and ironic time. he Terry Quimgu. Mtlllll!/l!f' nf Ard,itel'· firm and eventually a practice of his own. Then says, because while he wac; involved in the 111re for Southwestern Bell. San An· /(JIiin Tex11s Ard1itect Mt1y·Ju111! 1987 35 "fun" side of the work-discussing a projec1's partment heads be works with on one occasion progress and goals over dinner with a fi rm's wi ll be back again in the future . he works to ac principals-his old college buddies were in a commodate them when possible. back room. drafting. Because of Bell 's size and high visibili ry, Quiroga has been wi th Bdl for 21 years. and company policy encourages dealings wiLh many he says. "I've never. ever regre11ed it." Among differe nt firms. "They are all customers or other things. the company has offered him ours." Quiroga says. referring to phone serv ice, somethi ng 1hat he says eludes many architects: "so we try 10 use as many as we can." Several stabili1y. "Architeciure is a mugh fie ld to stay things innuence what firm to go with. he says: gainfuJly employed in a1 one place for any what kind of job it is, who has indicated interest length of lime." Quiroga says. Because Bell lately. what the company's hourl y rate is, how hires so many firms. he large the firm is (he prefers smaller). whether it has observed that the is minority-owned or staffed. and pas! perfor onl y constant seems to mance. Persistence. timing, and past perfor be change: companies mance are particul arly important. "If you had a come and go. principals couple of good jobs from a consultant. you re move around. and new member them," he says. frllT1s spring up over Although roughl y 95 percent of the work is night. portioned out to consultants. the architect says Quiroga says his posi that until recently he was able to design a pro tion with Bell offers di ject himself if he desired. As a result of divesti versity, legal protec- ture and reorganization within the company. 1ion, and education. He however. he is now more involved with plan is primarily an over ning and has less opportunity for implementa seer. consulting with tion. •-• users about their needs. The risk that a monolithic bureaucracy may Amt rira11 De.ti,:11 Grn11p. Austin. scheduling jobs. esrimating costs. seeking pro one day decide he should have different job re worked with Q11irt> ~a m remwatl' thl' ject approvals. selec1ing consulting firms. and sponsibilities is just one of the uncertainties of bosenwm 4 Be/1'.f eel/Ira/ .1wi1ch111g overseeing the work 10 completi on. The com working for a large corpomtion. Quiroga also eq11ipme111 facility i11 J\us1111, (TOPI. pany's hefty legal staff is useful . he says. al faces the prospect of being transferred 10 a new 111w a workplare t'fll{lloyet•s could city on short notice. having to leave his special t1pJ1reriate (ABOVE). though sheer size makes Bell the carget of as many suits as it's lawyers discourage. The tra.in ty of architecture 10 move up in the company. ing is invaluable. Quiroga recently completed a or having 10 leave the company 10 advance his two-day seminar on architecturaJ/engineering architectural career. malpractice. "Two or three days of a seminar But Quiroga says the benefits of his job far like that is worth 20 years of hard knocks,'' he outweigh the concerns. And though he now con says. centrates on planning at work. he still satisfies Even what many might consider 10 be the the design itch by doing occasional projects for downside of corporate practice, a "stining" de family or friends. One such project was a 4.300- sign environment. is not that much different square-foot hair-styling salon he designed for from what typical architects experience. Quiro his wife and sister-in-law. The building turned ga says design freedom is dependent on the user out well, which is fortunate: as he points out, group requesting the work. simiJar 10 having "Having your wife as your client is really different clients. Some arc particular. while 1ough.'' othersl just eave it to the architects. Those who request he do the design may remove lim its. but it can be deceiv ing. "If they give you enough rope. you can hang yourself." he points out. As the de sign authority, Quiroga can even veto user plans he feel!> are inap propriate. However. since many of the de- Q111ragt1 dl'.vig11ed this 4 .300-sq,uire-fnot ha/r-s1yli1111 salon for /u s "'ife and sister-in-law. Texas Architect Ma>· J1111e l9H7 Howard Templin, AlA TrammeU Crow Company, Tr:.1111111dl Cro, rCotnpany San Antonio Howard Templin says coming 10 work for the from a standpoint they could appreciate. "Keat Trammell Crow Company from Skidmore. ing would present something to a client. and if Owings & Menill in Houston has given him a he didn't go for it, Kea1ing would take it back completely different outlook on architecture. and attack it from a different angle. Then he The corporate architect says he has learned to would present it again and if the client still see projects from a "big picture" per.,-pective didn't like it. Keating would take it back and try that he never had as an architect working for a a different angle. He was a master at trying dif privace finn. After four years with Crow, Temp ferent approaches until he found one that satis lin says he sees his goal as creating products fied the client," says Templin. that must respond lo the market. Templin says he is not in the position of H11ward Templin, Cnnsrrurrion Man· Unlike Quiroga, Templin worked at a variety having to advocate good design at Trammell ager. Tra11u11rll Cmw Com1}(J11y, St111 of finns before coming to work for Trammell Crow because the company promotes its de A11rcmin Crow. The last building he worked on as pro velopments as first-clac;s. "And good design is ject architect for SOM was lnterFirst Plaza in an important pan of a first-class project," he San Antonio, where his office is today. During says. ''There is a philosophy at Crow that if we the project he started working with the Tram build a first-class building, it will do well no mell Crow official,;, and as it was being com maner bow bad the market is doing. And that pleted he was asked 10 join Crow as construc hos been proven out in the currenl market." tion manager. TempUn says he had always wanted to live in San Antonio and besides. ''I'd been interested in the developer side of the table," so he was happy to accept Templin says the perspective he's gained is something that would help other architects. "Working on both sides of the table-as a pro ject architect and as an employee of Trammell Crow-I've learned that most architects don't know anything about business,'' he says. Leam ing more about common business practices and needs would help them run their own busi nesses more profitably and help them better un derstand their client's wants. needs, and goals. according to Templin. The architect believes much could be done 10 achieve a more integrated background by pro viding comprehensive training during architec rural school, something he says was never offer ed when he was studying architecture at the University of Texas at Austin in the late '60s and early '70s. In those groovy, free-spirited day!>, ·'business" wru, considered vinually a dirty word. ''I have found that to be a constant ABOVE. Ttmpli11 com1111s.r1011ed problem with architects. even today," says Hylton Dey As.ronares. San Antonio. rn design tht Calmmade fl offia Templin. "The school of architecture seemed to tower thert. LEFT: Templin mer am/ promote the thought that if you are not a design swrted worting with Trammell Crow er. you're not an architect." offirtals .,,J,ift' l,e was projecl mm,. Working for SOM was "a great graduate edu ager 011 SOM's Jmerf'irsr Plaza ;,, Sa11 cation in architecture," says Templin, because Anw11io. lit latt!r jm'11ed Crow as rr1 11- _urur11011 manager. the firm promulgated a business style he had not experienced before: a team approach incor porating all aspects or architecture. The techni cal architects were promoted 10 customers as the reason SOM could handJe the more difficult jobs, and partner Richard Keating, FAIA, head of SOM's Houston office, dealt with clients Te.ra.i Architect Ma\'·Jw,e /987 37 The architect encourages 1i1TT1s seeking 10 do responsive, but we don't do business with business with Trammell Crow to be service them." he says. Templin also advises oriented. careful listeners. and responsive. persistence, pointing out that il lakes Lime 10 "'There are a 101 of filTTIS out there that are not establish a working relationship. When considering filTTls for a new job. Templin says Crow considers experience, reputation. his "feel'" for the people involved. how large the filTTI is (smaller is generally better for them). whether they are tenants. how competitive the fees are. and whether the consullant has worked for Crow before. Templin has come a long way from his col lege days at U.T., when he visited San Antonio 10 work on restoration projects. The days are still long-55 hours a week is his average. with weekends thrown in when it gets busy-but his future looks bright. As he points out, while job security at any company is not something one can bank on. ''it's a 101 less volatile with a ma jor company than with the standard practi tioner." Sitr plan and s:r11111ul floor plan of 1hr Calonnodt II office h11ilrli11s:. Texas Bridgette Schleicher, AIA Children's Tex.as Children's Hospital, Houston 11~-pital After working at architectural firms in AJas Schleicher says she expected her new posi ka, Austin, and Houston for six years, Bridgette tion would not require as many hou rs as she Schleicher knew her skills lay in organization was spending on projects when she worked for and project management. So when she was of private fi1TT1s. but it hasn't worked out that way. fered the opportunity to gain management ex She averages about 55 hours a week now, with perience with a major bank in Houston as an on some of that pul in on weekends at home. But staff architect. she made the move. Although it she does have control of the schedule. and she was quite a change. she says the adjustment has made changes in that. She no longer char Bridgttlt ScMtirhrr. Fodlitirs Pm· came more rapidly than she expected. "Most enes. and since she believes ir does not produce jct·t Ma11ogrr. Tr.ro.r Childrc11 ·s Hos· architects don '1 have 10 be in the business very the best resul ts. she 1rys 10 arrange the schedule pita/. Ho11.rmr1 long to realize 1ha1. while only a very small so tJ1a1 consultants also do not need 10. "I think percentage of architect,; do pure design as such. architects can design. design. design. ant.I never you can make your contribution and do your get done. so I try 10 set realistic deadlines. I creative th inking in other ways:· she says. want 10 minimize that kind of thing because I For the last two years Schleicher has been think if we plan and schedule things correctly making her contribution 10 the Texas Children 's we shouldn't have to do that." Hospital in Houston. Her "clients" are the medi Schleicher says she enjoys working with con cal-section heads and numerous department sult.ants and points out that with the economy heads she works for. As project-management the way it is. they try particularly hard to ad director she handles the continuous growth re dress the hospital's wants and needs. Even so, sulting from changing technologies and updated some designs still generate controversy. and health-care practices. part of her job is evaluati ng those designs. She Like Templin, Schleicher says she has adjust had one such design, which she felt would be ed to looking at projects from a "big picture" effective. produced on a prototype basis so that viewpoin t. because she has 10 represent users the users could try it out. and the interests of the hospital in gener-al. "The " It's not bad to have controversy. but you've significant change is that you're very concerned got to work 1ha1 out before it's presented to the about the budget and the schedule. not the aes Board of Trustees. There are certain situations thetic requirements or just the functional things. where we're going to have conflicts and I can You 're willing 10 recogni ze that compromises see we're going to have to make compromises. are going 10 have to be made." but that's all done in the working group, before IH Tl!xa:. Arrltitl!rt Mm•·J1me /987 you get to the point of presenting it for appro vaJ." she points out. Virtually all of the work needed by TCH is done by consultants. Unbke Templin and Quiro ga, however, Schleicher discourages !inns from contacting her for proposals. Because of the complexity of the work required. she explains that it facilitates design and is more cost-effec tive if she negotiates each job with a core group of people who are familiar with the hospital 's situation. "/ think it can be a very rewarding experience to N111111'rot1.r firms workt•d 011 the TCH be using your architect Cli11ical Care Ce1111,r in HmtS/1111 ural experience this LEFT: 3D/1111ema11011at.r waphics ,, di1·isin11 c/t-.rig11ed all ,,,.. sii;11.1. i11r/11- way. d111,: tltr ··1J111111y" l;'XOm mnm sign. BELOW. Sanders 1111,I S1111derl. llmwn11. did tlw tmrnor d,·sili"· ln addition to her work, Schleicher has also served as chair of the Houston chapter's Cor porate Architects Comminee in 1985 and 1986. Membership in the committee dropped substan tially last year. but she does not consider that to be a forerunner of things to come. She believes architects and corporations will be joining for ces more and more in the future. because pri vate finns will not be able to absorb the large number of graduates in the field. Schleicher sees the trend as a positive one. "I think it can be a very rewarding experi ence to be working and using your architectural experience this way. It is challenging and it can be creative. but in a different way than purely designing. It's a challenge and an opportunity that l think others should consider." ,,....a.,,.,.,.... LEFT: Grmmd-le1•cl floor p/011 of the C/i11im l Care Cemer. G1•/somi110- --- Joh11so11 Arc/111ec1s des1g11ed the Ce11- 1er a.r 011 adaptil'e re1trr <>fa 46.()()() squart'{<>m office b11ild11111. Scl,/e1- d ter scn·etl as prnject ma11ager. 1i·\ll~i\rl'l1i11•c1 M11y·J1111I' /987 19 PIANISSIMO: THE VERY QUIET MENIL COLLECTION hy Richard !11gersoll Phorngraphy by Paul Hester he willfully low profile of Lhe new muse to disencham those seeking architectural thrills um in Housron called rhe Menil Collec or memorable snnpsh01s. yet rhis quiet environ T tion is hiding a high concepr. Designed ment. like much of the an ir houses, derives its by Renzo Piano. in a j oint venture Lhrough hi!) strength from its concept rather than from the Building Workshop in Genoa with Houston memorability of its fonn- il requires more than based Richard Fitzgerald & Parrners, the Menil a tourist·!) attention 10 be appreciated. ln addi Collection is Lheo epitome f self-effacement. tion. at a rime when modernism has fallen from Tucked away on Lhe <;ide streers of a residential fashion the M en ii Collection presenb a confi area near the University of Sr. Thomas. ii has a dent. but strangely anachronistic demonstration neutral color. no scale, and no symbols or of modernist principles. This is both ils 8£LO\V. Tin• 11e11• Mt•nil Col/1•1"· im,cription!:.. The museum is housed in a long. strength and its weakness: Lhe M enil Collection 11011 1111ist•11111 1·tm1h111,·s llll a11strrr horizontal volume. surrounded by a white steel gains many of th e virtues of functionalist plan ,fti!t!I Ji(rid ll'ith Sl' t1,11111111ferro framed portico. and surfaced in modesr gray ning while suffering from many of the pirfalls C'tmr rell! /111l11 tlt•Jkr torf bt•um~ . of Lechnologically detennined design. ml/rd " /m,·es " wooden slars. Adding camouflage. •IO Texa~ J\ rcltitect May-J1111tr / 987 •' ,I f ,,, I - ly we ll -supplied. however. with cult object!. from indigenous culture : fi gures. masks. anti anifacl!i from (among other. ) Neolithic. Cyc ladic. Eskimo. Oceanic. pre-Columbian. West Afri can. Celtic; and Coptic peoples. The pre dominantly non-representational modem works correspond to the uninhibited spiritual purposes of the "savage" works. In the 1984 catalogue of the Menil Collection. Dominique de Menil expressed some of her intentions by quoting Paul Valery: "The work of the spirit can onl y exist in the act:· me.ining inferentially that the value of ,t work is in its u:.e. The works in her museum will thus not be displayed according to the value:, of .irt history or connoisseurship. but for their phenomenological effect. Th is uncom promising spiri tual criterion for an explains the Nr11rml " " " Ion·, tlw Mr,,i/ Cofl,,c1io11 fit.< iH 11,•iJ:hhorhood, H o11,111m ' ,. ur, fief. hushed auitude of the building and posits a se ri ous challenge to the reigning consumeris1 ethic of many of today's museums. "The Menil Collection hinges Dominique de Me nil ·s specific request for a on a modernist faith that art non-monumental solution can onl y partially ex and architecture are not plai n the style of the Menil. How could the co author. with Ri chard Roger . of Beaubourg instruments of manipulation. (Centre Pompidou). the mo:.1 acrobatic and pan Space is presented neutrally; dering or modem museum ~. have been induced images and artifacts are 10 ye.in, later 10 design th b bashful com,in. th b offered not as representa anti-Beaubourg? A comparison with Richard Rogers·s recently completed Lloyds Building in tions of reality but as their London. a comic paroxysm of high-tech exhibi own reality, to stimulate a tionism. clearly demonstrates that Piano. al - - - - ~ spiritual respo,zse." ways the earnest designer of effi cient space frames. was unquesti onably the straight man -- during their l 0-year partnershi p. Piano has pur Th<' RmltJm Clr1111el. tlt'sig11etl by Age of MLL~eums." the Mcnil refuses to play sued with almost messianic fervor the commit Ho ll'ar,I 8 11m..i011r a11CI E11gene along with the integrati on of high art and mass ment 10 technological research and experimen A11hn·Jm111 "pre1'll111,, dt'sig11 b1• culture. The economic viability of most other Philir1J,,l11 m m. i.11111 ,.,·11mt'11 iml tati on with building system!>. I tis worl,, without m1T11-m11.H't111r 1/rar pre5n,~cd the new mw;e ums is based on sharing sp.ice with Roger!. is noticeably lacking in imageability. M,•,ril Cnllt!rtro11 , l l1 1111·111g tlrl' the more commercially oriented functi ons of cin and ii, either dedicated 10 inventing universal , lir111' 11111i1111II' to rl'ligiw,. (lrf, mul 11rlra11 tll',fiJ./11 . ema. restau ra nt. and book !>tore for an educated spanning system:, for undifferentiated frames or but con:.urnerist cliemcle- the ki nd that to the use of industrialized parts for sal vaging has been called the "new-brow. .. Project:. the old structures. Following the example of such ai, Cei,ar Pelli 'i, addition to the Mui,eum of the French structural innovator. Jean Prouvc. Modem An in New York. for example. fuse Piano preaches of a new industrialized .irt isan: characteristi cs of the shopping mall und the mu "the architect should fi rst design his own work seum. The Menil. on the other hand. rejects ing instrumenL,. his technical and discipl inary such equivocations: art at the Menil has been equipment," he say!> . cloistered from commercial acti vities and given Piano·s search for appropriate tools hm, met a spacious. neutral. and luminous settings. to gen fateful match in Dominique uc Mcnil's pmgrnm ernte an intensely personal experi ence. of modernism. For nearl y four decudes. first The Collection gathered over seveml decades with her husband John. who died in 1973. and by Dominique de Meni i. patron of tJ1e new mu now on her own, she has challenged Lhc po seum (along with her late husband. John de litical and cultural boundaries of Houston with Menil) hm, over I 0.000 holdings and is famous her patronage. The Menils were "convened" to for itl> fine concentrat ion of 20Lh-centu ry avant modern ist art during the 1930s in Paris by gardists, including surrealist paintings by Max Dominican father Marie-Alai n Couturier (who Ernst and Rene Magritte. works of symbolist later helped obtain Le Corbusier's commissions painters, and abstract expressionists. lt is equal- for Ronchamp and LaToureue). -12 Tr.xm·Arrhit,•rt Mt1\•· J1111,• /9H7 Their zeal for collecting modem and avant garde work accompanied a maverick liberal ideo logy, and their patronage has ranged from art 10 science to social programs. Early on they showed a commitment to improving the condi tion of blacks in Houston with projects such as [ the Blacks-10-Collegc Fund, and later they backed publication of the 1hree volume s1udy The Image of the Black in Western Arr. research for which continues in the Black Lm age Office, localed in one of the bungalows behind 1he new [ museum. Menil patronage in archjtecture included the ftm international style house in Houswn (de --_:r signed by Philip Johnson in 1949 and later re worked by Howard Bamstone), Johnson's S1. Thomas campus ( 1957-59), and later the ad joining Rothko Chapel ( 197 1) . The house, Sill! p/011: I . museum, 2. a11di1ori11111. J. cafe. 4. boo/more. 5. direc1or's office. 6. mec/ra11ical. which is mostl y an open plan, with unobstruc1- 7. Ro1ltko Chapel ed high ceilings, a blank brick wall on the street side. and plate glass walls on the garden side. has always been a setting for the collec tion, and served as the single greatest influence on shaping the patron's preconcep1ions of the museum's program. Certain details. such as the glassed-in garden court, have been quite clearly quoted in the new museum. The Ro1hko Chap el, which was designed by Bamstone and Eu gene Aubry. working from an early scheme by Exltibi1io11 floor p/011: I. lobby. 2. galleries. 3. promenade. 4. library. 5. /01111ge, 6. recei11i11g and Philip Johnson, is indicative of the spiritual registra1ia11. 7./raming. 8. cmiserva1io11 goa.ls behind Menil modernism. The chapel is an ecumenical meditation spot, where visitors may contemplate the 14 dark canvases commis sioned from Mark Ro1hko. An additional point: the chapel is flawed by its poorly resolved indi rect skylighting. and ii is perhaps for this rea son that light was given such a preeminent role in the program for the museum. Piano's modernism thus fits into a tradition associated wi th the patron's liberal ideology and an underlying goal of spiritual synthesis. If the 3 building's style appears anachronistic, it none theless responds 10 an up-to-dale attention 10 1 2 contex1-or at least pseudo-context. Most of the houses in the eight-block area surrounding 3 the museum have become Menil property over the last 20 years; all are pai nted gray. Referred to as ··o oville" (from Dominique's nickname. "Do." rhyming with "so"), the area constitutes a veritable art fief. The context hasn't been saved bul inven1ed by reassembling existing buildings into a more coherent collection; some of the bungalows that were on the site of the museum were redistribu1ed 10 the surrounding S<•c-1ia11 , slrowi11g: I. promenade, 2. gallery. 3. workrooms. 4. storage, 5. meclr1111ical. 6. "treasury'' lots li ke checkers on a newly se1 checkerboard. now contain suppon functions for the museum The projec1 is thus respectful of wha1 this Hous- (the director's office, the Menil Foundation 1on neighborhood might have been had it Office etc.), while others are rented IO members grown in a more coherent way-pseudo-conlextu of the arts community. This invented "neigh al ra1her 1han literally contextual. Some houses borhood" provides an uncommon physical Texas Archi1ec1 Moy·Jrme /987 43 C,•ili1111s llr<' 11••11ermu. mul the lwi11h11s acce11111c11ed IJ1' the dark-s1m11e,I p111efl1xirl. 1'ltrc111g/m111 tht'Tt' i,«1 coal. l.'l'l'II li>1l11. am! social homog.enei1y 1ha1 protects the museum from th e ~ncroachment of speculative real ei:,1a1e and commercial ac1ivi1ies as well m, Lhe inirusions of social riff-raff. Piano says the museum ... is conceived as a unit but has qui1e a 101 or exploded ac1ivi1ies around it 10 demonumcntalize lhe museum con cept.'' Yet despi1e the horizontality, humble ma terial:.. and decentraliLation. the museum fails ARO VE. 1\11 c,ff-ce1111•r ,•111n•fr11111 tht' por4111g. Imo~ ,11,rt·. 1111d rnfr· 10 be a completely anti-monumental building. tenu un-<1,1 t1fft•11111111e , 1he l<'/Wm· The profane aspects of the consumerist art ex tum 1f11t,•111/ (.\l'UIII from tl1t·><· proJww perience have been removed and. con- J1111r ti1111v sistcn1 wiLh th e respect for spirituality, the building has been sited like a primitive temple RIC/ff: Tlw pm·111 ·r• 1.1 lillh- mort• 1/111111111 m·sth<'I" .i:t'lllll't', Ina 11 in a 1e111e110~: it sits alone on its block. set off '"""'·' ,,,,. 1110t/11/1• 11/ 1//1• h11il11/11g. \ by a pcriptcral portico that rings i1 wi1h a spe rrm.m·11r11011 and sari's tltl' form cial lihcrcd halo of light. O1herwise th e design frm11 111011n1y er and programmers have gone Lo great lengths Lo foil monumentality. The path from Lhe park ing lot to the museum entry. for insiancc. i:. Te.rw Ard,it<'l'I Muy·J1111e /987 not ax iall y aligned. the entry bay is not located at dead center. and the volumes behind the poni co are not symmetrically placed. The portico is the most generous and contro versial gesture or the building. Superfluous to the museum· structure and functi on. it is a purely aesthetic fringe that accentuates the hori zontality. hides the second story from view. provides a public space for walking. and exhi b its the building's ki tp or arts. The thinly pro pon ioned steel uprig hts of each 40-foot bay sup pon a gridded aluminum web-truss system from which cast-concrete louvers-the light-refracting ·'leaves··-are suspended: the entire bay is then Lows l . Kahn's silt' [1(011 ; c, rnmplere mom,me111<1/i:a1ia11 ofrite area capped with glazed panels. The white steel columns are a spectral retort 10 the classical porches of southern mansions. while approxi mating the classic grid of the Houston's Mies inn legacy at the Museum of Fine Arts. With the Menil portico. somewhat li ke Brun elleschi "s portico at the Foundling Hospital in Florence. we are given a sense of the building·s module: the spanning "leaves." It is around this invention that much of the ground floor design - revolves. The shape of these "'leaves:· which in Sec1in111ltrm11tlt m11111da /11 Kahn's srhrme section resemble a woman 's eyebrow. were designed to refract ultraviolet light and admit even. natural light 10 major ponions of the in terior. similar to the liltering of light through the leaves of a tree. Despite their mechanical ap \ pearance they are non-movi ng pieces. and thus L not so conceptuall y distant from the hrise soleil .::,_-_ of Le Corbusier. The Menil Collec ti on. for all -- its humility. is an expensive building; all of the eighteen structu ra l elements, though in Secrwn 1hr1111.~h s11,ra_11e ureas in Ka/111',f rc·ltrme dustrially produced. have been custom made. The "'leaves:· which were produced in Leeds. England. and shipped LO Houston. proved 10 be the most troublesome and costl y pan of the de sign. 1l1c first shipment was unsatisfactory. and they had 10 be recast. greatly slowing con struction. Although the ori ginal plan was to roof the entire ground floor gallery area with th is system. about haJ f of the area eventuall y re ceived a conventional flat roof. The technology of the leaves created the proportionul dictates of the spaces. but it seems to have introduced as many problems as it solved. Despite the sup posedly ··scienti lic'· basis for deriving their form. there seems to have been a fundamental error in using concrete for such a tensile pur pose. The "' leaves:· despite their problems. arc nonetheless the most sensual element and save the project from complete austerit y. Seeing the leaves in the ponico recalls Louis I. Kahn ·s practicer of evealing how a building was made on the exterior. Kahn was in fact u In t11•/1•ur rrucrinn w Kultn"s ideas. tltt' neigltl,orluw Tl!XasArclt11ec1 May·./11111! 1987 45 ABOVE and BELOW LEFT: \Vork SfJt11·es are ,111 a par witlt exhibition s1mce. Lion. First, becau se he was hired in 1973 as the original architect for the project: second, be cause his Kimbell A n Museum in Fort Wonh offers the best point of comparison: and third. because Piano worked bricny for Kahn in 1963. The dozens of sketches Iha1 Kahn left behind up on his sudden death in 1974 show that his as pirations for creating a context were hardly through painting the neighborhood a unifom1 color. but involved decisive monumental inter A cruciul detail. tltr 11ir-1·mulititmi11g rl!llmt-uir tl11t·t ventions over a 14-block area. Centml to the t11,·ked llfl a/u11·r till' lt•llvr.v. 111ult'r the xlllJS ft rrmc11•,•.v scheme was the creation of a flat-domed rotunda hem before 11 11ets tlow11 imo tltl! spacl' beloll'. b111 raises q11estinns 11bo111 thl' 11p11roprillle11c.u ofa gla.rs on axis with the Rolhko Chapel and the Broken rimffnr 1ltis rype ofh11ildi11g . Obelisk. At leasl at one phase of the design he envisioned the suppression of two streets and the placement of four bastion-like structures at nonetheless was guided by an overtly Kahnian the ouler edges of the precinct. The storage goal: ''to make light th e theme," the oft-cited spaces for the permanen t collection were 10 fit slogan of the Kimbell. Though Piano in fact into a long spine of courtyards. Kahn ·s project did not visit the Kimbell until later, the patron would have resulted in the complete monumen and the associate director of the museum. Paul talization of the neighborhood. The program Winkler. who wrote the program for the Menil, was later reworked by Howard Bamstone at a were more than familiar with it. Again. their greatly reduced scale. Piano's version shows an choices seem to be in opposition to Kahn: the obvious reaction to Kahn's monumentality. quest for natural filtered light without recourse The reformulated program. in which the pa to the emotional use of it on vaulted surfaces. tron reasserted her concern for understatement. ../() Tl!xttS Architect Mlly·June 1987 Piano has replaced Kahn's sensuous vigor unknown in the res1 of 1he museum : intimacy. Project Credits: with functi onalist spre::ar11ra. ln the Menil the It is in 1hese "treasuries.. on the second noor circulation is efficient. the machinery unobtru that one can truly commune with the works. ARCHITECTS: Piano & Fitz sive. and 1he working spaces are on a par wi 1h While the craftsmanship is generally very gernld, a joint venture of Building Workshop. Genoa. thes public pace . Unlike Kahn's compressive high. excepting a few botches on 1he revenls Italy. and Richard Fi tzgerald & architecture. the Meni l emu lates the simple bal where the floor meets the walls. and the choice Panncrs. Houston (Par1ncr in loon frame. The interior is spacious and lumin of details generally excellent, there is one partic charge of design: Renzo ous. due to the filtering of light th rough the ularly inharmoniotL~ detail on 1he re.ar facade. Piano: Project Design Team: " leaves." The emry bay gives on to a 400-fom The second srory windows have extendible awn Sunji Ishida. Mark Carrol. D. long corridor: 10 the lef1 are two large gallery ings sheathed in a casement that looks literally Michael Downs. Ed Huckaby. spaces. two smaller spaces. and the glassed-in tacked on and absolutely inconsistent with the Leland Turner, Chandra Patel, tropical garden for 1he permanen1 collec ti on; to proportions of the "leaves." One also wonders Bernard Planner. Thomas Hart the right are two large galleri es for temporary how the cypress slat veneer will resist the man: Project manager during exhibits. The rooms on the sou1heast end of the Houston humidity. As a precaution, the back constrnction: D. Michael Downs). corridor are the working spaces for preparing in sides of rhe sla1s have been scored and primed. stallations and conservation: those on 1he south and screws rather than nails have been used to ENGINEERS: Ove Arup & west are for the staff lounge and the library. join them to the wall. Partners. Lond on: Peter Rice The high gloss and dark stain of the pine floors Ultimately both the success and fai lure of the and Tom Barker wiih Ali star make the 16-foot ceilings appear even higher. Menil are hinged upon a faith in modernism, a Guthrie. Neil Noble and John The floor is divided lengthwise a1 regular in very personal belief. which conrends that art and Thornton. Associate tervals by narrow slits through which the ple archirec1ure are not instruments of manipula Engineers: Hayne~ Whaley nums force the air. Lodged in Lhe web of the tion. but instead must be manipulated by the in Assoc .. Inc.. Houston: trusses that carry the "leaves" are 1he tubes for dividual. Space is thus presented as neutraJly as Galcwsky and Johnston. Beaumont. the return air. These tubes also help deflect the possible. pictures are hung on undifferentiated natural light. The thick tinted roof glazing and white walls. and images and artifacts are offered GENERAL CONTRACTOR: the overlapping leaves permit only one percent not as representati ons of reality but as their own E.G. Lowry Company. Inc. of the natural light 10 filter in yet provide a reali ty-relics or icons meant to stimulate a spiri thoroughl y diffused. white light. The hot-house tual response. Whether one shares this credo or effect of the glass has to be compensated for by not. it is undeniable rhat the concept has been de increased air-conditioning. Thus the "leaves." veloped here to its fullest. Like the olher new which ar first seem to be an intermediate tech museums. the Menil will have the consumer nology. are actuall y a less ecological solution. oriented auxiliary funciions of book store. coffee requiring extra expense for energy. Again. if it shop. and auditorium. but all these mundane ac is science tha1 has in voked the fundamentally ti vities will be kept at a safe distance near Lhe unsound solution of a glass roof, perhaps archi parking lot. Houston has not gained a consum tecture should appeal to a more empirical erist monument for the arts, but instead a new method. gray district with strong local character and rare Rather than expose the building's entrails. as serenity. Its tacit elitism is of an opaque and self he did at Beaubourg, Piano has hidden Lhem in criti cal nature, and if most Houstonians will an eight-foot-high mezzanine ..• The upper stor never make it 10 the second floor sanctuaries, ey, where Lhe rest of the collection is stored, is perhaps this mysterious withholding will goad reached by 1he elevator opposite the entry bay. them to try, and in so doing discover art without but is not accessible 10 the general public. The merchandizing. display on the ground noor will be periodically rotated, and works that are not in use will be Sources and further reading: stored upstairs in unlit rooms wilh op1imal cli Building the New Museum. Suzanne Stephens. mate control. Specialists and study groups will ed .• N.Y.. 1986. be admitted 10 these rooms upon request. There La Rime et la Raison. Waller Hopps, ed .. Paris. are also seminar rooms on this floor for schol 1984. arl y meetings. While 1hese so-called ''treasur "A Clapboard Treasure House." Stephen Fox. ies" are a very practical and original idea for the Cite. August 1982. conservalion of works, they are even more effec Ren:o Piano. Massimo Dini. N.Y .. 1983. tive for creating a sense of mystery and a desire R<111:o Piano. pen!.O per pe::o. Gianpiero robe initiated into the elire group that can as Donin, ed., Rome, 1982. cend ro 1he inner sanctum on the second noor. The joy of discovering a room full of di Chiri cos. Comells. and Magrilles is inestimable. and the densely packed display walls and dark comers of these rooms convey a feeling that is Te.rn .r Archirl'ct Muy·June 1987 47 :m HOW10BUIWINMORE CONVENIENCE wrmour BUILDING UP MORE COSTS. PUBIJC PHONF.s. Public telephones add more convenience, function and style to your building. What they don't have to add is any ULJLJ additional cost. Because LJLJU Southwestern Bell Telephone will take care of installation L.J LI Lu and maintenance costs. Southwestern Bell Telephone ULJU will also work with you to help plan the locations and styles of phones that most enhance your building and improve traffic D.ow. So for the widest choice of options call Southwestern Bell Telephone early in the planning stage and design public phones right into your blueprints. Just call the Public Coin Telephone Customers' number listed in the front of your directory. Southwestern Bell @ Telephone Circle 48 on Reader Inquiry Card Architectural Lighting: Table 1: What Architects Don't Know Can Hurt Their Designs Source: color temperature Oo degrees Kelvin} Most Texas architects find them- incandescent 2,900 selves swamped by things like profes warm-white fluorescent 3.000 sional liability and the construction "designer" fluorescenV30 3,000 market, and have little time to worry warm-white deluxe 3,025 much about niceties like architectural designer fluorescenV35 3,500 lighting. But a number of changes designer fluorescenV41 4,100 have taken place In the technology of cool-white fluorescent 4,150 architectural lighting while architects cool-white deluxe 4,175 have been taking care of business, daylight fluorescent 6,250 changes that architects should know about. Recently, for example, the lighting world has seen development of new low-voltage light sources, as well as Improvements in the quality and de CENTRAL TEXAS sign of fluorescent lamps, including new compact fluorescents, as well as a resurgence in the use of neon. Because fluorescent lighting is so widespread, the change affecting the largest number of architects, howev er, has been the improved quality of fluorescent lamps. New "designer series" fluorescent lamps are available that have a great number of advan tages over the old types of fluores cents. The architect seeking energy efficient lighting no longer has to be satisfied with the greenish tint and sick-looking complexions once char acteristic of fluorescent light. But most architects don't know about these changes. When evalu ating the type of lighting to be used in a particular project, architects and en JUNE 23-24, 1987 gineers typically focus on selecting STOUITER AUSTIN HOTEL light fixtures and determining levels of AUSTIN, TEXAS illumination, instead of thinking about the actual light sources to be used within the fixtures. Selecting the light This first lighting exposition ever produced in Central Texas will source, or lamp, within the fixtures to showcase over 100 manufacturers of commercial lighting products be used is as important as any other including lamps, fixtures, controls, reflectors, and ballasts. The step in lighting design. Each source purpose of the show is to introduce the Central Texas area to ~e has its own unique color characteris commercial lighting programs offered by LCRA and surrounding tics. independent of the fixture the utilities and to bring state-of-the-art lighting technology to the lamp is installed in. Selecting the attention of area architects, engineers, interior designers, and com proper light source can mean the dif mercial businesses. The Expo will run both days from 9:00 ference between good lighting and A.M.-5:00 P.M. and is open to the public. Admission is free. Call exceptional lighting, just as leaving (512) 473-3570 for further information. the color of light to be used to chance often has undesirable results. What paves the way to understand SPONSORED BY: ing of the color of light and to its crea The Lower Colorado River Authority tive use? Two measurements for de- The Wuminating Engineering Society or .Anstin Circle 49 on Reader lnaulfy Card fr.mi Arr/1i11•c1 i\l/l\··J11111• /9fl7 SPECIAL AD\1£RTISING SECTION 49 TABLE 2 ent: 3,025 degrees for the warm- white deluxe and 6,250 for the day SOURCE COLOR CAI light fluorescent. However, two TEMPERATURE VALUE 3,000K sources with CRls of 65 and 82, might appear similar. Because of incandescent 2,900 99+ this, light sources must be evaluated warm-white fluorescent 3,000 52 based on both chromaticity and color "designer" fluorescenV30 3,000 82 rendering index. warm-white deluxe 3,025 n The color temperature and CAI of designer fluorescenV35 3,500 82 fluorescent lamps Is determined by designer fluorescenV41 4,100 82 the phosphor coating inside the glass cool-white fluorescent 4,150 62 tube. The high CAI lamps contain rare cool-white deluxe 4,175 89 earth phosphors. Because of this, daylight fluorescent 6,250 75 they are more expensive, but most people consider the advantages of termining the color of light are its chro index is a scale. from O to 100, ob using them to be worth the additional maticity and its color-rendering index tained by comparing a test source to a cost. (or CRI). reference source and measuring the What to do with this new-found Chromaticity measurements pro change in samples of eight test col tool? The architect can select lighting vide a relative evaluation of the color ors. A CAI rating of 100 means that that contributes to the space he or temperature of a light source- its the test source completely matches she has so carefully designed. "warmth" or "coolness," measured in the reference source. The higher the Lighting decisions are more complex degrees Kelvin (K) . CAI score, the more "natural" colors than simply selecting light fixtures and Chromaticity can be plotted on a tri appear under the test source. illumination levels, but the results of angular diagram that shows the rela The reference source is incandes taking the time to learn about how to tionship between the color of the light cent light at warmer temperatures and make the decisions can be well worth source and the hypothetical primary daylight (at the same chromaticity) for the effort. colors of red, blue, and green. The cooler temperatures. Because CAI Color temperature should be higher the color temperature of a light actually measures an average value, chosen to establish the mood in a source, in degrees Kelvin. the cooler poor performance by the test source space, and should therefore be the light, and the lower its color tem in rendering one color might be offset chosen before the color rendering in perature, the warmer the light. For an by good performance in rendering dex. Lighting style, direction, in analogy, think of a chunk of metal another color. Note the CR ls for the tensity, and contrast also contribute heated until it glows. As the tempera sources listed in Table 2. to establishing the mood. Warm-color ture of the metal rises, it changes from It is important to compare the CRls sources are often related to a relaxed red to yellow to white to blue-white. of different sources only when their and pleasant mood. Cooler color The higher the temperature, the chromaticities are the same or nearly sources are associated with more cooler the light. The color of light can the same. Warm-white deluxe fluores active, public environments. A color be described by the corresponding cents and daylight fluorescents will al change from one area to another of absolute temperature at which a theo ways produce drastically different re 500K is noticeable. Application of the retical black body, like the chunk of sults, even though they have CRls of CAI can predict how colors will appear metal in the analogy, emits light of 77 and 75 respectively. The reason is and relate to one another; sources each specific color. that their chromaticities are so differ- should be selected with CAI ratings Examples of light sources and their corresponding color temperatures are shown in Table 1. The lamps range in TABLE 3 order from warm to cool as the color temperature increases. A color tem USE CAI Value Quality perature below 3,000K is considered warm; around 3,500K is considered Studios, critical color work 95-100 superior Commercial uses where color neutral, and anything above 4,000K is important; offices, retail is considered cool. By comparison, space sunlight might range from about 80-95 excellent Offices, schools, public 1,800K at sunrise to about 5,000K at buildings 65-80 good noon, while light from the northwest Commercial use where sky might score 25,000K. color is not important 40-65 fair The second measuring system ap Warehouses, security plied to light color is the color render lighting 20-40 poor ing index, or CAI. The color rendering 'i(J SPECIAL ADVERTISING SECTION Texw Architect May·J1111e 1987 based on the nature of the tasks to be The architect might consider performed in the space. Suggested setting aside a small room as a test CAI choices for various applications area for fluorescent sampling. A are shown in Table 3. conference room with fluorescent Note that fluorescent sources are and incandescent lighting will provide not capable of delivering CR ls in the a good range of test lighting condi superior range. Incandescent and tions. Periodically purchasing a small quartz lamps must be considered number of lamps will build an inven where the most critical color rendering tory that will allow quick testing of a va requirements apply. riety of light sources. Since we don't know what colors Understanding chromaticity and the change under different types of light, color-rendering index allows the archi selection of finishes not made under tect to direct the effect lighting has on The Greatest Lamps on Earth the actual lighting conditions may his or her designs. The accidental M eet at Je rri Kuni: ... result in some rather rude surprises. lighting common in many projects to The designer doesn't know which day can be eliminated, producing colors will change or precisely how spaces more consistent with the origi .. . the architect's and designer's much change will occur. All final color nal design. With these tools, and the source m Austin for A rtemide, Ron selections should be evaluated under new types of lighting sources and fix Rexek , Tre Ci Luce, Solzi Luce, Koch & Low y, Kovacs and more. the actual light source being consid tures available today, the architect can Visit our downtown showroom . ered for the space. Critical color match specify light just as he or she would ing should be done under two dif specify any other material. ferent light sources~aylight fluo rescent and incandescent, for exam Architect Charles K. Thompson is JERRI KUNZ ple. If colors match under both light principal in the Austin-based illumina sources, they will likely match under tion design and consulting firm 405 Neches 512-474-8005 all others. CKTAIL/GHTS. Austin, Texas 78701 C,rc/e 50 on Reader lnqutry Card \VANTED: ARCHITECTS AND ENGINEERS Associallon AdmlnisLrntocs & Cons! ~LY : ' ( AA&C) is no• · among the lu,gcst 100 broi Circle 51 on Reader lnqu,ry Card Tr.mH \ rcl11tl'ct ll'f11r·J1111e /987 SPECIAL ADVERTISING SECTION 51 NEWS. cominued from page 23 lasting only four hours. But a year later. a second show. with work by 38 anists from the northeast region. was hung for four months in the BAC's main gallery. By 1986 the group spawned by or ganizing these exhibitions. the American Society of Architectural Perspecti vists (or ASAP. combining references both to the medieval Latin origins of perspecriv11s. and the deadlines hanging over the heads of society members). had 125 members nationwide. The 1986 exhibition at BAC showed the national reach of the organiza tion: it included 61 drawings by 41 artists. These had been selected from among 467 entries by a jury made up of William Kir by Lockard. FAlA. of Arizona Si.ate Uni "Bell~ . 81•/ll. Br/I,\," hr VirJ,1 i11 /t1 M T/111111p.11>11 . versity: A. Anthony Trappe. FAIA. of "Worth Sqtuirt' Building." by Lee' /)111111e11t Boston; and delineator Brian Burr of New York. A hand,;ome 48-page catalogue of the two drawings chosen as ''best-in Richard Ferrier of the University of the show was published. show·· in 1986 was ''The Dome of the Texas at Arlington School of Architecture The role of Texans in ASAP has been Texas Capitol" by James Record of Fort and Environmental Srudjes; Miguelangel signi11can L. Steve Oles, a native Texan Worth . (The other was "Worth Square Gunierrez of JPJ ArchitecL'i. Inc., Dallas: and a graduate of Texas Tech University's Buildi ng." by Lee Dunnette of New York .) and Virginia MahaJey Thompson, head of College of Architecture. is a founder and Still other1cxans included were: Robert the architectural drawing program. Texas the current president. Other Texans have a W. Cook of PRELIM , Inc .. Dallas: Tech University College of Architecture. high profile in the organiwtion. One of Elizabeth Ann Day of Jessen. Inc .. Austin: Texas will continue to play a major GRESSCO BRICK PAYERS ... Classic Beau Circle 52 on Reader Inquiry Card 52 Texa. Custom designing and building offers the op portunity to make it flawless. We know the PHAN ON best components cost more; we also know the cost of system failure during important pre sentations. Our focus is toward longevity, CONTRACTING expandability and ease of use. Because we can customize, clients never have to settle for Sophisticated boardrooms, training facilities just an off-the-shelf arrangement. What the and special purpose areas throughout Texas client wants is what the client gets. Contact us have audio visual and teleconferencing sys to see if what your client tems installed by Pran. On-time and on-bud wants is what get. Our installation quality and techniques we offer. withstand the test of time with thousands of hours of dependable operation. We start with the highest quality components assembled with concern for detail. With custom manufactured products we gotothe extreme to ensure zero defects. Circle 53 on Reader Inquiry Card Te.msArchiTect Mn)'•}une 1987 53 He wanted clean and contemporary lhl!Selal>els Bloomfield Hills Michigan home on 100 bundles Archllects- Kenneth Newman/Robert Greager She was inclined toward the more trad1 OIAt,dCedar & Associates t1onal. With the help of beaultful. enduring o;h,ngh and shakes are your red cedar shingles, the architect pleased guaronieeol them both Buroau-graded But there's more to red cedar shingles Qua1 iy and shakes than first meets the d1scnm1nat lllSl:ilon tnem Ing eye Here ,s a roof that endures for decades. Plus energy efficiency that's hard to surpass. To fully understand why red cedar shingles and shakes are such a supenor solu tion. wnte for your free copy of the Architect's Cedar Ubrary It tells you every thing you need lo know regarding Insulation, vcntIlatIon. product selection and more Simply address your request to Cedar Library, Suite 275. 515 - 116th Avo NE Bellevue. WA 98004 Red Cedar Shingle & Handsplit Shake Bureau The recognized authority C,rc/e 54 on Reader lnqutry Card role in ASAP. The 1987 exhibition of drawings sponsored by ASAP, "Architec ture In Perspective," wiU be displayed throughout the month of October at the LTV Pavil ion in Dallas. Jurors for the ex hibition will be Hugh Newell Jacobsen, FAIA, delineator Carlos Diniz. and Texas educator/artist Richard Ferrier of UTA A high point of the exhibition will occur on October 8, with presentation of the recent ly established Hugh Ferriss Memorial Prize for excellence in architectural draw ing, a stipend of $500 funded by Van Nos trand Reinhold Company. The award will be presented by Jean Ferriss Leich, daugh ter of Hugh Ferriss ( 1889-1962). the "mas ter draughtsman of the American metro po lis." Submissions to the jury, for those inter ested, require no more than five labeled 35mm slides per entrant, and must be re ceived by June 30, 1987. Entering also enrolls the contestant as a society mem First place. Jamie L,ofgren. U11i11usity n/Texa.r ar A11s1i11 ber. Entry details are available from ASAP, 320 Newbury Street, Boston. Mass. 021 l 5. - ,7- -Elizabeth Skidmore Sasser College of Architecwre ---- 1 Texas Tech University FOUR STUDENTS WIN 1986STUDENT DESIGN COMPETITION Third plllce tie. Rabert Proctor, U11i1·ersity 11/Hrms1011 r ... Four winners were named last fall in the 1986 Student Design Competition sponsored by the TSA Student Liaison Committee. Set·ond place. Margaret Spru,:. Texas A&.M The competition called for entrants to design a hypothetical new home for the some $70 million to move the museum to Museum of the American Indian. Judges Dallas. Some New Yorkers took Perot's for the competition included Roland W. offer as an affront. however. and worked Force, director of the Museum of the to block the move. No resolution was American Indian; Harry S. Parker, direc reached until late 1986 (after the TSA tor of the DaJlas Museum of An; and competition was wrapped up). when of three Dallas architects: Enslie "Bud" ficials decided to keep the museum in Oglesby, FAIA; Frank D. Welch, FAIA; New York. and Jack R. Yardley, FAIA. The hypothetical museum site pro Based in New York City, the Museum posed for the competition lies alongside of the American lndian became the center Whit.e Rock Lake in northern Dallas. on a Third place tie. Twai Chou. UT A11sti11 of national controversy in the mid- I980s. trdct bounded to the north and south by after the museum's director, faced with major thoroughfares and to the east and chairman of the TSA Student Liaison overcrowding and underutilization of the west by residential neighborhoods. Committee, who wrote the competition museum's collection of more than a mil ''Members of the jury were very enthu program along with Dallas architect Rex lion objects. called on Dallas computer sia'ltic about aJI 12 entries in the state L. Carpenter. " Designing and presenting magnate H. Ross Perot. Perot offered level competition," says Fred Cawyer. a 412,000-square-foot, world-class mu- Tt•.ms Architect May·/11111' 1987 55 seum in onl y five weeks. as these contes was sponsored by UT faculty members student at Texas A&M University. who tants had to do, was considered very ambi Lance Tatum and Charles Moore. FAIA. was sponsored by facul ty members Julius tious. But it was the most exciting and po The jury praised the "clarity" and organi M. Gribou and Steven Turnipseed. Jurors tentially real project for the competition. zational soundness of Lofgren 's .. beauti liked the way Sprug's "extremely strong and it gave us an excellent way 10 bring full y rendered presentation;· along with design scheme'' was " tucked into the the profession and the schools of architec- the way Lhe design's form related to the hill." wi th working and storage areas un 1ure together." park-like seuing. The conical light col der the exhibit -space. First place in the competition and a wnn, or "teepee:• a juror said. ··worked There was a Lie for thi rd place honors. $ 1,000 prize went 10 Jamie Lofgren, a wi thout being ostentatious." First third-place wi nner was Tzuai Alvin graduate student al the Uni versity of Tex Second place and a $750 prize were Chou, a graduate student at the Uni versity as at Austin School of Architecture. who awarded 10 Margaret Sprug, a founh-year of Texas at Austin School of Architec ture. who was sponsored by UT faculty members Lance Tarum and Charles Moore, F AJ A. Jesus Porras and Robert G. Proctor, Jr.. both founh-year srudents at the Uni versity of Houston College of Ar chitecture. tied with Chou for third place. Pomis was sponsored by UH faculty mem bers Pete r Wood and Paul Kennon. FAJA. and Proctor was sponsored by Peter Wood and Tom Colben. All three third place winners were awarded $350. NEW S, continued nn page 61 Third place rie, Jesus Porras. Unfrer.fit)' of Ho11.fro11 Send a gift subscription of Texas Architect from: Name ______ Firm ------ Address ------ City ______State ______Zip ______ Person to receive gift subscription: Name ______ Firm------ Address ------ City ______State ______Zip ______ I have enclosed payment of 0 $ 18.95 for one year D $34.73 for two years. Once we receive your subscription request. we'll notify the recipiem of their gift naming you as the donor. Mail to: Texas Archi1ec1, 1400 Norwood Tower, Austin , TX 78701 56 Te.rusArd1irec1 May·lwtl" /987 Before you put your pencil to die plan, measure the advantages · of natural gas. Specifying gas in your architectural plan can make a huge difference. Clients know that for heating, water heating and large-tonnage air conditioning, gas is the most economical choice. Effic ient gas not only reduces fuel usage, it lowers maintenance costs through longer equipment life. And its proven abundance makes gas the reliable energy source for the future. No other fuel goes such a long way to building client acceptance. TEXAS GAS UTILITIES ENER GAS ENTEX, INC. LONE STAR GAS Circle 58 on Reader Inquiry Card I ROOKS Mirage urban conviviality of New York. Mexico customs: Lhe motorized corso each Sunday by Wolde Ayele City, even Addis Ababa. Yet, because he at MacGregor Park and along Old Spanish Hothouse. Houston, I 986 has lived in Houston and become familiar Trail: the washing of pavements and street $6, 65 pages. softcover with certain routines and locales (cente.r walls on downmwn corporate towers. And ing on the METRO bus stop alongside he succumbs to what he considers Hous reviewed by Stephen Fox I.M. Pei's Texas Commerce Center). he ton's most seductive aJ lurement: the invita refrains from dismissing the city as mere tion co dream. Ayele's dream is 10 give Wolde Ghiorghis Ayele is an Austin ly overblown or nightmarish. lnstead. he Houston the topographical sublimity i1 architectural intern, a recent graduate t)f probes to discern the nature of a place that lacks: a mountain range, dominated by the University of Houston College of evokes such criticisms. What he discovers Buffalo Peak. which would make the Ho us Architecture. and Lhe son of an Ethiopian is a version of what. he observes, the old ton Heights area li ve up to its name. diplomat posted 10 Mexico. In Mirage. world has always sought in the new: a Mirage is the first book issued by Hot Ayele applies the perspectives derived Golden Age. a city of dream.~a mirage. house, a smaU press dedicated to publish from these experiences and inheri tances Houston calls fonh the figure of the ing the work of new writers founded by to a series of observations of ti fc in somnambulist, the sleepwalker. from novelist and essayist Phillip Lopate with Houston. Ayele's imagination. Climate, geogra suppon from the Houston galJery Diverse Ayele's essay is cleverly constructed. phy, and buildings are exaggerated. some Works. In fonnat a diminutive four-by-six In nashbacks evoked during a pre-dawn times sinister presences. Ayele's account inches, it features the Hothouse logo train ride through central Mexico. he is fuJI of subtle, self-deprecating humor. (designed by graphics designer Lorraine establishes a contrast between Mexico's Craving engagement with the city. he Wild). a temple-front shotgun cottage with intensively peopled environs and the nonetheless remains aloof from the smoke billowing from its windows. J hope di Chirico-li ke emptines!> of downtown odd malcontents and outca'its pressing Hothouse continues to fan the names of Houston. The narrator meditates on Lhe themselves uninvited on his attention on new literary talent in Houston, igniting disorientation. even demoralization. he Houston ·s streets; he always seeks crilicaJ insights into the city's character. Wolde Ayele's Mirage is a brilliant first says is common among people fi rst en escape. whether from Houston or Mexico. light. ___ countering Houston who are used to the Ayele is fasci nated by Houston's exotic The W.A.N.E. (Water-Air Nutrition Exchange) 3000 Tree Unit is a \f'l p... T £ ly tree feeder and irrigator that p..l R The W.A.N.E. 3000 Tree Unit supplies water, air and nutrition jJ can be installed in any medium for trees surrounded by to protect existing trees or new pavement. trees that are to be developed. PAVEMENT WANE 3000 Unit. Handle Fertilizer Slow-release fertilizer sends essential nutrients to the tree's root system. Circle 59 on Reader Inquiry Card TexaH\rchitect May•J1111<' /987 59 TSA HANDBOOK 1987. ONE BooK You CAN'T D0W1THOUT. he new and completely updated Handbook 1987 published by the TTexa. Society of Architects is now ready for your use. Thi!> refere nce book is a must if you or your salespeople arc working with or calling on archi tects or architectural fi rms in Texas. With firm~ moving, individuals changing firms and new firm s opening. th is edition contains the mo~t accurate and useful information available. Here, in one single, handy volume, you ·11 find complete listings of archi tect~and firm s by city and region including mailing addresses and telephone numbers. In addition, you ' ll have access to listings of the Texas Society of Architects· offi cers. di rectors . chapter presidents, TSA staff. and committees of the executi ve committee. Plus detailed in formation on the Texru Architec rural Foundation , Texas Architects Committee. TSA Disaster Action. Inc .. and state and federal officials and agencies. No other publication in Texas provides this information. But that 's not all. Also included is a Services Directory including business card listings organized by the type of profe ·sional service~ offered . Whether you ·re an architect. engi neer, contractor. builder, materiab manufacturer or supplier, interior designer, city building offi cial or student you· 11 want this volume within arm \ reach. Order your copy by sending a check for $45 to: Texas Society of Architects 1400 Norwood Tower Austin. TX 78701 /..Jh,,,. Your check must accompany order. ·'l'.ic '''>"' -~'''"''' 0NLY$45 f-: Tiu• r r1111•r'.1 dristt•rt•tl mul SIUJIJ:t'' t·tl 11UJSl111g re/we, ,·or/\- ,·ommerrwl .wmn11res 0110 11,,11rb,· lfT b11ilcl111.~s. I'.\ PROCiRl:SS with a site on a hill overlooking Shoal ner balconies. fireplacei>. and access from GARBRJEL'S COURT, AUSTlN; Creek· s limestone bluffs, suggested the outdoor loggias. which look down on Lhe THE AUSTIN GROUP imagery of an Italian hilltown. AGA rein courtyard between the two buildings. ARCHITECTS. AUSTIN forced tha1 image by using pauemed Completion date for the project is Gabriel's Coun is a 42.000-square-fooi brickwork. clay pipe columns. stucco, and August 1987. office and re1ail project in west Austin ceramic tiles in earth red. ochre. cream, near the University of Texas campus. It is terra Cotta, and green. f.11 111111d located at the crossroads of 29th. Lamar. The projcc1 consi~t~ of a 26,000-square The Rice University Office of Con and San Gabriel streets, between two resi f oot L-shaped office building around a tinuing Studies wi ll offer An Archi1ec den tial neighborhoods and the commer two-story retail pavi li on with a restaurant t11ral Tour nf the Netherlands. Sept. I 8- cial zone along Lamar. and shops. Office amenities include cor- 26. 1987. The tour is designed for archi In dealing wi1h the site's small size tects. planners. studcms. and others 10 (two acres), it proximily to adjacent 11 , l homes. city regulations. and neighbor hood requests, AGA sought 10 create a ~ 1 I It - center that would serve as a shopping and l work node for the nearby high-income neighborhoods. yet respect the residential ·~ character of the surrow1ding area. MILLER 111e architects chose some of Austin ·s BLUEPRINT COMPANY NORTH 10713 METRIC BLVD earlier commercial structures and the scale and detail of nearby UT buildings as their guiding motjf. The resulting clus tered and staggered massing. combined q, MILLER BLUEPRINT CO. DOWNTOWN 501 WEST 6TH ST. Austin, Texas (512) 478-8793 ... TO SERVE BETTER THE AUSTIN PROFESSIONAL! ABO\/£: Ar, L·s/rapell t@ce b11ildi11J1 /(lt'IISl'S rm a ce111ro/ rt'lllil Cl'lller TOP RIGHT .vitt' p/011 Circle 67 on Reader Inquiry Card Tc.t1.1.,Ard111et'I Mov•J1111 r /9H7 61 Contract Desjgn Center World Trade C-enter/Dallas, Texas Space 662 Interior products for the architect, specifier and Interior designer For further tnformat,on on any of the Seating, Desks, Conference Tables showrooms listed in the ad, please cir cle the reader Inquiry number. If you would like mtormetlon from a spec,hc showroom. please indicate so on the bo[k@OO reader mqu,ry card 214/748-1976 Space 665 Space 610 Space 679 Avante Designs, Arcadia Chair, Craftsman Furniture. Gordon Interna tional, Metalstand Co., Magna De sign. Marvel Metal. Nightingale Ltd .. Stendig Supreme Accessories. Systems Represented by Furniture Sam Schenck/Southwest, Inc. 610 World Trade Center Wilham Plante Photo Graphics Dallas. Texas 75207 Open Plan Office Systems Wells Associates/Six Design /u,\ Westinghouse Dallas 214/698-0290 Stendig \..!±) Furniture Systems Houston 713/464-8281 214/698-1726 214/744-5685 Space 588 Space 605 Space 665 WIGAND Architectural Woodwork Custom Furniture THE iTTi Bank Fixtures WELLS Custom Doors A1-u 11rr.t1uRAL Veneered Paneling JIICflDLICTS . GROUP Furniture Systems Systems/Contract/Computer/Office Glenn Hennings Dallas Showroom and Office· Furniture & Associates Wigand P.O. Box 581116 Dallas Showroom Houston Showroom 214/651-1556 Dallas. Texas 75258 Six Design Inc. A.F.W. Inc. 214'741-9663 David E. Feltman 214/698-0290 713/464-8260 Space 628 Space 620 (214) 742-4446 Circle 62 on Reader Inquiry Card examine lhe achievement<; of Dutch archi turers of commercial interior lighting pro tects and engineers. For more infonnation ducts such as lamps. fixtures. controls. re call 7 13/520..6022. flectors. and balla TrxmArdlitttct May·J1111e 1987 63 can describe temperanires. pressures, by Comfortex Corp. A photo-cell equipmem starus. etc. Personnel can com senses the ri sing or setting sun and sig municate with the chiller via iouch-tone nals the shade to open or close. A tiny. phones. and the system can be program buih-in computer tells the shade mecha med to ca ll operating personnel with sta nism to go up or down· depending on the tus reports and alarms. For more informa time of day and ti me of year. For more tion. circle number 42 on the reader in information, circle number 43 on the quiry card. reader inquiry card. A discreet safety ladder that looks like a normal drainpipe when closed has been introduced io the U.S. by JOMY Safety Ladder. Closed. the ladder measures ap proximately four by four inches. It snaps open to form a ladder 22 inches wide, with a lateral guard rail for security. For MR-16 Lamp. from Aamsro Lighti11J! more information. circle num ber 44 on the reader inquiry card. A new, line-voltage MR- 16 lamp is now available from Aamsco Lighting, Inc. The new lamp has a sharper beam CLASSIFIEDS panem. require.<; no adapter or transfor mer. screws in directly, and increa,;es de Rates: Fifty cents per word for each insenion. mini sign nexibility. For more information, cir mum $20, All words in bold are $ I each. If a cle number 41 on the reader inquiry card. Smarr Shade, by Comfnrtex Corporatinn blind box number is requested, add $10 for for York International Corp. has intro warding rcplfos. Classified advcnising is pay duced a "talking" chiller. The voice syn A solar-powered window covering able in advance. All rares net, nor commission thesizer has a 500-word vocabulary that called Smart Shade has been introduced able. r----I 1 I ----+EXHIBITION OF I I I I RCHITECTURE FOR - r------....J I I I , ]HEALTH I I I I I ALBERT THOMAS - LI ______CONVENTION I I CENTER I I : I -'------__ l Houston I I May 31-June 2, 1987 Texas Hospital Association in cooperation with the Texas Society of Architects and the American Hospital Association. For rules and entry forms contact Gerry Starnes, Director, Convention Exhibits P.O. Box 15587, Austin, Texas 78761 -5587, 512/ 453-7204 Circle 64 on Reader lnqu,ry Card 64 Texas Arc-hit err Ma\'·Jw1e J9R7 Typical categories incl ude Positions Avail Architects & Planners. Inc .• 160 Nonh Washing able. Positions Wanted, Business Opponuni ton Street. Boston. MA 02114. ties, Literature Available, Used Equi pment REPRINTS Wanted. Used Equipment For Sale, Profession DESIGNER/ ARCHITECT al Services. and Computer Software. A young, progressive architectur-dl li1111. lo Classified Display Advenising: cated in Chattanooga, Tenn., is seeking profes Available ru $50 per column inch. sional candidates for the position of Designer/ Closing Dates: Architect. Minimum of two years· experience For new ads or "repeats" the closing date is required. Successful candidate must have B.A. the first of the month preceding publication degree in Architecture. Send resume to date (i.e. for a July/ August insenion. closing is Charles King Architects and Associates. Inc .. Repri111s of ads and articles that June I ). 3 17 High Street, Chananooga, Tenn. 37403. appear in Texas Architect are 615/267-2464. amilable m 1·ery reasonahle POS m ONS AVA ILABLE prices . . . pe1:fect for use as DRAFTING TECHNICIA N hallllours. direct mail pieces or PROJECT DIRECTOR Architectural fi.1111 looking for drdf1er/de prom01io11al lirera111re .for _,·our Growing Boston fi1111 seeks Senior Corpo tailer with experience. Mature, re.<;ponsible per Jirm. mte interior Designer. Ability to manage a son. Salary commensurate with experience. team and work with major clients and devel Full benefits package. Will pay moving expen opers. Ten plus years experience. Professional ses. Send resume to Architects Di Geronimo. architectunil or interior design degree preferred. 12 Sunflower Avenue. Paramus, N.J. 07652. Send resume to Paula Schumann, R. E. Dinneen Attention Vincent Benanti. Prices on request. Call Rob Field ar 5/ 21478-7386. INDEX TO ADVERTISERS Southwestern Be ll Te lephone Public Services 48 Architectural Bookshop . . 63 TexasArchitect ASC Pacific ...... 9 Texas Gas Utilities ..... 58 Association Administrators Texas Hospital Association 64 & Consultants, Inc. . . 51 Thoro System Products . . 6- 7 Assurance Services. Inc. 24 TSA Convention Ad Lnside Front Cover Bowman/ Moreno Tile . 18 Wane Tree Systems 59 Contrnct Design Center 62 Won-Door Corp. 1-4 Moving? Elgin-Butler Brick Co. 14 Eljer Plumbingware . . 24- 25 SALES OFFICES Let us know 4-6 weeks in ad vance so you won't miss any Featherlite Bldg. Products 12 MAfNOFFICE copies of TA. Please include a Texas Society of ArchiteclS copy of the old label. Great Southern Supply 52 1400 Norwood Tower Austin. TX 7870 I Harper Shuman ... & 8 Associate Publisher/ Advenising Manager HCS-Wood1cch 63 RobertB. Field 5 /21478-7386 Hugh M. Cunningham. Inc. 26 Attach Label WEST COAST OFFICES Jerry Kunz 50 Los Angeles LCRA . . . 49 I 19 West Bellevue Drive Li fetile/ Boral Henderson Back Cover Pasadena, CA 9 J .105 KenJorda11 ll8001325-53/ I i11Ca/if. New Address: Masonry Institute ofTexas 11 I 18001245-5547 all other states Name ______Miller Blueprint ...... 61 Company ______San Francisco Address ______Monier Company Inside Back Cover 57 Post Street. Suite 710-715 San Francisco. CA 94104 NCARB . . . .. 66 Warren /)e Gra_ff 4)51392-6794 City State Zip ______Negley Paint Co. 10 13 EAST COAST OFFICES Pe lla Products Mall To: PRAN, Inc . . . 53 New York Texas Architect 28 Wcst44th St. Suite 15 17 1400 Norwood Tower Red Cedar Shingle & Handsplit New York. NY 10036 Austin. Texas 78701 Shake Bureau ...... 54 Rmwrt!P. Gold 2/ 21840-6220 Tex(IS Architecl M(ly·J1111c /987 65 M US INGS ~. I ENTIDN BRJGHTSIDE ell. a.~ Garrison principles of architecture.'' A//1987 Keil lor might ~ay. 1l1is is, of course. just the W "It's been a quie t ~o n of happy. clear. fonh E x/JHt Ca11didatef5 time here in Texas, the land right, intell igent. totally where oil was king and OPEC comprehensible lecture cmved had i1s way:· On lhe vernal by the architecti. of a city full equin ox. as expected. Spring of empty office buildings. I a l.c..'IUM:tlla.,_,,...., sprung, accompanied by 1he was unable to attend- it cost .. ~ -·...... _ .. - $3 to get in- hut I am ~ure it ..... traditional blue skies. ~ofl --~~-~611,_-,~~- ...... bree1.cs. and lloral profusion. would ha ve helped. To mak e ~ ...... p,a, tW!l,ii• lt'MI~ But the architectural winter up for mis~ing the lecture. I .-·-",c..,.fWI...,..,~.,....,...... ______ha:.n't noticed: there was no compiled a list of 1hough1s 10 spri ng thaw. cheer me up, which might help This ii. recession to the others: poi nt of depression 111 the pro fession. The ironic part i~ • No matter how large your ~, 66 Tl'WS Arrhilt't'/ Mm··J11111• / 987 , MIi ''"". lltth>l unilng, IL I••• ,J lllan Faltbanu, Al J,rnr. krlli Onugr, CA 1,n,,.. romro) S1 l'ltul, MS lcllrry • undlr San Ol,go. CA ltlllti' ~on Ripe NuhvUJ,, TN Jim l:handl