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Sumptuous Icon by gregory ibaÑez, aia project client W Dallas Victory Hotel and Residences, Dallas Anland Partners/Gatehouse Capital architect HKS Architects Nunzio De Santis, AIA; Eddie Abeyta, AIA; Brad design team Schrader, AIA; Karen Yeoman contractor McCarthy consultants Brockette Davis Drake (structural); James Johnston & Associates (mechanical); Curtain Wall Design & Consulting (facade constructability); Counsilman/Hunsaker (pool and fountain design); 555 Design (Ghost Bar interiors design); SWA Group (landscape architect); ShopWorks (hotel interior design); Halff Associates (civil); Morrison Seifert Murphy (north tower condominium interior design) Cadwallader Design (south tower condominium interior design) photographer 24 t e x a s Blake Marvin a r c h i t e c t DALLAS has long had an “edifice complex,” a skyline fixation that certainly isn’t unique among American cities. Given the aggressive business spirit of the city and its constant insecurity about being perceived as “international,” Dallas always has measured itself by the health and style of the downtown’s silhouette. The seminal example is the 1922 Magnolia Building, a 29-story Renaissance Revival tower designed by Alfred Bossom of New York. The tallest building in Dallas for the next 20 years, it was crowned in 1934 with a neon Pegasus in 1934—then the symbol of the Magnolia Oil Company and now the unofficial logo of Big D. In 1955 Harrison and Abramovitz’s Republic Bank Towers added sophisticated corporate modernism to the cityscape (although topped with a rather whimsical neon weather barometer). However, it was the unfettered construction boom of the early 1980s that raised the ante for skyline impact. A pair of SOM buildings (Trammell Crow Center in 1984 and Chase Bank Center in 1987) epitomized the opulence of the era with their encyclopedic display of granite, marble, and exotic wood veneers and conspicuous chapeaus. Forward-thinking local architects cheered the 1986 arrival of Henry Cobb’s Fountain Place, a winning combination of Dan Kiley’s water gardens and dynamic glass geometry. That same cadre of local architects audibly groaned when Philip Johnson’s opulent French-inspired Crescent appeared on the scene in 1985 and was widely celebrated as the ne plus ultra symbol of Dallas’ sophistication. The latest wave of new high-rise structures continues this eclectic tradition, with buildings of every flavor imaginable. Unlike the 80s, though, there also are a number of excellent buildings by local firms that are confidently establishing a “Dallas Modern” standard. The W Dallas Victory 7 / 8 2 0 0 7

Texas Architect July/Aug 2007: Luxury

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