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windows have been positioned in that curved copper wall is done with some great sensitivity. I suspect that this building is a wonderful sundial as the sun shifts around that building. And the patina also relates to our vision of what the natural world is, certainly in Pennsylvania where things are green.” Within the building, fledgling architects and landscape architects share rich visual and material connections to the outdoors from inside open, airy studios. The site initially seemed hugely undesirable and uniformly unloved. (Terms such as “degraded,” “backof-the-house,” grim-looking,” and “a leftover” were commonly used to describe the site.) The ill-defined parking lots and an imposing water tower reinforced the hodge-podge nature of the proposed location wedged between arts buildings and dormitories. But closer study underscored the heavy pedestrian traffic and the dynamic, pivotal quality of two abutting campus grids. “The building had to fit in such a way as to knit together the many disparate parts,” said Bob Shemwell, FAIA, an Overland principal and the project’s lead designer. (Also part of the design team were two Pittsburg firms, WTW as the associate architect and LaQuatra Bonci Associates as the landscape architecture firm.) And the results are successful. The new parking lot, with bioswales for stormwater treatment, is a beautiful and instructive design on its own, and its planning with new athletic fields and axial walking paths leading to and through the building has changed the perception of this whole area. “This part of the campus previously had no order,” said Dan Willis, head of the architecture department. “Now it seems like the perfect site for the building.” With forms that respond with logic and clarity to function, site, and client, the new building comes across as a collage. The donor “wanted a more traditional building,” Shemwell said. The east facade appears to be two buildings in the campus’s traditional brick. The office wing to the south, with its horizontal ribbon windows and brises-soleil, connects to the studio wing to the north, where three-story brick piers with copper-clad spandrels give way at the upper-most level to a doubleheight wall composed largely of glass. The building’s main eastern entry, with an upturned canopy, sets on an axis at the juncture of these two wings—as does the imposing water tower located on the building’s opposite side. “We knew it wasn’t going away,” Shemwell said. The architects emphasized its position on axis with the main entrance, allowing it to look, from some positions, like a dome. They neither fought it nor surrendered to it, but saw its potential as being one part of an additive composition rather than a controlling feature. Then there’s that green wall. A wrapping skin at the north end of the building, it opens into a giant rectilinear tube that frames views at the south. To the architects’ credit, this prominent component of the project is more


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Texas Architect Sept/Oct 2007: Design Awards  
Texas Architect Sept/Oct 2007: Design Awards  

Texas Architect is the official publication of the Texas Society of Architects, each edition features recently completed projects and other...