19 9 8 AWARD WINNERS D E S IGN T AWA U.S. GENERAL SERVICES ADMINISTRATION 1998 Award Winners e Internet Archive in 2015 U. S. G E N E https://archive.org/details/designawards199800unit ONORING THE PAST AND IMAGINING THE FUTURE The U.S. General Services Administration is proud to honor the winners of our fifth biennial Design Awards. The 1998 Design Awards are the last of this century, but the work they recognize will endure far into the next millennium and even beyond. Our President and First Lady have asked the American people to celebrate the millennium by "honoring the past and imagining the future." In its own unique way, each of our award-winning projects does this, honoring our democratic system of government and our heritage while providing places for future generations to work and seek inspiration. As builder for the Federal civilian Government, steward of many of our Nation's most valued architec- tural treasures, and manager of the Art-in-Architecture program that incorporates works by outstanding contemporary artists into Federal facilities, GSA contributes to our architectural and artistic legacy. Through our Design Excellence Program, we seek the best in design, construction, and restoration. Our Design Awards Program honors “the best of the best.” These award-winning projects exemplify many of the goals of both the Administration and GSA regard- ing Federal buildings. We are trying to keep our Federal buildings as open to the public as possible, yet reality requires us to consider the security of those who work and conduct business in them. This is why we commission such projects as the guidelines for perimeter and entrance security in Washington's Federal Triangle. Executive orders require Federal offices to be located in historic buildings and down- town areas as much as possible. Most of our award-winning buildings — some new and some historic — provide room for an expanded Federal presence in urban settings. The Lens Ceiling at the U.S. Courthouse and Federal Building in Phoenix, Arizona, and the architectural glass walls of the Robert C. Byrd U.S. Courthouse in Charleston, West Virginia, reflect our renewed emphasis on art that is incorporated into the architecture of a building. Justice and Africa Rising, on the other hand, convey the very essences of their venues: a Federal courthouse and the African Burial Ground in New York City. We are pleased that many graphic designers entered projects in 1998. Their work reflects GSA's emphasis on communicating the stories of our buildings with publications like United States Court of Appeals for the Ninth Circuit , and on incorporating coordinated, state-of-the-art signage, as in the Mark O. Hatfield U.S. Courthouse in Portland, Oregon. I congratulate the winners and thank all who submitted projects. David /. Barrarn Administrator ACHIEVING DESIGN EXCELLENCE Each day, GSA’s Public Buildings Service is challenged to meet — and anticipate — the diverse needs of its Federal agency customers for facilities that serve the American public. The biennial GSA Design Awards help us and the public assess our performance in meeting these needs. This year’s 23 award-winning projects are a testament to our success. Two of these projects demonstrate GSA’s commitment to preserving our Nation’s architectural legacy while providing up-to-date work environments for Government business: the restoration and renovation of the neoclassical U.S Courthouse and Post Office in Portland, Maine, and of the Romanesque Revival U.S. Courthouse and Post Office in Brooklyn, New York. Where new facilities are needed, Federal policy requires GSA to seek sites and designs in accord with the economic development plans of local commu- nities. This year’s award-winning courthouses in Portland, Oregon; Charleston, West Virginia; and Scranton, Pennsylvania all meet these tests. Equally important is quality design that embraces the com- munity and represents the Federal presence in an open, democratic manner. The new courthouse in Central Islip, New York, embodies these principles and will be an important civic landmark for the com- munity and the Nation. Many of our awarding-winning designers and artists have used their wit and skill to transform classical elements into forms and images appropriate to 21st century America. The designs of the Ronald Reagan Building and International Trade Center in Washington, DC, and the Africa Rising sculpture at 290 Broad- way in New York City are rooted in classicism. The Jacob Javits Plaza in New York City is a modern, whimsical interpretation of formal 17th century French garden design, and the new courthouse in Charles- ton, West Virginia, has contemporary stained glass walls based on those in European cathedrals. Other projects, like the Bureau of the Census building in Bowie, Maryland, with its stainless steel tensile truss system, and the new courthouse in Phoenix, with its cable-suspended “lens ceiling,” rely on technology for their forms. GSA has engaged some of the finest architects, designers, engineers, artists, and graphic artists working in America today. Through collaborative partnerships, we are achieving the principal goals of the Guiding Principles for Federal Architecture: (1) producing facilities that reflect the dignity, enterprise, vigor, and stability of the Federal Government; (2) avoiding an official style; and (3) incorporating the work of living artists in our public buildings. My congratulations and sincere thanks to all the award recipients for helping GSA maintain its commit- ment to produce public buildings worthy of the American people. Robert A. Peck Commissioner Public Buildings Service 3 A R D Citations Ronald Reagan Building and International Trade Center Washington, District of Columbia National Data Processing Center Bureau of the Census U.S. Department of Commerce Bowie, Maryland Architecture Robert C. Byrd U.S. Courthouse Charleston. West Virginia On the Boards U.S. Courthouse and Federal Buil Central Islip, New York Art Federal Triangle Flowers Ronald Reagan Building and International Trade Center Washington, District of Columbia Boundary Markers National Building Museum Washington, District of Columbia Mark O. Hatfield U.S. Courthouse Portland, Oregon U.S. Port of Entry Point Roberts, Washington Graphic Design Booklet United States Court of Appeals Building for the 9™ Circuit San Francisco, California Signage Mark O. Hatfield U.S. Courthouse Portland, Oregon U.S. Post Office and Courthouse Brooklyn, New York William J. Nealon Federal Building and U.S. Courthouse Scranton, Pennsylvania Historic Preservation/ Cons e rvat ion Edward Gignoux U.S. Courthouse Portland, Maine Restoration Alexander Calder’s Flamingo Chicago, Illinois Justice Warren B. Rudman U.S. Courthouse Concord, New Hampshire Africa Rising 290 Broadway New York, New York Untitled (Architectural Glass) Robert C. Byrd U.S. Courthouse Charleston, West Virginia Lens Ceiling Federal Building and U.S. Courthouse Phoenix, Arizona Engineering Graphic Design Engineering and Environmental Study U.S. Courthouse and Federal Building Phoenix, Arizona Renewing the Commitment 30™ Anniversary of the Architectural Barriers Act Landscape Architecture Jacob Javits Plaza New York, New York Urban Planning Urban Design Guidelines for Physical Perimeter and Entrance Security: An Overlay to the Master Plan for the Federal Triangle Washington, District of Columbia Governors Island Land Use Study New York Harbor New York, New York Ronald Reagan Building and International Trade Center Washington, DC y A WAR D ARCHITECTURE This building is a SUCCESSFUL COMPLETION TO THE FEDERAL TRIANGLE COMPLEX. IT HOLDS ITS OWN AGAINST THE ORIGINALS A FEAT THAT IS SELDOM ACCOMPLISHED. WHILE THE BUILDING MAY BE TOO HISTORICIST TO SOME PEOPLE, IT SHOWS HOW EXCELLENCE OF PROPORTION, EXQUISITE DETAILING, AND USE OF FINE MATERIALS CAN TRANSCEND STYLISTIC ISSUES TO CREATE A COMPELLING URBAN PLACE. - Jury Comment Fitting the last piece into a puzzle is not always easy, particularly when the puzzle is the historic 70-acre Federal Triangle complex of Government office buildings in the heart of the Nation’s capital and the piece is a 3.1 -million-square-foot building — the second largest Federal building after the Pentagon. Eschewing a facile replication of the surrounding buildings, architect James Ingo Freed merged traditional and con- temporary themes to create a mixed-use building of permanence and stature. The key to the design is the turning of Pennsylvania Avenue. The insertion of Free- dom Plaza in 1979 terminated the avenue’s axis at 13 th Street, bifurcating it and chang- ing its direction. Rather than let it simply dwindle away, Mr. Freed designed a large domed rotunda at the corner of the building to act as a hinge that symbolically turns the avenue into a four-acre public courtyard. The rotunda serves as the front door for the International Trade Center. The building’s 14 th Street side is the principal entrance to the Federal offices. To counter the linear bulk of the block-long Department of Commerce building across the street, Mr. Freed curved the Reagan Building’s facade inward. While the limestone exterior maintains the scale and massing of the neighboring neoclassical buildings, the Reagan Building’s classicism derives from Mr. Freed’s contemporary interpretation of the style. Details are constructed by layered walls, or flat slabs of built up stone, one plane on top of the other. There are no pilasters per se, but only pieces of flat stone standing upright; no podium, but a rusticated base designed to capture light and shadow in abstract patterns. Inside, the building reflects Mr. Freed’s reputation as a modernist. A circular atrium 175 feet in diameter occupies the building’s full 1 10-foot height and provides a stun- ning light-filled public space. To create a more human scale, Mr. Freed inserted a cone- shaped skylight inside the circle. The cone starts out low and ends up high, opening in a structural rhythm from a 30-foot span in the front to 175 feet in the back. Credits James Ingo Freed Pei Cobb Freed & Partners Architects LLP Ellerbe Becket Architects & Engineers, P.C. National Capital Region Public Buildings Service U.S. General Services Administration 6 iaw=» \ X x \l l\ X \ National Data Processing Center Bureau of the Census Bowie, Maryland HONOR y A WA R D ARCHITECTURE Credits Steven M. Davis Davis, Brody, Bond Harold E. Davis Toby + Davis National Capital Region Public Buildings Service U.S. General Services Administration Using a stainless steel tensile truss glazed system and metal flat and ribbed panels in a palette of white and gray, the architects created a sleek, airy computer and telecom- munications center reflecting the Census Bureau’s commitment to technology. Win- dow walls and large expanses of glass provide a light-filled work environment while minimizing the mass of the 130,000-square-foot, one-story building that sits in a park- like suburban setting. The building projects an image of openness and accessibility, even though numerous protection devices are concealed within the structure to provide a high level of safety and security. Flexibility and adaptability for computer and telecommunications equipment are achieved through an accessible cable-tray system in the corridors, allowing for easy recabling of computer and office modules. All of these modules are on flush-raised floors two feet deep. Movable partitions permit the open office spaces to be rearranged and the conference areas to be subdivided as needed. Views to the outdoors from of- fices, break areas, and corridors eliminate visual monotony. To contain construction costs, economical ground-faced concrete bearing walls and a simple, lightweight joist roof system were used as the major components of the com- puter modules. Flooring and ceiling materials are “industrial” and easy to maintain, yet human in scale. A corrugated metal skin wraps the mechanical modules. A single- story design was chosen to avoid the cost of elevators and stairs. AN ELEGANT AND OPEN WORK OF ARCHITECTURE THAT HONORS THE POETIC AND SUBTLE ROLE OF TECHNOLOGY AND DETAIL. A GREAT ROLE MODEL FOR INEXPENSIVE AND MODERN AESTHETIC DEPLOYED IN A GENERALLY NONPUBLIC BUILDING THAT STILL CONVEYS ACCESSIBILITY AND OBJECTIVITY APPROPRIATE for the U.S. Census Bureau. - Jury Comment 9 Mark O. Hatfield U.S. Courthouse The building DEMONSTRATES A CARE AND CRAFTSMANSHIP THAT IS MARKEDLY REASSURING IN SUCH A PROMINENT PUBLIC BUILDING. The asymmetrical, YET BALANCED, FACADE SPEAKS TO THE LANGUAGE OF A COURTHOUSE IN A REFRESHING CONTEMPORARY WAY. - Jury Comment Portland, Oregon y A WA R D ARCHITECTURE The courthouse takes its form from its context — a small city block adjacent to the historic Lownsdale and Chapman Square parks, commanding views of the Willamette River and Mount Hood, a strong pedestrian streetscape, and the nearby Justice Cen- ter, County Courthouse, and Portland Building — and a demanding functional pro- gram. The 563,300-square-foot building is actually a series of sculptural masses that work like separate buildings for various court-related functions. A 1 6-story tower containing the courtrooms and judges’ chambers intersects an eight- story “sidecar” containing administrative offices, a law library, and a cafe. The sidecar, which has a roof terrace open to the public, matches the height of the County Court- house across the park and the “waistline” of the adjacent Justice Center. The tower is layered functionally from west to east. To the west, public lobbies with a glass curtain wall offer magnificent park views. At its heart, a limestone-clad moment frame houses the courtrooms and jury deliberation rooms. The limestone represents the perma- nence and weight of the judiciary. The courtrooms and jury deliberation rooms are filled with natural light via “light scoops” near the ceilings that channel sunlight in through the adjacent corridors, providing a view of the sky and visual interest. The judges’ chambers are stacked and paired east of the courtrooms in glass bays with views of the river and mountains. Capping the building is a dramatic arched roof that provides a rich acoustic ceiling and airy decorum to the 16 th -floor ceremonial courtroom, where new citizens are sworn in and the highest profile cases are heard. The roof tapers to an aerodynamic edge with an awning dramatically cantilevered over another roof terrace with stunning views eastward to Mount Hood. Credits William Pedersen Kohn Pedersen Fox Associates, PC. John A. Meadows BOORA Architects, Inc. Northwest/Arctic Region Public Buildings Service U.S. General Services Administration U.S. Port of Entry Point Roberts, Washington HON R D ARCHITECTURE Credits David Miller The Miller/Hidl Partnership Northwest/Arctic Region Public Buildings Service U.S. General Services Administration The Point Roberts peninsula is the westernmost Port of Entry along the 49 th parallel dividing the continental United States and Canada — the longest straight-line border in the world. The border station was conceived as a bold gesture to stand as a remote sentinel of national identity. The design focused on integrating an appropriately scaled and elegantly detailed building with the naturally forested setting to mark the inter- national boundary and gateway. A dramatic mast and cable structural system supports the building’s two inspection canopies. These canopies are inspired by the masts and sails of the boats in the waters surrounding Point Roberts. As a counterpoint to the canopies, the internal program functions are housed in two wood-clad '‘boxes,” reflecting the minimal development of the area — some residences, a small commercial center, and a marina. Open office and public information areas are located in glazed and steel-framed pavilions attached to the boxes. Continuous skylights along the intersection of the two components illuminate the steel joinery framing the open, airy interior. The “boxes” screen a busy road to the east, while the drive-through inspection areas, office space, and lobby face the forest, creating a primeval environment for workers and visitors. It’s clean; it’s crisp; it’s tight; it works. It feels like it was done FOR THAT PLACE AND FEELS RIGHT FOR THAT PLACE. Material and form come TOGETHER TO WELCOME THE VISITOR AND TO MAKE THIS TRANSITIONAL MARKER LESS STRESSFUL. GOOD COLOR AND PROVOCATIVE GEOMETRY. - Jury Comment 1 3 Booklet United States Court of Appeals Building for the Ninth Circuit San Francisco, California y AWARD GRAPHIC DESIGN "*'U9>v The U.S. Court of Appeals building in San Francisco is one of America’s most beauti- ful Federal buildings. Designed in the 1 890s by James Knox, the Supervising Architect at the U.S. Treasury Department, the building is one of the finest examples of the American Renaissance style — a distinctly American expression of French Beaux-Arts classicism. The building was one of the few to survive the earthquake of 1906 but was severely damaged in the Loma Prieta earthquake in 1989. As a result, GSA undertook a complete renovation and 45,000-square-foot addition, along with a seismic retrofit using base-isolation technology. This booklet was published to commemorate the his- tory and rebirth of this landmark building and inform the public about a unique American architectural treasure. The publication CELEBRATES THE BUILDING’S HISTORY AND REBIRTH THROUGH A SERIES OF BEAUTIFUL PHOTOGRAPHS, ELEGANTLY PRESENTED. It engages the reader AT SEVERAL LEVELS: VISUALLY THROUGH THE PHOTOS AND INTELLECTUALLY THROUGH THE EASY-TO-READ, CLEARLY COMPOSED TEXT. - Jury Comment The design of the 5. 5-by-8. 5-inch, 48-page booklet was preceded by months of research on the building’s history. At the same time, the building was photographed while being restored. The designer spent many hours studying the various marbles, woodwork, and carvings. This background work helped the designer create a look and feel for the booklet that reflects the building’s luxurious materials and detailed orna- mentation. The booklet contains many full-page photographs inset with details of the elaborate designs of the floors, walls, and ceilings. Cost was considered throughout the process. Historic photographs were consolidated and reproduced in black and white, allowing a number of signatures to be printed in just two colors (black and spot varnish). Use of digital proofs expedited approvals and contained costs. The booklet was printed on a digital press, minimizing the make- ready process. The text was judiciously edited and carefully coordinated with the photographs and illustrations. The result is an easy-to-read and visually compelling booklet that gives the reader a brief but complete view of the history and significance of this remarkable landmark. 1 4 Credits Rick Helf Rightside Imaging Pacific Rim Region Public Buildings Service U.S. General Services Administration (jftllS a melange of marble mosaics, colun carved Corinthian capitals, cast-plastc and flowers, and stained-glass windows The bounty of California agrici expressed in the garlands of fruits and v< - corn, pears, apples, grapes and artichokes - carved in marble around the columns and door frames. The motif also appears in the exuberantly ornamented ceiling. Three ceramic- mosaic lunettes decorate the south wall, depicting "Sciences, Literature and the Arts," the "Philippines, Puerto Rico, Columbia, and Hawaii," "Agriculture. California, and Mining." Courtroom No. Two is smaller and lar more restrained. Created for the Circuit Court, it is elegant in irs comparative simplicity, The sides mahogany benches for the judge and clerk arc- covered with beautiful slabs of red Numidi.in marble, inlaid with a blue and white glass mosa- ic. Two big white marble caryatids - female- people who built it. The American taxpayers at the end of the 19th century gave us a build- ing worth saving. Those at the end of the 20th century have continued the legacy by preserving this architectural treasure for future generations. century yet connect to the past in real and poetic ways. To link the atrium to the old building, Hartman had granite walls built around its perimeter. The steel spindles of the stairway railings echo the cages of the old postal windows lining the west wall; the library's white marble counters allude to those windows as well. Layers of history unfold as one moves from the old building to the center of the new. A web of steel beams running along the atrium roof connects the new space to the old, tying them together visually and structurally. These "seams” are covered with glass mem- brane skylights that let natural light pour into both the atrium and the adjoining historic spaces. For the first time the general public can see the beautiful courtyard facades. Strengthened to withstand the force of nature and restored to its original splendor, this beautiful building stands as a testament to the 1 5 Signage Mark O. Hatfield U.S. Courthouse Portland, Oregon AW A GRAPHIC DESIGN The graphic designer has THOUGHTFULLY INTEGRATED AN EASILY UNDERSTOOD INFORMATION SYSTEM INTO THE DESIGN OF A COMPLEX BUILDING. - Jury Comment The signage for the new Mark O. Hatfield U.S. Courthouse is distinguished by its thoughtful integration into the architecture. The graphic design team was chal- lenged to develop a multifaceted environmental graphics program that would reflect the timeless tradition and dignity of the judiciary within the context of a modernist building containing state-of-the-art technology. The project encompassed not only exterior and interior signage but also the planning and design of electronic video displays for court calendars and an interactive touch-screen building directory system. Court clerks used to post courtroom schedules by hand on clipboards at each court- house entrance. This antiquated and inefficient system was replaced in the new court- house by integrating electronic information displays into the architecture at 26 lobby locations in the 16-story building. A video wall adjacent to the law court elevator lobby displays each day’s proceedings. This display wall is augmented by interactive electronic information displays in each courtroom floor lobby, allowing access to the building directory and other information. The information on the interactive elec- tronic displays, including a home page and floor plans, was designed by the same team that designed the building’s signage to ensure compatibility and continuity. Working with the architects, the graphic designers developed stainless steel equipment enclo- sures for the interactive system so that they became a compositional element along with the limestone, cherrywood, and plaster walls. Credits Michael Reed Mayer/Reed Northwest/Arctic Region Public Buildings Service U.S. General Services Administration Public Buildings Service Commissioner Robert A. Peck (front row, left) with the GSA Design Awards jury: Chair Robert A. M. Stern (front) and jurors (left to right) Garth Rockcastle, William Hellmuth, Leslie Gallery-Dilworth, Pamela Hawkes, Charles Durrett, Tom Moran, Allison Williams, Fred Kelley, Arthur Gensler. Jury Robert A.M. Stern (Chair) New York, New York Architecture Charles Durrett Berkeley, California Child Care Leslie Gallery-Dilworth Philadelphia, Pennsylvania Graphic design Arthur Gensler San Francisco, California Interior Design Pamela Hawkes Boston, Massachusetts Historic Preservation William Hellmuth Washington. District of Columbia Fred Kelley Arlington, Virginia Engineering Tom Moran Trenton, new Jersey Art Garth Rockcastle Minneapolis. Minnesota Architecture Allison Williams San Francisco, California Architecture 1 8 ARCHITECTURE Robert C. Byrd U.S. Courthouse Charleston, West Virginia ARCHITECTURE The courthouse combines A VARIETY OF STYLISTIC ROOTS NEOCLASSICAL, EGYPTIAN AND ART DECO, TO NAME JUST A FEW TO CREATE ITS OWN IDIOSYNCRATIC LANGUAGE, WHICH IS APPLIED TO THE ENTIRE PROJECT WITH A DELIBERATE CONSISTENCY. The details and ornament Balancing the solemnity and noble principles of the justice system with the needs of the people who encounter the system on a day-to day basis, the Robert C. Byrd U.S. Courthouse is classical in disposition but modern in detail. Located on a city block adjacent to other government and court buildings in downtown Charleston, the seven- story, 325,000-square-foot courthouse is the second-largest building in West Virginia. It strives to relate to other Charleston civic landmarks, including renowned architect Cass Gilbert’s gold-domed State capitol and a late 19 ,h -century Richardsonian Ro- manesque town hall. The base of the building is clad in heavy rusticated stone, with a four-story portico marking the main entrance. The top of the building is crowned with an oversized, perforated metal cornice with Art Deco-inspired detailing. ARE BOTH INVENTIVE AND EXTREMELY WELL CRAFTED. - Jury Comment Inside, the building is organized around a skylit rotunda. The first four floors are Federal offices, and floors five and six each contain four courtrooms grouped around a central waiting area. The courtrooms are ringed by secure corridors and corner of- fices. This is the first courthouse to be designed using the revised U.S. Courts Design m Guide that requires separate and secure corridors for judges, prison- ers, and the public. The top floor contains a ceremonial courtroom overlooking the Kanawha River and [ four appellate judges’ chambers. f imi Credits Gary Haney Skidmore, Owings and Merrill LLP Mid-Atlantic Region Public Buildings Service U.S. General Services Administration 20 U.S. Courthouse and Federal Building Central Islip, New York ON THE BOARDS Richard Meier Richard Meier & Partners Michael Spector The Spectorgroup Northeast and Caribbean Region Public Buildings Service U.S. General Services Administration Clarity of internal organization and direct circulation were guiding principles for this crisp, white, rectilinear Federal courthouse overlooking the Atlantic Ocean on Long Island. A striking conical drum encloses the entry and leads to a soaring 1 1 -story atrium that provides light and a central reference point for public circulation on each floor. Public corridors are on the south facade, with magnificent ocean views. This gives transparency and a sense of openness consistent with the ideals of a democratic soci- ety to this large, 925,000-square-foot courthouse. Staff circulation zones and judges’ chambers are on the north side. The conical drum is a contemporary expression of the Beaux-Arts entry hall and the early American bell tower — a landmark element at once recognizable as the entry. It is designed to serve as an appropriately scaled arrival point for large crowds entering the building. On the north facade, the ceremonial courtroom extends from the build- ing and is expressed as a chamfered box in counterpoint to the conical entry drum. A courtroom module is stacked four high and wide along a massive three-foot-thick limestone wall. One side opens to the courtrooms. On the other side are public lobbies with ocean views through louvered glass. Another limestone wall perpendicularly bisects the first, separating district and magistrate courts from the bankruptcy courts. The jury admired the ELEMENTAL QUALITY OF THE COMPOSITION WHEREIN THE FUNCTIONAL COMPONENTS ARE CLEARLY EXPRESSED AND ORGANIZED. BUILDING MATERIALS INTERFACE SIMPLY AND ELEGANTLY TO AMPLIFY THE READING OF THE VOLUMES WITHIN THE OVERALL BUILDING MASS. THE LAYERING OF THE EXTERIOR WALL SYSTEM IS DRIVEN BY THE GOAL TO ARTICULATE SCALE AND ADMIT CONTROLLED LIGHT INTO THE PUBLIC CORRIDORS AND IS MASTERFULLY ACHIEVED. - Jury Comment 2 1 mniiiii mm U.S. Post Office and Courthouse Brooklyn, New York ON THE BOARDS Approximately 85,000 square feet of space are being deftly inserted into the heart of this historic landmark to renew its place in the civic life of Brooklyn. By filling in portions of the light court of the 1933 addition to this late 19 th century Romanesque Revival Federal Courthouse and Post Office, the building will have a spacious new mezzanine, four new courtrooms on the second and third floors, and 40,000 square feet of new, efficient office space on the upper floors to service the courts and U.S. Attorneys. The Postal Service will occupy the existing loading platform at ground level, the first floor of the 1933 addition, and the new mezzanine. Credits R. M. Kliment Frances Halsband R. M. Kliment & Frances Halsband Architects Northeast and Caribbean Region Public Buildings Service U.S. General Services Administration Significant historic elements are being restored, and new elements are being carefully integrated into the historic fabric to introduce maximum natural light. Original wood and marble are being cleaned and restored, and paint colors and patterns are being replicated. To determine the original paint colors, successive layers of paint are being removed in a series of test “windows” until the original surface is revealed. A new monumental flight of steps scaled to the existing building connects the entrances to the street and overlooks a block-long public park. The design improves BUILDING CIRCULATION AND ADDS VALUABLE PROGRAM SPACE WITHOUT SACRIFICING THE SPIRIT OF THE SIGNIFICANT INTERIOR SPACES AND WITH LITTLE OR NO IMPACT ON ITS EXTERIOR APPEARANCE. THE CLEVER DESIGN SOLUTION, AS WELL AS THE RESTORATION OF HISTORIC SPACES, DEMONSTRATES THAT RESPECT FOR HISTORIC ARCHITECTURE NEED NOT HAMPER CREATIVITY. - Jury Comment 22 William j. nealon Federal Building and U.S. Courthouse Scranton, Pennsylvania ON THE BOARDS The use of materials AND THE RHYTHM AND PROPORTIONS OF THE OPENINGS IN THE NEW PIECE ECHO THOSE OF THE EXISTING BUILDING, WHILE THE DETAILS PROVIDE A CLEAR SENSE OF CONTEMPORARY SPIRIT AND CONTRAST. THE CONSIDERATION OF PUBLIC SPACE AS THE ORGANIZING FORCE AND THE USE OF THE ENTRANCE ATRIUM TO LINK THE TWO BUILDINGS ENABLE THE ORIGINAL BUILDING TO REMAIN A VITAL PART OF THE NEW COMPLEX AND CREATE EXCITING OPPORTUNITIES FOR INTERACTION. - Jury Comment mm This project is notable for its success in making a complex of two buildings — one a Depression-era neoclassical Courthouse and Post Office and the other a new build- ing — work functionally and symbolically as a single, unified building. The design endows the new and existing buildings with their own identities, reflecting both a respect for history and a need for making public buildings appropriate to their times. The new companion building is equal in architectural and urban presence to its restored neoclassical neighbor. The new building avoids historic symbolism or stylis- tic reference to the existing building’s traditional ornamentation, while being careful to respect the older building’s materials and proportions. The two buildings read as different generations of the same family. The unity of the complex is achieved by a large sky-lit atrium through which the public accesses both buildings. Opening onto Courthouse Square through a four-story curtain wall, this transparent entry space substitutes for the ubiquitous rotunda common to many government buildings and emphasizes the court’s status as an open and democratic institution. Credits Peter Q. Bohlin Bohlin Cywinski Jackson, Architects Mid-Atlantic Region Public Buildings Service U.S. General Services Administration 23 Edward Gignoux U.S. Courthouse Portland Maine HISTORIC PRESERVATION/CONSERVATION THIS REMODELING AND RESTORATION PROJECT BALANCES CAREFUL RENEWAL OF THE SIMPLE DIGNITY OF THE ORIGINAL PUBLIC SPACES WITH CONTEMPORARY AND COMPLEMENTARY DESIGN OF NEW COURTROOM SPACES. The thoughtful research, SENSITIVE DESIGN, AND CAREFUL CRAFTSMANSHIP THAT UNDERLIE THIS PROJECT WILL EXTEND THE USEFUL LIFE OF THIS TREASURED LANDMARK WELL INTO THE 2 1 ST CENTURY. - Jury Comment A sensitive restoration and renovation of the U.S. Courthouse in Portland has provided a state-of-the art court facility while restoring the historic character of the building. The original 1911 courthouse, which is on the National Register of Historic Places, was an imposing, two-story, granite structure with one District courtroom. In 1 932, the building was expanded to occupy the whole block and include a Post Office. Over the years, repairs and renovations removed and obscured many of the building’s original fixtures and finishes. Its programmatic needs changed, and a number of court functions were taking place in inadequate and inappropriate converted spaces. Security has been improved by an addition within the existing service courtyard consisting of a new stair and elevator core, a secure sallyport, and judges’ parking. A new District courtroom with judge’s chambers and jury room was created out of converted office space and the former Post Office. The square shape of the courtroom responds to the District judge’s desire for a balanced arrangement of the judge, jury, public, and court staff around a central “well” of tables for the defense and the pros- ecution. A mural depicting a modern interpretation of the Allegory of Good Govern- ment surrounds the upper portion of the courtroom. The original District courtroom was restored, including reconstruction of the original ornamental plaster ceiling. A new witness stand and jury box meet today’s requirements while remaining com- patible with the courtroom’s historic oak furnishings. On the exterior, aluminum windows were replaced with wood windows with the profiles of the originals. CREDITS Andrea P. Leers Leers Weinzapfel Associates Architects New England Region Public Buildings Service U.S. General Services Administration 24 Restoration Alexander Calder's Flamingo Chicago, Illinois J H HISTORIC PRESERVAT ON/CONSERVATION Credits Robert G. Lodge McKay Lodge Fine Arts Conservation Laboratory, Inc. Great Lakes Region Public Buildings Service U.S. General Services Administration Flamingo by Alexander Calder was installed at the Chicago Federal Center in 1974. Its graceful curves and brilliant orange complement and contrast with the black and blocky enormity of the Mies van der Rohe buildings closing in and towering around it. Restoring this internationally renowned sculpture and symbol of GSA’s commitment to quality public art required the application of industrial techniques to art conserva- tion. New industrial coating materials and the methodologies of the modern steel- coating industry provided a solution to a problem that was addressed three times in the past by simple, but ineffective, repainting. Complete removal of all of the coating was necessary because of accumulated thickness. Both accurate color and a very specific surface quality were required. Color mixing, ambient temperatures and humidity, and timing of applications were critical. The result — achieved in consulta- tion with the Calder Foundation — is a finish that matches the original in color and surface quality while adding superior color-retention properties and protection against moisture penetration. The use of state-of-the-art METHODS AND EXPERTISE HAVE SET STANDARDS FOR OTHERS TO CONSULT WHEN FACED WITH OUTDOOR SCULPTURE PRESERVATION PROJECTS ACROSS THE COUNTRY. THIS PROJECT SHOULD SERVE TO STIMULATE OTHERS TO BEGIN SIMILAR PRESERVATION EFFORTS ON ENDANGERED WORKS. - Jury Comment 25 Engineering and Environmental Study U.S. Courthouse and Federal Building Phoenix, Arizona ENGINEERING Ove Arup & Partners DEVISED AN INNOVATIVE, UNIQUE SOLUTION TO A COMPLEX COOLING CHALLENGE THAT ALLOWS THE COURTHOUSE TO BE BUILT WITH AN ATRIUM THAT ADDS SIGNIFICANT ARCHITECTURAL AND FUNCTIONAL VALUE TO THE BUILDING. - Jury Comment The heart of the new U.S. Courthouse and Federal Building in Phoenix will be a stunning six-story, 58,000-square-foot rectangular glass atrium. This bold design by architect Richard Meier was made economically feasible and environmentally respon- sible by designing a passive climate-controlled cooling system. CREDITS Mahadev Raman Ove Arup & Partners Using digital modeling techniques, Ove Arup 8c Partners worked closely with GSA and its architects to demonstrate that a passive system that relies on evaporation, natural ventilation, shading devices, and the use of conditioned spill air from adjacent balco- nies could achieve sufficient cooling in this very hot Sonora Desert environment to make Mr. Meier’s vision a reality. Air will enter the atrium through an inlet just below the ceiling and will be cooled by water-spray nozzles above the balconies. The high- density cooled air will descend along the balconies to the floor of the atrium and then flow out through openings a few meters above the floor level. Pacific Rim Region Public Buildings Service U.S. General Services Administration 26 Jacob Javits Plaza New York, New York LANDSCAPE ARCHITECTURE The lyrical curving BENCHES AND BOLDLY POSITIONED PLANTERS ENLIVEN A FLAT URBAN PLAZA IN COLORFUL COUNTERPOINT TO THE GRIDLOCKED PATTERN OF ONE’S NORMAL EXPERIENCE OF MOVEMENT IN MANHATTAN. The work establishes a MOST UNEXPECTEDLY DISTINCT AND CHEERFUL URBAN OASIS IN CONTRAST TO MOST OTHER EXTERIOR HARD-SURFACED PLAZASCAPES. THE USE OF THE STANDARD NYC PARKS Department bench as THE MODULE TO ACHIEVE THE OVERALL DESIGN IS A BRILLIANT EFFORT TO CREATE A WORK OF PROFOUND INTEREST TO THE PUBLIC’S EXPERIENCE. - Jury Comment With a humorous poke at Frederick Law Olmsted, the revered co-designer of New York’s Central and Prospect Parks, and a modern interpretation of 17 th century French parterres de broderie in which clipped hedges, grass, and colored earth were used to energize flat open spaces, landscape architect Martha Schwartz has created a functional and lively open space for the 1967 Federal office tower at 26 Federal Plaza. The Jacob Javits Plaza, in the heart of lower-Manhattan’s civic district, is busiest at lunchtime on weekdays. To provide ample seating, Ms. Schwartz filled the plaza with “hedges” made of double strands of bright green New York City park benches that loop back and forth, creating intimate circles for groups and gentle outside curves for individuals. The bright green enlivens the plaza, which for the most part is in the shade. The benches swirl around 6-foot-tall grassy mounds that spray mist on hot days. Blue enameled drinking fountains, orange wire-mesh trash cans, and standard light poles that have been elongated and pulled out of proportion provide a space recognizable to New Yorkers, yet a “little mad,” according to Ms. Schwartz. Credits Martha Schwartz Martha Schwartz, Inc. Northeast and Caribbean Region Public Buildings Service U.S. General Services Administration 27 Urban Design Guidelines for Physical Perimeter and Entrance Security: An Overlay to the Master Plan for the Federal Triangle Washington, DC URBAN PLANNING Because security and personal safety have BECOME CENTRAL CONCERNS for Federal agencies AND DESIGNERS OF FEDERAL FACILITIES, THIS STUDY AND ITS RECOMMENDATIONS ARE MOST IMPORTANT. The design guidelines ADDRESS CRITICAL ECONOMIC, SOCIAL, AND AESTHETIC ISSUES THAT THE EXISTING URBAN BUILDINGS AND STREETSCAPES POSE. These are broadly CONSIDERED AND WELL PRESENTED. THEY WILL HELP EDUCATE THE VARIOUS MANAGERIAL PERSONNEL, TECHNICAL EXPERTS, AND PUBLIC CONSTITUENCIES INVOLVED IN THE REVIEW AND APPROVAL OF SECURITY REMEDIES, BOTH IN THE Federal Triangle and BEYOND. - Jury Comment In the aftermath of the Oklahoma City bombing, security has become a pressing issue for Federal — « — * agencies. Concern has been particularly high in the Federal Triangle, the historic 70-acre complex in downtown Washington that houses more than 25,000 Federal employees and is the headquarters for several high-profile agencies, including the Department of Justice and the Internal Revenue Service. The area — a critical element in the capital’s urban fabric as a gateway to the Mall for tourists and southern boundary of the city’s increasingly lively downtown — could potentially become a minefield of intrusive and unsightly barriers. The U.S. General Services Administration was challenged to find a way to provide cost-effective secu- rity while maintaining — even enhancing — the vitality and character of the area and minimizing limitations on public access. As a first step toward a solution, GSA organized a design charrette to develop guide- lines for physical perimeter and entrance security that will help Federal agencies and design review bodies, such as the Commission of Fine Arts and the National Capital Planning Commission, deal with security issues in the Federal Triangle in a consis- tent, comprehensive manner. These guidelines will help ensure that this historic area of architectural treasures will be safe, yet remain as open as possible to the public. Credits Surnati Sorg Sorg and Associates, P.C. National Capital Region Public Buildings Service U.S. General Services Administration 28 Governors Island Land Use Study New York Harbor New York, New York C I TAT I URBAN PLANNING For more than two centuries, Governors Island in New York Harbor was used exclu- sively as a military post. In the summer of 1997, the post was closed, and Congress directed the U.S. General Services Administration to sell the island. Located one-half mile from Lower Manhattan, it contains 225 structures on 172 acres of land, including more than 100 acres of open space. Approximately 92 acres have been designated as a National Historic District, featuring 18 th century fortifications, pre-Civil War arsenal buildings, Victorian housing, and early 20 th century neoclassical architecture. Credits John H. Beyer Beyer Blinder Belle Consortium Northeast and Caribbean Region Public Buildings Service U.S. General Services Administration Recognizing the special qualities of the island, GSA commissioned a land use study. The study explores solutions for creating an economically viable reuse scenario that will balance historic preservation concerns with sensitive and thoughtful new design, encourage public access, and integrate the island into larger scale local and regional planning efforts. It was designed to both inform the public and guide development of an Environmental Impact Statement. The study presents sLx options: reuse, academic, recreation, mixed-use, maximum development, and phase-in. A finan- cial analysis was performed for each of the options. Thirteen Federal, State and city agencies; more than 30 national and local educational, civic, and planning organizations; and over 300 individuals provided input. THIS STUDY WITH ITS ALTERNATIVE DEVELOPMENT OPTIONS AND EXTENSIVE PUBLIC PARTICIPATORY PROCESS IS AN EFFECTIVE MODEL FOR HOW THE FEDERAL Government should embark ON DISPOSING OF THE PROPERTIES IT NO LONGER NEEDS. ITS SIX ALTERNATIVE LAND USE OPTIONS ARE BASED ON RELEVANT URBAN, ENVIRONMENTAL, ECONOMIC, SOCIAL, AND HISTORIC FACTORS. THE STUDY HAS SERVED LOCAL AND FEDERAL INTERESTS IN IMPROVING THE PROSPECTS FOR SIGNIFICANT AND APPROPRIATE DEVELOPMENT IN THE FUTURE. - Jury Comment 29 Federal Triangle Flowers Ronald Reagan Building and International Trade Center Washington, DC C ITATION ART The artist masterfully UTILIZED THE SITING CUES OF THE OSCAR STRAUS Memorial Fountain at the 14™ Street entrance in THE PLACEMENT OF THESE sculptures. Together, THE SCULPTURES WORK IN COMPLEMENTARY UNISON WITH THE COMPLETED Federal Triangle. By CREATING THESE TWO VERY ELEGANT AND SUCCESSFUL WORKS, THE ARTIST, IN ESSENCE, HAS PAID A DISTINCT TRIBUTE TO THE Federal Triangle period OF ART" IN "ARCH ITECTU R E . - Jury Comment Credits Stephen Robin Artist National Capital Region Public Buildings Service U.S. General Services Administration As an allusion to the architectural ornamentation so evident in the historic buildings of the Federal Triangle in Washington, DC, but absent from the new Ronald Reagan Building and International Trade Center, artist Stephen Robin chose flowers — albeit 14-foot cast aluminum flowers — to link the neoclassical Ariel Rios Building to the new building across a four-acre public courtyard. Flowers are traditional landscape architectural devices for defining boundaries and creating awareness of transitions. The forms of the two flowers — a lily and a rose — combine Beaux Arts and Art Deco influences, a reference to the transition from one style to the other in the architectural ornamentation of the Federal Triangle. While the flowers share characteristics of both styles, the emphasis in the lily is on the horizontal and flowing and in the rose, on the diagonal and staccato. 30 Credits Raymond Kaskey Artist National Capital Region Public Buildings Service U.S. General Services Administration Boundary Markers National Building Museum Washington, DC C I TAT I ON ART To create a precinct for the National Building Museum, a grand 1881 Italian Renais- sance-style structure built for the U.S. Pension Bureau, Raymond Kaskey created a boundary marker representing the building arts. The artist turned a classical urn form into a plumb bob. The plumb bob was chosen for its universal symbolism as a build- ing tool; it always points straight down to form a perfect vertical line. The plumb bob is supported by a tripod composed of six male and female figures in construction clothing. The figures evoke the figurative procession in the building’s three-foot-high frieze depicting Union Army soldiers. On top of the plumb bob, riggers’ shackles form an ornamental band reminiscent of the classical egg and dart motif. The seven and a half-foot plumb bob and figurative tripod are made of glass- fiber-reinforced cement that matches the terra-cotta frieze. The base of the marker is a circular brick column resting on a round plinth. A marker has been placed at each corner of the building’s Judiciary Square site. * M The artist has achieved A TRIUMPHANT SYNTHESIS OF COMPOSITION, SCALE, MATERIALS, AND SITING. Depicting the present- day HEROES OF THE National Building Museum, the sculptural MARKERS COMPLEMENT THE PRE-EXISTING TERRA-COTTA FRIEZE OF HEROES THAT WRAPS AROUND THE FACE OF THE BUILDING IN TIMELESS BAS-RELIEF. - Jury Comment Justice Warren B. Rudman U.S. Courthouse Concord, New Hampshire FAT ION ART The artist’s undeniable CLARITY IN PRESENTING THE SUBJECT, JUSTITIA, IS REMARKABLE IN ITS SERENITY AND ITS RELATIONSHIP TO THE ARCHITECTURAL SPACE. THE GLISTENING STAINLESS STEEL OF THE WORK IS A UNIQUE AND SOMEWHAT UNEXPECTED CHOICE OF MEDIUM FOR THE NOBLE SUBJECT. THE POSITIONING OF THE FIGURE CONVEYS HUMANITY AND STRENGTH AS COMPLEMENTARY VIRTUES OF NECESSITY. - Jury Comment Aloof, yet ever present, Justice in the form of a nine-and-a-half-foot stainless steel sculpture standing squarely on an eight-foot granite base dominates the soaring 36- foot-high lobby of the new Warren B. Rudman U.S. Courthouse in Concord, New Hampshire. As the focal point of the lobby, the figure restates in sculptural form the vertical thrust of the space. Shedding her traditional scale and sword, Justice is raising her arms to tighten the knot in her blindfold to ensure objectivity and greater clarity of judgment. The con- frontational directness of the stance and the simplicity of the form have a contempo- rary feel, yet evoke the ancient art of Egypt rial used for the stair railing and lobby fixtures — gives the figure a shimmering, ethereal quality, yet is universally rec- ognized as being very durable and is thus an appropriate medium for this symbol of the American judicial system. Asia. Stainless steel — the same mate- Credits Diana K. Moore Artist New England Region Public Buildings Service U.S. General Services Administration 32 Africa Rising 290 Broadway New York, New York ART Credits Barbara Chase-Riboud Artist Northeast and Caribbean Region Public Buildings Service U.S. General Services Administration Two tons of cast bronze rising in powerful majesty to a height of 18 feet, Africa Rising is not a timid memorial to its African Burial Ground site in New York City, but an ark of collective history. Artist Barbara Chase-Riboud has created a vessel for human re- flection that plows an ocean of time and space, evoking the intricate and delicate in- terweaving of the common history and heritage of all citizens of the United States. The African Burial Ground was unearthed in 1991 during excavation for the Federal building at 290 Broadway. The recovery of this important cultural resource generated broad community discourse on the cultural significance and historic preservation of the largest and only known urban pre-Revolutionary African cemetery in America. Through community activism and commitment, the site was awarded designations as both a National Historic Landmark and a New York City Historic District. THE WORK CONVEYS THE POWERFUL EMOTIONS AND MEANING OF THIS HISTORIC SITE. THE ARTIST’S SUCCESSFUL USE OF SUBSTANTIAL SCALE AND PERMANENT MATERIALS RESULTS IN A SYMBOLIC LANDMARK SCULPTURE, STUNNING IN FORMAL BEAUTY AND RICH IN COLLECTIVE HISTORY. - Jury Comment 33 Untitled (Architectural Glass) Robert C. Byrd U.S. Courthouse Charleston, West Virginia ART The elegant and DELIBERATE JUXTAPOSITION OF GEOMETRY AND COLOR IN THIS WORK RESULTS IN A BRILLIANT MELDING OF TRADITION WITH CONTEMPORARY ARTISTIC AND ARCHITECTURAL INTENT. The exemplary use of SCALE AND COLOR IN THE WORK CREATES A UNIQUE PERCEPTION OF THE INTERIOR SPACE. - Jury Comment Complementing the classical architectural form and modern details of the new Charles- ton courthouse, artist David Wilson has adapted traditional stained-glass methods and materials to produce contemporary “glass walls” for the building. The installation consists of approximately 2,000 square feet: a large expanse in the fifth- and sixth- floor waiting areas off the courtrooms and three tall sections above and flanking the doors in the three-story entrance lobby. Credits David Wilson Artist Mid-Atlantic Region Public Buildings Service U.S. General Services Administration Intricate patterns of diverse colors, textures, and types of glass create multidimen- sional surfaces. Transparent glass allows the viewer to see outside, while darker colors and more opaque glass hold the surface. Warm colors and geometric motifs comple- ment those used throughout the interior and exterior surfaces of the building. Changes in light over the course of the day and night and across the seasons produce a wide range of visual effects to delight and fascinate both occupants and passersby. 34 Lens Ceiling U.S. Courthouse and Federal Building Phoenix, Arizona C IT A Credits James Carpenter James Carpenter Design Associates Pacific Rim Region Public Buildings Service U.S. General Services Administration This intriguing work is DESIGNED SO THAT ARTWORK, ARCHITECTURE, AND STRUCTURE ARE SYNTHESIZED AS ONE STATEMENT, MELDING THE PHYSICAL AND NATURAL WORLDS THROUGH THE USE of light. This dramatic EFFORT WILL YIELD AN EXTRAORDINARY, UNIQUE COURTROOM, SCULPTURAL BY ITS VERY NATURE, AND GUIDED TO THAT END VIA THE SHARED VISIONS OF THE ARTIST AND THE ARCHITECT. - Jury Comment In a synthesis of art, architecture, and engineering, the ceiling of the Special Proceed- ings Courtroom in the new U.S. Courthouse and Federal Building in Phoenix will be a delicate web of translucent glass. When lighted, the glowing, cable-suspended struc- ture may be read as a representation of the sun or as a bubble of air resting on a calm water surface. The courtroom is a three-story-high, translucent glass drum 100 feet in diameter in the mammoth six-story, 58,000-square-foot rectangular glass atrium of the court- house. This glass drum is visible from the street and is intended to indicate to the public the importance of the cases heard there. The lens ceiling forms an acoustic seal between the courtroom and the atrium. In addition to serving as a source of light and a work of art, it aesthetically conceals a fire-sprinkler system. 35 Renewing the Commitment 30™ Anniversary of the Architectural Barriers Act GRAPHIC DESIGN The success of this piece BEGINS WITH A POWERFUL SERIES OF ABSTRACTED ART WORKS THAT FOCUS ON THE ISSUE OF ACCESSIBILITY. THE VIVID COLORS, CHOICE OF PAPERS, AND TECHNIQUE THAT PORTRAYS TEXTURE WITHIN SIMPLE FIELDS ARE SUCCESSFUL. - Jury Comment Nationav ACCESSIBIUTV Program lA dminisUatloft As manager of the National Program for Accessibility, GSA’s Public Buildings Service used the 30 th anniversary of the passage of the Architectural Barriers Act to create a marketing package to promote and educate the Government community and general public about integrating accessibility into the workplace. A colorful package was developed around four simple illustrations depicting design elements that influence accessibility, such as entrances and work surfaces. The eye- catching illustrations, by a paraplegic artist, symbolize accomplishments in advanc- ing the civil rights of people with disabilities. The commemorative package consists of a brochure, stationery, workshop invitation, poster, and paperweight. Credits Jean Tullier Tullier Marketing Communications Office of External Affairs Public Buildings Service U.S. General Services Administration 36 HONOR AWARDS Project credits Ronald Reagan Building and International Trade Center fames Ingo Freed Werner Wandelmaier Michael D. Flynn Craig N. Dumas Beatrice Lehman Charles T. Young, II Roy Barr is Alissa Bucher David Tobin Steven Derasmo Michael Vissichelli Ivan Kreitman Richard Smith Anne Lewison Pei Cobb Freed & Partners Architects LLP Rick Lincicome W. Everett Medling John E. Moyer Kathleen Alberding Bradford Cary, Sr. Christopher Sasiadek Darrell Acree Margaret Flinner Ellerbe Becket Architects & Engineers, P.C. William Zeckendorf, Jr. Terry E. Soderberg Federal Triangle Corporation Sue Windsor Orr Ozlu Andrea Pampaloni Vernessa Wiggins Mark Fontenot Antonio Miller DMA Peter Robbins Tom Koenig Harvey Brickman Ralph Mallin Steve Willmann Ken Harris Doug Goetz John O’Connor Steve Boyles Bruce Phillip Bob Mello Adrian Vaughn Bob Anderson Fred Clements Jane Westfall Sabine Haas Jill Jones Tishman Construction Corp. Paul Kopyta Heery International Ronald Mariotti Lester M. Hunkele, III Steven Smith John Crowley Michael L. Pope Dean Smith Richard Hamilton Robert C. Hixon, Jr. Ron Kendall Martin Horn Rolando Publico Susan Sylvester Vicki Barbour Henry Jones Rodney Thomas Linda Carter Anne Marie Sweet-Abshire John Vitale Arnold Hill K. B. Crawford Edjar Mclntire Richard Allen Jerry Pickeral Mark Portlock Mike Josephs George Wahl Diane Farran Carlyle Turner U.S. General Services Administration National Capital Region National Data Processing Center, Bureau of the Census Steven M. Davis Christopher Grab Margaret J. Sedlis Nathan Hoyt Jonathon Schwartz John Henle Margaret Dunker Helen Traversy Davis, Brody, Bond Harold E. Davis Lane Abernathy George White John Burke Tobey + Davis Loyal Gassman David W. Holmes Charles H. White Barnard Schulze John Mavis Bill Crawford Thomas Beach Bruce Poetzman Todd Callaway The Gassman Corporation Jody Leidolf EDAW, Inc. David Holbert Cagley & Associates, Inc. Paul M. Szmurlo Edward P. Jancek Herbert L. Pankey Peter Smith Otto Lopez Patricia Horner Bob Ingram Anadac, Inc. Walter C. Odom, Jr. Jim Saccomando Dominiek Wisnewski Plummer Alston Mike Garland Barbara Standard Marvin Raines Bureau of the Census Douglas Nelson Jonathan Herz Jimmy Hopkins Ron Noll Kathy McCartney John Knight David Lingrell Marcia Gross Bonnie Echoles Joy Walker Queenie Nevils Susanne Reifman Doris Elmore U.S. General Services Administration National Capital Region Mark O. Hatfield U.S. Courthouse William Pedersen Jerri Smith Gabrielle Blackman Doug Hocking Kohn Pedersen Fox Associates, P.C. John A. Meadows Linabeth Barber BOORA Architects, Inc. L. Jay Pearson William DuBray Robin Graf G. Duane Denny Gerry Takasumi Rick Thomas Kelly Sarver-Lenderink LaNita Ferraro Willie Hirano John Gates Darin Lenderink Kim Petersen Roger Wright Chuck Koval Sharon Blair Mike Rutter Linda Sample Mary Gibert Mike Okoro Pat Sherry Bob Ortiz Joe Loerzel Kitty Clemen son Scott Deveau Chris Helmer U.S. General Services Administration Northwest/Arctic Region U.S. Port of Entry Point Roberts, WA David Miller Craig Curtis Christine Arthur Scott Wolf The Miller/Hull Partnership Bob Shrosbree EDAW, Inc. Wade Watson Marty Chase Scott Kim Diana Leonard KPFF Robert Axley David Porter Wood/Harbinger Jim Duncan Dan Chase Scott Ducich Sparling J. Gordon GeoEngineers David Nash Ackroyd Joel Wessenberg Specifications NW Jack Arango Mike Robert Dean Andrews Arango Construction Bob Brott Vern Schager Rod Miller Art Anderson Associates Yvonne Anderson Ernestos Aronal Linda Bee John C. Bland Jim Brewer Norris Carver Kitty Clemenson Dave Cox Brenda Dang G. Duane Denny William DuBray Pearl Eggerund Douglas Foster John Gates Mary Gilbert Vista Gifford Gary Graff Willie Hirano Veronica Holland Donna Hutchens Gene Jarvi Chuck Koval Elizabeth Kruger Wayne Lim Bob MacCall Phil Marick Mike May John Merritt Donna M. Meyer Dick Moen Wayne Richardson Barbara Roberson Mike Rutter Vince Ryan Kelly Sarver-Lenderink Rick Scott Margaret Smith Cynthia Tolentino John Tunney Ron Weber Roger Wright U.S. General Services Administration Northwest/ Arctic Region “United States Court of Appeals Building for the Ninth Circuit” Rick Helf Rightside Imaging Jesse Hamlin Kenn N. Kojima Esther Titnberlake U.S. General Services Administration Pacific Rim Region Signage Mark O. Hatfield U.S. Courthouse Michael Reed Debbie Fox Shaw Mayer / Reed L. Jay Pearson Gerry Takasumi G. Duane Denny U.S. General Services Administration Northwest/Arctic Region 37 CITATIONS Project credits Robert C. Byrd U.S. Courthouse Gary Haney Michael Keselica, Jr. Skidmore, Owings and Merrill LLP Roshan Bagga Dale Anderson David Hatfield Anja Levitties U.S. General Services Administration Mid-Atlantic Region U.S. Courthouse and Federal Building Central Islip, NY Richard Meier Reynolds Logan James Sawyer Peter Burns Jeffrey Greene Richard Meier & Partners Michael Spector George Kuchek The Spectorgroup Jim Gutmann Lehrer McGovern Bovis, Inc. Joan Goody Charles Gwathmey Margaret McCurry Design Excellence National Peers William B. Jenkins Andrew Gerardi Alan Greenberg Alan Berman Arnold Feinsilber Ken Chin Richard Bouchard U.S. General Services Administration Northeast and Caribbean Region U.S. Post Office and Courthouse, Brooklyn, NY R.M. Kliment Frances Halsband R. M. Kliment and Frances Halsband Architects Wank Adams Slavin Associates Walter H. Sobel and Associates Flack + Kurtz, Consulting Engineers, LLP Severud Associates, Consulting Engineers PC Hanscomb, Inc. Entek Environmental and Technical Services, Inc. Mueser Rutledge Consulting Engineers Vollmer Associates, LLP Schiff and Associates H. M. Brandston and Partners, Inc. Ceratni and Associates, Inc. Van Deusen & Associates, Inc. Johansson & Walcavage Landscape Architects R A. Heintges Architects Consultants Weidlinger Associates, Consulting Engineers PC Rolf Jensen Associates Aaron M. Pine CCS Specifications 212 Associates, Inc. Andrew Gerardi Linda J. Peters Francis Cashman Mohammed Abdulghani Robert Rodriguez Alan Greenberg Armando Martinez Dhiraj Davda Kavid Kossover Richard Bouchard U.S. General Services Administration Northeast and Caribbean Region William J. Nealon Federal Building and U.S. Courthouse Peter Q. Bohlin Frank W. Grauman Russell B. Roberts Bohlin Cywinski Jackson, Architects John Kuna Alex Camay d Hemmler & Catnayd Frank Greene Ken Ricci Ricci Associates Stephen Sopko Chester Zarernba Ryan -Biggs Associates Tom Deter Robert Stano H. F. Lenz Company Patricia Conway J. Max Bond, Jr. Design Excellence National Peers John Singleton Liliana Del Bonifro Sokjae Cho Raymond Foote Paul Crum Shannon Keeley Charles Green Brian Brotherston Anja Levitties Adel Wahba Abby Smith Victor Low U.S. General Services Administration Mid-Atlantic Region Edward Gignoux Federal Courthouse Andrea P. Leers Karen Moore Alex Adkins Leers Weinzapfel Associates Architects Phillip Banning LeMessurier Consultants William Bennett Bennett Engineering Peter Dalfonso Sabago Technics Bill Finch Preservation Technology Associates Bob Hoyler McPhail Associates Paul Male Hanscomb Associates Jerry Kugler Kugler Associates K. Anthony Hoover Cavanaugh Tocci & Associates Nick Browse Nick Browse & Associates Arthur Cavanaugh Granger Northern Stan Fairservice Allied Engineers, Inc. Robert Dunfey David Hiltz David Drevinsky Bradlee Sheridan Deborah Fournier U.S. General Services Administration New England Region Andrew Gerardi U.S. General Services Administration Northeast and Caribbean Region Restoration Alexander Calder’s “Flamingo” Robert G. Lodge McKay Lodge Fine Arts Conservation Laboratory, Inc. Anthony Kavouris Midway Industrial Contractors, Inc. Alicia Weber U.S. General Services Administration Washington, DC Caroline Sachay U.S. General Services Administration Great Lakes Region U.S. Courthouse and Federal Building Phoenix, AZ Mahadev Raman Ove Arup & Partners Alfonso Perez-Mendez Stephen Dayton Richard Meier & Partners Keith Lew Leon Donat Terrence Pierce U.S. General Services Administration Pacific Rim Region Jacob Javits Plaza Martha Schwartz Martha Schwartz, Inc. Thoughtforms Andrew Gerardi Adel Eskander Nelson Jew U.S. General Services Administration Northeast and Caribbean Region 38 Urban Design Guidelines for Physical Perimeter and Entrance Security for the Federal Triangle Sumati Sorg Eric Cook T. David Bell Sorg and Associates, P.C. Craig M. Dumas George Evans Thomas Walton Roger Lewis Brenda Jackson Roger Courtney Thomas Grooms Jeffrey Carson Philip Wagner Gary Risden Roger Schluntz Marilyn Jordan Taylor George Toop Thomas Vonier Robert Andrukonis Charrette Team U. S. General Services Administration National Capital Region Governors Island Land Use Study John H. Beyer Crystal S. Barri scale Taylor Plosser Oliver Freundlich Lars Moestue Beyer Blinder Belle Architects Charlie Shorter Arthur Andersen & Company David Hirzel Kathryn Madden Sasaki Associates, Inc. Daniel Greenbaum Peter Mahony Greg del Rio Vollmer Associates Richard Leland, Esq. Rosenman & Colin LLP Claire Whittaker The Kreisberg Group Ltd. Arnold J. Bloch Howard/Stein- Hudson Associates Peter Aaron Esto Photographies Robert Martin Lionel Batley Carol Latter man John Marcic Mark Dremel Lawrence Goldstein U.S. General Services Administration Northeast and Caribbean Region Paul Lynch William Costa U.S. General Services Administration New England Region Brian Polly Nancy Czapek U.S. General Services Administration Washington, DC Federal Triangle Flowers Stephen Robin Artist Susan Harrison U.S. General Services Administration Washington, DC Robert C. Hixon, Jr. Dean Smith U.S. General Services Administration National Capital Region Boundary Markers National Building Museum Raymond Kaskey Kaskey Studio, Inc. Susan Henshaw Jones National Building Museum Rick Tavares Architectural Restoration Castings Co. John Klapper John A. Pond Restoration Services, Inc. Enrique Bellini KCCT Architects Alicia Weber U.S. General Services Administration Washington, DC Terry DiBiase Gonzalo Cespedes Amitabah Datta U.S. General Services Administration National Capital Region Justice Diana K. Moore Artist Susan Harrison U.S. General Services Administration Washington, DC Michelle Vega William Caine U.S. General Services Administration New England Region Andrew Gerardi Lorraine Hauck George Lutz Alan Berman Clement Migliano Richard Bouchard U.S. General Services Administration Northeast and Caribbean Region Africa Rising Barbara Chase- Riboud Artist Susan Harrison U.S. General Services Administration Washington, DC Robert W. Martin Lorraine Haucke Robert Collegia Lisa Wager U.S. General Services Administration Northeast and Caribbean Region Architectural Glass David Wilson David Wilson Design Gary Haney Jim Christerson Skidmore Owings and Merrill LLP Anja Levitties Michael Ryer Victoria Nicolino U.S. General Services Administration Mid-Atlantic Region Lens Ceiling James Carpenter Luke Lowings James Carpenter Design Associates Jim Sawyer Richard Meier & Partners Matt King Ove Arup & Partners Michael Mulhern Tri-Pyramid Structures Scott Hirschmann Fisher, Marantz, Renfro, Stone Ken Lufkin Langdon Wilson Architects Kenn Kojtma Keith Lew Esther Timberlake Gary Rose Paul Andrade U.S. General Services Administration Pacific Rim Region Renewing the Commitment Jean Tullier Carol Spiker Karen Heil Tullier Marketing Communications Robert Wexler Virginia McDonald Denise Cheslack Anthony Waller John Reyner Claire Crerar-Hosker U.S. General Services Administration Washington, DC 39 CREDITS Pages 6-7 All photographs: Timothy Hursley Pages 8-9 All photographs: Paul Warchol Photography, Inc. Page lO Left photograph: Timothy Hursley Right photograph: Rick Keating PAGE 1 1 Photograph: Timothy Hursley PAGES 12-13 All photographs: James F. Housel Page 1 4 California Historical Society, San Francisco, de Young Collection. FN- 13002 PAGE 15 Top left: Brandt Ward Top right: Brandt Ward Top inset: Rick Helf Center: Rick Helf Bottom: Abby Sadin, courtesy Skidmore, Owings and Merrill LLP Pages 16-17 All photographs: Strode Photographic LLC. Page 18 Photograph: Larry Ruggeri Page 20 Photographs: Arch Photo/Eduard Hueber Page 2 1 Photographs: Jock Pottle/Esto Page 22 R. M. Kilment & Frances Halsband, Architects Aerial rendering: Brian Burr Page 23 Renderings: Frank M. Constantino (photographed by Michael Thomas) Page 24 Left photograph: Steve Rosenthal Right photograph: Brian Vanden Brink Page 25 Photographs: McKay Lodge Fine Arts Conservation Laboratory, Inc. Page 26 Model: Richard Meier & Partners Illustrations: Ove Arup & Partners Page 27 Photographs: Alan Ward Page 28 Illustrations, photographs: Sorg and Associates, PC. Page 29 Left photograph: Peter Aaron/Esto Right illustration: Beyer Blinder Belle Consortium Page 30 Photographs: Stephen Robin Page 3 1 Photographs: Anice Hoachlander PAGE 32 Photographs: Wheeler Photographies Page 33 Left photograph: Manu Sassoonian Right photograph: Courtesy of the artist Page 34 Photographs: David Wilson Page 35 Renderings: JCDA Inc. Page 36 Illustrations: Carol Spiker Design: Cox & Associates, Inc. You may view this publication on the Internet at: http://designawards.gsa.gov 40