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Old October 13th, 2005, 05:17 AM   #61
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Wow, already thinking about selling? There must be some niche in the market that has suddenly opened up and might go away in a few months.
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Old October 14th, 2005, 06:08 PM   #62
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Wow... I'm impressed that they're 90% leased.
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Old October 15th, 2005, 08:12 PM   #63
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So many larger well capitalized office tenants want to be in a new building these days, which accounts for the 90% occupancy already.
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Old October 22nd, 2005, 07:44 PM   #64
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They've reconfigured the fences at the site to allow for better access to the lobby (which is basically complete). Picage:

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Old November 27th, 2005, 03:05 AM   #65
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Well, since this has sort of been my baby since it started construction, I thought I would wrap up (most likely) the photos for it. I've also included a bit of commentary since there are certainly some features of the main entrance and Dearbon facade that make me scratch my head in confusion and disappointment.

The usual disclaimer: sorry for the photo quality, I never seem to have anything on me but my phone these days.

Overview shot of the lobby and main entry.


A slightly tighter shot. The lobby is really a work of art and the consistent parallelogram theme throughout is well-implemented. I think the simplicity of most of it is pulled off quite well, from the logo right down to the elevator banks.


And here is where my only complaint with the building lies. I would have loved to be in the design meeting where it was agreed that faux backlit marble or onyx (or whatever it is supposed to be) was the way to detail the facade above the main entry. It's nothing more than a series of plain white backlit pieces of translucent plastic, covered over in PAPER that is meant to look like marble (or onyx). This detail isn't repeated ANYWHERE else on the building (interior or exterior from what I can tell) and I simply don't understand why they did it? Why not just leave the panels backlit white so they resemble the indentations in the facade at the top of the building!?


Here's an angled shot (looking south-southeast) at the entry and the plaza fronting Dearborn. I really like backlit translucent panels installed in the ground near the entrance, but, think they could have been spread further out into the plaza, perhaps. Not every tile, but, perhaps just a checkerboard?


A rippled glass wall is installed on both short ends of the parallelogram-shaped lobby. Pretty cool effect, but, looks like a bolted-on afterthought to me.


Here's a tighter shot of the glass panels installed in the plaza surrounding the main entrance; you can also see the sort of clear lava-rock looking things just inside the curtainwall. Again, an interesting effect, but, why?


There are a couple of soffits installed in the lobby; they clearly carry the geometry of the space up to the ceiling.


Sorry for the blurriness... but, these are the new planters *cough* vehicular barricades *cough* installed fronting Dearborn. I'm not sure when it was that everybody decided every highrise in America was suddenly a terrorist target and needed to be protected from car-bombs, but, I think the result has been a cluttering of our sidewalks.


So, all in all... I'm still a big fan of this building. But, I think there were some decisions made around the base that really hurt on the pedestrian level. Few will argue that the lobby is a great addition to the street-level environment on Dearborn - it might be the brightest, in terms of lighting, in the central loop; but, the intermingling of so many different surfaces being backlit and underlit seems a bit contrived to me. The two rippled glass panels would be great in and of themselves, as would the "lava-rocks" or the translucent panels just outside the space, but, the marriage of the three of them seems a bit overstated if you ask me. Perhaps one of our loyal forumers has some inside information on the reasoning behind some of DeStefano's more curious choices?

I might post one more series of shots when the plaza between the building and Dearborn is complete (as the planters that are still inside the fence show great promise).

Does anyone else have any thoughts? For now, though, I'm done pretending to be Blair Kamin
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Old December 15th, 2005, 04:03 AM   #66
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I still love the building itself. The way it looks on a bright sunny day is amazing. Overall, I'd say I'm pleased with the way this one came out.
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Old December 15th, 2005, 09:40 PM   #67
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Quote:
Originally Posted by geoff_diamond
I don't think those are vehical barricades...note how short they are. I think it is nice to get pedestrians a little away from the streets and direct them just a little towards the building...nice feature. In your pictures I don't see them on the street on the north side of the building.

Thanks though for the pictures and your observations! I have to get over there and see what I think.
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Old December 15th, 2005, 11:35 PM   #68
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Well, whenever I see planters now, I just assume that their primary purpose is as a vehicular barricade - call me a cynic. At any rate, yes, overall, I'm very pleased with the building as well, I just have some serious issues with their decisions around the base.
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Old December 28th, 2005, 04:33 AM   #69
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Old December 28th, 2005, 04:53 AM   #70
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Anyone have any good shots of the "window" at night? It looks rather cool from the park.
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Old January 5th, 2006, 12:23 AM   #71
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Creative camouflage at One South Dearborn
January 4, 2006
BY KEVIN NANCE Architecture Critic


"Fashion is architecture," Coco Chanel once remarked. "It is a matter of proportions." So true, but she might have added that architecture is often fashion: It's a matter of finding ways to transform a subject's least attractive features into occasions for artistic flourish. Elaborate collars and empire waists, ornamented cornices and curtain walls -- same visual decoys, different materials.

It's this creative-camouflage impulse that has informed some of the key aesthetic choices by architects Jim DeStefano and Rick Keating in their chic and rather sly new office tower, One South Dearborn.

In their sole offspring as the Chicago firm DeStefano Keating Partners -- it's now DeStefano + Partners, with Keating having decamped to California -- the architects cannily turned what could have been the ugly necessities of a 40-story office building into elements of a geometric composition that confidently complements the architectural heavyweights that surround it.

One of those necessities was parking. Because of tight construction deadlines set by the developer, Hines, and the building's primary tenant, the giant law firm Sidley Austin Brown & Wood, parking facilities had to be above grade. The solution? Hide the garage floors on levels three through six, and in the process top off the soaring Dearborn lobby with an expanse of backlit marble that both mirrors and extends it upward. The light buff-gray of the stone also bounces pleasantly off the asymmetrical masses of translucent green glass on either side; the effect is like one of Mondrian's famously off-balance paintings, less the primary colors.

And the building's most striking artistic touch -- its double lantern crown, composed of east- and west-facing apertures with huge, inward-slanting frosted glass screens hovering above balconies on the top two floors -- also grew out of the need to disguise unsightly practicalities, in this case the building's massive mechanical systems. Soaring 70 feet above the top floor, the crown is far more than a hat that covers up an awkwardly shaped dome. It lends vertical balance to the west facade, the aperture's mass echoing that of the street-level lobby (with which, by the way, it's in perfect horizontal alignment). By day, as seen from Grant Park or the central Loop, each aperture becomes the all-seeing eye of an architectural Cyclops; by night, the backlit crown is a beacon fit for ships to navigate by.

Then there's the lobby itself, in which the architects have used angled art-glass panels -- each 18 feet high and, naturally, backlit -- to create a parallelogram theme echoed just outside by the parklike, half-acre granite plaza, with its chevron-shaped benches and patterned pavement. (In another echo of the chevron, the columnless northwest and southeast corners of the tower jut out oddly in a way that allows you to see the north and south facades from inside the building.)

The sum of all this is an architectural statement that feels modern but not especially modernist. This was an intelligent move given that its next-door neighbor, the graceful and relatively severe Inland Steel, is a modernist icon with which One South Dearborn would have been unwise to directly compete. Instead, DeStefano and Keating chose to salute Skidmore, Owings & Merrill's minor masterpiece in two ways: by making the plaza deep enough to provide mostly unobstructed views of Inland Steel's north face and by subtly re-contouring One South Dearborn's west facade above the level of the SOM building's top -- a contextualist tip of the hat, and what a hat. No doubt Chanel would have approved.


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Old January 5th, 2006, 07:07 PM   #72
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Well, I guess that sort of attempts to explain some of the choices that were made; but, it still doesn't tell us why the choice for the faux-marble rather than a simpler backlit translucent panel.
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Old January 10th, 2006, 05:54 AM   #73
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Old January 10th, 2006, 07:47 AM   #74
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Great shots Krz! I especially like the second one
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Old January 10th, 2006, 09:19 PM   #75
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Thanks for the nice night shot.
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Old May 17th, 2006, 10:25 PM   #76
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Real.

Just a note or two:
1) The 'faux' illuninated material over the entrance is in fact real Italian marble, Calatta Sponda 'G' to be precise. It is layered behind low iron glass to protect it from the weather.
2) The planters immediately on Dearborn are there to conform to the Dearborn Corridor planning standards.

Too bad I am am bit late in finding this forum.

S.
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Old May 18th, 2006, 01:46 AM   #77
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better late than never... I appreciate the info; although, I'm sure I saw a "rip" in the "marble" at some point during construction that sure made it look like paper to me.
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Old May 22nd, 2006, 07:06 PM   #78
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Although it survived the boat from Italy, a number of the pieces were broken during shipping from the Permasteelisa plant where the unitized window units were assembled. The broken pieces were removed after installation, epoxy-ed back together and set back into the frame. That is probably the effect you are referencing. If you look closely, there is no repetition of a pattern that would indicate a printed material.

(plus I was able to go to the quarry to select/approve the marble, so I am quite confident that it is really marble.)
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Old June 1st, 2006, 06:44 PM   #79
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Quote:
(plus I was able to go to the quarry to select/approve the marble, so I am quite confident that it is really marble.)
that's tough to argue with
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