Richard Keating, Selected and current works

First Federal Savings and Loan Design/Completion 1978/1980 Little Rock, Arkansas First Federal Savings 158,000 square feet Skidmore, Owings & Merrill, Richard Keating, Design Partner Steel frame Caledonia granite, glass, aluminum

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First Federal Savings Plaza featu res a light-filled atrium flanked by seven floors of executive office space. The atrium roofline steps down in one-story incremen t from the bu ilding's full height to the fourth level. Th e 90 x 90 foot sp ace serves as the banking h all an d is bordered by a garden o f seasonal flowers. The white interior wa lls and clear in ulated glass et the lobby off from the bronze aluminum and bronze reflective g lass of the exterior. Floors and tables of p olished StLaurent marbl e combine with the warm colors of the carpeting and furnish ings and are highli&_hted by polished stain less steel detail throughout. I

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Allied Bank Plaza

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Design/Completion 1979/1983 Houston, Texas Century Development Corporation Skidmore, Owings & Merrill, Edward Charles Bassett, Partner in Charge Richard Keating, Design Partner 1 ,800,000 square feet Trussed steel tube Green reflective glass and stainless steel curtain wall, black granite base

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The 71-story Allied Bank Tower (now First Inter tate Plaza) is located essentially at the center of d owntown Houston. The tower i ited so that its flat sid es are in alignm ent with ne ighbo ring facades, unifying the building and th e skylin e. The semi-curved form was achieved by juxtaposing two quarter-cylinder shafts which are offset by on e bay. The com bination of planes and curves allows for the constant interplay of sunlig ht on the tower ' surface and also reduces th e bui lding's substantial mass.

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granite hig h-ri es, this building is light and fluid, with its upper 70 stories clad in an uninterrupted kin of reflective gree n glass. At g rade, the building is sheathed in polished black gran ite with a 5-foot tainle steel band capping the junctio n of the granite and glass. This use of rich materials and careful de tailing a lso provid e a human-scaled ense of entry to the building.

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Approximately 65 per cent of users enter the building through H o uston 's downtown pedestrian tunne l system which protects against the city's infamous heat, rain, and humidi ty. As the tunnel enters the building it becomes a glass corridor, bi ecting a sunken plaza which provides views and sun ligh t to the underground path. Double-deck express elevators shuttle pas engers to skylobbies on floors 34-35 and 58-59, where they transfer to local elevators. This arrangement keeps the core to a manageable size-there are 27 elevator shafts running 56 cabs. The lower skylobby incorporates horizontal trusses tying together the bundled tube structural systems in each half of the plan. These structural elements are prominent in the two-floor public space and are clad in white paneled wood casings rather than in a high-tech material.

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Bank of the Southwest Tower Competition

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Design 1983 Houston, Texas Century Development Corporation Skidmore, Owings & Merrill , Richard Keating, Design Partner 2,300,000 square feet Trussed steel tube Granite, travertine, glass .

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Texas Commerce Tower Completion 1987 Da llas, Texas Trammell Crow Company Skidmore, Owings & Merrill, Richard Keating, Design Partner 1 ,400,000 square feet Concrete poured in place Gran ite, glass, cast stone

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Pacific Atlas

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Design 1988 Los Angeles, California USA Pacific Atlas 34-story tower, 55-story tower, 550-room hotel Skidmore, Owings & Merrill, Richard Keating, Design Partner .

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The site for the Pacific Atlas project consisted of an entire block of downtown Los Angeles between th e cen u·aJ business district and South Park, an area which h as long been targeted for revitalization. The proposed project included two office towers, a h otel and a public park.

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The architecture of the 34-stor y tower, designed for Phase I, reflects the underlying premise of the site plan. The influence of the primary axis is evident, but th e disruption caused by the di placed axis is more emphatic. The north elevation is at a rig ht-ang le to the primary ax is, while th e south wall is push ed out to the angle of the secondar y axis. In response to th e freeway, from which motorists would see the building for only a few second s, the south facade is an easily perceived, gracefu l curve of green glass, scaleless except for a large window revealing th e angle of the primary axis inside. The n o rth facade, which is see n from downtown and the park below, is sl iced by an arc and appears to reveal layers beneath the ou ter wall.

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Stockley Park Competition

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Design 1988 London. England Stanhope Properties, Ltd Skidmore, Owings & Me rrill, Richard Keating, Design Partner

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Design/Completion 1987/1989 Westlake, Texas Maguire Thomas Partners 180,000 square feet Skidmore, Owings & Merrill, Richard Keating, Design Partner Walls: integral color plaster, some with figured cherry wainscoting: Verde Tinos marble; Asahi urice" glass Millwork: figured cherry veneer; acid-washed bronze; polished Andes granite; Paving: Arizona sandstone with patterns of polished Andes granite, French limestone and gray Spanish limestone

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The Solana Marriott H ote l c hall e nges the image typically associated with a business h o tel. Its architecture is bold and colorful and , \\'hile respon sive to the hue and vastness of the Texas prairie, is unlike any architecture in the region outside the Westlake campus. The interio r was d esigned to comple ment the strong form and color of Ri cardo Legorreta 's exterior architecture, while introducing a level of d e tai l and texture important in creating an intimate e nvironm ent for th e individual guest. The architectural language is established by the stone wedge and curved ceiling element at the main entry, the asymmetrical cone over the bar, and the columned , vau lted pre-function area. With varied textural finishes and a rich color palette, the resulting e nvironment is on e of distinctly separate space. unified by glimpses of one from another. The diversity of interior spaces reinforces the architectural concept of sequential discovery and surprise rather th an imm ediate comprehension; som e are lively and dramatic , oth e rs contemplative and simple.

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Design/Completion 1988/1991 Torrance, California American Honda 800,000 square feet Skidmore, Owings & Merrill, Richard Keating, Design Partner Steel frame Precast concrete, glass

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The steep site has been used to create a series of interlocking lobbies whose m onum en tal scale is reli eved by retail spaces, canted screens, and an internal window that provides views of the park for visitors descending the escalator. The company cafeteria and o the r public spaces are located in a low-level ection that protrudes from the base of th e towe r, anchoring th e building fi rm ly on th e n arrow site and reinforcing the lower scale of adjacent Pershing Square. A slot left ove r to the n o rth was treated as "borrowed space" fo r the main lobby and embellishe d with a block-long mural by Fran k Stella.

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British Petroleum Plaza

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Design/Completion 1990/1992 Houston , Texas British Petroleum 480,000 square feet Concrete Precast concrete, glass curtain wall

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BMC Software Headquarters

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Opei-Krelsel Office Building

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Competition 1994 Frankfurt, Germany Georg von Opel 312,163 square feet Glass, dichroic glass, steel

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Hewlett Packard Business Center

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Design/Completion 1993/1995 Atlanta, Georgia Hewlett Packard Company 600,000 square feet Concrete frame Precast concrete, glass, steel

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International Center

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Renaissance Center

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Design/Completion 1985/1989 Dallas, Texas Prudential Insurance Company of America Skidmore, Owings & Merrill, Richard Keating, Design Partner 1,650,000 square feet Structural steel frame Blue , silver and green insulated glass curtain wall

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First National Bank San Diego

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Design/Completion 1988/1993 Equitable Real Estate 580,000 square feet White Cippilino marble with stainless steel inlay; Roche De Cry limestone; blue pearl granite; flamed impala granite; Verde lssore marble; figured maple; frosted glass

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Houston Industries Plaza

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The transfor mation of this building for Houston Industries is a un ique exercise in architecture, rehabilitation, and city building. Built in 1972, the existing building's neutral facade and straightfor ward floor plan created a timelessness and efficiency that eludes some buildings of the 1980s. Over the years, however, the relatively elegant and simple flush curtain wall has been allowed to deteriorate into a patina of chalky discoloration. Moreover, the original concept of a base subordinated to retail under a glass skirt had been a failure, and the building suffered from the lack of a clear entry. The circulation pattern leading to the elevators was confusing and inappropriate for a first-class office building. The materials of the plaza, lobby, and public spaces were inappropriate for a building which must project a corporate identity.

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Th e light tower is a streetscape element of ignifican t scale, which typifies the continuing efforts of our practice over the past 20 years. The skin of the tower has been completely transformed, as have the base of the building, the internal circulation, and the lobbies, while the structural system has been upgraded, asbestos has been removed, and handicapped access has been improved. The external expre sion at the base not only reflects corporate soli dity, but also works with adjacent urban elements and spaces including th e corn er plaza across the tree t and its Dubuffet culpture, the Tenneco Foun tain, the Al lie d Bank entry element, and the strong ba e definition of each of the urrounding build ing . T he con tinuity of the urban landscape is enh anced on this block, which provides extensive seating as well as kylights into the pedestrian tunn el system below. Continued

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The distant perception i more dependent on form and the play of light and harlow. In thi case the precisely sculpted top, with a distinct corn ice lin e and horizontal gesture to the west, is unique on the Oakland skyline; but rather than being aloof and self-referential, it draws from the context and embel lishes it. The perception of the building complex from a closer position is dependent on elements of scale, details, and materials. Continued

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The purpose of the landscaping and street amenities is to create a direct continuity with the Civic Square and City Center areas. Ultimately, the landscape d esign will help to integrate the adj acent buildings and provide a variety of vibrant outdoor environments for State employees and visitors to the State Office Building.

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Tower City is a mixed-use development covering 10 square blocks between the core of downtown Cleveland and the Cayahuaga River, the city's natural boundary to the south and west. Phase III of the project includes Tower City Center, a 40-story office building of 1,000,000 square feet. The building is d esign ed differently on the west and east sides to reflect its dual role as a part of the central core to the east and a symbol of new growth to the west. The tower's eastern facade i a cur\'ed, blue g lass form which visually recedes into the expansive Midwestern sky. The curved wall , combined ·with a 300-foot-high spire on the top, gives the building extremely vertical proportions, reinforcing its role as a gatepost.

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The project u e the river' edge a a major amenity by combi nin g small harbors, residen Lial towers, park , and retail pace.

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The underlying concept of this scheme is to characterize th e building as part of the natural continuum of Wilshire Boulevard, the linear corridor which is as much a symbo l of Los Ange les as the Hollywood sign. Through the creation of an extensive garden, the open space is advanced as an important urban park. More importantly, through the addition of significa n t retail and elements of pedestrian activity, the de ign seeks to enhance the Wil hire corridor and introduce the kind of energy found in Times Square o r the Shibuya Di trict of Tokyo. The building' hape, and its progress from base to the top, are logically integrated with functiona l and architectural criteria to allow for a continuous, efficient structural ystem. The lantern / he lipad at the top not only erves structural needs, but al o provides a beacon visible mile out to sea and far into th e d esert. The play of light through the slots in the upper part of th e building and the gentle taper provide hourly drama aero s the elevations.

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The structural system concept was determined o n the basis of efficien t windload resistance and consid erations of occu pan t perceptions of m o tion during wind gusts. Additionally, the structural system had to provide adequate resistance and ductili ty to withstand strong seismic motion. The lateral stiffness for wind-load resi tance is optimized by placing columns on the exterio r of the shape and interconnecting them by means of vertical trus es. Apertures in the building provide sub tantial d ampening of wind m o tion .

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Recognizing the freeway frontage and its inherent associated imagery, an array of office buildings focuses on a transit stop which in turn becomes the central pedestrian hub of development. Parking for the office buildings, while above grad e for economic reasons, becomes a retail frontage at the base and an en closed form from the freeway, creating the central urban space. Future offices, housing, and retail extend from this sp ace in a phasing strategy that provides flexibili ty, yet maintains the overall cohesive character for the development.

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The program for this project includes the Rangers St.adium , an adjacent Little League Field, a Hall of Fame, and an administration building. The special element of the project i baseball, and its role in American culture, both pa t and present. Expres ed in vision, sound, smell, taste , and song, it is intertwined with a notion of summer aftern oons and evenings, hot dogs and beer-a time when junk food is legitimate, and meaning and history are as important as the game at hand. Wrigley Field and Fenway Park are reve red as special ballparks, but their most distinguishing feature i that they are part of their surrounding urban fabric to a far greater extent than more modern stadiums which tand as i olated elemen ts in an asphalt sea. This scheme sought to use the characte r of the Arlington urban form which is defined by its organization along the highway, the stadium itself, and large local amuse ment parks and the ir associated parking. Continued 1

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