- 01 1201 THIRD AVENUE BUILDING | Kohn Pederson Fox (New York) & McKinley Architects 1988.
Formerly Washington Mutual Tower, this 55 storey post-modern building dominates the northern downtown streetscape. Behind four symmetrical facades its form is that of a glazed cylinder in a granite box.
- 02 1201 THIRD AVENUE BUILDING | Kohn Pederson Fox (New York) & McKinley Architects 1988.
The strong blue sky of a late September evening sky intensifies and darkens the more cyan tints of the glazing.
- 03 1201 THIRD AVENUE BUILDING | Kohn Pederson Fox (New York) & McKinley Architects 1988.
I was drawn to the symmetry and repetition of the design elements in the facades, particularly in the greater detailing of the central strip.
- 04 1201 THIRD AVENUE BUILDING | Kohn Pederson Fox (New York) & McKinley Architects 1988.
On the flat façade areas the intense late afternoon light enhanced the contrast between the blue glass and the pale colours of the granite cladding.
- WAMU CENTER | NBBJ 2006
The façade of the Washington Mutual Bank's current home reflects its predecessor, formerly the Washington Mutual Tower, at 1201 Third Avenue.
- 05 WASHINGTON STATE CONVENTION & TRADE CENTER | TRA Architects 1988 + LMN 2001
Viewed from the earlier Freeway Park, the Center's cubist green glass forms echo the architectural structures of the park and to which this run of garden sited volcanic rock in turn responds.
- 06 SEATTLE ART MUSEUM | Venturi Rauch & Scott-Brown + Olsen Sundberg Architects 1991
The hand and hammer of "Hammering Man" by Jonathan Borofsky stand against the curved and incised limestone of the First Avenue and University Street façade.
- 07 SEATTLE ART MUSEUM | Venturi Rauch & Scott-Brown + Olsen Sundberg Architects 1991
Granite, sandstone, bluestone and brightly glazed terra cotta are combined at street level in counterpoint to the soft grey of the limestone above.
- 08 SEATTLE ART MUSEUM | Venturi Rauch & Scott-Brown + Olsen Sundberg Architects 1991
The strongly coloured glazed ceramic detailing echoes the material's use in the Smith Tower and elsewhere in Seattle, as well as Islamic, early European Gothic and other world architectures.
- 09 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
The undulating forms of the structure were designed using CATIA, a 3D computer modelling system developed by Dassault Systemes for aircraft design. Music in many manifestations, Jimi Hendrix sounds, and objects such as a shattered Fender Satratocaster influenced the whole concept.
- 10 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
The building's skin is formed from several thousand individually cut and formed, polished and coloured, stainless steel panels. Light and colour are in constant flux.
- 11 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
Red and blue stained panels and polished clear steel reflect one another above the main entrance. The constant change in colour effected by light and changing viewpoints was of prime interest.
- 12 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
Light on opposed forms create counter reflections above the main entrance way.
- 13 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
A curving facade in ever changing hues of red and blue reflects an adjacent form and fragments from the rides in the Seattle Center amusement park.
- 14 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
Here, the reds and blues on a tall curved façade register as almost clear and mirror the amusement park rides behind the camera. The hard-edged shuttered concrete is in marked contrast.
- 15 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
Here, the surface variations in the metal panels create baroque distortions of the surrounding buildings and the smaller structures in the amusement park.
- 16 EXPERIENCE MUSIC PROJECT | Frank O. Gehry Associates + LMN Architects 2000
A steel substructure supports panels of glass shingles on the upper surfaces of the central eastern form of the building.
- 17 SEATTLE CITY HALL | Bassetti Architects & Bohlin Cywinski Jackson
A detail from one of the arc of doors below the main entrance that open on to the fountain court overlooking Elliott Bay, combining indoor and outdoor space.