Beck Architecture by The Beck Group

Selected Works BECK ARCHITECTURE

This collection of projects represents the collaborative work of Beck Architecture lead by Rick del Monte, FAIA. Organized chronologically from 2003 to today, the projects represent not only del Monte’s hand in the design but also his leadership of a talented team of designers, architects and contractors at Beck. Del Monte emphasizes the importance of establishing strong principles to guide the process of conceiving, developing and reﬁning a work of architecture. Through his expansive career as an architect, and continual dialogue with his peers and the designers he leads, he came to the conviction that three essential design values would shape the ﬁrm’s thinking about projects.

Rick’s talent and skill has impacted directly or strongly inﬂuenced the design of hundreds of projects. The pages that follow showcase several outstanding examples of his architectural legacy. The reader may glean additional insight from the sketches, renderings, photography and descriptions of each project. The thread and development of Rick’s rigorous and disciplined approach to design is evident, as well as the creativity and expansiveness of his ideas captured throughout this monograph.

Beck is an international design and construction firm. Through its award winning work, it has become the most significant integrated firm practicing today.

Selected Works BECK ARCHITECTURE

Table of Contents FOREWORD 7 Kip E. Daniel, FAIA COLLABORATION 11 Henry C. Beck III FRIENDSHIP 13 Chairman Kim, Hong Kuk CONTEXT, CLARITY & CRAFT Clayton Daspit, AIA

SELECTED PROJECTS Shinkwang Church Hunt Oil First Baptist Dallas Sarang Church CDC Office and Campus Improvements Joyful Church Harim Headquarters Old Parkland NS Home Shopping Mixed Use Harim Visitor Center Hi Line Office 1401 Lawrence Harim Pet Food Factory and Visitor Center Orpum Corporate Office Crescent Pavilion (Shake Shack) Estadio Borregos Urban Stadium Beck Corporate Office Shraman Museum 1100 McKinney Ave Mixed Use Kangnam Church Harim Mixed-Use

19 21 31 41 51 61 67 77 89 99 107 119 129 137 145 157 167 179 189 199 209 219

INFLUENCES

227

AFTERWORD 239 Fred Perpall, FAIA

Foreword Kip E. Daniel, FAIA Design Excellence started early. Most people at Beck are not familiar with the fact that Rick del Monte’s first design awards for Urban Architecture Dallas, the predecessor firm to Beck, occurred before he had even joined the firm. Addison Market, the winner of both a Dallas AIA award as well as a TSA design award, was the very first building produced by the then-fledgling architecture firm that had just months before broken away from the parent firm in Houston. Rick was the single designer on that project. I met Rick when he and I were both employed by Urban Architecture, Inc. in Houston. Rick had just joined Urban in late summer 1981 while his wife Betsy went to study at Rice to gain a Master’s degree. I was gearing up to leave the Houston office and move to Dallas to open a branch office for that firm, and therefore our times at Urban in Houston only overlapped by a few months before I left for Dallas. So I can’t say I gained much knowledge about Rick during those times except to realize that he was a particularly adept young designer who quickly established himself in a short time at that Houston office. After I moved to Dallas, the Houston office fell upon hard times economically, and by early 1983, I had to purchase the Dallas branch office in order to keep from having to move back to Houston. Urban Architecture Dallas was still just a one-man firm, though, and I relied upon the Houston office for all design, first as a branch office and later through a type of fee based on the continued use of the name Urban Architecture for the new Dallas-based firm. Through that continued connection to the Houston office, I did have occasion to experience Rick’s design skills as he supplied some of the early

designs for stores and interior work that kept the Dallas office alive. When, in late 1983, I finally landed a commission for our first Dallas building, I went back to Rick del Monte for the design work. I still remember well my excitement when I received the design from Houston in the form of three to four butter-paper colored pencil sketches of elevations and floor plans for Addison Market, a project of Hopkins*Shafer, a Dallas shopping center development company. The exquisite simplicity of the red brick stepped sign-band façade, supported by double round white plaster columns on brick bases, was breath-taking to me. I immediately made an appointment with the owner to review the design scheme, and like me, they were also enthralled. Based on the strength of that design, Urban Dallas was hired to continue into production drawings, with absolutely no changes proposed to the original design scheme. Looking back on it, I realize that Rick’s consummate design skill was evidenced even in this simple small shopping center design. Until that time, most shopping centers were built of cheap tilt-wall construction or EIFS, and the few that were built of brick were very simple brick boxes with unadorned brick columns - with no visual “entertainment”. Rick’s design broke through in many ways, and whether it was acknowledged or not, shopping center owners were forever influenced by what Rick achieved in Addison Market. The Dallas AIA recognized this with a design award, even despite the obviously amateur photography used from a last minute photo shoot in order to meet submission deadlines. From there, in the same year, the Texas Society of Architects also awarded Addison Market. I don’t remember such a small commercial strip

center ever receiving double design awards like this, either before or after Addison Market. That was the start of my deep appreciation for Rick Del Monte design work. After Betsy gained her Masters from Rice, Rick moved to New York City to get his second Masters from Columbia. Although he was no longer affiliated with Urban in Houston, I still prevailed upon him to provide designs for other Urban Dallas projects via butter-paper sketches sent by FedEx from evenings of work in his apartment after classes at Columbia. Finally, after graduation from Columbia, Rick re-entered the professional world with a stint at Robert Stern before settling at Kohn-Pedersen-Fox. The Urban Dallas projects got too complex and time-consuming for Rick to carry on in a moonlighting capacity, but I remained in touch with him, always hoping that someday we would work together again. In 1992, with Urban Dallas struggling to provide the quality of design I hoped for, I approached Rick about the chances of me hiring a young designer away from KPF, since that firm was becoming internationally famous for its high quality work. I caught Rick at a vulnerable time. He was frustrated with the lack of support from his firm for his role in leading design of a 1 million SF office project, and he was growing tired of the struggle to raise a family of three young children in NYC. So, because of the serendipitous timing of my call, I was able to convince Rick to come back to Texas and join me at Urban—and this was secretly what I had been hoping would happen when I called him in the first place! Rick came into Urban Architecture with a faith that, upon mutual success for us both, he would become a partner with me. And that is exactly what

occurred. They say the best partnerships are those where each partner knows what he is best at doing, and he finds someone else to do what he is not good at. Rick and I seamlessly slid into exactly that kind of partnership. We very naturally and easily divided the company’s leadership needs between us. I continued in leading the business development efforts as well as carrying on the back-of-office financial management role. Rick’s skill in design, but also his confidence and personality, allowed him to quickly find clients who were drawn to Urban for design leadership. Within the company, Rick also took over the responsibility for re-making the firm in terms of the individual skills of its architecture personnel. Rick was exactly the leader that had been needed, and through the years from 1993 until we merged with Beck in 1999, it was his innovative designs, as well as his leadership, his innovations in mentoring, and his ground-breaking explorations in digital design, that allowed Urban to grow from a group of 18 to our strength of 45 people when we merged with Beck. In retrospect, I think the key to the strength Rick provided in his leadership was the passion he had for everything he engaged in. Once Rick accepts any challenge—any design challenge, any sport, any hobby, or any issue surrounding our business —he literally attacks it until he knows as much as he can know about the subject. This is not due to any desire to prove himself better than others (although Rick is fiercely competitive!); it comes more from an internal drive just to “know”. This passion and thirst for knowledge paid off for both Urban and Beck. When Rick spoke on a subject, clients learned that he was not just spinning a conversation but that he really was almost

always correct in his opinions, interpretations, or comments. Rick was not just a designer focused on the aesthetic appearance of buildings, but rather he understood as much about what made the buildings work as any engineer, consultant, or contractor. With internal staff, Rick’s knowledge was not domineering, but young designers learned to be able to trust what Rick shared with them. And they also found Rick to be incredibly generous in sharing responsibilities and credit for any design ideas or accomplishments. This book is more devoted to pictorial display of Rick’s design work and design leadership, but I maintain that many crucial aspects of Urban Architecture and then Beck were borne of this passion for not only design but also for general knowledge, both of which naturally gave birth to his impressive leadership skills. His imprint can be seen even today in the design work coming from disparate Beck offices because of his leadership in growing and mentoring design talent according to the principles he espoused. I couldn’t have asked for a more supportive and faithful partner, both at Urban and then at Beck. He is the primary reason Urban and Beck both became lighthouses for strong capable design, and he was a major factor in my own professional successes. Rick challenged me at the proper times, encouraged me at times when I needed it, and he was everything that anyone could expect of a partner. I wish him the best in his next “life moves”, and I put it that way because I know this high intensity individual, who is never satisfied with second best, is also the kind of person who will continue to have a passion for design and architecture for a long time to come.

Collaboration Henry C. Beck III In the mid 1990’s, Beck Leadership began to explore how to differentiate the firm, particularly in light of our Mission Statement around revolutionizing the industry. We concluded quite quickly that the massive inefficiency in the design/construction continuum was an excellent opportunity to address. In particular, we elected to focus on a narrow portion of that continuum from schematic design through preconstruction. At first, we naively believed that the right technology would provide the solution to properly integrate the disciplines and eliminate the waste and mistakes. This led to exploring a variety of solutions from Excel to complex object-oriented and parametric technology. We settled on the latter by purchasing a license to an English software and began building digital models for small office buildings, attempting to integrate the design and estimating process. I’ll never forget the day that the leader of this effort, Brad Phillips, came to me to say that our business model was flawed because we had no influence over design in the market as a construction company. And we concluded that he was right. That led to experimenting with several business models to provide design services…none of which worked. We realized that to do it properly, we really needed to engage an existing firm that was sufficiently large and successful to begin to match the capabilities of our construction business. We spoke to several architecture firms, but without success in large part because those firms were pleased with the status quo and saw little need for improvement. At the time, we were beginning

construction of The Potter’s House Church with Urban Architecture as the designer. Jim Gettman, who led Central Division construction, came to me one day to say that Urban might be a possibility and that I should meet with Kip Daniel, who led the firm along with Rick del Monte. Through my discussions with Kip, I think we realized that we were both impatient with the industry and that deep changes were needed. Interestingly, Urban had just completed a long-term planning effort during which they concluded that marrying a successful construction company could be a real differentiator for them. As discussions proceeded, Kip told me that I needed to meet with Rick. We did so for the first time at breakfast, during which Rick insisted that the only way a marriage might work is if we persistently emphasized design quality on every project that we performed as an integrated firm. This delighted me because one of my fears had always been that we might become a typical design/build firm commonly found in the industrial space where little emphasis is placed on design quality. I think that ended up being the key to consummating the merger as I was delighted to have a partner in Rick who would ensure design quality. But I believe that it was the impatience that Rick, Kip, and the rest of us felt around not accepting the status quo that ultimately served as the glue in making us one firm. So, in November of 1999, we consummated the deal and began a new chapter in the history of The Beck Group.

Friendship Chairman Kim, Hong Kuk I have had a relationship with Rick del Monte since Iri Shinkwang Church in 2003. Since then, I have worked with Rick on 14 projects in South Korea, including Harim Group Headquarters. I am proud of all the buildings, and it was personally very rewarding. Rick is a master in the architectural world who will not feel awkward being given the best titles, but on the other hand, he is also an excellent communicator who understands a client’s mind better than the person and provides inspiration from time to time. The buildings he designed each have a message according to their location and purpose. Messages from the buildings designed by Rick are understood to those who enter and leave, those who work, and those who pray. The Harim Group Headquarters, which has become a landmark in Gangnam, Seoul, is an example of the harmony of engineering and art created by a unique façade and architectural design that considers the environment. Many people stop to listen to what the building has to say and take photos. It’s an amazing scene. I believe it is the result of his creative artistic spirit, excellence as a designer, craftsmanship and sincerity as an architect, and practicality revealed through tenacity for quality. I think of Rick as an artist full of creative passion and artistic sensibility, rather than being an architectural designer or head of design. It has been a great luck and pleasure to work with Rick as he presents a wonderful ensemble of art and practicality, and engineering and design. I pay tribute to the path he has walked and wish him blessings on the path ahead. 17

Context, Clarity & Craft Clayton Daspit, AIA As the leader of a diverse design practice, Rick emphasizes the importance of establishing strong principles to guide the process of conceiving, developing and refining a work of architecture. Through his expansive career as an architect, and continual dialogue with his peers and the designers he leads, he came to the conviction that three essential design values would shape the firm’s thinking about projects. These are the notions of Context, Clarity and Craft. In a sense, each of these values represents the scale at which a project is considered. Each value influences and reinforces the others, and when in harmony, will result in a project that resonates on multiple levels. Context is the largest scale, the scale of the region, city, or neighborhood in which a project is located. It considers influences like access and approach from both distant and nearby origins, the density or sparseness of neighboring buildings or structures, the relationship to natural elements and the proximate terrain, and even how the ground plane meets the sky. Social factors are also considered at the level of Context - more ephemeral notions of local economic forces, living patterns of residents or users, and the movement of people and their relationship to the project and what it seeks to provide to its community. Clarity is the medium scale of the building as a whole, readable entity. The driving idea of a work of architecture should be immediately comprehensible, clearly expressed, and reinforced and clarified with each design decision. Every part of the building’s program should work seamlessly and effectively

within the organizing diagram; nothing should be forced to conform to an ill-fitting, aesthetics-driven solution. This is achieved by considering design from the inside out, allowing the flow and function of the program to dictate the project’s organization, which in turn should be effortlessly revealed in the building’s form and exterior expression. Craft occurs at the finest scale of design thought. It requires rigor, discipline, and relentlessly iterative exploration of the project’s innate nature. The expression of materials, the resolution of connections and intersections, and the refinement of innumerable details are appropriately indicative of the success of the overall design. They should bring out the joy and delight in a project, and provide the many moments of discovery and satisfaction that every great work of architecture brings to light in the world. Collaboration with the skilled trades comes into play at this level. Working within the tradition of a craft should influence and direct the way in which details are realized. The centuries of refined knowledge of masonry, woodworking, metalwork, and hand-applied finishes are the textbooks from which meaningful details are defined. There is a back and forth between the intention of a building’s details and the actuality of the properties of the materials used, the tools that are used to fashion them, tolerances that are achievable, the surface qualities and the means of joining them together. Ultimately, great details achieve a level of honesty and straightforwardness that express all the forces at play in a design, and crystallize the notion of the building in a single concrete moment of expression.

PROCESS Rick always leads his teams as a teacher, a mentor and a rigorous critic. He demands that his designers and architects “draw like they give a shit”. (alternately “draw like they care.”) While Rick encourages the freedom of exploration and creativity of individual designers, he always looks for a clearly defined framework of parameters against which the project will be evaluated. Establishing the rules early is critical, and this is best done through debate and discussion among the design team at the originating stages of a project. Most of Rick’s guiding parameters are fundamental good architecture. Buildings are physical structures, so establishing a structural grid appropriate to both the structural system and the project type is often the first move. An acknowledgement of the column grid should underlie every consideration, and be included even at the sketching phase. Establishing modules to govern the design is important. Different building types use typical module dimensions – for example, a five foot module is common in office design. Modules establish regularity and reduce randomness, govern the alignment of elements, and affect not only a building’s floor plans but its sectional relationships and how its elevations are delineated. Design solutions should have a clear organizational strategy that is understandable at a glance. The

plan and section should express cohesion in their alignments and relationships among elements. The authority of the grid and governing modules should only be broken when a move, by the contrast of its nonconformance, reinforces or makes apparent the overall hierarchy. For this reason, angles and curves should be implemented sparingly, and only when they work in service to the overall organization. TECHNOLOGY The computer has been a transformational tool in terms of ideating and visualizing solutions for projects. Rick’s career saw the adoption of computer aided drafting and he was an early enthusiast of the possibilities digital visualization brought to the profession. His facility with the form•Z software brought a new dimension to his ability to explore and expand a project’s idea space. Being able to generate multiple ideas, model those solutions, and generate evocative renderings or dynamic fly-throughs of live models, have made Rick’s practice more collaborative with both the internal team and clients. The computer empowered designers to explore non-traditional geometries and resolve forms that would be daunting with traditional methods. The freedom of form generation that computer aided design affords is also a potential downfall. It has become far easier to design to the image, to

generate extremely compelling renderings that lack an underlying framework or concept of structure. An over-reliance on the model can give a false sense of resolution. Viewing a project constantly in perspective cannot give a true sense of proportion. This is where Rick advocates for the regular return to two-dimensional drawing, especially for elevations where one can really understand plan relationships and the proportions through the careful construction of a projected view. LEGACY Rick’s talent and skill has impacted directly or strongly influenced the design of hundreds of projects. The pages that follow showcase several outstanding examples of his architectural legacy. They demonstrate his principles of Context, Clarity and Craft. The reader may glean additional insight from the sketches, renderings, photography and descriptions of each project. The thread and development of Rick’s rigorous and disciplined approach to design is evident, as well as the creativity and expansiveness of his ideas captured throughout this monograph.

Selected Projects

Shinkwang Church Seoul, 2003-2008 The Shinkwang Presbyterian Church sought out Beck to create a new facility designed around innovative American church ministry concepts, yet set in the cultural and environmental context of South Korea. The design solution had to accommodate approximately 500,000 SF of space on just a seven acre site including a 2,500 seat sanctuary with stateof-art A/V/L system, 300 seat chapel for weddings, funerals, and multi-use, 500 seat multi-use cafeteria, fitness facilities including multi-use gymnasium, aerobic and fitness rooms, children and youth education facilities including seven auditoriums and multi-use classrooms for kindergarten and Sunday school and a 500 car underground parking structure. With Korea’s high energy costs, the building was also designed to be extremely energy efficient. To reduce energy use, the design used advantageous orientation of the buildings to catch prevailing winds for hotter months and shelter the buildings in colder months, sun shading devices, and extensive use of exterior ventilation to reduce heating loads. The facilities are designed around a public open space that gives the community a unique gathering place in a very dense urban environment. The crescent shaped layout of the building symbolized the gentleness of Jesus opening his arms wide to the city of Iksan and the world.

TOP: CAFETERIA LEFT: LIBRARY 30

FIRST FLOOR PLAN

MAIN WORSHIP

Hunt Oil Dallas, 2004-2007 Situated at the northern edge of downtown Dallas, at the prominent intersection of Woodall Rodgers Freeway and North Akard Street, the Hunt Corporate Headquarters building attempts to simultaneously mediate, unify, and enhance the distinct contextual conditions which surround it. A modern and progressive design, it is expressed with layered taught skins and continuous, elongated edges that generate the impression of movement and dynamism. A 250-foot tall curved glass wall simultaneously presents a dramatic frontal façade to those entering downtown on the southbound streets of Akard and St. Paul and those viewing from Klyde Warren Park. It also presents a distinct and highly legible profile to the heavily trafficked freeway below. The triple laminated glass units that comprise this façade are curved to match the radius of the supporting structure. This reinforces the perceived tautness of the façade and presents a subtle but continuous, unbroken reflection of the adjacent surroundings and sky. This curved wall ascends upward from a public garden wrapping the northwest end of the site and extending along Akard, establishing the Hunt Building as a gateway to downtown. Its lush planting and mature trees acknowledge and complement the adjacent Cumberland Hill School grounds. This landscape composition creates a unique garden portal that announces ones entry into downtown. The lobby is inscribed as a ellipse in plan and serves symbolically as a linkage to the community and creates a public pavilion as a node between linking the Arts District with the Cumberland School. It is the terminus of the garage concourse and is

metaphorically the source of fountains that enliven the garden. The Treaty Room is an important hub within the internal building community, and provides a panoramic view of the surrounding city. A skywalk bridge provides expansive views of city and the adjacent Klyde Warren Park. The sky bridge links to the garage which is designed as an extension of the office tower rather than a visual appendage. Continuation of the tower’s plan geometry and skin articulation enable the garage to become an integral part of the building’s composition. Positioned along the curved exterior of the building the concourse allows the buildings occupants and visitors to enjoy multiple opportunities to observe and visually connect with the exterior garden. The materiality of the building is multi-layered, using Texas limestone to relate to the Cumberland School, Brazilian granite to emulate the warm gray Indiana limestone of the Dallas Museum of Art and Meyerson Symphony Center, and the caramel colored travertine of Nasher Sculpture Center. Exposed architectural concrete is used to directly express the structural elements of the building, with its visible surfaces blast finished using recycled walnut shells to enhance both their visual and tactile plasticity. A low reflectivity high performance glass with ceramic frit was utilized to afford the building’s interior the optimal balance between high light transmittance and minimal radiant heat. As a final conceptual layer, exterior LED lighting emphasizes the exterior skin articulation and transforms the building façade into a digital canvas thus enabling it to contribute to art of the District.

TOP: SKETCH OF HISTORIC CUMBERLAND HILL SCHOOL ACROSS AKARD ST. BOTTOM: SITE CONCEPT SKETCH 38

TREATY LEVEL

TERRACE LEVEL

GARDEN LEVEL 40

RIGHT: MAIN LOBBY

First Baptist Dallas Dallas, 2008-2013 First Baptist Dallas was established in 1889 with the construction of the original historically registered sanctuary. Over the years, the church made additions to their facility and purchased adjacent buildings and recently became the largest land owner in downtown Dallas. With over a million SF of building, the church found that it was only using 40% of its’ space, and that most of the buildings were falling into disrepair. Having made a commitment to stay in downtown years ago, instead of following the rush to the, First Baptist Dallas committed to a complete reinvention to their church facilities by means of reduction, restoration and renewal. There was a need for both contemporary and traditional worship services simultaneously. The historic Sanctuary was preserved in place, with new buildings surrounding it in a more compact, focused and efficient layout. Recognizing its civic responsibilities, the church chose to give over significant areas of its land as an urban park with community-focused spaces. The new 1.4 acre garden plaza actively connects the green spaces of the recently ﬁnished Deck Park and Arts District with new and existing parks in the center of downtown.

An elevated Atrium promenade connects the Criswell Building fellowship space with the sanctuary and lobby to the New Worship Center. It then crosses St. Paul Street, connecting the Education Building and new parking garage. The main ﬂoor of the worship room is elevated above street level to provide access below the Atrium, allowing for ground level retail, offices and service zones. An elevated Atrium promenade connects the Criswell Building fellowship space with the sanctuary and lobby to the New Worship Center. It then crosses St. Paul Street, connecting the Education Building and new parking garage. LEED silver certification was achieved through energy saving strategies like north facing glass, renovated mechanical systems, and rainwater collection cisterns.

TOP: JEFFRESS FOUNTAIN PLAZA BOTTOM: ATRIUM FROM CRISWELL BUILDING 48

AXONOMETRIC PLAN THE ATRIUM CONNECTS THE CRISWELL BUILDING FELLOWSHIP SPACE WITH THE SANCTUARY AND LOBBY TO NEW WORSHIP CENTER. IT THEN CROSSES ST. PAUL STREET CONNECTING THE EDUCATION BUILDING AND NEW PARKING GARAGE. 49

Sarang Church Seoul, 2009-2014 With a site area of 73,000 SF and a programmed building area of 716,618 SF, the Church in Seoul is an exercise in high density design. This urban site must accommodate over 40,000 people every Sunday, the majority of whom arrive by subway. The design called for a 6,500 seat worship sanctuary, offices for the church’s global ministry, a 300 seat chapel, fellowship and classroom spaces, 250 parking spaces and a public plaza. The design solution places the worship sanctuary underground, covered by the public plaza, with the sky above. Flanking the worship center on the north and south, the remaining program is projected upwards into two towers that are unified at three levels with a sky bridge. To give further frame and emphasis to the sky above, the massing of the two towers and sky bridge is extruded at an angle about the elliptical plaza, and wrapped in clear vision glass to give unobstructed views inside and out.

MAIN PLAZA ABOVE WORSHIP ROOM 58

BUILDING CROSS SECTION

MAIN PLAZA AERIAL

MAIN WORSHIP ROOM

UNDERGROUND SANCTUARY AXONOMETRIC 61

MAIN ENTRY

CDC Office and Campus Improvements Atlanta, 2010-2013 The project includes a new 268,000 SF, nine-story federal office building housing over 1,000 employees and an 867-space parking deck expansion on an existing, high security campus. Built to LEED Gold standards, the building had to tie into existing buildings, utility systems, walkways and driveways. without disrupting campus operations.

experience the campus as pedestrians. Intuitive paths and muted signage guide visitors as they pass other buildings, picnic tables, benches and landscaped plazas. Landscape beautification was achieved without increased municipal water consumption; 100 percent of the irrigation demand is served by collected rainfall and mechanical condensate.

The project team defined success as design excellence, campus cohesion, energy conservation and sustainability, a healthy workplace, security criteria compliance, budget adherence and ontime completion. Client scope documents dictated performance expectations. The design process began with translating these principles into design compliance metrics and a refined program.

The campus language is dictated by a sophisticated collection of buildings of various sizes and forms, comprised of brick, curtain wall, metal panel and treated concrete. The new building’s curvilinear form and materials originated from this existing language, while specific design decisions influenced by the campus conditions ensured the building established its own character. Enhancing the campus composition, the building created a focal point for the new central portion of the campus.

The 1,034 tenants will occupy an eight-story 268,000 SF building. Building density, set at 170NUSF/person established the efficiency target. Balancing efficiency, collaboration and privacy demands, 60 percent of the offices were programmed as open offices, with the remaining 40 percent programmed as hard-walled offices. In addition to meeting functional requirements, the building needed to compliment the campus. The campus environment experience begins upon arrival, continues during building approach and culminates as one reaches the work space. After parking, visitors

Canopy overhangs and extensive low-reflectivity clear glass soften the transition between interior and exterior. The entry lobby draws in visitors. Sloped curtain walls, dramatic roof features and high level finishes make the lobby a focal point anchoring two towers. Sunlight fills the space in a controlled fashion and artificial light adjusts automatically. Seating alcoves benefit guests and tenants, allowing private conversations or a place to enjoy a moment of respite.

Joyful Church Pohang, 2010-2015 The new community center will be located on a 10-acre site of a newly developed town in Pohang, South Korea. The facility was designed to respect the Korean cultural and environmental context of Pohang and to provide various community spaces for all generations in the city. A large open public plaza is the focal point of the design and gives the community a unique gathering place. The design had to accommodate approximately 383,500 SF of space including a 2700-seat main auditorium, 800-seat auditorium, cafeteria, café, library, fitness facilities, children and youth education facilities, senior citizen service facilities, church facilities and a 350 car underground parking structure. The facilities were carefully placed on a hilly site to preserve the existing forest habitat. With Korea’s high energy costs, the building was designed to be extremely energy efficient. To reduce energy use, the design utilized natural ventilation to reduce heating loads and minimized the large amount of glass while placing windows strategically to allow abundant natural light into the interior spaces.

SITE PLAN

STREET VIEW OF COMMUNITY CENTER

GROUND FLOOR PLAN

MAIN SANCTUARY

LEFT: MEDIUM SERVICE HALL RIGHT: MAIN LOBBY

Harim Headquarters Seoul, 2011-2017 The Harim Group Headquarters is located in the Gangnam district of Seoul, South Korea, on one of the most active pedestrian streets in the city. The project consists of two stories of restaurants at the base with 16 stories of office space above. The client is one of the largest food companies in Korea and wanted this building to provide a strong identity on the skyline during the day and particularly at night. It was important that the building be sustainable and provide a strong public presence on the street. To maximize the building’s height within the zoning code, a large public space is provided on the ground floor. This public space flows from the street to a courtyard in the back which is defined by aluminum panels which graphically recall the curve at the building front. This space provides restaurants, fountains, and public seating to a district with almost no public amenities. The roof has a circular conference room overlooking the roof garden and the city beyond. The interior and public spaces reinforce

the architectural concept through the consistent and rhythmic use of materials and geometric patterns, creating a textural pattern that weaves throughout the building. Within a tightly constrained floor area a vertical recessed slot allows the eastern summer wind to create a low pressure zone along the north face of the building. This low pressure zone allows the office space to be naturally ventilated by the operable windows around the perimeter of the floor. This slot curves upward, linking the public area on the ground floor with the roof garden, providing a visual identity for the building. The slot is highlighted with polished stainless steel panels incorporating a perforated and textured pattern. These are illuminated at night by a series of recessed white LEDs that through multiple reflections create a soft, shimmering lighting effect. The building includes high performance glass, LED light fixtures, under floor air distribution, a green roof, and perimeter operable windows.

DO-SAN BLVD. (120 FEET)

PEDESTRIAN ACCESS

4 1. VEHICLE ACCESS 2. PUBLIC COURTYARD 3. BRIDGE 4. AUTOMATED PARKING TOWER

VEHICLE ACCESS

NONHYEON-RO (20 FEET)

SITE PLAN

50 ft

BUILDING CROSS SECTION 87

GROUND FLOOR PLAN

PERFORATED PANEL DETAILS

Old Parkland Dallas, 2011-2016 The Old Parkland campus was the original municipal hospital for the city of Dallas. Located just north of downtown, the hospital moved to a new facility and the existing campus sat empty for many years. The campus was eventually acquired by the Crow Family Holdings, who added two new buildings and an addition to the back of the hospital building. During this process Harlan Crow became knowledgeable and passionate about classical architecture. As a final legacy project he decided to build a complex of three office buildings on the southwest corner of the campus that would tie back to the architecture of the original buildings. In detailing, proportion, and materials, these buildings are classically correct with a commensurate level of handwork and craftsmanship. The structure on the corner was designed as a rotunda. Located on a high point of the neighborhood, its copper dome provides a focal point for the campus and serves as a pivot for the composition. The two lower buildings are similar in massing but have their own unique detailing and porticos. The three buildings together define an interior space with a sculptural column as the focal point. The extensive art program for the new buildings focused on the development of American democracy, with commissioned statues of Washington, Jefferson, Hamilton, and de Tocqueville. Smaller works around the grounds continue the educational theme, including hand carved keystones and capitols.

LEFT: VIEW OF PARKLAND HALL FROM STREET RIGHT: SITE PLAN

VIEW OF PARKLAND HALL FROM COURTYARD

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NS Home Shopping Mixed Use Sungnam, 2012-2015 This 250,000 SF building is located in the newly developed office area of Pankyo, near Seoul, South Korea. Primarily functioning as a seven story parking garage for both cars and bicycles, the client also sought to provide a vibrant gathering place. With an active retail zone on two levels, one underground, and park like public space in front, the building serves the workers who spend long hours at the office, who often decompress in establishments close by before commuting home. The retail base is laid out to organize and integrate the various uses and circulation while bringing the maximum amount of natural light to the lower levels. The final component of the project is a TV studio for production of the NS Home Shopping network on the upper level. In an attempt to harmonize the distinctive elements, inspiration was sought in the form of a wrap dress or skirt. The carefully patterned metal fabric skin thus envelops the garage body and is lifted at the main corners to open up to the retail elements. The skin is illuminated by LEDs which reinforce the place as a vibrant and active destination.

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SITE PLAN

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Harim Visitor Center Iksan, 2012-2017 Harim Company, Korea’s largest food processing company, produces and distributes food by combining farms, processing factories and markets. The company planned to expand a new plant and create a new visitors center to support a plant tour. This new state-of-art facility includes a main lobby with dining lounge for visitors, presentation room, movie theater, exhibition hall, store, visitor circulation corridor, cafeteria, VIP and VVIP restaurant, fitness center and locker rooms for employees, and an employee daycare. To create pleasant outdoor spaces evocative of a cool summer forest (which is the meaning of the word Harim), the design created a courtyard between old and new facility as well as a rooftop garden. The glass curtain wall façade reflects the clean image that Harim is known for.

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Hi Line Office Dallas, 2012-2014 This renovation of a decaying warehouse into a private family office expresses both the client’s Greek heritage and passion of surrealist artwork. Within the context of storehouse-turned-showrooms, the program provided a space to house the client’s private art collection as well as executive level office amenities. The design responded with a whimsical motif that blends the abstraction of ancient forms with surrealist moments that leave occupants pondering the reality of the architecture. The building is organized about a central courtyard allowing ample daylight to reach both the office and art¬work spaces. Separated from the public realm by a mosaic screen, this courtyard is designed to showcase the client’s sculpture collection, contrasting the art objects against a background of a neutral stucco façade and a fully vegetative wall. Full-height glazing on two sides of each private office brings sunlight deep into the workspace. A large sky-lit library offers a place of repose opposite the courtyard. The gallery space is divided into three bays, two interior and one exterior. Concentric framed views pro¬vide for contemplation of both oils paintings and sculptures in light optimized for each type of art. The jeweled art sanctuary held gently within the building mass provides a hallowed environment for specially commissioned interpretations of the Hellenistic deities.

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02.13.2013 1

GROUND FLOOR PLAN

2 EXISTING ELEVATION SCALE: 3/16" = 1'-0"

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FRONT ELEVATION

Hi Line Office Building

CONCEPT DESIGN

A-103 PROPOSED DESIGN

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TOP: COURTYARD ENTRY BOTTOM: ENTRY GATE DETAIL

RIGHT: VIEW FROM GALLERY TO COURTYARD 128

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GALLERY VIEW TOWARD SANCTUARY

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SANCTUARY INTERIOR 131

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1401 Lawrence Denver, 2013-2016 1401 Lawrence serves as a new, world-class architectural icon for the city of Denver. The 22-story Class A office building totals 478,000 SF, and is comprised of premium office and retail space. This new project elevates office design in Denver and offers a sleek and timeless building that fits comfortably into the surrounding urban context. The location for the office tower, adjacent to the Larimer Square Historic District and at the threshold of downtown Denver’s Central Business District, proved to be the project’s most challenging design constraint. Specifically, the challenge was to provide a design aesthetic that recognized and respected the historic Larimer Square while embracing the responsibility of being the newly appointed ambassador for the Central Business District. The glass “jewel-box” design concept placed the building in an L-shaped mass in order to achieve a restrained and refined modern design. The concept created a clean glass curtainwall shroud with minimal design adornment eliminating the potential conflict of detail with its historic neighbors. This restraint was countered by a more rhythmic punched window expression that is in keeping with the existing facades of the Central Business District. To achieve a refined look, the design team worked closely with the glazing contractor to achieve the quality and performance of a unitized curtainwall system. This unique system integrated the metal panels at the punched openings into the overall premanufactured system. The design team also developed a wing-wall or “fly-by” design feature where, at six corners on each office level, the curtainwall extends beyond the edge of the concrete

floor slab. Additionally, the curtainwall connection at these corners required intense coordination between the design team and the structural engineers. Not only is the concrete cantilevered at these locations but also steel tube sections that extend out to support the curtain wall. The team had to make sure the deflections were within the tolerances of the curtainwall system, to avoid jeopardizing the integrity of the design. A secondary design challenge was to develop a metal scrim that would screen parked automobiles from public view while allowing natural ventilation into the eight-story parking garage. The design team developed a syncopated and perforated aluminum panel system comprised of three specific panel configurations with two perforation sizes. Unique to the garage structure are two massive corrugated and perforated art-wall panels. The design team worked closely with both art consultants and internationally renowned metal fabricators to manipulate the perforation sizes to create an abstract image of the Rocky Mountain Front Range that is revealed at the two entries to the building. Finally, the building’s eight-story parking podium needed to gracefully engage and embrace the street. The design features individual, appropriately scaled, entry portals at the base retail zone. These portals feature shifted scale and tactile materials that allow for a more appropriate pedestrian experience. 1401 Lawrence transforms what once was a void within the District in a respectful and sensitive manner and is a precedence-setter for future office tower and urban infill projects in Denver.

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Harim Pet Food Factory and Visitor Center Gongju, 2014-2017

Jeil Feed Group built a new animal nutrition and visitor’s center totaling 171,000 SF, which includes a totally automated clean food processing factory, offices, conference rooms, cafeteria, display and store space, auditorium, and a security building on a new property in Gongju, South Korea. This facility is expected to attract owners and their pets curious to see how and where the food is sourced and made. Visitors can also enjoy a pet friendly park outside the cafeteria and pet store. The design of the project breaks apart the typical factory layout by pulling the office component away from the main mass and creating a courtyard that serves to bring natural light into the office and factory. The taller volume which contains the feed production equipment is illuminated at night with a translucent skin. Sculptures of a dog and cat are a part of the overall composition and serve to act as a whimsical billboard for the center. To provide a clean and sustainable environment for the office and factory workers, as well as visitors, the design incorporated several sustainability strategies into the project. These included skylights and translucent wall panels at the factory, high performance glass, LED light fixtures, and perimeter operable windows providing natural ventilation. The courtyard between factory and the visitors center provides abundant natural light into the interior spaces through a light well, and serves as a vantage from which people can enjoy the natural scenery.

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SECOND FLOOR PLAN

GROUND FLOOR PLAN

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ENTRY LOBBY

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VIEW FROM VISITOR CENTER LOUNGE

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Orpum Corporate Office Iksan, 2014-2019 For one of its local affiliate offices, Harim Group’s vision was to have a building that expresses their desire for sustainability and the care they demonstrate for their employees and citizens. The company wanted to provide interconnected green spaces throughout the building open to the public and giving employees easy access to the gardens during office hours. It also desired to have open and comfortable day lit office space and with attention being given to the solar control on the building exteriors. Initial studies called for either a ten story tower or four story low rise office building. The selected solution provides for an 86,000 SF design that has two L-shaped interlocking forms in a five story envelope that helps to create a variety of outdoor green space and plazas between them. The entire façade of building is designed with specific percentages of alternating glass and insulated wall to allow maximum desirable natural light on the south side of the building and protect the northern facades from exposure to the cold. East and west façades contain vertical fins that block glare from the morning and afternoon sun. Spaces include an upscale employee dining area with a two-story waterfall and views to the garden and city, veterinary hospital, pharmaceutical lab, fitness facilities, open office spaces, underground parking garage, and additional 86,000 SF of storage.

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GROUND FLOOR PLAN 152

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GROUND FLOOR PLAN

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OFFICE FLOOR PLAN

ROOF TOP GARDEN PLAN

LEFT: REFLECTING POND AT GROUND FLOOR RIGHT: COURTYARD GARDEN

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CURTAIN WALL ASSEMBLY DETAIL

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SECTION THROUGH LOBBY AND ROOF GARDENS

SECTION THROUGH CONNECTING BRIDGE

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NORTH ENTRY

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Crescent Pavilion

(Shake Shack)

Dallas, 2014-2016 Built on a leftover corner of the Crescent Development in Dallas and replacing an abandoned motor bank, this 2,900 SF glass dining pavilion was designed to activate an existing grove of trees and create a minipark as new public space. Mirror-like glass facing the classically detailed Crescent reﬂects the original facade. Transparent glass facing the park helps dissolves the line between the interior and exterior. Framed below the tree cover, a floating canopy provides shade by day, and is illuminated at night to draw people to the park. Designed to embody the values of Shake Shack, the materials and detailing help to blur the division between the interior dining room and the park outside. The project meets the city of Dallas green building code; it is designed and constructed to deliberately minimize its impact on the environment and to optimize efficiency and resource management. Fully 75% of the wall finishes are clad in reclaimed gym flooring sourced from the Old First Baptist Church in downtown Dallas. The project reduced water use by 27% by using high efficiency plumbing fixtures, implemented high efficiency LED lighting and HVAC systems, and utilized passive design strategies including deep overhangs and high performance glass. The owner purchased renewable energy certificates to offset air pollution associated with traditional fossil fuel energy sources and encourage the use of renewable energy generation.

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OUTDOOR DINNING SPACE

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RESTAURANT INTERIOR

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Estadio Borregos Urban Stadium Monterrey, Mexico, 2015-2019 Tec de Monterrey is one of the top universities in Latin America with 15,000 students at the Monterrey campus. Unique to the school, it has been playing American football since 1945. With the most storied program in Mexico, the school has been featured in the New York Times and ESPN. To celebrate the University’s 75th anniversary, the school opened a new 10,057 seat stadium to serve as the home of the American football program as well as men’s and women’s soccer. The 143,300SF facility is home to Tec de Monterrey’s entire athletic program, with weight training, rehabilitation, and meeting rooms for athletes in multiple sports. As athletics are a key component of the university’s TEC 21 educational pedagogy, creating a facility that was accessible to all students and the surrounding community was essential. It was also important that this large structure should ﬁt into the context of the historic campus. This was

accomplished by placing the stadium at the north end of a new central park, created on the site of the old demolished stadium. The approach to the Estadio Borregos was made much more accessible by lowering the ﬁeld level by 23 feet to bring the concourse down to street level. When visitors approach the stadium from the park, they are presented with a two level structure that echoes the architecture of the original classroom buildings on the core campus. The south end zone features a public plaza with open views of the action on the ﬁeld. A wide and shaded concourse enables the facility to host a multitude of events from festivals to concerts, and to provide a variety of entertainment offerings to both students and the community at large. On the second level, meeting rooms and offices are convertible to suites and wide circulation corridors become viewing terraces.

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CAMPUS CONNECTION

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MAIN STAND SECTION PERSPECTIVE

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MAIN STAND

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GROUND FLOOR PLAN

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Beck Corporate Office Dallas, Texas, 2017-2019 Located on floors 28-30 of the 50-story Santander Tower in Downtown Dallas, the design intent for this project was to foster collaboration and communication among coworkers of a design-build company. They were moving from one floor in their 50,000 sf space to a stacked configuration on three floors totaling 80,000 sf. A three-story atrium space was cut into the floor plates to connect all the floors, reinforcing community and connection. The space features a customized steel plate stair that rises from the lobby arrival space to the levels above. Views and natural light are enhanced by the use of visually minimal materials such as clear vision glass, stainless steel mesh, and perforated metal panels. This space also acts as a physical home page, representing the company’s history and values. Desirous of embracing new ways of working and creating a healthy office environment, the team adopted strategies from the WELL Building Standard, LEED, and Fitwel. Private offices, collaboration, and support spaces are located near the building’s core, giving maximum access to natural light and views for the open office and common spaces. Views and natural light are provided by clear vision glass and careful selection of furniture, as well as furniture placement.

atrium. The handmade wall tiles, reminiscent of a waterfall, feature the company’s values expressed in languages representing the three main countries they have done work in: English, Spanish and Korean. The workspace uses materials like oak paneling, wood grain desk tops, and carpet that replicates colors and patterns found in nature as well as the addition of living plants. At 12’-6”, the floor to floor height in Santander Tower is lower than that of comparable office buildings. A typical Class A office floor to floor height is 14’-0” to 14’-6” which normally provides for drop down ceiling heights of 10’-0” clear. In order to achieve a sense of greater height in the space, the structure was exposed and fire proofed throughout the office. Drop ceilings were used sparingly in the private offices along the core to provide for mechanical zones above. A balance of work styles was sought between collaborative activities and quiet space supporting deep work. With staff needing both, special attention was paid to the ratio of work station seats to collaborative seating. This planning also aided in the return to work post Covid, as people were able to maintain six feet of distance while working.

Biophilic design became a driver for the space to maintain a connection to nature. This is observed in the use of marble at elevator lobbies, terrazzo in the main lobby, and cloud-like perforated panels in the

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SECTION THROUGH ATRIUM

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LEFT: HANDRAIL DETAIL RIGHT: VALUE WALL AND MONUMENTAL STAIR

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Shraman Museum Dallas, 2018-2019 Sited in one of the few remaining developable tracts in downtown Dallas, the center will serve as a gateway to the West End district and seeks to become one stop on a proposed culture walk that includes the 6th Floor Museum, the Holocaust Museum, World Aquarium, and the Perot Museum. The building is crafted around a vision that seeks to support the Shraman Foundation, whose purpose is to inspire people to learn about South Asia’s rich culture and history and to encourage the exploration of diversity. As South Asian communities become increasingly prominent throughout the world, and specifically in Dallas, there is a growing awareness about their cultures. Many South Asian spiritual practices and philosophies, such as yoga, meditation, and the ideal of nonviolence, have become popular avenues for improving health and well-being. These are just a few of the many rich and diverse traditions that the galleries and learning center will explore in greater detail. The architecture will help to promote an understanding of South Asia’s diverse cultures and their connections to people’s lives through collaboration with local communities, students, educators, artists, and scholars. Movies and performances of groups from the region will be featured weekly at the center. Flexible gallery spaces, the cafeteria, central garden and auditorium are composed in ways that encourage flow and interaction with artifacts and exhibits; promoting a greater under-standing of South Asia by providing a forum for the engagement and interpretation of this important region of the world.

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MUSEUM LEVEL 1 PLAN

MUSEUM LEVEL 2 PLAN

ROOF TERRACE PLAN

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1100 McKinney Ave Mixed Use Dallas, 2019 A competition was commissioned to design a mixed use project on one of the last large developable tracts in Downtown Dallas. This project would create a new gateway to downtown Dallas and the Woodall Rogers canyon now spanned by Klyde Warren Park. Replacing a barren area of parking lots, the project would help stitch together the area north of Woodall that contains the Perot Museum by Morphosis, and the growing Victory development. DART’s new extension line to uptown and an 75 foot easement on the northwest side of the site made the development of the project more complex. Schemes needed to bridge over the section of the rail line and acknowledge and relate to it even though the station would be further north near the Perot Museum. The design team desired to create real public space in Downtown with the idea of an “Urban Valley” that would be composed of a series of stepped pedestrian terraces. This Urban Valley would fill a void that has existed within downtown for decades and would become a backdrop and identity of the city for all those arriving from the north. These terraces would house retail and restaurant uses. From this podium base would spring a 60-story office building and a residential tower that could be phased in 500-unit towers. The tower design is based on the idea of a fold. The plan is a simple rectangle but the facade is a faceted parallelogram that relates to the Perot Museum and Fountain Place by Pei Cobb Freed. The tower would have a public sky garden as an attractor and amenity for visitors to Dallas to experience the views to downtown and beyond.

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TOWER MASSING STUDIES

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Kangnam Church Seoul, 2020-2021 Kangnam Joongang Baptist Church in Seoul is one of the fast-growing churches in South Korea with six worship hours each Sunday on their existing campus. When continued growth was not feasible, the decision was made to completely rebuild the campus on the existing property to provide greater efficiency, capacity, and alignment to the church’s future vision. The design solution enables over 7,000 people to worship on-site at one time within a variety of meeting spaces. The new facility encompasses 420,000 SF of space including a 2,700-seat main sanctuary, 500seat chapel, 500-seat performance hall, individual ministry centers for children, youth and adults, 500 seat cafeteria, book store/cafe, sky lounge, TV studios, guesthouse, administrative offices and a 370car underground parking garage. True to the church’s values of giving back to its community, the new building complex surrounds dramatic open spaces, a roof garden plaza and community plaza, which create a unique oasis-like setting for those who work or live in the densely developed Gangnam district of Seoul.

an open, column-free space, and to support the expansive roof garden plaza above the sanctuary, a mega-truss system was designed to rest on four massive steel reinforced concrete supports surrounding the room. Always seeking to maximize efficiency, some areas of the main lobby, prayer rooms and mechanical spaces are integrated into these mega-trusses. Providing a more sustainable campus was also a goal of the church. For this, multiple strategies were incorporated into the design including use of photovoltaic panels, a geothermal system, horizontal sun shading devices and rainwater collection. Symbolically, the design expresses the spiritual vision and values of the church. The buildings’ sweeping curved façades suggest Christ’s open arms, calling and embracing all who come. The gardens and plazas provide places of beauty, refuge, and rest for the congregation and community, expressing new, eternal life through Christ. The tower, which visually anchors the project, provides a dramatic uniquely representation of the cross and crown of thorns, proclaiming the centrality of Christ’s love.

Because of FAR limitations, a large portion of the facility is underground, including the main sanctuary. To ensure the quality of the worship experience with

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SITE PLAN 216

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GARDEN FLOOR PLAN

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SITE STRATEGY

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Harim Mixed-Use Seoul, 2017-2021 This project was conceived as a hyper mixeduse development with a diversified collection of interwoven programs, creating a dynamic 24/7 indoor city experience, activated throughout all four seasons. The iconic massing of the towers signifies the moment of arrival and departure to the city, creating a symbolic “Gateway to Seoul”. The six carefully placed towers serve to draw the eye up into the Skypark and toward the mountain beyond, and creates a symbolic equivalence between the colossal massing of both the built and natural environment. The massing of the project is further inspired by the unique Korean landscape surrounding Seoul, with its distinct stepped rock formations, lush valleys, meandering rivers, surprising waterfalls, and peaked composition. These natural phenomenon are reflected within this man-made composition are reflected in the forms of parks, water features, and organically shaped amphitheaters and skylights. The design of the

project sculpts the buildings to optimize access to natural daylight, allowing light in through apertures and filtering it down into the indoor theme park, parking levels and retail below. Above, open green space is maximized allowing views to the park from all surrounding buildings at the perimeter. The design aspires to provide a myriad of experiences with varying light qualities at all building levels; from the top of the mountain - the Skyfarm - to the forest floor - the indoor retail program. Natural daylight inundates the Skyfarm, is optimized inside the buildings, and filtered at the Skypark to create dappled indirect light reaching the retail levels below. All building programs have direct access to Sky Garden. The Sky lobby connects entrances for all buildings on that level to form a ring around the park through which all circulation is organized. It weaves in and out of the park and connects to the vertical transportation serving each tower.

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SITE PLAN

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SKY GARDEN

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ROOF GARDEN CONNECTION DIAGRAM

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Influences

The Design Leadership Retreats are a significant contribution to the design culture at Beck and to Rick del Monte’s design legacy. From the inaugural retreat in the Spring of 2013 to the most recent Fall of 2021 retreat, Rick organized and led a curated group of beck design leaders in spirited conversation on design process, appropriate detailing, enlightened presentation and animated project reviews, with the intention and commitment to improving and expanding our craft. Perhaps the greatest impact and outcome of Rick’s vision for the retreat was discovered in the camaraderie, fellowship and the lasting bonds of friendship created among his design leadership team. The formula for Rick’s retreats was simple: gather design talent together in one location, indulge in spirited debate and discovery, tour and experience the most significant works of architecture on location and most importantly, dedicate time and focus on improving our craft and strengthening the interoffice partnerships and bonds of friendship through design. The photographs and quotes that follow capture the enthusiasm and insights our group discovered during the retreats. This tradition has become an integral part of Beck’s design culture and process, and will provide many more adventures and discoveries as we advance our practice forward. The most striking thing to me about the Clyfford Still museum was the amount of expression that could be derived from very simple materials. This was achieved by exploiting the possibilities of board-formed concrete juxtaposed with infills of more ephemeral wood elements. A perforated formed concrete screen roof hovering over the entire building bathed the interior galleries with diffused light, transforming the concrete walls and cantilevered projections making up the building’s form into a quietly resolute sculpture unto itself, independent of the art it served to display. - Clayton Daspit

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Atlanta is rightfully proud of the original Meier building, which has stood the test of time. It has a purity and clarity of design, with a balanced composition of formality and quirkiness, that make it an exceptional civic building. A guided tour through the original High and the relatively new addition was an opportunity to connect to the museum projects Beck has done with Renzo Piano over the years. - Clayton Daspit

The best part of visiting the Piano Building, which had just opened, and the Original Kimbell by Louis Kahn was seeing the spaces not normally open to the public. The restoration studio was an inspiring space with its all glass wall opening up to the courtyard. - Michael Kaiser

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Mexico City was an eye opening experience. There are some significant buildings being designed and built with a freedom of expression and boldness that we don’t see in the states. With some of the buildings, you don’t want to get too close but from a distance they really resonate. -Tobias Newham

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This retreat was a lesson in detailing. Being able to see two significant buildings recently finished in Dallas with The Marshall Performing Arts Center by Weiss Manfredi and Temple Emanuel by Cunningham which Beck had built and really get into the good and the bad of the detailing was important to the conversations we were having. -John Jacobson

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Few pilgrimages have had the impact that navigating the Getty Villa had for me. Experiencing the artful procession of space and the masterful composition of material and nature was a true highlight. -Brian Miller

The visit to Los Angeles we were like kids in a candy store. The Broad Museum by Diller Scofidio + Renfro was an exercise in discovery. You don’t see the structure. Its like the building is floating. At every turn of the Getty Villa by Manchado Silvetti, it was a one detail after another in how to elegantly mix materials of concrete, metal and stone. -Tobias Newham

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My first day at Beck also coincided with the Austin Design Retreat. During that retreat, Rick and I spent some time discussing the handrail detail on the Austin Library and how nicely it was resolved through its simplicity. Little did we know we would be designing a Library for Tec CCM just weeks later and used this detail as inspiration for our atrium handrail. It was serendipity. -Tim Shippey

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The visit to Miami afforded us an opportunity to have a cultural experience which touched on what it meant to live, design and build in the Florida environment. The Perez Museum was a good example of design for hot and humid climates with a focus on outdoor spaces and the interaction of the built and natural environments. - Jeet Singh

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The trip to Colorado Springs and the Air Force Academy Chapel was a memorable moment in the 2018 Fall Design Retreat. Rick was anxious to have the group tour the academy as many had not yet had the opportunity. Designed by Walter Netsch and SOM, the chapel is an Icon of modern architecture. What was believed to a fairly simple diagram revealed a more complex interior organization of refined detail throughout three separate and distinct denomination chapels within. The rigor, discipline and lack of any superfluous ornamentation was a solid example of our design treatise of Context, Clarity and Craft - David Morris

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The Air Force chapel visit reaffirmed for me the importance of seeing a building in person vs. just in photos and monographs. I had no idea of the scale. Also, the complexity of the overall building is not really understood unless you’re there. It’s actually a multi-faith facility with three other chapels stacked below the main floor. – Michael Kaiser

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Visiting John Portman’s Marriot Marquis on our Atlanta retreat was one of those life affirming experiences. Wending our way through that architectural tour de force and gazing upon the limitless strata of floors in the atrium was something I will never forget. It left an impression that I will forever strive to achieve in my own designs. - Tom Marsden

During our retreat to Atlanta our team experienced the city’s architecture, participated in meaningful discussion, and had the opportunity to learn more about one another. We explored the details and craft of two of our own projects that transformed existing spaces into vibrant new architecture at the Candler Hotel and Peach Tree Center. However the highlight of our trip was exploring the striking 50 floor atrium of John Portman’s historic Marquis Hotel. The sculptural interior form, fountains, and interconnecting pedestrian bridges created a space that was innovative and inspiring even by today’s standards. - Andy Kennedy

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Afterword Fred Perpall, FAIA As you have seen throughout this book, the buildings Rick designed are a reflection of his talent as an architect. They are intentional and beautiful and made to stand the test of time. And while we should be impressed with Rick, the designer, we should also be impressed by Rick, the leader. He guided our firm during one of its most prolific times of change and growth. He united our architecture and construction groups. He took our business to new heights. And between all of that, he made it a priority to mentor those around him. So while the buildings and accolades are noteworthy – what truly stands the test of time are the people who’s lives he impacted, like mine and the countless other leaders in the firm. Thank you for walking alongside me, Rick, and guiding me on my journey. I am forever grateful.

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