Omniplan vs project
Prefabrication also reduced the likelihood of mistakes. But Baker Triangle “came to the table with the idea of unitizing the subframing.” Using Omniplan’s Revit model, Baker Triangle prefabricated the subframing panels in its Dallas facility, which Baker Triangle's vice president of business development Preston Pressley estimates saved 2,560 man-hours over assembling and construction them in the field. “We had originally detailed this copper band thinking that they would want to frame it in the field,” Omniplan technical director Steve Brookover, AIA, says.
#Omniplan vs project install#
To construct and install the copper cladding, Omniplan worked with Baker Triangle, a drywall, acoustical, and metal fabricator with offices throughout Texas. One proud facet in the copper traces a path upward from the northeast corner of the building to exaggerate the sense of movement created by this facet, the staggered, different-sized copper sheets hang at an angle, following the facet’s path. Holsinger says Omniplan and exhibition designers Berenbaum Jacobs Associates wanted visitors to have a sense of ascension-not only physically but also of “your knowledge and your awareness rising.” On the exterior, the building's copper cladding mirrors this journey. Upon entering the museum, visitors are directed to the topmost floor, where most of the exhibitions are located. Yes, it changes and evolves, but it continues to persevere.” Visually separated by a recessed light cove, the museum’s brick and copper planes never quite meet, creating the sense that the copper crown is floating.
Here’s this material that can withstand almost anything. “It started to symbolize this idea of perseverance. Jason O'Rear The copper cladding continues into the museum at the courtyard, creating continuity between the exterior and interior.įrom the beginning, copper was central to the building’s design, Holsinger says. But the building’s most eye-catching exterior feature is its faceted crown of copper panels, which tops expansive elevations of foreboding gray brick with punched windows. The three-story, 52,300-square-foot, U-shaped building’s height, massing, and earthy coloration echo those of nearby brick structures while reinterpreting individual elements to create something contemporary and monumental. At the same time, this is a museum for civil rights and human rights, and there was this idea that this building wanted to be a beacon.” “This is an important district in Dallas, and the client wasn’t interested in disturbing that fabric. “We were trying to find a balance,” Holsinger says. “Everyone sensed the importance of getting this building right.”īecause the building falls within Dallas’s West End Historic District, it is subject to a city ordinance that dictates everything from primary façade material (fired brick) to the arrangement of fenestration (vertical and horizontal repetition). “Any time there was an incident”-such as the 2018 fatal shooting of 11 people at a Jewish synagogue in Pittsburgh, Pa.-“it reinvigorated the team,” he says. Mark Holsinger, a principal at Dallas-based Omniplan who led the design of the museum, says working in this context added a sense of urgency to the project. And yet, the number of anti-Semitic hate crimes was reaching record highs in the United States. When the Dallas Holocaust and Human Rights Museum opened in 2019, nearly 75 years had elapsed since the fall of the Third Reich. Jason O'Rear Dallas Holocaust and Human Rights Museum