Because the facets occur at different locations for every stud, no two panels are alike. The team deployed cold-formed steel, with 40cm studs on the centre and what Pressley calls pyramid framing to create the running copper cladding facets. “It would have been extremely complicated and time-consuming to create the geometry that Omniplan had created of boom lifts and scissor lifts,” Pressley says.
Prefabrication also reduced the likelihood of mistakes. Using Omniplan’s Revit model, Baker Triangle prefabricated the sub-framing 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 constructing them in the field.
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To construct and install the copper cladding, Omniplan worked with Baker Triangle, a drywall, acoustical and metal fabricator with offices throughout Texas, who came to the table with the idea of unitising the sub-framing. 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. On the exterior, the building’s copper cladding mirrors this journey. Holsinger says Omniplan and the 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”. Upon entering the museum, visitors are directed to the top 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 is this material that can withstand almost anything. “It started to symbolise this idea of perseverance.
But the building’s most eye-catching exterior feature is its faceted crown of copper panels, which tops expansive elevations of foreboding grey brick with punched windows.įrom the beginning, copper was central to the building’s design,” Holsinger says.
The three-storey, 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 the building needed to be a beacon,” notes Holsinger. “This is an important district in Dallas, and the client wasn’t interested in disturbing that fabric. Everyone sensed the importance of getting this building right. Mark Holsinger, a principal at Omniplan who led the design of the museum, says working in this context added a sense of urgency to the project. The Dallas Holocaust and Human Rights Museum was the subject of the recently announced AIA Film Challenge 2020 winner, and the team from Dallas-based Omniplan says: “Working on the design reinvigorated the design team to get the design of the building right, especially when several anti-Semitic hate crimes were recorded around the United States.”
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