which is a pattern block planting within the landscape
that slows the visitor down and takes you away from
the skyscrapers,” Hofland says. “We really thought
about that, and we used water and different methods
to slow the pedestrian down, which is very Japanese.
There are four or five different styles of Japanese
garden design here, so it’s really a teaching space.”
The 12 artworks outside, ranging from the 9th to the
21st centuries, hail from China, Japan, Korea, India,
and Indonesia, and blend effortlessly with the hybrid
landscaping of maples, azaleas, pines, and bamboo.
Three more works grace the Trammell Crow Center
lobby. Indoors and out, it’s a deep breath, a bustle-free zone.
Creating a pervasive atmosphere of calm,
however, wasn’t a stress-free enterprise. Johnny
Robertson is the Crow Collection’s special projects
manager, charged with finding engineering solutions
for installing the commissioned works. “We
understood there were issues that would have to be
solved,” he says, “and structural engineers who’d
have to sign off on it, an architect who had to draw
it, and we’d have to make sure everything was okay
with the city.” The scale of Qin Feng’s Shi of East &
West is epic—a pair of 12 ½-foot-tall white marble
lions, each weighing 26 tons, each cleaved in half, the
halves separated and holding a 750-pound pane of
calligraphy-painted glass in between. Too massive
to install at the Ross Avenue corners of Trammell
Crow Center without structural underpinning, an
ingenious fix was devised. The sites for the sculptures
are atop two steel grids capping a pair of air shafts.
Four 70-foot I-beams were installed in the shafts,
becoming supporting stilts for the lions. While some
of the difficult logistics were anticipated, advance
measurements of the pieces proved misleading, and
Bell, Japan, Edo period (1615-1868), bronze.