The trapezoidal blue mass anchors the structure to the ground and acts as a counterweight to the cubes suspended in space to the south. The leaning blue façade is visually buttressed by the rectangular solid, capped by the Training Center Roof Garden, placed intentionally to take advantage of the spectacular views to Houston’s Downtown. The high performance, low-reflection glass exterior skin evokes the colors of the Aegean Sea, with striking shades of navy blues and crystal greens punctuated by reflective silver.
Inspired by the ancient Greek Healing Centers, “Asclepeia”, the building’s lobby is designed to create an uplifting and welcoming entry point to patients coming to the facility to seek healing.
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The statue’s massive wings and forward leaning posture create a sense of motion and energy to the lobby space that is counterbalanced by the raw angled concrete columns and slopped glass to the south. The 24-ton statue is sculpted out of one solid piece of Thasian white marble and is one of only two reproductions certified by the Louvre, Paris.
In a specially designed alcove of the building’s main lobby, the statue of a naked youth “Kouros” represents one of the first examples of humanity to study the anatomical structure of the human body during the Archaic period in the 6th century BC. Detailed anatomy and musculature are expressed as decorative patterning in exquisite detail and convey scientific understanding of the intricacies of the human body.
Kouros does not represent any one individual young man, but rather the general idea of “Arete”, a combination of moral and physical beauty.
The young man is portrayed in perfect physical condition, smiling the “Archaïcón Meidíama”, or “Divine Smile” in response to the experience of a blessed joy and happiness derived by the harmonious balance between body and mind.
Visitors who park in Museo’s 470-car garage are greeted in the elevator vestibules by floor-to-ceiling murals based on famous works of art commissioned to put patients at ease upon arrival while providing visual cues to help them remember the level they parked. The brightly colored murals installed on the building’s five garage levels include celebrated works by Impressionist masters such as Vincent van Gogh, Edgar Degas, Gustav Klimt, Claude Monet and Francois Boucher.
The clerestory windows around the perimeter allow natural light to enter the space from above and create a sense of openness and verticality to the grand hall. The sloped glass, strategically located on the north side axis across the main entrance, frames the dramatic views to Downtown Houston and visually expands the volume of the grand central space.
The use of architectural color was studied extensively by New York colorist Carl Black, to achieve an optimal ambiance that creates a sense of calmness and well-being during the healing process. Carl’s philosophy is that color has little to do with decoration but rather with the creation of spatial ambiances by manipulating the natural or artificial light entering the spatial void of a room. In the world of human perception, each color moves in a specific direction, to and from the eye. Yellow comes toward us, blue moves away from us, and red rises.