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forth, with an emphasis on transparency, which serves the stringer of the stair dematerialize the surrounding
both to connect the firm in a literal sense (because the space and provide fractured views of the different
employees can see each other) and to bring light and colors and treatments of the sides of the columns. As is
views in from the perimeter. often the case with minimalist art, the experience shifts
LSM is also known for projects that integrate art unexpectedly as the viewer moves around the space.
into the workplace. At Cleary Gottlieb, there was a Overlaying the visual effect of the columns is that
desire that the art represent both the international of the skylights, with checkerboards of translucent gels
stature of the firm and its local presence and roots. of the same colors and striped pattern as the sides of
Toward this end, two art consultants were engaged: the columns. As the sun shifts, the projected bright and
DC local Jean Efron, who has advised Cleary Gottlieb colored spots move around the space, at times reflected
for many years, and Miami-based Lisa Austin, who, in the mirrors. At night, the skylights as viewed from
among other collaborations, assisted with art selections the adjacent roof terrace become their
for LSM’s own Georgetown studio. The Cleary own art feature—a glowing surprise amid the
Gottlieb offices have their share of single and grouped jumble of mechanical penthouses that characterizes
works, framed and hung on walls in strategic places Washington roofscapes.
throughout the suite, but what sets the space apart is The second major commissioned work is a mural
the integration of commissioned, site-specific works by DC artist Adrienne Gaither, located in the dining
into the interior architecture. area opposite the window wall overlooking the roof
When the design and consultant group saw terrace. Gaither developed several possible designs, all
international artist Daniel Buren’s proposal for three in her signature boldly-colored geometrical style; the
colored columns in the reception space, “we liked it selected scheme, according to Bilski, “talked to” the
immediately,” said Rick Bilski, AIA, a partner at LSM columns in the reception area most directly. (Although
and project executive for the Cleary Gottlieb offices the spaces are not adjacent, from a certain point it
along with partner James McLeish, AIA. The work is possible to see simultaneously two segments of
“gives an iconic first impression,” noted Morphy. There Gaither’s mural and the tops of Buren’s columns.) The
is, perhaps, an initial perception that the columns are patterns in Gaither’s work complement the angular
actually part of the structure of the building, but as forms of the adjacent dining booths.
the eye wanders upward, one sees that they stop short “The Buren” and “the Gaither,” as Morphy and
of the ceiling. Mirrors on an actual structural column, Bilski referred to the columns and dining area murals,
on the horizontal spandrel of the tall windows, and on are in spaces that were under LSM’s direct control as
Reflections in the mirrors lining the diagonal stringer of this
staircase and parts of the surrounding opening in the floor
48 ART FOR WORK’S SAKE slab evoke compositions of the Cubist era in painting.