8

[image alt text: Unknown lobby area which appears to be circular in dimension with 2 cylindrical pillars. There appears to be a counter with the words SAFE DEPOSIT. There is a tall vase with gladiolas upon the counter. There are center opening double gated doors in the background of the counter area. Above the counter area are two large circular sconces with large glass disc shades. The second floor has a louvered balustrade.]

tire 360 person partnership
group in addition to twelve re-
tired partners (none of the
founding partners survives) in-
cluding Bunshaft, Roy Allen
and William Hartman. The
events included films, discus-
sions and in-depth presenta-
tions by the various offices
dealing with the work and is-
sues of the past 50 years as well
as crucial issues of the present
and future that SOM faces as a
design firm.
One major change is the re-
cent emergence of SOM's interi-
ors group. While the firm's ar-
chitecture division held the
limelight for half a century -
its buildings have helped to
shape the skyline of every ma-
jor American city and many
abroad - its interiors depart-
ment was quietly evolving
backstage until today it ranks
as one of the largest interior
design firms in the country
with offices in six cities and a
staff of nearly 200.
Begun as a service to clients
for whom SOM was designing
buildings, the interiors staff
initially designed finishes and
detailing for lobbies and other
public spaces. Their involve-
ment soon expanded to in-
clude space planning and com-
plete interior design services,
including furniture design.
The first complete SOM inte-
riors project was the Terrace
Plaza Hotel in Cincinnati,
1948, with its innovative up-
per floor lobby and murals by
Miro and Saul Steinberg. This
was followed by Manufactur-
ers Hanover Trust, New York,
1954, and Connecticut Gener-
al, 1957, one of the first subur-
ban office buildings, both by
Gordon Bunshaft. Florence
Knoll collaborated on the inte-

Photography by Jane

[image alt text: Unknown lobby area which appears to be circular in dimension with 2 cylindrical pillars. There appears to be a counter with the words SAFE DEPOSIT. There is a tall vase with gladiolas upon the counter. There are center opening double gated doors in the background of the counter area. Above the counter area are two large circular sconces with large glass disc shades. The second floor has a louvered balustrade.]

tire 360 person partnership
group in addition to twelve re-
tired partners (none of the
founding partners survives) in-
cluding Bunshaft, Roy Allen
and William Hartman. The
events included films, discus-
sions and in=depth presenta-
tions by the various offices
dealing with the work and is-
sues of the past 50 years as well
as crucial issues of the present
and future that SOM faces as a
design firm.

One major change is the re-
cent emergence of SOM's interi-
ors group. While the firm's ar-
chitecture division held the
limelight for half a century -
its buildings have helped to
shape the skyline of every ma-
jor American city and many
abroad - its interiors depart=
ment was quietly evolving
backstage until today it ranks
as one of the largest interior
design firms in the country
with offices in six cities and a
staff of nearly 200.

Begun as a service to clients
for whom SOM was designing
buildings, the interiors staff
initially designed finishes and
detailing for lobbies and other
public spaces. Their involve-
ment soon expanded to in-
clude space planning and com-
plete interior design services,
including furniture design.

The first complete SOM inter-
riors project was the Terrace
Plaza Hotel in Cincinnati,
1948, with its innovative up-
per floor lobby and murals by
Miro and Saul Steinberg. This
was followed by Manufactur-
ers Hanover Trust, New York,
1954, and Connecticut Gener-
al, 1957, one of the first subur-
ban office buildings, both by
Gordon Bunshaft. Florence
Knoll collaborated on the inte-

Photography by Jane