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Architecture Out of Place

This is an internally oriented building in an outdoor-oriented town. Its symbolism and construction stand in contrast to nearby architectural expressions of the local character such as the peaked, glazed, timbered modern lobby of the Hult Center for the Performing Arts, a downtown icon designed by Hardy Holzman Pfeiffer in the 1970s.

Mayne's building embodies fun and seriousness, showmanship and utility. Yet among these star turns, it is hard to find profound architecture.

This structure does not make a grand statement in the timeless conversation between past, present, and future. The debate in this building is more between style and personality, on one hand, and a regional sense of place on the other. Given the doubled-up power of the architect and his immediate client, U.S. District Court Judge Michael Hogan, it's perhaps unsurprising that the argument is so one-sided.

During the inaugural lecture, I was caught by an unfortunate resonance between two of Mayne's seemingly unrelated comments. He lamented that architects do not seem to have society's trust to the same degree as medical doctors or scientists. Later he gave a small rant on the ignominy of marring his grand staircase with handrails. So what, he asked rhetorically, if a few people fall down the stairs, if that's the price of art?

Mayne, who apparently has not yet found himself infirm, lost quite of a bit of his Eugene audience by this remark. In fact, the long entry ramp, a significant animating element in the main facade, was added to the project only after a substantial community outcry in Eugene.

In that small belated way, Mayne was disciplined to adapt to the overtly humanist culture of Eugene. But that was virtually the only substantive community involvement with this design, in a city that prides itself on citizen participation.

Ironically, the ramp may have contributed to evaluations like that of the Los Angeles Times, which declared the new Eugene courthouse "the most humane and accessible public building of Mayne's career."

The achievement of a LEED Gold certification, primarily via technical features, is certainly creditable. But like Judge Hogan, Mayne's building generally fails to connect to, represent, or even — elevated on that impenetrable plinth — join in much of a sincere dialog with the environmentally engaged diversity of its local cultural context.

Los Angeles showmanship has arrived in Eugene in this important public building, a significant step in Mayne's stellar career. But does Eugene really deserve L.A.?   >>>

Kevin Matthews is editor-in-chief of ArchitectureWeek.

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South and west facades of the Federal Courthouse in Eugene, Oregon by Thom Mayne, his firm Morphosis, and DLR Group. Photo: Kevin Matthews An accessibility ramp was added only at the insistence of local citizens. Photo: Kevin Matthews Tasteful and open jury assembly area. Photo: Kevin Matthews Daylight shared between office spaces. Photo: Kevin Matthews Public art alongside the central public space. Photo: Kevin Matthews Rooftop sculpture by Matthew Ritchie. Photo: Kevin Matthews South elevation. Image: Morphosis Extra Large Image View out to small inner courtyard. Photo: Kevin Matthews Elegant detailing of glass and steel. Photo: Kevin Matthews Stair detail with rough torch-cut steel edge is less elegant. Photo: Kevin Matthews   Click on thumbnail images to view full-size pictures.