Gensler Enlivens the Street-Level of Chicago’s Willis Tower

At 1,451 feet, the Sears Tower was the tallest building in the world when it opened in Chicago in 1973. Designed by Skidmore, Owings & Merrill, it rises 110 stories over the Loop neighborhood and is a modernist icon, with a geometric structure and a facade of blackened aluminum and bronze-tinted glass. It’s also a landmark visible from across the city—so much so that locals still call it the Sears Tower, though it was renamed the Willis Tower in 2009. But it was always, as architecture critic Blair Kamin put it, “a dud at street level.” An austere plaza and a granite berm wrapping the base kept pedestrians at bay, and the public could only enter to visit Skydeck, the observation platform. In 2015, Blackstone bought the building and hired Gensler to rethink the site, which has resulted in a mixed-use attraction for office workers, tourists, and Chicagoans alike.

Todd Heiser, principal and managing director at Gensler’s Chicago studio, grew up in the city and found it surreal to take on the high-profile project. “It’s walking on hallowed ground,” he begins. “We approached it with humility, serving to amplify its positives and correct what was imperfect.” Willis Tower, he notes, was the product of an era of urban flight and single-use office buildings; it was designed to be impenetrable. But in the 21st century, aside from the early years of the COVID pandemic, cities have come roaring back to life and tenants seek dynamic, welcoming workplaces.

Designing an Amenities-Rich Hub in the Willis Tower

Gensler brought the supertall up to date with a 463,000-square-foot makeover, including new entrances, lounges, and a transparent six-story podium with a food hall and a rooftop park—elements that prove why the firm not only ranks number one among the Interior Design Top 100 Giants but also third amid the Hospitality Giants (as well as 14th on the Healthcare list).

Heiser and Hansoo Kim, principal and design director at Gensler’s Washington office, started by researching how people used and moved through the building. They met with families visiting the Skydeck, who were often also looking for a place to have lunch, and office workers hoping to get to their desks quickly. “We had to support demographics of all ages,” Heiser says, and consider “the person who wanted to linger and the person who wanted a friction-free environment.” Kim adds that to create a vibrant multipurpose destination, they had to connect different types of programming, like coworking and retail, and “blur the boundaries between work, life, and play,” he notes.

Gensler Creates an Expansive Communal Space for All Ages

The block-long building has entrances on three different streets (Wacker, Jackson, and Franklin). Originally, there were two for tenants and one for Skydeck visitors. Gensler opened them all to the public. “The entire base of the tower is now porous,” Heiser continues. Like a transportation hub or civic plaza, it hosts everyone from United Airlines employees who work in the building to toddlers and Midwestern retirees; the Skydeck alone draws 1.7 million visitors a year. Security is discreet. There are guards and cameras, but nothing like the airport-style measures we’ve come to expect in skyscrapers since 9/11. Touchless turnstiles use fingerprint scanners to admit employees into the tenant elevator bank at the building core.

Gensler built the glass-walled podium on what had been an unwelcoming granite plaza, extending the base of the building to the sidewalk. The centerpiece of the addition is a soaring atrium and food hall called Catalog, a nod to the Sears mail-order business, that brings together local eateries beneath an enormous skylight. Diners can slide onto oak benches under bistro-style lights and look up at the tower. “Our goal was to create a Chicago streetscape inside the atrium, so you feel like you’re outside,” Kim explains. Above Catalog, a public roof garden with winding paths and native prairie grasses faces a neighboring park. Like the rest of the podium, it connects the building to the street and draws pedestrians into the once-forbidding landmark.

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Inside the Spacious Street-Level of the Willis Tower

Gensler: grant uhlir; benjy ward; michael townsend; neale scotty; scott marker; stephen katz; hua-jun cao; kelly bogenschutz; marissa luehring; shawn fawell; todd desmarais; jeffrey peck; kim lindstrom; kate pedriani

skb architects: facade architect

olin: landscape architect

thornton tomasetti: structural engineer

esd: mep

v3 companies: civil engineer

burlington stone; campolonghi: stonework

parenti & raffaelli: millwork

clayco corp.; turner construction co.: general contractors

cascade coil drapery: chain drapery (lounge)

bloomsburg carpet: rug

pk-30 system: backlit wall

B&B Italia: sofa

cassina: black, white coffee tables

phantom hands: green chairs

novum structures: skylight (food hall)

tegan lighting: catenary system

concrete collaborative: flooring

newmat: stretched ceiling (lounge)

Avenue Road: green barrel chairs

hanover archi­tectural products: pavers (roof)

rich brilliant willing: pendant fixtures (food hall)

arflex: teal chairs

established & sons: stools

tacchini: sofa (small lounge)

estudio persona: chairs

stahl + band: coffee table

Pulpo: side table

linetec: custom aluminum cladding

boston valley terra cotta: terra-cotta paneling

George Yabu and Glenn Pushelberg Design a Dramatic Hotel in Leicester Square

2021 Best of Year winner for Boutique Hotel

Plays staged in the West End have been entertaining theatergoers for over 350 years. As the scene rebounds from pandemic closures, visitors can enjoy that spectacle while staying at this equally dramatic 350-room hotel in Leicester Square masterminded by Interior Design Hall of Fame members and co-founding partners George Yabu and Glenn Pushelberg in a 16-story building by Woods Bagot. “We designed it to converse with the senses and indulge in the energy of their surroundings,” Pushelberg explains. Myriad public spaces, including six restaurants and bars, and custom features invite unique experiences throughout. The lobby has a golden glow, thanks to oversize ceiling globes by artist Andrew Rae and its main staircase. The effect carries through to a private event space with sinuous sofas and patterned metal ceiling tiles. For the rooftop lounge, custom banquettes surround a firepit topped by a twisted rope installation. Also in abundance are Yabu Pushelberg furnishings, tables and chairs for Stellar Works, carpets for Tai Ping, and chairs for Avenue Road, among them. “The variety of offerings allows guests to choose their journey over and over,” Yabu adds. And if that journey calls for even more theater, they can head downstairs to the hotel’s 850-seat stage.

Yabu Pushelberg: Glenn Pushelberg; George Yabu

David Davis Encourages the A&D Community to Speak Up in Support of Original Design  

That’s where Be Original Americas, a nonprofit that spotlights the value of original craftsmanship, comes in. The group, cofounded by Beth Dickstein of BDE along with David Rosenkvist, chief commercial and creative officer at Louis Poulsen, works to protect authentic designs and actively stop the spread of knock-offs.

“Being involved with Be Original Americas is really an opportunity to take a stand and say to my staff and clients: Rottet Studio supports original design and we will not participate in that process of deceiving people,” says Davis, noting the issue hits especially close to home given the firm’s line of custom furnishings. Even before joining the Be Original Americas board, Davis made a point to talk with staff on a project level about ways to resist pressures from owners who want to incorporate knock-offs. His approach? When met with resistance, offer clients two options: “Let’s do something completely original or let’s use the originally specified product.” Be Original Americas enables Davis to amplify that message.

“Once I got involved in Be Original Americas, it gave me an opportunity to make supporting original design an official position of the company,” he says, adding that he immediately added the group’s insignia to the Rottet Studio website as well as his email signature. He also sent a message to the firm’s global team announcing his status as a board member of Be Original Americas to make his commitment clear and, importantly, public. “Everyone understands this is a cause that we’re behind and support,” he adds.

More broadly, Be Original Americas also is pushing forward a much-needed dialogue on the future of authentic design. As a board member, Davis shares that he often learns about problems he did not know existed from colleagues, which helps him understand how to better craft solutions. And those solutions must reach every aspect of the A&D community, he affirms, from design media, which he urges to take a stand against publishing projects that showcase knock-off designs, to building owners and clients. Put simply, it all comes down to spreading the word. “Every designer, manufacturer or consumer that even hesitates before specifying a knock-off as a result of something Be Original Americas brought to their attention is a success,” he adds. In other words, every conversation around authentic design counts.