Playing things by ear is one of the best ways to "plan" any sort of weekend trip to a major metropolitan destination. When visiting a friend in Atlanta recently, we discovered a 2-for-1 deal on Early Bird admission to the High Museum of Art. As the two art museums I have grown up with (Cleveland and St. Louis) were always free, anything to reduce the insult of being asked to shell out almost $20 per person was enough of a reason to check out this one while we had the chance.
One of the temporary exhibits currently at the museum was on the architect John Portman. Having never heard of him, I was amazed by the drawings and models of his creations that were on display. Portman has roots in Atlanta, and a large concentration of his work can be found in the city, most prominently in the downtown complex of hotels and office buildings known as Peachtree Center. Inspired by the overview to his work we'd received at the exhibit, we decided to explore some of these local examples of his unique style the next day.
As it was a Sunday, all of the office buildings were closed and locked, but the hotels were open and offered a glimpse into Portman's creative mind. The iconic cylindrical tower of the Westin hotel (1976) is sadly still showing damage to its exterior glass panels from the 2008 tornado that ravaged parts of downtown Atlanta. The large tarps protecting the lobby roof from the recovery work above prevent the true enjoyment of the large atrium, and the tower's floorplan limit the panoramic views to within guest rooms, making the Westin the least impressive of the buildings we visited.
Nearby, the Hyatt Regency (1967) offers a more spectacular example of Portman's style. Clearly a product of the decade in which it was built, the lobby atrium rises the entire height of the building, flanked by walkways connecting the guest rooms, accented with a regular pattern of planters whose greenery overflows to break up the clean lines of the beige concrete that divides the open space from the walkways. The repetitive design of each floor gives the lobby a certain elegance, but it still feels dated compared to Portman's other work.
Immediately to the east, the Marriott Marquis (1985) is the most modern of these three buildings. The bulging exterior encloses a 47-story atrium, which narrows as building itself towards the higher floors. Walkways similar to the Hyatt's connect the guest rooms, but their layout varies as the shape and size of each floor, creating spectacular views when examined from above or below. In the building's central core is a set of glass express elevators, which whisk you to the top level faster than my comfort level allowed, and offer a flip-book style journey past the undulating balconies. Leaning over the walkway's edge on the uppermost level affords the greatest view in the building, though not at all for the acrophobic.
While the entire Peachtree Center complex offers an unforgettable glimpse into one man's vision for the central business district of Atlanta, any architecture enthusiast will enjoy a few hours spent exploring the public spaces inside these hotels. Conveniently located just blocks from all the major downtown attractions (Georgia Aquarium, World of Coke, CNN), touring these masterpieces or even spending the night in one requires very minimal effort. Wandering through hotels was something I never expected I would do while visiting Atlanta, but it turned out to be an unforgettable experience that I'm surprised I'd never stumbled upon in previous visits.
