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The Brazos Street entrance is different in design, as it not only creates an open-air plaza, but also connects to the former Federal Land Bank Building, which was preserved prior to the building's construction. The interior of the building also takes cues from Mexican design, as the main lobby seems to resemble an upscale resort and uses several elements from the exterior. The lower level food court has a huge marble waterfall, cascading from the first level. Though the building has a Bagby Street address, the main entrance is at the corner of Brazos and Dallas Streets. In 1988, KPRC-TV filmed a piece of aerial footage that was first used on their daily newscasts, using the tower as the centerpiece. The film went on to international distribution and similar versions featuring 1600 Smith Street and Bank of America Center were also produced. This building has no connection to the extensive tunnel network, and only one skywalk which connects to DoubleTree Hotel Houston-Allen Center. The building's five massive air conditioning units are housed within the top of the "crest" of the building. During 1986's historic Rendez-vous Houston concert, the building supported a 20+ story screen constructed of thousands of pieces of canopy, and a completed section of the 18th floor served as a rehersal area for musician Jean-Michel Jarre and his band during bad weather. The crown of the tower is said to resemble a Bald Eagle with its head and wings. The sides of the tower also have angles which appear to be the tips of the wings of the eagle. Texaco Heritage Plaza's granite, stepped pyramid cap was inspired by architect Mohammed Nasr's vacation in the Yucatn. This was the only large, privately-funded project under construction in the Downtown district at the time it was built, owing to the economic situation of the era. The Brazos Street plaza once contained a massive granite carving of the Texaco logo, which was removed once the company merged with Chevron. After the merger, plants and new landmark signage were added to the space.
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