AIA Arizona Forum No. 6

AzF6 arizona forum

Spring 2016

aia arizona design awards A Publication of AIA Arizona

AzF6 team Editor-In-Chief Christina Noble AIA, LEED AP

Senior Editor Sara Berl Assoc. AIA

Senior Editor Yumiko Ishida AIA, LEED AP

Senior Editor Liz Farkas AIA

Editor and Magazine Graphics Nicholas Tsontakis AIA

Mission The Arizona Forum (AzF) is the semi-annual peer-reviewed journal of the American Institute of Architects Arizona and AIA Phoenix Metro. AzF will advocate for contemporary design issues through critical discourse, address design excellence, quality of life, and urban design throughout the state of Arizona. AzF invites AIA members and authors to share their expertise, practice experience, visions and theories with the profession and the community in general. The Forum challenges authors and readers to solve prescient issues, provide insight into contemporary architectural practice, contemplate architectural theory, and thoughtfully consider architectural design, urbanism, sustainability and technology. The Forum is open to contributions from AIA Members and community leaders. Its roots are based in the AIA Arizona Communications Committee and it is a tool intended to increase dialogue, communication and involvement on multiple levels. The Forum will foster interaction and discussion that will cultivate relationships between members and the broader community while also encouraging critical analysis and proactive thinking.

Associate Editor Phil Weddle FAIA

Submissions The Arizona Forum (AzF) welcomes the submission of essays, projects and responses to articles. Submitted materials are subject to peer and editorial review.

Spring issues of AzF focus on the AIA Arizona Design Awards while the fall AzF issues are themed, so articles and projects are selected relative to the issue’s specific subject.

Please contact the AzF Editor-in-Chief, Christina Noble AIA, at Christina.Noble@gmail.com if you are interested in contributing.

Peer Reviewers We are looking for experts in all areas of architecture and design to serve as peer reviewers for future issues. Past authors are also invited to serve as peer reviewers.

AIA Arizona 30 N 3rd Ave #200, Phoenix, Az 85003 P: 602.252.4200 www.aia-arizona.org

Associate Editor Jacquelyn Heaton

Interviewers Sam DeBartolo Craig Randock AIA Matthew Salenger AIA Paul Winslow FAIA AIA Arizona ExCom Caroline Lobo AIA President Robin Shambach AIA President Elect Christina Noble AIA Secretary C. Dino Sakellar AIA Treasurer Phil Weddle FAIA Past President

table of contents aia arizona design awards 2015 publisher’s note Nick Tsontakis AIA, NCARB page 4 AzF Networking Event photos page 5 sponsor pages page 84-98 introduction Author: Diane Jacobs AIA page 6 25-year award arroyo house Architect: Line and Space Text: Liz Farkas AIA, LEED AP page 78 firm of the year award Recipient: Marlene Imirzian and Associates Architects Interviewer: Craig Randock AIA page 79 chairman’s award Recipient: Patrick Panetta AIA Interviewer: Paul Winslow FAIA page 80 educator award Recipient: John Meunier AIA Interviewer: Matt Salenger AIA page 81 aia 10 award Recipient: Dan Clevenger Story: www.wrldesign.com page 82 associate award Recipient: Doug Nielsen Assoc. AIA Story: Sam DeBartolo page 83

AzF6

distinguished building awards

pages 12-42

white stone studios mariposa port of entry scottsdale museum of the west asu manzanita hall bicycle haus asu college avenue commons hashan kehk community center farmer studios II yerger residence azca playground asu sun devil fitness center

180 degrees Jones Studio Studio Ma Studio Ma debartoloarchitects Architekton | Gensler Orcutt | Winslow Architekton Chen + Suchart Studio Christopher D. Trumble AIA Studio Ma

interior architecture awards

pages 45-54

vsco 3256 renovation falora reforma cocina y cantina

debartoloarchitects Chen + Suchart Studio repp + mcclain repp + mcclain

unbuilt awards

pages 57-63

rcca gridshell dining hall kafd portal spas desert bridge residence

Christopher D. Trumble AIA worksbureau Chen + Suchart Studio

urban and regional planning awards

pages 66-69

mesa city center hance master plan

Weddle Gilmore Weddle Gilmore

publisher’s note Welcome to the Spring 2016 issue of Arizona Forum, AzF6. Featured are the 2015 AIA Arizona Awards winners including design and special awards. Articles focused on the theme “Home” will be featured in our upcoming Fall 2016 AzF7 issue.

Beginning with AzF7 the publication will be distributed to AIA Architects and Affiliates in the six Western Mountain Region States. As well, the page count of the magazine will increase to 148 pages from the present 100.

The Advisory Panel architectural firms have spent the last three years discussing how to1 put the publication together and how to make it sustainable. We have partnered with quality sponsors in the design and construction industry who support the Arizona Forum by taking out ads. The architects in turn participate in quarterly sponsor hosted networking events.

When architects get together in the pursuit of a common goal, the results benefit the entire design and construction community as well as the general public. Architects Publishing Network is proud to be involved in this important undertaking.

Network on…

Nick Tsontakis AIA, NCARB Architects Publishing Network NickT@TsontakisArchitecture.com

Photos: Not Sure

AzF networking events hinkleys lighting scottsdale - june 24, 2015 greey pickett landscape architecture scottsdale - october 8, 2015

event photography by Scott Sandler Photographic

design awards 2015 by: Diane Reicher Jacobs AIA 1-4 Distinguished Building Honor Award recipients, see pages 12-23 5-7 Distinguished Building Merit Award recipients, see pages 24-32

Last summer, the annual ritual of award submittals began in earnest at Arizona architecture firms across the state. The usual flow of projects and marketing efforts, comes to a temporary halt for some on staff, as fresh award criteria hits our inboxes and conference room tables.

For many, this is an exciting time to reflect back on a year of hard work and accomplishment, a cause for celebration and a time to size up which of our efforts might be recognized by peers in other locales. We consider which of our projects stands the test of program, budget and schedule while also making a significant mark on its context both physical and cultural, for the clients and community we serve. Upon entering this distinguished competition of sorts, we are forced to ask ourselves, “What is Design Excellence?”, and “Have we, through months of presentations, sketches, documentation and construction, achieved a work that could be considered as such?”

June of 2015 was not much different from years past, except for two fundamental shifts – new categories were created to align AIA Arizona with national AIA award categories, and a conscious effort to consider the entire body of work submitted for the jury to lay claim on observations pertaining to the Arizona profession at large.

One of the great privileges of serving as Design Awards Chair is bringing this collective body of work to the attention of respected colleagues, and offering them not only the usual rules of the game, but a narrative of current conditions in our market, the variety of practices, and how our architect’s emerging values (sustainability, social impact, innovation, to name a few) are reflected in our endeavors. This year’s body of work spoke for itself. Included in over 80 submittals was an outstanding array of public and private places - capturing western light, expressive structure, honest materials and adaptations to multiple contexts.

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1 local climate and regional materials inform the shape and color of the shelter Photos: Not Sure

Included in over 80 submittals was an outstanding array of public and private places - capturing western light, expressive structure, honest materials and adaptations to multiple contexts.

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Arizona’s jury was selected from members of AIA San Francisco. All award-winners, these architects arrived from diverse practices ranging from large national firms, to smaller offices –local to the city and giving the gift of a full day of observation and deliberation. The jury was lead by the incomparable Rosa Sheng, AIA - from Bohlin Cywinski Jackson, who has lead the national discussion on Equity in Design and whose project list includes multiple award winning Apple stores; Dominique Price, AIA – from Gensler, a UC Berkeley faculty member and former protégé of hometown hero, Will Bruder, FAIA; David Baker, FAIA – from David Baker Architects, a leading proponent of sustainable design and walkable cities; and Joshua Aidlin, AIA from Aidlin Darling Design – whose stunning work is matched only by the amazing fare at some of SF’s most popular restaurants designed by his firm. What they saw was an array of projects of various scales, price tags, perspectives, and programmatic parameters. They saw adaptive reuse, historic preservation, urban and regional planning along with interior architecture (the new categories this year).

Typically, jurors have a look at award submittals ahead of the discussion, and many times come to the table with a few preconceptions of their own. This year seemed a little different. The group came with especially open minds, and game for a robust debate, starting with the very same question asked at submittal: “What is Design Excellence?” This was why I was looking forward to the opportunity to be Design Awards Chair, and as Eddie Jones put it last year, “to be a non-voting awards committee chair, which is way more fun than being a juror…to listen to comments, analysis and serious critique of one’s peers and colleagues, some of which you have the possession of back story knowledge” and many others also, that you might not have otherwise have the chance to see – at least not in this light.

For what is this all about? It’s a time to step out of our daily lives for a concentrated time of thoughtful declaration of values, of aesthetic sensibility toward what one believes as the most appropriate, elegant response or solution for a given time and place.

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We opened what was to be a long day with an enlightening general discussion. Bearing in mind earlier descriptions of context, both physical and cultural occurring in Arizona in 2015, our colleagues were asked to consider what they would agree upon as criteria. With these parameters outlined, the jury went to work. The answer to the question at hand came through recognition. The stand-outs seemed to embody a sense of balance of jury values, demonstrated ‘new thinking’ and cohesive resolution of project parameters.

This year’s award-winning entries from Arizona told a story of complex but optimistic moves in multiple settings:

9 8-11 Distinguished Building Citation Award recipients, see pages 33-44 12 Interior Architecture Honor Award recipient, see pages 45-47 13-15 Interior Architecture Citation Award recipient, see pages 48-56 16-18 APS Energy Award recipient, see pages 58-62

- They told of the energy happening around urbanization – a long time coming – embracing the city fabric as a vital, connected life force.

- They told of the aesthetically interesting, yet practical value of adaptive reuse, turning forgotten shells into everything from restaurants to corporate headquarters.

- They demonstrated rising to the challenge of scarcity, a new reality of doing so much more with less – not only in terms of dollars, but precious natural resources as well.

- They shared new ways to look at how we live in the west – a resurgence and appreciation for contemporary, authentic, and clutter free homes of just the right amount of square footage.

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- They spoke of architects engaged in civil discourse, and those engaged with hammer and nails with a handful of design-build entries to look at as well.

The theme this year seemed to fall on the concept of impact. Doing more with less, but doing it in a big way – affecting many, and teaching us a few tricks along the way.

What an inspiring thing it is to watch these conversations unfold.

Toward the end of the day, the list was nearly complete. After one last review, we arrived with a final list to bring back to Arizona, and the winners, some multiples, were to be notified later that week. There seemed to be some equilibrium, a testament to a diverse jury and the nuance involved. But still, a few worthy projects in my own mind did not make it past the finish line. Daunting!

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This phenomenon strikes us all from time to time – wonder for what the jury was thinking and a curiosity about perspectives different from our own.

Why does it matter to us so much? One possible reason is because design excellence, after all, is best noticed by those who strive toward its achievement every single day.

What I realized was that noticing is what brings about discourse, sets us on the right track and gives us the momentum to move forward in our cause. This very act of

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1 local climate and regional materials inform the shape and color of the shelter Photos: Not Sure

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It is through these special, yet maddening rituals that our ire is raised, our hats fly off and our sadness and joy truly come through. This magic of emotion, concern, and dedication is actually the fuel that brings good architecture to light!

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noticing provides a kind of road map - where we are and a suggestion of where we should be going. The projects written about within the following pages are good examples: Tommy Suchart’s residential projects embrace the landscape like a fine glove on a soft but well worn hand, DeBartolo’s VCSO project makes no attempt to hide the textured archeology of the industrial building it so proudly claims, Chris Trumble’s leadership and chutzpah is the very thing the allowed the inspired redefinition of a modern playground, and Jones Studio’s Mariposa Port of Entry eloquently sets the strange and awkward poetry in motion of what it means to cross the border in these times. Whether you agree with these values or not, the truth is…at least you are thinking about them.

As I flew home and gave it more thought – it’s actually the point of the whole thing in the first place. To notice, to engage, to think. To me, who has had both the momentary thrill of winning an award, and the grand disappointment of not making the mark – this idea of discourse has never been more important. I want to know, I want to hear, I want to discuss, solve, challenge. We should all want the same, and not just once a year. It is through these special, yet maddening rituals that our ire is raised, our hats fly off and our sadness and joy truly come through. This magic of emotion, concern, and dedication is actually the fuel that brings good architecture to light! How to bottle that up?

Remember, during the rest of the year, as you step through treacherous marketing efforts, long meetings, budget challenges and the like – we must continue to ask ourselves, our colleagues, our clients, staff, and collaborators “What is Design Excellence?” each and every day. Enjoy the work within these pages – ask about it, argue about it, then go draw and build. It is the pursuit and perhaps not the singular right answer or the prize (although we will always love that!) that makes this pursuit a whole lot more impactful, and most assuredly worthwhile. Onward!

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The group came with especially open minds, and game for a robust debate, starting with the very same question asked at submittal: “What is Design Excellence?�

AIA Executive Director AIA Design Awards Committee Chair San Francisco Jury

Tina Litteral Hon. AIA Diane Reicher Jacobs AIA Rosa Sheng AIA, Chair from Bohlin Cywinski Jackson Dominique Price AIA from Gensler David Baker FAIA from David Baker Architects Joshua Aidlin, AIA from Aidlin Darling Design

Deliberation

AIA San Francisco 130 Sutter St. #600 San Francisco, CA August 2015

Submissions

82

Awards

19 Urban and Regional Planning Honor Award recipient, see pages 66-68 20 Urban and Regional Planning Citation Award recipient, see pages 69-71 21 APS/SRP Joint Energy and Sustainable Award recipient, see pages 72-74 22 Goodwin Award recipient, see pages 75-77 23 25-Year Award recipient, see page 78

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Honor 6 Merit 6 Citation 2 Unbuilt 8

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Enjoy the work within these pages – ask about it, argue about it, then go draw and build.

24 24 Firm of the Year Award recipient, see page 79 25 Chairman’s Award Recipient, see page 80 26 Educator Award recipient see page 81 27 AIA 10 Award recipient, see page 82 28 Associate Award recipient, see pages 83 See articles for Photography Credits 25

SRP/APS Awards Jury

Firm of the Year, Associate, AIA10 and Educator Awards Jury 26

Chairman Award Selected by 25-Year and Goodwin Awards Jury

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Lori Singleton from SRP Andrew Chalmers from APS Caroline Lobo, AIA from suoLL Michael Jacobs, AIA from Holly Street Studio from AIA Kentucky: April Pottorff, FAIA, Chair Sam Haley, FAIA Clyde Carpenter, FAIA Randall Vaughn, AIA Paul Winslow, FAIA Arizona Fellows: Patrick Rehse, FAIA Will Bruder, FAIA Marlene Imirizian FAIA Duke Reiter, FAIA Robert Hershberger, FAIA Solomon Pan, FAIA Tom Posedly, FAIA

white stone studios distinguished building honor award

architect: 180 Degrees article by: Sarah Berl Associate AIA

Nestled into the corner of 8th Ave. and McKinley St. in downtown Phoenix’s up-andcoming “Triangle” neighborhood, the White Stone Studios sit hidden behind a modest reclaimed wood pallet fence, and stands at only 10’-6”. You may have driven by, and not even known that behind the fence sits an Honor Award winning community dwelling project that is the result of a collaboration between 180 Design Build and Benjamin Hall.

A few minutes into my conversation with Benjamin Hall I realized that his vision for the White Stone Studios was one that Phoenix desperately needed. Not only was Ben’s story engaging, but it was enough to convince me that White Stone Studios has the potential to be a philosophical game changer for future Phoenix community development projects.

Benjamin started his story with the year that he spent in Denmark living in a community based live-share building. His floor was 250 sf., and he shared this space with several other people. He described the experience to me with a nostalgic appreciation for the way that his small built-in community lived with one another, and became like one family. The values of the space left a mark on him that he hoped he could bring back to Phoenix and transfer into his own projects.

White Stone is notably more intimate than most housing projects in the city. The six studio units are 650 sf each, considerably more space than the previously discussed 250 sf that Benjamin lived in while in Denmark. They each have a private patio, and are beautifully detailed from the finishes to the furnishings. The property offers a small, shared community space, and people can often be found engaging with one another there.

Benjamin, surprisingly, explained to me that while the success of the White Stone Studios is warranted and appreciated, he personally feels that there is a lack of cohesion between this original vision and the reality of the project. “In a way”, Benjamin explained, “I feel like White Stone Studios failed to maintain the value of the community environment that I was modeling off of my experience in Denmark.” The commu- 12 White Stone Studios

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-nity reaction to the Studios has been overwhelmingly positive. From his initial variance hearing through construction completion he has been humbled by the support and acknowledgement from the City of Phoenix and its residents.

Aside from the community aspect of the Studios, they are also brilliantly integrated into the Phoenix climate, and finished with as much attention to detail as one could hope to achieve. The residential complex is optimally positioned for natural, balanced daylight that allows the building to shelter itself, mitigate direct solar exposure, and become an inward-acting building that takes advantage of thermal mass walls, and cross ventilation. Due to such efficiency the residents of White Stone get to enjoy reduced energy consumption (the average electrical bill is $30).

1,2 Custom interior details including countertops, convertible surfaces, recesses in walls, door latches, and light switches help add tot he refined and highly enjoyable living experience.

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The walls of White Stone Studios that give it its iconic name are ground-faced concrete blocks that were made locally in Phoenix. They form an all-in-one exterior and interior wall that eliminates the cost of paint and drywall. A total of 32 different masonry units were made. They vary in thickness to allow for more or less foam insulation depending on the orientation. They also contain a white admixture that helps reflect heat off of the outside of the building while brightening the inside. The entire building also has an anti-graffiti coating that not only helps reflect light, but also protects the surface from the urban environment.

Custom interior details including counter tops, convertible surfaces, recesses in walls, door latches, and light switches also help add to the refined and highly enjoyable living experience. The exceedingly cozy 650 sf unit footprint is extended by the private patios that each has on its North side. Additionally, the patios encourage airflow, and the open floor plan of each is truly expressed seamlessly through the connection to the exterior space.

Perhaps the idea of “quality over quantity�, as Benjamin said during our brief conversation, will take flight in Phoenix. The idea that community housing projects can be intimate, enrich the neighborhoods that they take form in, and coexist with the Arizona Desert landscape, is encouraging. Now that such a worthy precedent has been set, 2 Phoenix may see more infill housing developments like this in the future.

4 3 You may have driven by, and not even known that behind the fence sits an Honor Award winning community dwelling project 4 The exceedingly cozy 650 sf unit footprint is extended by the private patios each has on its north side Photography by Matt Winquist

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White Stone Studios has the potential to be a philosophical game changer for future Phoenix community development projects.

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mariposa port of entry distinguished building honor award

architect: Jones Studio article by: Brian Farling RA

Swirling political winds of the moment have stirred up the wrong question - again.

Building a bigger, better wall along our southern border is divisive and incendiary and it misses the mark. The question cuts with the same ambiguity as the geo-political line on the earth it references. It is a folly – an unresolvable proposition born of fear and negativity. There is, however, optimism to be found in this region. If you look carefully and wide-eyed, you will find passages – breaks in the line that inherently carry a far more important question to consider. Our recently completed Mariposa Land Port of Entry located along the shared edge of the United States border with Mexico is an emphatic answer to the question: can we collectively, with open, outstretched arms, look to the south and say, “Welcome to America”?

Located just west of Nogales, Mariposa (Spanish for “butterfly”) is a 54-acre campus of 15 buildings totaling more than 260,000 sq. ft. of roof area. It is a study in balancing security with a dignified welcome, offering efficient operations with a healthy workspace and achieving a high-energy performance/low water use facility within a harsh desert climate. Influenced by the smooth continuous lines of a railroad yard and the contrasting vision of a desert oasis, the site plan is designed around the concept of overlaying a bustling vehicle and pedestrian processing station with a lush and vibrant garden. One million gallons of harvested rainwater support this vital and nurturing landscape, which is designed to infuse the human experience with a connection to nature, alleviating stress and creating a respite for visitors, staff, and the officers who operate the port.

The entry pavilion, which stretches 1000 feet across the plateau, is the symbolic threshold – the point of passage through the line…through the wall. With its offering of shade and the subtle beautiful colors of the waving U.S. flag, it is the physical manifestation of Arizona’s 2014 Poet Laureate Alberto Rios’ poem “Border Lines” in which he clearly sees: “the border is what joins us, not what separates.” The Mariposa Port of Entry is the optimistic answer to the question - a unique success story on a contentious border where most of the country only sees lawlessness and suffering. We feel this project has risen above the discourse and captured much of what makes this country great. It has aspired to the poetry of Rios and it is inspiring to know America can still reach out with grace and authenticity to our southern neighbors and say, “WELCOME.”

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The Mariposa Port of Entry is the optimistic answer to the question - a unique success story on a contentious border where most of the country only sees lawlessness and suffering.

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Photos: Not Sure

2 1,2 Can we collectively, with open, outstretched arms, look to the south and say, “Welcome to America”?

3 The entry pavilion, which stretches 1000 feet across the plateau, is the symbolic threshold – the point of passage through the line…through the wall.

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scottsdale museum of the west distinguished building honor award architect: Sudio Ma article by: Dan Hoffman AIA

Located in the heart of Scottsdale’s historic downtown, Scottsdale’s Museum of the West will be a world renowned museum displaying cultural and artistic artifacts and exhibits highlighting the meeting of the “Old West and New West.” The historic downtown is a vital, cultural hub of the city, known for its arts and cultural amenities and historic buildings. The Museum provides another cultural venue to the downtown and will become the center for an augmented arts district, providing connections to other, adjacent downtown districts. The museum includes a museum store, interpretive spaces that tell the story of the west as well as galleries for permanent and travelling exhibitions and a multi-use space for gatherings and presentations.

The design of the Museum takes its inspiration from icons of the west including the horseshoe, woven basket and the characteristic red cliffs and mesas of the Colorado Plateau. The public spaces of the Museum are organized, like horseshoes around a spike, as a series U shaped spaces around a vertically articulated courtyard. Natural light from the courtyard is a central, organizing element for the museum, reminding visitors of the colorful and dramatic quality of the western landscape. A bridge connecting the upper level galleries provides views of Camelback Mountain, an iconic natural feature of the Phoenix valley.

The structure of the building is made of board-form, tilt-up concrete wall panels and an exposed, steel frame structural grid sealed with clear lacquer. The second level “woven” metal clad volumes shade the concrete panels below. The metal panel design is a series of folds that self-shade and utilize a nominal sheet size to minimize waste.

The project was designed and constructed at one-third the cost of a typical Museum with sustainability features on track to achieve a LEED Gold rating. Water collected from the mechanical system’s condensate is displayed in the courtyard via a steel “weeping wall”. Roof and site rainfall is diverted to one of the three bioswales forming a green perimeter to the structure within Scottsdale’s urban context. A significant reduction in energy and water-use was achieved via innovative humidification design, producing a net energy use reduction of 38% compared to a typical museum in this region.

The Museum provides another cultural venue to the downtown and will become the center for an augmented arts district, providing connections to other, adjacent downtown districts.

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1 (previous page) The second level “woven” metal clad volumes shade the concrete panels below.

The metal panel design is a series of folds that self-shade and utilize a nominal sheet size to minimize waste 2 Natural light from the courtyard is a central, organizing element for the museum 3,4 The museum displays cultural and artistic artifacts and exhibits highlighting the meeting of the “Old West and New West.”

Photography by Bill Timmerman

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asu manzanita hall renovation distinguished building honor award architect: Studio Ma article by: Dan Hoffman AIA

Constructed in 1967, Manzanita Hall was, for a time, the tallest building in Arizona.

With its curved façade and unique, triangular precast structure, this innovative, midcentury building became an immediate icon and gateway feature for Arizona State University’s Tempe campus. However, after over 40 years of housing over 40,000 students, the building was in poor condition and no longer served the needs of the ASU student body. The initial feasibility study confirmed that the much-needed comprehensive building redevelopment was not only financially viable, but was also a major benefit to ASU’s aggressive carbon neutrality plan. Design objectives established for the project included maintaining the iconic nature of the building, incorporating contemporary student residence and student life standards, updating building systems and bringing the building up to current fire and life-safety codes. These and other design features enabled the project to achieve a LEED Silver rating.

Originally, Manzanita Hall was located at the edge of campus, surrounded by concrete walls. The renovation extensively reshaped the spaces around the building, drawing them up to the main level by tilting the ground plane and providing a gridded shade canopy to invite people up to the main building entry. The original building was designed as a 1,000 bed dormitory made up of paired bedroom suites with no communal or shared space. The program for the renovation was organized around the nested levels of community - home, street, neighborhood and village - as manifested in larger suites, corridors, lounges, and amenity spaces at the base of the building. Additional amenities, such as a learning center, classrooms, a fitness center and game room are provided on the main floor and lower levels. Consistent with Arizona’s indoor-outdoor lifestyle, recreational spaces, including decks and sport courts, are adjacent to north-facing decks with direct access to interior gathering spaces.

The existing building’s triangular frames are among its many innovative and defining characteristics. One of the key moves in the renovation was replacing the exterior wall system with a custom floor-to-ceiling panelized system set back from the triangular frames, enhancing the visual impact of the frame, improving thermal performance, and enhancing the self-shading qualities of the original design. Other innovations include the design of tensegrity-structured shade canopies at the building entry plaza and activity area deck, extending the effective use of outdoor spaces in the hot summer months.

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The initial feasibility study confirmed that the muchneeded comprehensive building redevelopment was also a major benefit to ASU’s aggressive carbon neutrality plan

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1 The design of tensegrity-structured shade canopies at the building entry plaza and activity area deck, extend the effective use of outdoor spaces in the hot summer months.

2 The exterior wall system with a custom floor-toceiling panelized system set back from the triangular frames, enhances the visual impact of the frame, improving thermal performance, and enhances the self-shading qualities of the original design 3 Additional amenities, such as a learning center, classrooms, a fitness center and game room are provided on the main floor and lower levels.

Photos by Bill Timmerman

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bicycle haus

distinguished building merit award

architect: debartolo architects article by: Sarah Berl Assoc. AIA

A simple wedge in form with modest material choices, and a maximized floor volume the The Bicycle Haus, designed by Debartolo Architects is not proud, but simple in its position and honest in its aesthetic. The building stands at a modest two-story structure and invites the pedestrian in to interact with it, like a jewel box beckoning even the most amateur of cyclists to come in and have a conversation. Weathering metal siding, galvanized metal, insulated glass, and native desert landscaping help to cement the Bicycle Haus’s subtle permanence.

Personal design touches, such as tastefully placed re-purposed barn wood from the owner’s Montana home town, make the experience of walking into Bicycle Haus innately welcoming and comfortable - which is a unique approach to bike shop aesthetic.

Programmatic decisions were made in order to maximize flexibility, communal use, and congregation. A long folding window opens up on the south court from the kitchen creating a space where the team can gather before or after rides to have espresso and catch up. Additionally the interior was designed to allow the owner to adapt and redefine the space around product changes and events. These critical space-planning choices have helped create an exciting and dynamic environment where friends, customers, enthusiasts, teammates, and passersby are invited to linger and share in their passion for cycling.

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The building stands at a modest two-story structure and invites the pedestrian in to interact with it, like a jewel box beckoning even the most amateur of cyclists to come in and have a conversation.

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1,2 A simple wedge in form with modest material choices, and a maximized floor volume, the building is simple in its position and honest in its aesthetic.

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3 3,4,5 Critical space-planning choices have helped create an exciting and dynamic environment where friends, customers, enthusiasts, teammates, and passersby are invited to linger and share in their passion for cycling.

Photography by Bill Timmerman

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Personal design touches, such as tastefully placed re-purposed barn wood from the owner’s Montana home town, make the experience of walking into Bicycle Haus innately welcoming and comfortable 3

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asu college avenue commons distinguished building merit award architect: Architekton | Gensler article by: Doug Sydnor FAIA

ASU College Avenue Commons is a vertically integrated mixed-use community designed to become ASU’s new “front door.” The five-story, 137,000 square-foot LEED Gold building at the North West corner of College Avenue and 7th Street in Tempe merges four distinct user groups: the ASU School of Sustainable Engineering and the Built Environment, the Gensler-designed Sun Devil Marketplace, University Tours, and University Classrooms. The building delivers an outstanding educational experience, promotes collaboration among faculty and students, and provides a pedestrian-oriented interface.

With strong visual connections throughout the space, the prime location reinforces the urban pedestrian edge along the street, providing direct frontage for the building lobby. The building’s 3rd, 4th and 5th levels cantilever over the sidewalk along 7th Street to provide pedestrian shade and dramatically overhang College Avenue to create an urban plaza / gateway. A two-story element housing University Tours, is pushed back to reveal a “pocket plaza” and forecourt to Tours and the academic program of the top three levels. A cascading exterior stair creates an inviting, student friendly accessible route that interconnects each floor, variety of programs, and “urban quad” located on the 3rd level over the University Tours program.

Thoughtful and skillful execution of spaces for student engagement and social overlap are organized around a central atrium or “mixing chamber,” creating a threestory collaborative zone that vertically links the upper floors while allowing light to filter deep into the building. Student collaborative spaces and interactive learning opportunities abound within this volume to energize the experience.

The inherent mission of the mixed-use building and program is to be socially, economically and environmentally sustainable – to demonstrate these sustainable principles to students and the surrounding community, and be a “living-learning lab.”

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Student collaborative spaces and interactive learning opportunities abound within this volume to energize the experience.

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1 A cascading exterior stair creates an inviting, student friendly accessible route that interconnects each floor, variety of programs, and “urban quad” located on the 3rd level over the University Tours program.

2 ASU College Avenue Commons is a vertically integrated mixed-use community designed to become ASU’s new “front door.”

3 The building delivers an outstanding educational experience, promotes collaboration among faculty and students, and provides a pedestrian-oriented interface.

Photography by Bill Timmerman

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hashan kehk community center distinguished building merit award architect: Orcutt | Winslow article by: Yumiko Ishida AIA, LEED AP

Hashan Kehk Community Center weaves together colors, textures, and spaces that are inspired by its place and history. The 35,000 square-foot structure was completed in late 2014, and has been serving the Gila River Indian Community, showcasing its diverse and rich cultural heritage. Responding to its natural and historical context and integrating multiple functions, indoor and outdoor spaces, and varying forms and materials, the building expresses the identity of the people it serves in the heart of the desert.

The textured walls of Hashan Kehk Community Center are informed by the traditional basket patterns as well as the saguaro cactus. Two intersecting concrete walls anchor the building, while the floor-to-ceiling windows connect the interior spaces to the greater landscape outside. The compressed circulatory spine at the south entrance opens up toward the north, offering views of Yellow Peak. The namesake of the community, “Saguaro Stand,� is evoked in the layered textures as well as in the earth tones and shades of green used throughout.

The building was designed specifically for District 2 within the Gila River Indian Community through a collaborative process. The facility houses the district's administrative offices, fitness and gymnasium spaces, educational programs, indoor and outdoor gathering spaces, and an elders' center. Like the traditional basket dances passed down from one generation to another, the multi-functional Hashan Kehk Community Center brings together the diverse and multi-generational people of not only the district it is to serve, but also its greater community.

The Bicycle Haus is not proud, but simple in its position and honest in its aesthetic.

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4 3 You may have driven by, and not even known that behind the fence sits an Honor Award winning community dwelling project 4 The exceedingly cozy 650 sf unit footprint is extended by the private patios each has on its north side

1 (previous page) Two intersecting concrete walls anchor the building, while the floor-to-ceiling windows connect the interior spaces to the greater landscape outside.

2 The namesake of the community, “Saguaro Stand,� is evoked in the layered textures as well as in the earth tones and shades of green used throughout.

3,4,5 The building expresses the identity of the people it serves in the heart of the desert 2

Photography by Bill Timmerman

Like the traditional basket dances passed down from one generation to another, the multi-functional center brings together the diverse and multi-generational people of the district and the greater community.

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32 Hashan Kehk Community Center

farmer studios II distinguished building citation award

architect: Architekton article by: John Kane FAIA, LEED AP

This urban, creative class infill building and tenant improvement is designed to create desert-appropriate, compact, and protected community spaces. Farmer Studios II is a carefully considered addition to an existing 13,000 s.f. flexible mixed-use building.

Located just west of downtown Tempe, Farmer Studios II adds tenant-leasing flexibility to the original with a new external shared elevator, bridge, and stairs. The new slender building interlocks and connects to the existing 2004 building with shared structural grid and expressed lateral bracing.

Central to its mission of creating community, the external lobby court unifies both buildings and also connects the parking court, retention courtyard, and street entry paseo. Very little of the building touches the ground plane in order to optimize the site’s limited area.

The leasable second and third floors are occupied by a public relations agency that wanted a creative industrial aesthetic in an urban, walkable environment. The tenant improvement’s open plan works with the building’s exposed steel structure and systems.

As the jury pointed out, the building “respects the honest nature of the architecture while maintaining a unique identity for the tenant. Color, millwork and texture complement the exposed utilitarian construction. The resulting cohesive design yields a creative, stimulating and collaborative environment that embodies the design aesthetic.” The architect, Architekton, used the graphic language of the tenant to help provide the connections that link critical spaces across the very long and narrow 250’ x 25’ footprint. This graphic language also informs room and furniture configuration as a glossy fuchsia beam intersects one space to the next, diffusing a turn in the floor plate. Programmatically, the offices are designed to allow creativity to happen anywhere and take any form, whether it’s the formality of a closed-door client meeting, the casual in-house team jam session, or spontaneous inspiration with clients and colleagues over a game of pool. Wood and operable glass-clad meeting spaces add color and warmth to the naturally day lit space.

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3 1 The new slender building interlocks and connects to the existing 2004 building with shared structural grid and expressed lateral bracing.

2 Central to its mission of creating community, the external lobby court unifies both buildings 3 The architect used the graphic language of the tenant to help provide the connections that link critical spaces across the very long and narrow 250’ x 25’ footprint.

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Photography by Architekton

1 A cascading exterior stair creates an inviting, student friendly accessible route that interconnects each floor, variety of programs, and “urban quad” located on the 3rd level over the University Tours program.

2 ASU College Avenue Commons is a vertically integrated mixed-use community designed to become ASU’s new “front door.”

3 The building delivers an outstanding educational experience, promotes collaboration among faculty and students, and provides a pedestrianoriented interface.

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This urban, creative class infill building and tenant improvement is designed to create desert-appropriate, compact, and protected community spaces.

35 Farmer Studios II

yerger residence distinguished building citation award

architect: Chen + Suchart Studio article by: Tommy Suchart AIA and Sarah Berl Assoc. AIA

Located just within the North West foothills of Camelback Mountain, the Yerger Residence focuses its view toward the iconic landmark of Camelback Mountain and captures it as a constant presence in the daily experience of the house.

The project takes the form of an architectural cast-in-place concrete base upon which a floating sheet weathering steel (A588) clad open-ended volume and an 8-4-16 masonry volume are situated.

Upon entering Yerger from the street, the entry sequence leads along a koi pond, into the entry and to a negative edge pool that distinguishes the main public spaces and master suite while offering a moment of repose. As you move through the house to the main living spaces, which are strategically open in plan configuration, you begin to see that the views borrow Camelback Mountain, and bring the beauty of the rocks and landscape into the interior spaces. A private back patio and sunken garden adjacent to an exercise space offer introspective moments.

Compared to the open configuration of most of the spaces in the house, the master suite is a more cellular division of spaces that control views and privacy. A study is located at the same level as the entry and living space while the master bedroom and master bathroom are situated higher in section to allow for additional privacy. These changes in section allow visual separation, sound isolation, and intimacy within the plan- balancing the Yerger Residence in a perfect relationship of introspection and extroversion.

The Bicycle Haus is not proud, but simple in its position and honest in its aesthetic.

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The residence focuses its view toward the iconic landmark of Camelback Mountain and captures it as a constant presence in the daily experience of the house 1 1

1 (previous page) The views borrow Camelback Mountain, and bring the beauty of the rocks and landscape into the interior spaces.

2 The master bedroom and master bathroom are situated higher in section to allow for additional privacy.

Photography by Bill Timmerman

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38 Yerger Residence 38 Scottsdale Museum of the West

azca playground distiguished bulding citation award

architect: Christopher D. Trumble, AIA by: Liz Farkas, AIA, LEED AP

The Arizona Children Association’s Playground is an experimental playground that is thoughtfully designed to engage a child’s imagination and stimulate discovery.

The design team, an academic studio, focused their principal investigations on the creative benefits of play and in navigating the careful balance between risk and security required for those benefits. They consulted early childhood educators of various philosophies, held community events for input, and then used U.S. Consumer Product Safety Commission standards to finalize the designs. The result is a striking playground environment that children respond to in a memorable way, using it in ways that were not always anticipated by the team - evidence of the successful execution of the project’s goals.

As noted by the jury, the playground is “tactile and kinetic and connected to the landscape.” Elements carve into and rise out of the ground like a living being, a palette of gray and green melding into the surrounding sand. A textured site-formed concrete “Canyon” forms the spine of the project. Various climbing frames (aka the “Tarantula”) cross over the canyon and provide almost limitless opportunities for climbing, hanging, swinging, jumping, and crawling. The “Fort,” an enclosed space accessed either from the side or a ladder from the canyon below, provides a sheltered gathering space. A myriad of interesting textures (including handprints from community children) formed into the concrete, fabric-formed GFRC pillows, composite decking, glass insulators, and ceramic tiles animate the surfaces with child-scaled elements.

This unique playground is located on private property in a low-income neighborhood but is open to the public, and replaced 5,000 SF of irrigated lawn with desertadapted vegetation. Although the project was originally conceived with and for a children’s organization, the property has been sold and the new owners are not affiliated with children. Unfortunately it is uncertain whether they will maintain the playground for its original purpose, as it is a wonderful resource for the neighboring community.

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1,2 Elements carve into and rise out of the ground like a living being, a palette of gray and green melding into the surrounding sand.

3,4,5 The “Canyon” “Tarantula” and “Fort” are scaled to suit a variety of fun playground games for children Photography by Chris Trumble and Liam Frederick

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The Arizona Children Association’s Playground is an experimental playground that is thoughtfully designed to engage a child’s imagination and stimulate discovery.

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asu sun devil fitness complex distinguished building citation award architect: Studio Ma article by: Dan Hoffman AIA

The Sun Devil Fitness Complex provides significant new facilities to Arizona State University. Located adjacent to the existing recreation services building, the expansion includes five new basketball courts, two exercise rooms, a fitness center, wellness center, lounge and gaming areas and a multi-activity court (MAC) for indoor soccer and field hockey. Student input during the programming phase emphasized the desire for a highly visible facility where students could view the activities happening around them both from inside and outside of the building.

The design team responded by designing the facility with large expanses of glass providing visual connections to the surrounding campus and the activities within.

Three of the five basketball courts are located on the second floor with large windows providing views of the surrounding ASU campus. The MAC has floor to ceiling glass windows opening views to a major roadway on the edge of campus. An outdoor passageway under the second floor gyms provides a gateway for students entering the campus.

The vertical organization of the building maximizes site use and provides areas for shaded public space and water retention leaving the ground floor open for highly visible mixed-use activities. The massing further supports an integrated design approach for mechanical services and for on-site renewable energy production.

Centrally located mechanical space minimizes the need for extensive duct work and large fans draw in fresh air high above ground for increased ventilation and improved indoor air quality.

The building is clad with a cement panel rain screen system that compliments the brick cladding of the existing building while providing a durable, energy efficient envelope. Deep overhangs and louvers shade the indoor courts while enhancing views in and out of the facility. Solar thermal and photo voltaic systems on the roof of the new and existing facility provide significant energy savings. The project has received a LEED Platinum certification.

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An outdoor passageway under the second floor gyms provides a gateway for students entering the campus 1 (previous page) A cement panel rain screen system compliments the brick cladding of the existing building while providing a durable, energy efficient envelope 2 Three of the five basketball courts are located on the second floor with large windows providing views of the surrounding ASU campus.

3,4,5 Student input during the programming phase emphasized the desire for a highly visible facility where students could view the activities happening around them both from inside and outside of the building.

Photography by Bill Timmerman

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vsco interior architecture honor award

architect: debartolo architects article by: Sarah Berl Assoc. AIA

One of the slogans of VSCO is, “Let’s build something beautiful together”, and the result of the close collaboration between Debartolo Architects and VSCO proves that. Occupying a beautiful 1922 Gothic Revival storefront in Oakland, California is the new headquarters for Visual Supply Company, or VSCO, designed by Debartolo Architects. On the National Registry of Historic Places, this William Knowles Gothic Revival proudly displays its iconic pink glazed, ornamental terra-cotta facade.

To effectively create a space that would work for VSCO, Debartolo focused first on sifting through the palimpsest of history that had accumulated in the interior and stripping the building down to its raw spirit. The building revealed it’s unique personality. Seismic walls added in the 1990’s created patterns of daylight and opacity and became the driving aesthetic for the interior and space planning.

“The people at VSCO value the art of craft. Whether it be a fine cup of coffee or a hand built bicycle, the skill and attention to detail of a craftsperson is always celebrated,” describes Debartolo Architects. Throughout the new workspace exposed systems, both old and new, create layers of transparency and opacity, revealing the craft of the built environment. For example, above the conference rooms, custom perforated steel HVAC grilles visually integrate into the steel panels adding complexity and richness to the material palette, simultaneously exposing what makes the systems operate. Close collaboration throughout construction ensured that all building systems were installed in an orderly and artful way.

Debartolo noted that the founder of VSCO “often arrives early in the morning before anyone else, makes his locally sourced oatmeal and pour-over coffee, and finds his favorite chair by the window so that he can watch the city wake up and watch his workspace come alive.”

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Throughout the new workspace exposed systems, both old and new, create layers of transparency and opacity, revealing the craft of the built environment.

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The people at VSCO value the art of craft. Whether it be a fine cup of coffee or a hand built bicycle, the skill and attention to detail of a craftsperson is always celebrated.

4 1,2,3 Debartolo focused first on sifting through the palimpsest of history that had accumulated in the interior and stripping the building down to its raw spirit.

4 New materials carefully connect to contribute to the overall sense order in the office.

5 Close collaboration throughout construction ensured that all building systems were installed in an orderly and artful way.

Photography by Mariko Reed

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3256 renovation interior architecture citation award

architect: Chen + Suchart Studio article by: Nicholas Tsontakis AIA

A simple material palette and clear spatial connections create a tranquil home experience in the 3256 Renovation. The architect, Thamarit Suchart, AIA of Chen + Suchart Studio, sought to “to establish better relationships between spaces” viewing “this new relationship of spaces as one cohesive framework.” The existing spaces, as Suchart describes, were “a series of many conflicting materials and spatial relationships.” Using a simplified aesthetic and clear organization, the architect succeeded in creating a more unified project.

A multitude of materials, colors, and low walls at odd angles created a disjointed living-dining-kitchen arrangement. The existing multi-colored slate tile flooring appeared haphazard, while the new, high compressive strength white concrete floor that replaces it unifies the project. This floor carries through the main living spaces and down the hallways to the bedrooms. Similarly, a material change in the living room helps to join spaces. Together, two new steel clad elements reorient the kitchen to the living room and pool area. On one side, a new wall completely clad in 16 GA hot rolled steel replaced a carelessly composed wall and eliminated an awkward bend in the steps to the hallway. An entertainment unit clad in the same steel defines the other edge of the living room. The steel distinguishes the living room as its own area while the positioning of the steel elements connects the room to the surrounding spaces.

This connection between living spaces is further emphasized by a new, Olive Wood clad soffit that extends over the living room and to the back of the kitchen.

Prior to the renovation, a multi-layered soffit wrapped the living room, isolating it from both the dining room and kitchen. An additional ceiling drop over the dining room and the cramped, corner location of the kitchen further divided the spaces. By replacing the kitchen walls with low, stone clad countertops and introducing a new, singular, wood clad soffit that spans multiple rooms, the architect transformed the area into a new, unified living space. This soffit, along with a few impactful material choices and an open spatial arrangement, creates a clear and connected interior.

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A few impactful material choices and an open spatial arrangement create a clear and connected interior 1

1,2 Custom interior details including countertops, convertible surfaces, recesses in walls, door latches, and light switches help add tot he refined and highly enjoyable living experience.

1-4 A simple material palette and clear spatial connections create a tranquil home experience in the renovation.

Photography by Chen + Suchart Studio

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falora interior architecture citation award

architect: repp + mclain design and construction article by: Rick McClain AIA LEED AP and Jacquelyn Heaton

Owner Ari Shapiro had a vision for a modern pizzeria set within the local landmark of Broadway Village. The shopping center, constructed in 1939 by Architect Josias Joesler and developers John and Helen Murphey, is located at the crux of 3 longestablished neighborhoods in central Tucson. Designed in the Spanish Mission Revival style, the architecture features a palate of red brick, exposed wood, and expanses of glazing.

Falora’s 1,127 square foot space suffered from years of poor quality tenant improvements. Architect Rick McClain hoped to breathe new life into the uninspired interior and to attract patrons from the surrounding neighborhoods, as it once did in 1939.

Married with ambiguous floor level changes, ill-placed partition walls and coat-uponcoat of paint, the design peels back the layers of previous work to expose the essence of the original design. Once revealed, the renovation carefully introduced new materials to reference the wood-fired pizzas and the handmade nature of the food. The project is deliberately reserved. Sandblasted brick walls, a restored wood ceiling and straight grain fir and clay wall finishes evoke Felora’s Italian wood-fired brick oven.

Wood stored within re-purposed chimney flue liners created a functional storage element that warms and anchors the dining space.

At the heart of the renovation rests the imported Italian pizza oven and a 24-foot long community dining table made by a local woodworker. The open kitchen, hand crafted Neapolitan-style pizzas, and intimate space unite into a memorable and authentic dining experience as handmade pizzas rotate through the brick oven, creating a show for the senses.

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We hoped to breathe new life into the uninspired interior to attract patrons from the surrounding neighborhoods, as it once did in 1939.

1 Owner Ari Shapiro had a vision for a modern pizzeria set within the local landmark of Broadway Village.

2 At the heart of the renovation rests the imported Italian pizza oven and a 24-foot long community dining table made by a local woodworker.

3,4 Sandblasted brick walls, a restored wood ceiling and straight grain fir and clay wall finishes evoke Felora’s Italian wood-fired brick oven.

5 Wood stored within re-purposed chimney flue liners created a functional storage element that warms and anchors the dining space.

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Photography by Liam Frederick

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reforma cocina y cantina interior architecture citation award

architect: repp + mclain design and construction article by: Rick McClain AIA, LEED AP and Jacquelyn Heaton

Reforma Cocina Y Cantina is a modern restaurant offering from-scratch Central Mexican cuisine. Nestled in the heart of St. Phillips Plaza in the Catalina Foothills, the 6,000 square foot interior space was last renovated in the 1990’s and was in need of a full transformation.

The team operated under strict time constraints to achieve an on-time completion: start to finish in just under six months. As the architectural and construction teams started the design process, owner-directed kitchen and infrastructure improvements were already underway. These time limitations required a flexible and slightly unorthodox design process. The electrical design was completed before the interior design and the seating layouts were finalized. The solution was an adaptable lighting design.

Using corded pendants to allow for junction boxes to be installed immediately with fixture locations to be determined at a later date.

Materials, finishes and details at Reforma intentionally blur the lines between modern and traditional to create an interior that is a physical and tactile reflection of the food and architecture of Mexico City. The result is a space that is authentic, yet modern, with the charm of a sophisticated and comfortable urban hacienda. The floor plan, like a traditional Mexican estate, intentionally unfolds and reveals itself.

A material palate of walnut, copper, cantera stone, Carrera marble, steel, and geometric concrete floor tiles reference the richness and substance of traditional Central Mexican design. The interior is marked by a rambling floor plan, thoughtful lighting, and careful material selection which set the tone for a memorable and intimate dining experience, where the space is truly a physical expression of the food.

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Materials, finishes and details blur the lines between modern and traditional to create an interior that is a physical and tactile reflection of the food and architecture of Mexico City.

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The interior sets the tone for a memorable and intimate dining experience where the space is truly a physical expression of the food.

1 The resulting space is authentic, yet modern, with the charm of a sophisticated and comfortable urban hacienda.

2,3,4,5 A material palate of walnut, copper, cantera stone, Carrera marble, steel, and geometric concrete floor tiles reference the richness and substance of traditional Central Mexican design Photography by Liam Frederick

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rcca gridshell dining hall unbuilt merit award

architect: Christopher D. Trumble AIA article by: Liz Farkas AIA, LEED AP

It is unusual for a project to begin with a required structural system as its principal constraint. That was the case for a dining hall for the Ross Creek Centre for the Arts (RCCA), an arts education institute in rural Nova Scotia. Part of a multi-university initiative to research gridshell typology and application (the Thinking While Doing grant), the project is first in a series scheduled to conclude with publications and workshops to transfer the knowledge gained.

Embracing a strong research ethic, the design team began by delving into the meaning of gridshell, using historic precedence and material exploration to understand the “disobedient” nature of a “sprung” gridshell: one that begins as a flat grid and transforms into a raised, doubly curved surface, its final form dependent on the hands guiding it into place. The sprung gridshell offers material efficiency for large spans, but more compellingly the process’ unpredictability provides an opportunity for the craft of the architecture to shine.

Program requirements included a kitchen and multi-season dining hall/community space. Project phasing directed separating those spaces into a rectilinear service bar and a gridshell hall whose shape is informed by the site’s topography and wind patterns. Design considerations for the temperate, maritime climate are also evident in the site planning and material selections. Views, solar and circulation access, and the mitigation of climate extremes are prioritized to increase user comfort. A double lattice gridshell allows high R-value insulation in one cavity while maintaining an exposed structure inside. Cladding with matte-finished aluminum shingles provides lustrous durability, with the shape and attachment method of the shingles changing according to location on the dynamic geometry of the grid.

The jury cited the “futuristic and thoughtful investigation of form, structure, craft and materials” evident in the team’s explorations and proposed implementation. The RCCA Gridshell Dining Hall is a sophisticated solution to a unique set of constraints.

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The sprung gridshell offers material efficiency for large spans, but more compellingly the process’ unpredictability provides an opportunity for the craft of the architecture to shine.

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3 1 The rectilinear service bar contrasts with the structure highlighting the gridshell’s unique shape 2 It is unusual for a project to begin with a required structural system as its principal constraint 3 Using material exploration to understand the disobedient nature of a sprunggridshell: one that begins as a flat grid and transforms into a raised, doubly curved surface, its final form dependent on the hands guiding it into place.

4 A section through the center of the space emphasizes the dichotomy of programmed spaces and structural system

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kafd portal spas unbuilt merit award

architect: worksbureau article by: Nicholas Tsontakis AIA

Powerful forms, an elegant structure, a perforated rain screen, and interior gardens create the backdrop for a serene experience at the KAFD Portal Spas in Riyadh, Saudi Arabia. The building is split in two large masses, a men’s spa and a women’s spa, their forms inspired by the uplift formations common to the geology of the area. They are appropriately scaled for their urban setting, defining the gateway to the master plan of the King Abdullah Financial District. The buildings’ long cantilevers create shaded, public porticos at street level and their asymmetry responds to the different scales of the surrounding built context. Both masses have similar spaces on three different levels.

The three levels choreograph the guest experience, each level defined by varied light and character: “from sifted light in the atria, to the dim relaxation of the treatment areas, and the bright vaults of the upper pools,” as Workbureau describes. The perforated metal screen, “a performance-driven jacket with dynamic ‘tessellate’ shading,” helps to break down the massing on the exterior and creates the varying light experiences on the interior.

Fissure gardens greet guests as they enter the spa areas and light pierces the vertical circulation areas bringing the interior flora to life. From the sloping gardens, rich with meditation terraces and grotto alcoves, guests ascend to the upper spaces. Service rooms are housed closer to the center of the building while gym, squash courts, lounges, yoga rooms, pools and similar spaces engage directly with the perforated metal screen that opens and closes to suitably light each space.

The powerful lighting effects create the complete spa experience in the building. The play with lighting levels is made possible by an open primary structure. A large diagrid of steel creates the overall light feeling of the masses on the interior and allows for the metal screen to dramatically illuminate the different spaces.

The Design Awards Jury summarized the building as a “thoughtful investigation of creating spaces for relaxation and regeneration.” The building is a gift to the city and its guests.

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A large diagrid of steel creates the overall light feeling of the masses on the interior and allows for the metal screen to dramatically illuminate the different spaces 1,2 The two spa masses are appropriately scaled for their urban setting, defining the gateway to the master plan of the King Abdullah Financial District.

3 Fissure gardens greet guests as they enter the spa areas and light pierces the vertical circulation areas bringing the interior flora to life.

4,5 The gym, squash courts, lounges, yoga rooms, pools and similar spaces engage directly with the perforated metal screen that opens and closes to suitably light each space.

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Renderings by worksbureau

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desert bridge residence unbuilt merit award

architect: Chen + Suchart Studio article by: Tommy Suchart AIA and Jacquelyn Heaton

Desert landscape, while harsh in its condition, can bring about a sense of serenity.

The Desert Bridge Residence was to be that catalyst between occupied space and the environment by maximizing the potential of the immediate and distant landscape.

The project site is defined with an array of iconic views of the Phoenix desert landscape: Camelback Mountain to the north and Papago Park, South Mountain, and Downtown Phoenix to the south, as it is further characterized by a wash that divides it. The project takes advantage of the site and the wash that bisected it by spanning over the wash with a linear bar scheme. Bridging over the wash minimized the impact of the residence to the desert landscape and wash below. This configuration allows for each of the major spaces to capture the view to the south, adjacent to a continuous patio that provides shade and access to the lap pool. The exercise room and the living room maintain an open relationship to both South Mountain and Camelback Mountain while hovering directly above the wash.

The residence is constructed as a series of moment frames with steel primary beams and a composite metal deck system at the floor. The roof is composed of wood “I” joists (TJIs) that span between the steel beams, while the cladding and character of the project is comprised of 11ga weathering steel that works with the standard module of a 12’ sheet. The jury cited that the Desert Bridge Residence is “a great investigation of a strong, simple geometry that is sensitive to the site context, respecting the wash.

The play of solid and void in the elevation of the building and use of the earthy, contrast of exterior facade shifts between weight and weightlessness of the cantilevering span.”

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Desert Bridge Residence is a great investigation of a strong, simple geometry that is sensitive to the site context, respecting the wash.

1,2,3 The play of solid and void in the elevation of the building and use of the earthy, contrast of exterior facade shifts between weight and weightlessness of the cantilevering span.

4 Bridging over the wash minimized the impact of the residence to the desert landscape and wash below.

Renderings and model by Chen + Suchart Studio

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mesa city center urban and regional planning honor award architect: Weddle Gilmore article by: Michele Shelor ASLA, Allison Colwell ASLA, Jamie Maslyn Larson ASLA, Phil Weddle FAIA

Today, Mesa sits at a precipice of exciting development. A Town Square "with a twist," Mesa City Center is a comprehensive vision for the design and development of a distinctive place that will capture and enhance the urbanizing momentum of Mesa’s downtown core. When developed, the Mesa City Center will be a key venue for cultural and entertainment programming as well as a catalyst for high intensity development and activation of the downtown core.

With the development of an expanded light rail system in downtown Mesa there are enormous opportunities for capital investment, economic development and improved quality of life for Mesa residents. The vision of this project is to provide the City of Mesa with a verdant and traditional American town square "with a twist," an iconic urban plaza that people from all over the region will revisit again and again.

Defining the design principles and goals for Mesa’s City Center came from a combination of our understanding of the site, the context of Mesa’s growing downtown, and the needs and input from the community. These principles are the foundation from which the design has been conceived and formed.

• Connect Mesa City Center to its district with friendly, walkable streets and a multi-modal approach to transportation • Deliver shade, and lots of it • Make it an “only-in-Mesa” iconic space • Create Mesa’s outdoor living room • Catalyze the next stage of Mesa’s growth The design resolves two seemingly incompatible agendas: making a public plaza that can support major festivals and creating an appealing, shady place that is a day to day draw. This makes the City Center more than just an event space. It is the City’s ‘green heart’ and a catalyst for the next 100 years of urban growth in downtown Mesa. Characterized by ample spaces for an array of flexible uses, pedestrian connections, inviting landscapes celebrating the Sonoran desert, and ground floor uses with public-oriented programs, the design draws people through and across the space. The green network of paths and spaces naturally channel the flow of people through Mesa City Center to Main Street, the Arts Center, Convention Center and residential neighborhoods.

The Events Plaza is the central gathering space of the design. The centerpiece and icon of the project is an Arizona copper shade structure called The Wind Dancer, which shades the main event’s plaza and encompasses a passive evaporative cooling tower.

Nearby, a custom Sky Fountain is an interactive, state-of-the-art water feature that celebrates both the preciousness and playfulness of water. In wintertime, the Sky Fountain transforms into an ice skating rink. The Upper Terrace has a more relaxed garden-like feel, with pockets of Sonoran Desert-themed gardens and small plazas that 66 Mesa City Center

1 The centerpiece and icon of the project is an Arizona copper shade structure called The Wind Dancer, which shades the main event’s plaza and encompasses a passive evaporative cooling tower

are used for programs like food markets, small concerts and art shows. The Leisure Promenade is a linear path that ties the Upper Terrace and Events Plaza park spaces together with seating and trees, so that visitors can hang out and watch the action.

2 (next page) It is the City’s ‘green heart’ and a catalyst for the next 100 years of urban growth in downtown Mesa.

In the repurposed buildings on site, new food and drink venues are provided at plaza level, with terraces to engage the public realm. A renovated City Hall stands proud and has a publicly accessible rooftop Sky Terrace for events and watching the sunset.

The design is not development-dependent, so it can be built in one phase and constructed quickly, which will cost the public less than a design that has multiple phases. This strategy will leverage the City Center project in a way that is similar to the way other great cities have grown around great public spaces- from New York’s Bryant Park, Santa Fe’s Plaza and Prescott’s Courthouse Square. In these examples, public space creates a new address that catalyzes development around its edges.

3 (next page) The Mesa City Center will be a key venue for cultural and entertainment programming as well as a catalyst for high intensity development and activation of the downtown core.

Renderings courtesy Weddle Gilmore

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The vision of this project is to provide the City of Mesa with a verdant and traditional American town square "with a twist," an iconic urban plaza that people from all over the region will revisit again and again.

1,2 Custom interior details including countertops, convertible surfaces, recesses in walls, door latches, and light switches help add tot he 2 refined and highly enjoyable living experience.

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hance park master plan urban and regional planning citation award

architect: Weddle GIlmore article by: Jerry Van Eyck ASLA, Phil Weddle FAIA, Kris Floor FASLA

Hance Park offers the City of Phoenix a unique opportunity to establish a vibrant civic space that will become a vital hub in downtown Phoenix. A great city deserves a great urban park, and the design for the New Hance Park enhances the civic space by establishing an identity that is unique to Phoenix and expressive of its burgeoning culture. In addition, great urban parks serve as catalysts for economic development, engines for social sustainability, and models for ecological sustainability.

The design develops a unique identity for the park to entice the public and encourage repeat visits. The new design references the context by drawing inspiration from the local geographic and geologic features within the Valley of the Sun. Landforms, such as buttes and canyons, have been abstracted to create distinct spatial and programmatic moments. Furthermore, the massing and topography of the landforms reduce the scale of the park and provide comfort by defining “rooms” and creating microclimate. Building upon this contextual identity, the new park establishes three main zones, “The Valley,” “The Canyon,” and “The Plateau.” The vocabulary of the overall design evolves as one journeys through the park to create spaces that are both exciting and memorable.

First, “The Valley,” situated nearest to the downtown residences, is conceived as the neighborhood park with spacious and shady fields, rolling hills, areas for picnics and barbeques, places for children’s play, and relaxing nooks for quiet respites. Second, “The Canyon,” flanking Central Avenue, serves as the primary urban plaza with dramatic water features, areas dedicated to gastronomy, and a direct connection to the public library. Third, “The Plateau,” functions as the area for large events. A cohesive park identity is further reinforced by the iconic shade structures placed around the park. These voluminous and dramatic sculptures act as visual beacons for the park as well as provide shade from the harsh desert sun.

In addition to the unifying shade structures, a comprehensive planting design weaves through the park, creating microclimates and highlighting the ephemeral characteristics of the curated botanic splendor. Native and adapted plant species have been carefully selected to frame corridors, produce fragrance, provide extra shade, and to create intimacy. To reinforce the sustainability initiative, all of the plant material is irrigated by recharge basins integrated into the park design. By capturing irrigation run-off and using cutting edge irrigation technologies, water consumption will be minimized and Hance Park will serve as a sustainability model for large urban parks in arid climates.

69 Hance Park Master Plan

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A great city deserves a great urban park, and the design for the New Hance Park enhances the civic space by establishing an identity that is unique to Phoenix and expressive of its burgeoning culture

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70 Farmer Studios II

2 1 Landforms, such as buttes and canyons, have been abstracted to create distinct spatial and programmatic moments.

2 The voluminous and dramatic sculptures above act as visual beacons for the park as well as provide shade from the harsh desert sun.

3 The design develops a unique identity for the park to entice the public and encourage repeat visits.

Renderings courtesy Weddle Gilmore

3 Farmer Studios II 71

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gateway community college integrated education building joint energy & sustainable award architect: SmithGroupJJR article by: Yumiko Ishida AIA, LEED AP

GateWay Community College Integrated Education Building brings together sustainability, community connectedness, and learning. Situated at the heart of the community college, which in turn is at the center of Valley of the Sun’s Learning Triangle, the IE Building is at the core of the revitalization of its formerly industrial area in multiple ways: geographically, programmatically, and architecturally.

The multi-purpose community space, distinguished from the rest of the IE Building by its curved walls, is oriented toward the light rail stop for visibility and anchors the building. The shaded terrace on the south side opens to the Campus Mall. The series of outdoor spaces links the mall to the main quadrangle of the school on the east side of the building. The main lobby is located where these primary pedestrian paths, the Campus Mall and the quadrangle, intersect.

Desert landscaping and shade canopies complement the pedestrian linkages. Landscaping wraps around the building to the north side, connecting to the North Mall, and is weaved into the building with outdoor study and faculty spaces located at each level.

The balconies on three sides provide visual connections to the malls and quadrangle.

The IE Building opened at the beginning of fall semester in 2012 and is certified LEED Gold. Sustainable elements contributing to the certification include low-e windows, solar hot water heater, permeable pavements, VOC-free paint, low-flow plumbing fixtures, strategic use of shade structures, use of recycled and formaldehyde-free materials, and exposed aggregate concrete floor.

In the middle of a neighborhood and campus with a wide range of building styles, the IE Building complements its context and elevates the surrounding architectural language with its palette of masonry, glass, galvanized metal, and copper. The GateWay Community College Integrated Education Building, with its new programs and physical presence, embodies the vitality of the Learning Triangle and looks to the future.

72 Gateway Integrated Education Building

1 The balconies on three sides provide visual connections to the malls and quadrangle.

2 (next page) The physical context informs the contrasting forms of the multi-disciplinary building 3 (next page) Strategic use of shade structures and landscaping help the building to achieve LEED Gold certification.

Photos courtesy SmithGroupJJF Š Bill Timmerman Photos courtesy SmithGroupJJF Š Liam Frederick 1

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The IE Building complements its context and elevates the surrounding architectural language with its palette of masonry, glass, galvanized metal, and copper.

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74 Gateway Integrated Education Building

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hohokam stadium & lew wolff training complex goodwin award

architect: Gensler article by: Doug Sydnor FAIA

Originally constructed in 1997, Hohokam Stadium was in use through late 2013 when extensive renovations ahead of the 2015 Cactus League season began. The striking new facilities serve as the Major League Baseball (MLB) spring training home of the Oakland Athletics. Improvements focused on high-impact, brand specific upgrades that reflect the Oakland Athletics’ identity and character. The renovations are immediately apparent as fans are greeted with a rebranded exterior, ticketing area, and entrance gates in the familiar A’s green and gold.

The stadium features new seating, including party decks replacing the bleachers along the left field and right field foul lines, 7,500 fixed seats with increased comfort, and a 360-degree outfield experience that accommodates an additional 2,500 fans on the grass berms wrapping the outfield. The A’s spring training ballpark features a 55’ x 28’ high-definition LED scoreboard, the largest in the Cactus League.

The home team clubhouse was remodeled to reflect current league standards and features a new high-volume locker room, cutting-edge hydrotherapy pools, and an expanded strength conditioning room.

Serving as the year-round home for the Oakland Athletics Minor League Training and Player Development Operations, Fitch Park was renamed the Lew Wolff Training Complex in honor of the A’s owner. Over 25,000 square feet was added to the facility in addition to a complete renovation of the grounds including baseball fields, batting cages, and pitching mounds. Notable player development facility improvements include expanded therapy, hydrotherapy, and strength conditioning areas that adjoin a new exterior agility field and high performance athletic complex. The complete renovation and addition puts the Lew Wolff Training Complex among the premier training facilities in the Cactus League.

2 75 Hohokam/Lew Wolff

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Improvements focused on high-impact, brand specific upgrades that reflect the Oakland Athletics’ identity and character.

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1 The complete renovation and addition puts the Lew Wolff Training Complex among the premier training facilities in the Cactus League.

2 The renovations are immediately apparent as fans are greeted with a rebranded exterior, ticketing area, and entrance gates in the familiar A’s green and gold.

Photography by Bill Timmerman

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arroyo house 25-year award

architect: Line and Space article by: Liz Farkas AIA, LEED AP

1 The house takes advantage of dense vegetation to provide privacy from public view while allowing one to experience the desert.

Photo by Line and Space, LLC 2 A skyhole punctured through the exterior roof plane allows an existing Mesquite tree access to sunlight and space to grow.

Photo by Glen Christiansen 3 Continuation of cantilevered roof planes and decks to the exterior help blur the boundary between interior and exterior.

Photo by James Brett

Experiencing the Arroyo House by Line and Space is an immersion into the Sonoran desert. Poised over an arroyo, a dry creek bed with intermittent seasonal water flow, the house wraps itself around native vegetation, both delicate in its touch and substantial in its permanence. The resulting organic composition is entirely at ease in its location; the house and its occupants fully inhabit the site.

Instead of turning away from the unpredictable feature at the heart of the site, the house embraces the arroyo. This relationship begins with the entry sequence: a processional walkway follows the arroyo past lush riparian vegetation, leading to a stone wall with its own water feature that continues into the house. Living spaces and their decks hover over the arroyo, including a dramatically cantilevered fireplace hearth floating between panes of glass. Every room maintains a visual relationship with the site, with views either focused or expansive.

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The arroyo also serves to organize the functions of the house by separating public and private spaces. A bridge spans the arroyo, connecting the two functions while providing a buffer between them, with operable windows to capture cooling wash breezes.

Crossing the bridge provides another processional experience to move into the contemplative areas of the house.

Despite the considerable footprint of the roof (double the house itself), it never overpowers. Openings large and small balance the need for shade in this harsh environment and the need for light to the house and to vegetation below the canopy of the structure. Expanses of glazing are thus protected during the summer and available for passive heating in the winter. Stone walls and split face concrete block match the exposed rock of the hillside, and the roof fascia matches the color of the sky - key arguments to meet the HOA required “earth tones� - and all is experienced through a curtain of native trees, shrubs, and Saguaros. Work on this fragile site was so sensitively done that no replanting was needed after construction. to read the full story, see the digital version of AzF6 at www.issuu.com/architectspublishingnetwork/docs

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3 78 25-Year Award

marlene imirzian & associates architects firm of the year award interviewer: Craig Randock AIA (CR) interviewee: Marlene Imirzian FAIA (MI)

CR: Congratulations on your award.

MI: Thank you. This is an award for my outstanding team. Key leaders from our team are Jay Atherton, Mike Violette, Viet Dam, and Darlene Monaco.

CR: As the recipient of the AIA Arizona Firm of the Year Award 2015, what has this recognition meant to you personally and to your firm?

MI: It's important to be recognized by your peers and it's wonderful in that manner for the firm to know that what we're doing has some resonance in our profession is really great for them.

CR: What values define the work of your firm?

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MI: We are focused on project excellence. For us, that means the search for the client vision and how it can be expressed in the built environment. We look for the potential of the place and how it can serve what the client is trying to do, connectivity to the community and to adjacent functions for any project. We develop projects for the highest practical level of sustainability as a basic practice as a fundamental of doing good building. We work for overall project excellence, so we're very, very engaged in an early basis with our consulting team, who we see as being very key to conceptual development in terms of a comprehensive scheme that is feasible and can be done within the client's parameters.

CR: Could you talk a little bit about your process. How do you approach your projects?

3 1 Entry to Marlene Imirzian and Associates Architects’ office 2 Life Sciences Building at Paradise Valley Community College 3 Heavy Duty Advanced Transportation Technology Building at Miramar College Photography by Bill Timmerman

79 Firm of the Year

MI: When we get a project, the first thing we do is investigate as much as we can about what the client and the users have said about what they do and what they'd like to do and what they hope for. A lot of times that piece of what they hope for and their aspirations are really not specific to place, are compelling and, in many cases, have been primary drivers to a solution. We develop concepts after knowing what the client needs, how they work and how they would like to work.

We work on a wide variety of projects. This includes master planning for college campuses, historic preservation, residential, higher education, commercial, public, and health care project types. Each project vision is developed from the unique client vision, needs, and place. Each project is a unique expression derived from our investigation of these factors, and comprehensive evaluation of all building and site systems.

We develop our designs working closely with our consulting team of engineers and system experts. We continue a high level of investigation and collaboration through... to read the full interview, see the digital version of AzF6 at www.issuu.com/architectspublishingnetwork/docs

patrick panetta aia chairman’s award for lifetime achievement

interviewer: Paul Winslow FAIA (PW) interviewee: Patrick Panetta AIA (PP)

PW: Besides your day job, you seem to have gotten yourself involved in a wide range of civic and professional organizations and activities. What is it that draws you to those and what are most excited about?

PP: I think the genesis of some of it was working with the federal government and it started to get my interest in how the federal government worked and how politics work. When I moved to DC to work for the Smithsonian, it was inspiring being in essentially the seat of power of the world. You know, the President would drive by 2 every once in a while and George Bush waved to me on occasion - me and everyone else on the corner. I'm somewhat of a political junkie and I had a passing fancy of running for elected office at some point and bringing an architect's perspective.

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PW: You're not finished yet.

PP: I guess I am still relatively young. When I moved back to Arizona I thought, "All right, let me see if I can get more involved with community." That's partly building on that foundation of political desire, but also because I hadn't been involved prior. I asked if I could get appointed to the Village Planning Committee because there was an opening and then Councilman, now Mayor, Greg Stanton appointed me to that committee. That's how I first got involved.

A couple years later I met Tina Litteral at an event and she said, "You've got to join AIA." I said, "You're right, it's my professional organization and I should support it."

I started off low-key for a couple of years until they needed someone to run a charrette and I agreed to volunteer. That led to being a section leader, then a Chapter President and a State President, and now I sit on the Western Mountain Region Council and the National Strategic Council.

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Because of my alternative career path, I see myself as a facilitator. I want to put myself in positions to let architects who do good work in the position to do that, remove hurdles to help further good planning and design. I sat in meetings with the city, championing projects that I wasn't designing. Projects that I thought were beneficial to the university and to the community. Because I don't practice traditionally and I don't have projects of my own per se, I see being involved in a professional and civically as a way that I can give back and do some good for the profession and for the city.

PW: You've also served on many city boards and commissions.

PP: My first committee was the Village Planning Committee for Ahwatukee Foothills because that's where I lived and I wanted to sort of get some roots and involvement in my neighborhood. I am currently the chairman of the City of Phoenix Development to read the full interview, see the digital version of AzF6 at www.issuu.com/architectspublishingnetwork/docs

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john meunier aia educator award

interviewer: Matt Salenger AIA (MS) interviewee: John Meunier AIA (JM)

MS: Congratulations on the Educator of the Year Award. What I enjoyed about what you brought to ASU was that kind of historic way of looking at things over time and understanding architecture, not just as what's popular today, but what the appreciation is over many years.

JM: I think the important thing for me was the recognition that architecture isn't only a practical problem-solving thing, it's a contribution to the general culture. At all levels, both sociologically and aesthetically. Of course when you're thinking about something from that point of view you have to take a very wide historical and geographic point of departure because you're not just dealing with it in terms of its immediate meaning and purpose.

MS: I was curious about is what brought you to the United States? Was it really the curriculum that you were offered at Cincinnati or was there something else bringing you here?

JM: Well, there were really two things. One is a purely personal. I married an American woman when I was a graduate student at Harvard and we went to live in Germany for a couple of years after I graduated. Then we went to Cambridge, we stayed there for 14 years, so she was 16 years away from her cultural home base. There was a sort of general sense that it really was her turn to be in a place where it was her home base rather than mine. That's one side of it.

The other side of it was that my career had actually taken me not only into teaching, but also into the whole issue of architectural education and education generally. While I was at Cambridge I got involved in a lot of things at the RIBA, the Royal Institute of British Architects. I was on their Practice and Education Committee and that meant that I got involved in accreditation visits to a lot of different schools.

About that time I met the Dean of the College of Design Architecture, Art and Planning at the University of Cincinnati at a conference. Later he contacted me saying that he was in London and would like to go to lunch to discuss the headship of the architecture program at Cincinnati. I didn't know much about Cincinnati, but the one thing that did attract me was this business of the co-op program. I came to the conclusion that there was something really rather good about this idea of a more intimate relationship between the educational enterprise and the apprenticeship that people got while they were working in practice.

I really enjoyed my 11 years at Cincinnati and being the director of that program there and I think it was a great preparation for me for when I finally ended up as dean at Arizona State University.

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to read the full interview, see the digital version of AzF6 at www.issuu.com/architectspublishingnetwork/docs

dan clevenger aia aia 10 award

from: www.wrldesign.com/news/dan-clevenger-receives-aia10-award

Westlake Reed Leskosky congratulates Dan Clevenger, AIA, who recently received American Institute of Architects (AIA) Arizona's 2015 AIA10 Award. The Award recognizes his achievements as an architect and his exceptional leadership in community service, education, design, and service to the profession.

As an emerging design leader in the field, Dan exemplifies a passion for architecture and the willingness to share his thought-leadership, expertise, and time. Respected by colleagues and clients, Dan was recently promoted to Associate Principal of Westlake 2 Reed Leskosky, a role in which he establishes himself as a design leader within the Phoenix studio and the firm as a whole.

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Dan shares his energy and creativity mentoring intern architects within the practice and teaching undergraduate and graduate design studios in Architecture and Landscape Architecture for The Design School at the Herberger Institute for Design and the Arts at Arizona State University. He is also involved in professional design organizations at state and local levels: for AIA Arizona as Chair of AIA10, AIA Phoenix Metro Advisory Council, and AIA State Board of Directors; and in community service as a member of the board of directors for Artlink, Inc., a non-profit organization.

These contributions underscore his commitment and dedication to the betterment of the profession and community and distinguish him as a strong leader in the firm and an engaged and inspired architect.

Dan's most recent projects include the newly completed CREATE at Arizona Science Center, a space for open-ended "making," combining science, technology and art; and on-going design work for the Franciscan Renewal Center, including their new worship space. Through Dan's leadership, both projects represent a design-driven, collaborative approach.

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The AIA 10 Award is given by AIA Arizona to members within their first ten (10) years as a registered architect for exceptional leadership in community service, education, design, and/or service to the profession.

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doug nielsen associate aia associate award

article by: Sam DeBartolo

The MonOrchid in downtown Phoenix was the ideal location for an aspiring architect and high school student to meet the Associate of the year award winner, Doug Nielsen. I parked my Vespa and entered MonOrchid, a gallery space that amplifies design and culture within our city. Not much time passed before he began a brief conversation concerning the ‘dark roast’ that Be Coffee was serving that day. Reflecting an attention to detail and a passion for excellence in all fields this became prevalent within Nielsen’s philosophy for architecture, a philosophy which became more precise throughout our conversation. An associate who rose through the ranks of the AIA, Nielsen was open to opportunities, participating in leadership and graphic responsibilities. Spearheading the graduate dues program, he addressed a problem and inspired a wave of like-minded thinking regarding his notion of “investing into the next generation”. Further explained, the Graduate Dues program offers Associates a lower bill to pay each year, in the long-term increasing the population of the next younger generation of architects participating in the discussion.

Nielsen’s story is one of success. Though his current contributions do not redefine architecture, he clung to a more powerful concept: an investment into the capital of architecture. So that the environment for future generations would be further stimulated by the actions of single man, and within the same breath he also urges firms to utilize their associates. Believing that their increased experience will only lead toward the betterment of their own practices.

Starting as a well-meaning interview our question and answer format soon became more conversational. Doug Nielsen was truly interested in what a high school junior was currently working on. We discussed the public transportation problem of phoenix, the current apartment construction craze, and even my high school. Nielsen’s genuine interest reveals a truth about his character. That rather than just speak of investing into the lives of the next generation, he sat and spoke to a high schooler for an hour.

The Associate of the year award description is not one of investing into the next generation, but it is this, “Displaying exceptional dedication to the community and the built realm.” This is a simple statement with profound implications, and yet, Doug Nielsen’s perspective toward design captures the essential elements within the statement. Not only are his words chosen carefully to accommodate a sense of scale, quality, and design within the built realm, but Nielsen has a firm grasp of culture. Interviewing in a gallery, conversing with a barista, conversationally investing into the lives of the next generation, Doug Nielsen remains an embodiment of the Associate of the year award philosophy, a harmonious philosophy of culture, community and design.

Though it may not mean much coming from a high school junior, good choice AIA. 1

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AzF6 advisory panel Photos: Not Sure

Architekton Ayers Saint Gross Blank Studio Architecture BWS Architects Circle West Architects Dick & Fritsche Design Group Gensler

Gould Evans Associates Holly Street Studio Architects Jones Studio Marlene Imirzian & Associates LEA Architects Line and Space Repp Mclain Design + Construction

Rob Paulus Architects Ltd. Smith Group JJR Studio Ma Tsontakis Architecture Weddle Gilmore Wendell Burnette Architects Westlake Reed Leskosky

Thank You Sponsor Adolfson & Peterson Construction AIA Phoenix Metro BWS Architects, Inc. DeBartolo Architects Dodge Data & Analytics Floor & Associates Gammage & Burnham Gensler Goodmans Interior Structures Gould Evans HDR Architecture, Inc. Holder Construction Kornegay Design Landscape Forms PK Associates Structural Engineers Rio Salado Archtiecture Foundation Studio Ma, Inc.

Friend Sponsor Caruso Turley Scott Structural Engineers G. Michaelis Inc. Line and Space LLC Rider Levett Bucknall Roy Noggle Architects, AIA

AIA Arizona Awards Gala Sponsors Energy Award Arizona Public Service Sustainable Award Salt River Project Achievement Sponsor ASU – The Design School Supporting Sponsor 180 Degrees Bulthaup Clark Hill PLC Corporate Interior Systems, Inc. DLR Group Kovach Building Enclosures Okland Construction Orcutt | Winslow SmithGroupJJR Todd & Associates Tsontakis Architecture

AIA Arizona State Conference Sponsors Keynote Speaker Sponsor Arcadia, Inc. Media Sponsor Caruso Turley Scott Structural Engineers WiFi Sponsor Arcadia, Inc. Charging Station Salt River Project Conference Sponsor Clark Hill PLC DLR Group DWL Architects & Planners Orcutt | Winslow Rio Salado Architecture Foundation Stuckey Insurance Tsontakis Architecture Weddle Gilmore

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AzF6 arizona forum

Spring 2016

aia arizona design awards A Publication of AIA Arizona