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AIA UTAH’S SUSTAINABLE DESIGN AWARDS LEED PLATINUM PROJECTS IN DENVER AND FLAGSTAFF SHOULD YOU FIRE YOUR MARKETING DIRECTOR? SOURCES + DESIGN NORTH TATUM BOULEVARD PHOENIX, ARIZONA 85032
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Table of Contents
september
2011
volume
16 , # 6 A b o u t t h e Co v e r
The Easton Collection Center at Museum of Northern Arizona in Flagstaff by James A. Roberts, Roberts/Jones Associates, Inc., Phoenix. Photograph by Michele Mountain.
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departments 4
14 GOODS
Welcome
6 PROfiles
Meet the design professionals behind the projects in this issue
8
swatches
Who’s doing what where in the design industry
11 MARKETING
Logo types
16 SHOWROOM
Veneman Collections Las Vegas, Nevada
36 hot shots
Scot Zimmerman Heber City, Utah
18 LEED PLATINUM
Flagstaff and Denver projects achieve the ultimate green rating
26
46 datebook 48 final focus An image by Scot Zimmerman
Should you fire your marketing director?
features
12 MANAGEMENT
sources+design september
2011
PROJECT WALK-THROUGH
Shepley Bulfinch’s Windsor and Churn in Phoenix
32 38
New products and services
SUSTAINABLE DESIGN AWARDS Four projects get the nod from AIA Utah
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Welcome
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’ve always said that Mies van der Rohe’s Farnsworth House is at the top of my favoriteworks-of-architecture list. In July, during a trip to Chicago, I finally had the chance to visit the landmark glass house, now a National Trust Historic Site Farnsworth House on the Fox River in Plano, Illinois. Despite a few mosquito bites acquired during the mile walk from the visitor’s center to the house, being inside the house was, well, magical. I thought I heard a chorus of angels singing and, yes, I did buy the t-shirt. As a design professional, a Farnsworth visit should probably also be on your bucket list. Farnsworth House exhibits numerous tenets of what we now call green design (natural daylighting and ventilation, sustainable building materials such as steel, glass and travertine, treading lightly on the land), and much of this issue is dedicated to the furthuring of those basic ideas. We’re touring LEED Platinum projects in Denver and Flagstaff, and taking a glance at AIA Utah’s Sustainable Design Excellence Awards, which includes a winning project by another personal favorite (yes, editors do have opinions!), DesignBuildBLUFF, a non-profit that designs and builds sustainable housing for remote areas of the Navajo Nation. Additionally, check out the new green products in our “Market Watch” section, which range from textiles to roof hatches. Besides trekking to architectural landmarks during summer vacation, Sources+Design has been out and about on the regional design scene. We participated in The Reference Library’s Trade Show, held at the Sheraton Wild Horse Pass Resort near Chandler, Arizona in conjunction with AIA Arizona’s state conference. It’s a great show, with some 90 vendor booths, including our friends, Lights Up Arizona!, who displayed commercial and residential lighting products and fixtures. We’re also headed to the Las Vegas Design Center September 14 for a portfolio review and roundtable discussion aimed at getting projects by interior designers and architects published. I’ll be joined by Las Vegas architect Eric Strain, AIA, principal of Assemblage Studio, for that event. Details at www. At The Reference Library’s Trade Show. lvdesigncenter.com/events.Looking ahead, we’ll Top: The Lights Up Arizona! crew. Above: be co-sponsoring IIDA Southwest Chapter’s Sources+Design’s Nora Trulsson, Terry Babb UnVeiled trade show on November 3, to be held and Karen Romersa. Photography by Suad Mahmuljin. at the new ballpark, Salt River Fields at Talking Stick in Scottsdale, Arizona. Finally, congratulations to Sources+Design friend, Douglas Sydnor, FAIA. Doug, a Scottsdale, Arizona architect, has just published Plugger: The Architecture of Reginald Sydnor, a beautiful black-and-white book dedicated to his father’s architectural legacy, in metro Phoenix and beyond. Enjoy the issue, mark your calendars for upcoming design events and plan a trek to Illinois to see the Farnsworth house. Fall is a nice time to visit. —Nora Burba Trulsson
sources+design september
2011
Publisher
For Advertising
Terry Babb
Patrick Jagendorf Regional Manager 562.795.9134
ASSOCIATE Publisher
Karen Romersa
Karen Romersa 602.696.8768
Editor
Nora Burba Trulsson
Circulation
Art Director
Sandi Smyth 602.909.7319
Linda Longmire Contributing Writers
Pamela Bir Kimberly MacArthur Graham Frank Stasiowski
Electronic products
Pamela Bir Your Computer Lady
Contributing Photographers
Jim Fairchild Frank Ooms Ron Pollard
Paul Richer Scott Sandler John Sturr
Bill Timmerman Matt Winquist Scot Zimmerman
REPRODUCTION
Ben Franklin Press For more information
info@sourcesanddesign.com For reprints/eprints
Wrights Reprints 877.652.5295 (toll free) Editorial Advisory Board Leanna Hoff Boers | HoffMiller Gera King, ASID | Scottsdale Community College Larry Lake, ASID | Lawrence Lake Interiors Erik B. Peterson, AIA, NCARB | PHX Architecture Eric Strain, AIA | Assemblage Studio Randy Wells | Las Vegas Design Center Marie Wikoff, ASID | Wikoff Design Studio
AIA p ro u d m e m b e r o f :
A merican I nstitute of A rchitects A merican S ociety of I nterior D esigners I nternational F urnishings & D esign A ssociation I nternational I nterior D esign A ssociation
& A S S OC I AT E S
Sources+Design magazine is published six times annually by Babb & Associates, LLC. Direct advertising, editorial and subscription inquiries to Babb & Associates, Box 9-626, 13835 N. Tatum Blvd., Phoenix, AZ 85032, 602.870.8440; www.sourcesanddesign.com. Back issues are available on a limited basis. Contents copyright 2011 by Sources+Design. All rights reserved. Publisher reserves the right to accept or reject any editorial or advertising material. This publication assumes no responsibility for unsolicited materials.
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PROfiles }}} meet the designers behind projects featured in this issue
James A. Roberts, AIA, LEED AP As a youth in the 1960s, architect Jim Roberts moved to Flagstaff from the Bay Area. “It was total culture shock,� he recalls of the then-small mountain town. He also spent a year and a half living on the Navajo reservation where his stepfather worked at a trading post. By the time he’d graduated from Flagstaff High School, Roberts had absorbed the nature James Roberts and the culture of northern Arizona. He went on to serve in Vietnam, graduate from Arizona State University and establish Roberts/Jones Associates in 1983 in Phoenix with architect Dave Jones, a firm that handled everything from residential and religious work to commercial and mixed-use projects. Recently, though, Roberts returned to his Flagstaff roots when he was asked to design the Easton Collection Center for the Museum of Northern Arizona. “I was tuned into the culture of the Colorado Plateau,� he says. The LEED Platinum center, sited with views of the mountains, is featured in this issue.
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Joe Herzog, AIA Chris Nieto Ryan Grabe If you drive around downtown Phoenix and see any interesting modern buildings or find yourself in a buzz-worthy restaurant or bar, it’s likely that the Phoenix office of Shepley Bulfinch was involved in the design. The firm was founded as merzproject Joe Herzog in 2004 by principals Joe Herzog and Chris Nieto, whose backgrounds, respectively, are architecture and construction/development. Herzog, who has a master’s in architecture from Arizona State University, and Nieto, who founded a development and property management company, started with adaptive re-use projects before branching out into education, government and hospitality work. Their projects have won accolades and attracted the notice of Shepley Bulfinch, a national firm with which they merged in 2009. Along with project designer Ryan Grabe, who also has a master’s Chris Nieto in architecture from ASU and a background in hospitality, residential and product design, Herzog and Nieto were most recently involved in another buzz-worthy project, The Windsor and Churn, a neighborhood restaurant/bar and ice cream parlor tucked into a transformed, historic strip mall near downtown Phoenix. You can see it in this issue’s “Project Walk-Through.� n
Ryan Grabe
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he Cesar Chavez Library, designed by the
Design-Build, Inc., will participate on the
Tucson, Arizona-based architectural firm Line and Space, has been named one of ten American Landmark Libraries by the Library Journal. The 25,000-square-foot library, located in the Laveen neighborhood of Phoenix, is sited at the edge of a 40-acre park and includes a children’s area
AIA Housing Awards and the AIA/HUD Secretary’s Awards juries. Scott A. Lindenau, FAIA, design principal at Studio B Architects of Aspen, will serve on the Institute Honor Awards for Architecture jury. Both architects are AIA Colorado component members. IIDA Rocky Mountain Chapter was
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Cesar Chavez Library by Line and Space.
with interactive displays, a teen area, public computers and meeting space, group study space and quiet reading spots. The library, which has achieved LEED Silver certification, features a roof designed for rainwater harvesting, mounded-earth thermal insulation and shaded, low-e insulated glazing. The award was given by a jury consisting of architects and librarians to honor U.S. libraries that exemplify design and construction excellence. Wyoming landscape architect James G. Verdone was one of 40 members elevated to the national 2011 ASLA Council of Fellows. Verdone, principal of VLA Inc., with offices in Jackson, Wyoming and Driggs, Idaho, was the first landscape architect licensed to practice in Wyoming and the first appointee by the goverJames G. Verdone, FAIA nor to sit on Wyoming’s Board of Architects and Landscape Architects. A graduate of North Carolina State University, Verdone’s work has won numerous regional and national awards. Two Colorado architects have been appointed to serve on national 2012 AIA awards juries. William Moore, AIA, founder and president of Denver’s Sprocket
sources+design september
named the 2011 Small Chapter of the Year during IIDA’s national meeting in Chicago. The chapter, which covers Colorado, Montana, Utah and Wyoming through city centers in Colorado Springs, Denver and Salt Lake City, also won Excellence awards in chapter programs and forum educational activities, as well as an Honorable Mention in membership marketing.
2011
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Danoski Clutts Building Group has completed a tenant improvement project for Designs By Jeff White at the Tivoli Village shopping center in Las Vegas. The retail project for the custom jeweler, designed by Commercial Design Group, also of Las Vegas, was the renovation of a 2,036-square-foot space to include a unique, hard-lid ceiling with multi-level soffits, custom tile, a specialty safe in the retail area and strategically placed lighting. Tempe, Arizona-based Meltdown Glass
Sammons Cancer Center in Dallas, Texas. Meltdown Glass principal BJ Katz and team
Danoski Clutts’ Designs By Jeff White
Art & Design has completed a decorative glass feature wall for the Baylor Charles A.
created 12 panels with custom texture and multi-colored dichroic glass, to function as lobby art, a staircase facade and hand rail. The Phoenix office of
Meltdown Glass project at Baylor cancer center.
Shepley Bulfinch has announced two new
projects. The architectural firm is wrapping up the renovation of the dining facilities at the Worner Center at Colorado College in Colorado Springs, Colorado. The fast-track renovation–the first major renovation for
David Gill 480-600-2504
David@LightsUpArizona.com Shepley Bulfinch’s Worner Center.
Raymond 480-298-5681
Raymond@LightsUpArizona.com
the Worner Center in its 50-year-history–is geared toward obtaining LEED-EB certification. The architectural firm has also been selected to design Double Cask, a 5,700square-foot gastropub in Avondale, Arizona. The design includes rustic materials, market walls, an exposed kitchen, filament lighting and large garage doors that will open onto patios. In other Shepley Bulfinch Phoenix news, Katherine Westrick, EDAC, LEED AP, has joined the firm as a member of the healthcare design practice. Westrick has a bachelor’s degree from the University of Michigan. CSHQA, headquartered in Boise, Idaho, has been awarded a contract with the Oregon Katherine Westrick Department of Energy to conduct 48 comprehensive energy audits of K-12 school facilities. The architectural and engineering firm is one of 11 firms selected to participate in the first step of a multiphase, statewide effort to improve energy efficiency at 500 Oregon school facilities. september
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In other CSHQA news, Kathy Hopkins has joined the firm’s mechanical engineering department. With more than 30 years’ experience as a project designer, Hopkins will be involved with the firm’s commercial and retail projects. Architect Paolo Soleri has retired as president and CEO of Paradise Valley, Arizona-based Cosanti Foundation. Soleri, best known for his Arcosanti community in central Arizona, will hand over the foundation’s leadership to Boston architect Jeff Stein, AIA, a longtime Soleri collaborator. The 92-year-old Soleri’s most recent project, the Soleri Bridge in downtown Scottsdale, Arizona, was completed in 2010. The Scottsdale, Arizona interior design firm Est Est has hired four interior designers. Bryan Anderson, an Arizona State University graduate; Dominic Andrade, a graduate of Northern Arizona University; Lygia Harkins, who has an interior design degree from Scottsdale Community College; and Lindsay Murray, who has a degree from Northern Arizona University, have recently joined the firm.
PHX Architecture of Scottsdale, Arizona has announced a staff addiLaura Hughes tion and a certification. Laura Hughes, AIA, a graduate of the Rhode Island School of Design, has joined the firm and is currently completing her NCARB certification. Architect Maurita Maurita Walker Walker, AIA, LEED BD+C, CSBA, is now a Certified Sustainable Building Advisor, one of 800 nationally to receive this certification. The Tucson office of STG Design, an architecture, interiors and planning firm, has hired Sally Chavez, ASID, LEED AP as interior designer. Chavez has previous experience in government, healthcare, commercial and educational projects. Arizona Tile has recognized three employees who are celebrating 30 years with the commercial and residential tile distributing company. Randy Morreim, vice president of the stone division; Bob Shuford,
outside sales representative in the San Diego region; and Ed Meyers, regional operations manager for Southern California, all have been with the company for three decades. Thoma-Holec Design LLC has moved to a new, 4,200-square-foot office in Mesa, Arizona. The interior design firm, founded by LuAnn Thoma-Holec, ASID, specializes in senior living and specialized care communities. The new address is 7255 E. Hampton Ave., Suite 112, Mesa, Arizona. Studio ADT, a to-the-trade supplier of original art, posters, photographs and framing owned by Anthony Tremonto, has relocated to larger quarters. The new address is 2120 E. 6th St., Suite 8, Tempe, Arizona. Elite Home Theater Seating has opened a permanent showroom at the Las Vegas Design Center. The Canadian designer of custom home-theater seating has leased a 460-square-foot showroom at the center. Pacific Resource Group has been selected as the Arizona agent showroom for Robert Allen/Beacon Hill. The showroom is located at the Arizona Design Center in Scottsdale.n
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marketing } } } L o g o Ty p e s :
S e e k i n g T h e G r a p h i c I m a g e O f Yo u r N a m e By Kimberly MacArthur Graham
I
n the last column, I shared advice on Expect a rough start. Based on an initial brainstorm naming your business. As many of you have pointed out, meeting with your designer, you can expect to see a halfidentifying that perfect name is only half the fun–or half dozen rough sketches. Be open to the designer’s ideas, the battle, depending upon your point of view. You also but candid with your feedback, since your input will be need to carefully select the graphic equivalent of that “for- used to narrow the field to two or three more refined ever” name, a logo. versions, possibly in vector format (and typically without A logo can incorporate typography or imagery–or color, so that you can focus on form). From these, you’ll both, can be photo-realistic or wholly abstracted, colorwork together to identify a single, favorite concept, which ful or black “ink” only. Like your name, it can be almost might combine aspects of the ideas presented thus far, for anything you dream up–but that doesn’t mean that it final refinement and color exploration. should be. Your company’s logo, like its name, is Consider the use of emotional Remember that an opportunity. Many clients realize it’s a branding. While you might not initially chance to look good, but what you need see how a non-traditional symbol repreto keep in mind is that it’s a chance at real, sents your business, think beyond the literal your company’s emotional connection with a potential clito the emotional. Why do so many coment. And that is what successful marketing panies use animals in their logos? Because logo is a visual is all about. people’s very emotional relationships with When choosing a logo, there are a range critters translates to an emotional conpartner for its nection with the brand. Firefox, MSN, of functional considerations, of course, Bacardi, Lacoste, Ferrari, Swarovski are just such as making sure a mark is legible when name. Each reproduced in black only or at a small size. a few examples. (Ever squinted at a business card, wondershould enhance ing about the splotch so carefully centered Put it to the test. When testing a above the cardholder’s name?) logo concept (ideally while in the grayscale the other. But, again, it’s a process, and it’s also stage), ask to see it on a mock-up of a web page or a brochure. See how it holds up about trust in your design and marketing firm. The most successful identities are alongside text blocks or other graphic elebased on trust. Following are recommendations for select- ments. Does it get lost? If your logo concept is vertical, ing a company logo. how does it read in the horizontal format of a web page? How does it fit into a header? If your header needs to be Pick a designer whose style speaks to you. You stretched vertically to accommodate the logo, you might wouldn’t ask a world-renowned opera singer to perform lose space to display vital information “above the fold.” rock n’ roll, right? Same goes for graphic designers. While many are capable of working in many different styles, all If you love it, set it free. This is the hard part. Bring have a preference. It’s simply smart to select a designer ideas, give input and seek feedback from knowledgeable whose style dovetails with yours. You’ll get a strong partpeers (early in the process, so you don’t pay for a redenership and the designer’s best work. sign), but remember that you’ve hired a graphic designer because he or she offers expertise you do not have. Free Connect images to words for maximum your designer, free yourself, free your logo. It’ll be a beauimpact. Remember that your company’s logo is a visual tiful thing. n partner for its name. Each should enhance the other and together, they should convey the essence of your compaKimberly MacArthur Graham is founding principal of Layer ny’s brand. One of the best tools for early logo developCake, LLC, a boutique firm that specializes in marketing ment is to think of five words that describe your business, communications and publicity for clients in the building and its personality and vision. (Of course, these words should design industry. For more information, visit www.GoLayer be readily available if you’ve just completed your compaCake.com or contact Intelligence@GoLayerCake.com or (720) ny’s naming / brand messaging.) 836-7117. september
2011
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Management }}}
15 Reasons to Fire your Marketing Director Now B y F r a n k A . S t a s i o w s k i , FA I A
A
lthough the title of this article implies I am suggesting you fire your marketing director, I am not. In fact, I believe that every ounce of energy from every principal, project manager, officer of the company, marketing director and others must now be spent in the focused pursuit of real, billable work. Any energy not focused on securing billable work is wasted. Here are 15 reasons why not to keep your current marketing director.
ers, thereby expanding a firm’s ability to respond to each RFP in a customized manner without sacrificing the integrity of the firm’s liberal message and brand. 6. Effective research. One of the most important roles of the marketing director is to lead the effort on market research. Doing so requires that the marketing director be a student of demographics, statistics and economic data—being able to discern critical information from conversations with analysts, clients, contractors, sub-consultants and others to identify networks of clients that have billable work for your firm.
1. 100 percent non-chargeable. With all the effort that goes into securing projects through writing proposals, maintaining client relationships and winning presentations, every marketing director should find ways to charge time to real projThe best ects. We know of several firms that maintain marketing accurate accounting records of all marketing time prior to selection and then include that directors time in the fee estimate provided to client, thereby getting paid for their actual marketestablish ing. 2. Response to every RFP. Your marketing director should understand the focus of your practice and should be directing energy and efforts to determine just those RFPs that fit your firm’s skills. Wasting time by responding to every RFP that comes to your firm will demoralize project managers and never produce an effective hit rate.
systems to help all principals manage
4. No building of strategic alliances. One of the critical roles of the marketing director in a design practice is to build critical alliances with other design firms, clients, contractors and sub-consultants that can lead to more work. Any marketing director not pursuing such alliances is not fulfilling their role correctly. 5. No coaching of project managers in proposal writing. Effective marketing directors coach, guide, teach and constructively edit the work of project managsources+design september
2011
8. Impeccably organized. Pursuing dozens of leads for design and construction work requires impeccable organization to assure that each plan for a proposal, fee negotiation and presentation contains every detail necessary to beat the competition.
9. Media savvy. An effective marketing director must understand all aspects of public relations including how to manage the media, take advantage of opportunities to be in the media and possess a developing network of press and media contacts that can spread information about your firm. Media today includes social networks such as Facebook and Twitter, and today’s marketing director must be a proponent of network communications and a leader in its execution.
client relations.
3. Pursuing loss leaders. Your marketing director must understand that in these economic times loss leaders cannot be tolerated. Clients who promise future work in this environment are everywhere. Unfortunately, many firms respond to the sirens put forth by such clients, wasting enormous amounts of productive time and rates and fees that generate losses instead of profits.
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7. Boundless energy. Great marketing directors thrive on the chase, indulging in every aspect of pursuing new work with seemingly boundless energy. If your marketing director seems beaten-down and exhausted by the current economic situation, perhaps it is time for a change.
10. Keeper of the brand. Brand is a promise that anyone truly understands is derived by associating with your firm. An effective marketing director understands brand power and never misses the opportunity to deliver on the promise. 11. Relationship management. The best marketing directors establish systems to help all principals manage client relations. Because many design professionals are not effective at maintaining or building interpersonal relationships with clients, it falls to the effective marketing
director to maintain calendars, to remind principals to make calls to generate draft e-mails and to set up meetings necessary for effective relationship management. 12. Website leadership. Your website is your new brochure. Accordingly, the marketing director must be in charge of maintaining and updating every aspect of your website. In today’s fast-paced technologically driven world, this could mean daily changes. A good marketing director hires the right people to build and manage a firm’s website and monitors all information posted to it. 13. Blog maintenance. A firm without a blog in 2011 is losing ground to the competition every day. Having a blog means that someone in your office must update questions and answers and maintain a dialogue with bloggers daily. Good marketing directors understand the importance of blog correspondence in today’s world, and create the circumstances necessary for your firm to maintain an effective blog. 14. Writing a marketing plan. It is the role of the marketing director to draft the firm’s marketing plan suggesting strategies, goals and tactics, and the appropriate authority and responsibility for each task in the plan. Additionally, the plan must contain economic targets for projects and fees necessary to achieve the firm’s strategic growth. 15. Self-improvement. In spite of the workload and economy, your marketing director must believe their own effort on self-improvement—through outside study, online courses, mentoring, or other related educational activities If you find yourself disagreeing with any of these 15 points, remember there are competing firms whose marketing directors are leaders in all 15 items. If your firm has a marketing director that fails in excess of 50 percent of these tests, now is the time to change that person. n Frank Stasiowski, FAIA, is the founder and president of PSMJ Resources, Inc., www.psmj. com. He can be reached at (617) 965-0055 or by e-mail at fstasiowski@psmj.com.
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} } } new products, services and businesses
Armstrong Ceiling and Wall Systems now offers design professionals the ability to create straight or curved ceiling-to-wall transitions for its WoodWorks Grille, WoodWorks Linear and MetalWorks Linear product lines, meaning all three lines can be installed in the ceiling, on a wall, or curved from ceiling down to wall. The radius from the ceiling to wall is formed through the use of either faceted Armstrong Prelude main beams or fixed Serpentina main beams. The new capability results in complete ceiling and wall integration, offering the opportunity to create signature spaces in hospitality, healthcare, retail and other settings. www.armstrong.com/walls.
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Designer David Mayne has a background in home furnishings showrooms but always had a yen for hands-on tinkering. He’s now opened Table M Lamp Restoration in Denver, a shop geared toward design professionals and specializing in lamp restoration and custom lamp making. He can make pendants out of hand-blown glass objets, craft brass stags into a traditional chandelier or, as shown here, restore a 19th-century gas fixture for the Colorado Historical Society’s Healy House museum in Leadville. 1309 S. Inca St., Denver, CO 80223; (303) 9361425 or www.tablem.com.
2011
Farrow & Ball has unveiled its latest collection of traditionally made wallpapers, The Broccato Papers, crafted using Farrow & Ball paint printed onto paper. The six wallpapers were inspired by the Italian Renaissance period. Named for the Italian word for “brocade,” the collection features floral and fruit patterns derived from decorative 14th- and 15th-century fabrics housed at the National Gallery in London. The collection’s patterns come in ten colorways. www.farrow-ball.com.
QMotion motorized shades are smooth and silent, and can operate with or without a wireless remote control. Powered by alkaline batteries, the shades are free of cords and wires, and feature crisp, clean, modern lines that make them applicable for residential and commercial installations. Shade fabrics are available in numerous colors and configurations ranging from 5 percent screen to blackout. www.qmotionshades.com.
B&B Italia has introduced Ray and Jean, two new compact armchairs designed by Antonio Citterio. The Ray chair features a bronze base detail and a slightly lower seat height. Jean has a slightly higher seat height, with the option of a back cushion, and features polished aluminum or painted bases in four colors. Both chairs have blanket stitching and come in numerous upholstery options. www.bebitalia.it.
To meet the demand of increased teaming and collaborative spaces in today’s office, Gunlocke has launched the Trio line training tables. The collection combines simple design with flexibility and is available in 13 natural veneers, 13 Stratawood choices, 13 laminate finishes and five different edge details, all of which can be topped with Gunlocke’s Cleartech finishing system. The line offers LEED IEQ 4.5 compliant finishes, a high percentage of recycled content and FSC-certified models. www.gunlocke.com. n september
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Showroom }}}
Ve n e m a n C o l l e c t i o n s
I Veneman Collection’s Cortez woven pool bed. Opposite top: A table and chairs from Veneman’s The Roger Thomas Collection. Opposite bottom: Armchairs and a table from Veneman’s Walt Disney Signature Collection.
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L a s Ve g a s D e s i g n C e n t e r • L a s Ve g a s , N e v a d a
f you’ve ever lounged poolside at a luxe resort, tossed your iced latté cup into a chic, woven rattan trash receptacle or dined on a fashionable restaurant patio, chances are pretty good that you’ve experienced Veneman Collections. Though the venerable outdoor furniture company does a brisk business on the residential side, it is well known for its collections that can withstand the rigors of hospitality settings, be they Hyatts, Marriotts, Four Seasons or others around the world. It made sense, then, for the firm to open a new corporate showroom in Las Vegas earlier this year, to be at the epicenter of that city’s ever-evolving hospitality design scene. The 2,000-square-foot showroom at the Las Vegas Design Center next to the Mundo restaurant is run by showroom manager Brenda Determan, who
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helped design the space and its displays to accommodate larger pieces and appeal to hospitality as well as residential designers. “We chose the Las Vegas Design Center location because it really draws not only from Las Vegas, but inte rnationally,”explains Bill Markowitz, Veneman’s CEO. “We see business from South and Central America and Canada in Las Vegas, in addition to states such as Arizona and California.” Veneman Collections started as a family business in the early 1970s in Westminster, California, specializing in cast-aluminum outdoor furnishings. The company was sold to Tropitone, then acquired by Markowitz, a veteran of Brown Jordan, and his business partner, Tim Shannon, in 2003.
PERRY SCULPTED STEEL FURNITURE
Veneman still focuses on its cast-aluminum products, making them at the California foundry. “We have every match plate still available,” Markowitz says, “which means we can still bring back the retro lines.” The firm has added woven, rattan and teak collections, in products ranging from towel bins and stools to canopied pool beds and dining tables, designed by in-house artisans as well as name designers. Two recent collections include a Walt Disney Signature line and The Roger Thomas Collection. “Walt Disney enjoyed outdoor entertaining at home,” says Markowitz. “He also liked to design furniture for his own use. The company gave us access to his archives to inspire our collection.” The Roger Thomas Collection, Markowitz points out, was spearheaded by the executive vice president of Wynn Design and Development, the creative force behind Wynn Las Vegas and Macau, the Bellagio
and other casino resort properties. “Roger has an art history background and his collection for us is influenced by classic French design.” With styles ranging from very traditional to ultra-contemporary, designers can keep coming back to Veneman Collections for any kind of project. “Designers like us, too, because it’s not one size fits all,” Markowitz says. “We offer customization.” Markowitz notes that the products are all extremely durable and well-made, meant to stand up to hospitality use, which means that residential end-users can expect long life from their Veneman Collections pieces. “We like to say that our furniture doesn’t get used, it gets abused, “ says Markowitz, “and it still stays beautiful.” n Veneman Collections, Las Vegas Design Center, 495 S. Grand Central Parkway, Suite A-114, Las Vegas, NV 89106; (702) 366-9918 or www.venemanfurniture.com.
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ROMAN SHADES & DRAPERIES FOR CURVED WALLS • MOTORIZED •
PERRY DESIGN &
MANUFACTURING • TO THE TRADE •
www.perry-design.com FACTORY • SHOWROOM 610 SOUTH PARK AVE. TUCSON, AZ 520.884.5152 september
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LEED PLATINUM
Two Recent Projects Achieve The Ultimate Green Rating B y N ora B urba T ru l sson
E xterior and lobby photography by Frank Ooms Interior photography by Ron Pollard
Xcel Energy Regional Headquarters
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At 1800 Larimer Denver, Colorado RNL Denver, Colorado
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hen Xcel Energy looked for a new regional headquarters site in Denver where the firm could consolidate three previous locations, their corporate tag line, “responsible by nature,” figured prominently in the search. The Minneapolis-based utility company, which provides electric power and natural gas to eight Western and Midwestern states, desired a LEED Platinum building, in which they could create a LEED Platinum interior for the regional headquarters. Xcel found space at 1800 Larimer, 22-story office tower in downtown Denver that was not only certified LEED-CS Platinum, but also offered full-height glass walls, 24,500-square-foot floor plates and tall ceilings. Completed last year, the highrise–the first to be built in the central business district in some 25 years–was
a spec office tower designed by the Denver office of RNL, an architecture, interiors and landscape architecture firm. The building, which includes parking for 413 cars, achieved Platinum status with features such as a roof garden, the use of recycled-content materials, reduced water usage, its proximity to public transportation and an under-floor air distribution system. With a commitment of 14 floors in the new building, Xcel became the main tenant. But having RNL handle the utility company’s interior design was not a sure thing. “We had to interview for the project, explains interior designer AnneMarie Dienstbach, an RNL principal. “It was not a done deal. The fact that we did the building was both a plus and a minus. Xcel wanted a tenant advocate, and we had to prove we could do the job.” RNL was awarded the project, and a team that included Dienstbach, interior designer Rene Stremel, IIDA, LEED AP; chairman and CEO (architecture) H. Joshua Gould, AIA, LEED AP; interior designers Sara McGarry, IIDA, LEED AP, Michelle Richter, LEED ID+C; and Patty Thwaites, LEED AP; interior and architectural designer Michael Slater, LEED AP BD+C; associate David Key, LEED AP; and architect Robert Beblavi, LEED AP; came together to work on the Xcel job. The team paid a visit to the utility’s Minneapolis headquarters. Initially, the plan was to take design cues from the Midwestern facility for the new space, which was slated to accommodate 1,300 employees. “We soon realized that we had a lot more design opportu-
nity in Denver, given the building and the desire to achieve Platinum certification for the interior,” explains Dienstbach. “The Minneapolis offices had small windows,” adds Rene Stremel. “The Denver building had so much glass. There was no common design thread. Also, Xcel was re-branding themselves with “responsible by nature,” so that fed into the design. Additionally, age played into the design of the Denver quarters. According to Dienstbach, some 50 percent of Xcel’s employee base would be retiring within five years That meant that Xcel would be replacing half of its Denver staff with new and, theoretically, younger workers. “The new space had to attract younger employees,” explains Stremel. “That meant it had to be youthful and energetic, and emphasize collaboration and transparency.” With one f loor dedicated to computers and training, and one designated as an executive level, the RNL team devised a floorplan for the remaining floors that placed workstations september
Opposite page: The 1800 Larimer lobby includes a corner waiting area for Xcel Energy. Above: Glass-topped workstations, de-mountable glass walls and plenty of gathering spaces combine to create a light-filled, flexible office that encourages collaboration. Below: On the executive level, pops of red spark a cool color scheme.
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at the perimeters of the floor, allowing those areas to have the majority of the views of downtown Denver’s street scene and natural daylight. A small cluster of private offices and conference spaces occupy the ends of the floorplan, while the central core is made up of elevator banks, a small elevator “landing space,” restrooms and storage. A break room and conference spaces flank the elevator banks. “There really isn’t an entry floor or reception areas on each floor,” says Dienstbach. “Visitors check in on the ground floor, in the main lobby, and are escorted upstairs by an employee.”
Left: A curved ceiling detail adds interest to the executive level. Above: In a break room, a curved bar top encourages coffee talk away from the kitchen portion of the space.
The interior design for Xcel begins on the ground-floor lobby of the highrise, where visitors can learn about Xcel on a cluster of flat-screen display panels, surrounded by circular seating. The main reception desk is split into two entities, one serving Xcel, and one serving the rest of the building. Up the elevators, every other floor is color-coded a soothing, pale shade of green or blue, highlighted by pops of red and yellow. “We wanted a fresh, crisp palette with high contrast,” says Stremel. “It brings a level of energy and vibrancy to the workspace.” Curved countertops in the break rooms and reception counters near the elevators add contrast to the rectangular forms of the glass-topped workstations, as do curved ceiling details. Demountable glass walls and workstations that can easily be reconfigured were installed to ensure flexibility. More than 40 percent of the furnishings were re-used from Xcel’s previous locations. New pieces include molded maple barstools, bright yellow side chairs and coffee tables grouped together in collaborative “huddle” spots. Each workstation 20
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Above: A tree-filled plaza links the 1800 Larimer lobby to the street. Left: Flat-screen displays tell the story of Xcel in the building’s ground-floor lobby.
also includes a cushion-topped file cabinet, which can be pulled out for additional seating. Contemporary pendant lighting, patterned carpet tile flooring and framed graphics that depict everything from utility poles and windmills to wind turbines finish off each floor. Completed last year, the project is registered as pursuing LEED-CI Platinum certification through the use of such strategies as daylighting and occupancy sensors, user-controlled HVAC, low water-use plumbing fixtures and recycled content in numerous materials ranging from carpeting and countertops to glass tile and gypsum board. The sustainable design, summarizes Stremel, is meant to appeal to a more youthful worker. “The younger generation likes to engage, move around and collaborate. They’re less hierarchical.”
Architecture and interior design: RNL, 1050 17th St., Suite A200,
Denver, CO 80265; (303) 295-1717 or www.rnldesign.com. Workstations: Steelcase, www.steelcase.com. Demountable walls: KI, www.ki.com. Carpeting: C&A Floorcoverings/Tandus, www.tandus.com. Bar stools: Stylex, www.stylex.com. Side chairs: Coalesse, www.coalesse.com. september
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Michele Mountain
Easton Collection Center Museum of Northern Arizona Flagstaff, Arizona James A. Roberts, AIA, LEED AP Roberts/Jones Associates, Inc. Phoenix, Arizona
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he 200-acre Museum of Northern Arizona, founded in 1928 by zoologist Harold S. Colton and his artist wife, Mary-Russell Ferrell Colton, is a repository for the natural history and native culture of the surrounding Colorado Plateau. Sited in drifts of pine forest and meadows at the base of the San Francisco Peaks, just north of downtown Flagstaff, the museum campus consists of a historic stone museum building that’s open to the public and, across a busy highway linking Flagstaff to the Grand Canyon, the museum’s research and collections facilities. Until recently, the museum’s five million Native American artifacts, which range from prehistoric pottery to contemporary textiles, natural science specimens and fine art pieces were scattered throughout a variety of buildings located on the research/collections portion of the campus, a system that made it hard to research, catalogue, view and even safely maintain the items.
Michele Mountain
Several years ago, the museum’s director, Robert G. Breunig, Ph.D, made it a priority to push for a central collections building. The result of that effort is the Easton Collection Center, a 17,000-square-foot, LEED Platinum building designed by Jim Roberts, principal of the Phoenix architectural firm Roberts/Jones Associates, Inc. “The museum has an amazing collection,” says Roberts, who spent part of his youth in Flagstaff. “For every object you see displayed in the museum, there’s something like 50 more in collections. The museum’s most pressing issues when I stepped in was to preserve this collection, yet to make it more accessible to researchers.” Roberts and his design team started with a masterplan for the museum campus, as well as programming, noting that the research/collections portion of the campus consisted of a hodgepodge of buildings–some historic, some just old and utilitarian–and a jumble of driveways and parking spots. Roberts suggested a site for the new collection building that faced numerous historic buildings, creating a courtyard of sorts, as well as a pedestrian-friendly traffic flow between the new and existing buildings, removing some of the old driveways and existing buildings to make way for new. Rubble from the demolished buildings was recycled into the construction of the new collection
center, which was carefully placed on the site to preserve a series of mature ponderosa pine trees. The form of the new building arose organically, inspired by the site itself, as well as conversations Roberts had with the museum’s advisory panel, which included representatives from several Native American tribes. “The way we sited the building, you would approach it from the south,” explains Roberts. “But according to Native American beliefs, the entry should be on the east to meet the rising sun. In this case, the east side also faces the mountains.” Roberts devised a curving wall, which arcs from south to east, to lead visitors from the parking area to the front of the building. The rest of the building zigzags away from the curve, with a roofline that angles upward toward the mountains. Indoors, the floorplan includes a lobby and offices, a mezzanine for research and a vast storage core. Cladding the curving wall in native sandstone–a visual link to the historic museum across the street, Roberts had the other exterior walls done in a ruddyhued lime plaster, anchoring the building to Flagstaff’s volcanic soils. A bank of windows along the curving south wall breaks up the facade and provides natural daylight to the south-facing offices, as well as passive solar heat gain during the winter months. Roberts september
Opposite page and above: A curving stone wall leads from the parking lot to the main entrance. Weathered steel panels bear stylized Native American graphics. The center’s living roof bears native grasses and other plants.
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Michele Mountain
detailed the exterior with weathered steel, as a nod to the metal roof of an adjacent historic building, and used stylized Native American motifs as graphic elements. Perhaps the most notable element of the building’s exterior is the living roof, angled at a 14-degree pitch away from the parking area. The 4,000-square-foot living roof, which doubles as a research facility for museum-connected botanists, is planted with drought-tolerant native species, including grasses, that inhabit the surrounding meadows. Rainwater and snowmelt drain into a series of stepped planters, which filter the runoff into a 20,000-gallon cistern. The living roof also serves to link the building to the site. Inside, the lobby’s polished concrete flooring is marked by a graphic design depicting the four directions, important in Native American belief systems. Additionally, a 20-foot-high slot window near the front entrance serves as a solar aperture, allowing the rays of the vernal and autumnal equinoxes to glow across the lobby. Within the storage core, sealed cases on tracks allow researchers to organize and examine the collections. To protect the collections, indoor air quality was a major concern in the project. However, Roberts, the museum curators and consultants opted to take a more natural path. “The museum is in a high, dry
Michele Mountain
Above: A slot window next to the entry door acts as a solar aperture. Left: Petrified wood specimens were used in the landscape surrounding the building.
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environment,” notes the architect, “and the objects within the collection were made and lived in this environment. We chose a floating parameter for the indoor environment.” The parameter allows for indoor temperatures to range from about 60 degrees in the winter to about 70 in the summer, with a humidity level of about 35 percent, plus or minus eight percent. With the building’s thermal mass, temperature and humidity levels can’t change that quickly, and the “floating parameter” saves energy as well. The tightly sealed building is also slightly pressurized to prevent unfiltered air from entering, important in a region where wildfires are virtually an annual event. The collection center’s LEED Platinum designation came as a result of numerous other strategies and materials. A photovoltaic array on the roof is capable of providing 27 percent of the building’s energy needs. Solatube daylighting devices help illuminate the interior. Low water-use plumbing fixtures were installed. Any wood products used were made of reclaimed lumber or FSC-certified materials. Outdoors, walkways and parking spots employ permeable paving materials. The parking area is equipped with a charging station for electric vehicles, including those that shuttle employees and visitors around the museum campus. Completed two years ago, the collection center is slowly being filled with objects ranging from seeds to pots, carefully brought over from smaller, outlying buildings. Though the new building serves its purpose well, there’s always an eye toward tomorrow. “The building was designed to be doubled in size for the future,” says Roberts. n sources+design september
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Will Viktora Inside the collection center, a floor graphic depicts the four directions.
Architecture and masterplanning: Roberts/Jones Associates, Inc., 2525 E. Arizona Biltmore Circle, Suite B128,
Living roof consultant: Rana Creek, 10 Harris Court, Suite C-5, Monterey, CA 93940; (831) 659-3820 or www.ranacreek.com. Energy modeling: Quest Energy Group, 1620 W. Fountainhead Parkway, Suite 210, Tempe, AZ 85282; Phoenix, AZ 85016; (602) 955-7575 or www.robertsjones.com.
(480) 467-2480 or www.questenergy.com. Daylighting systems: Solatube, www.solatube.com. Collection storage system: Spacesaver/Delta Designs Ltd., http://museum.spacesaver.com. september
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Above: The 18-seat bar anchors Windsor’s interior. Opposite page: The exterior was renovated to expose the brick walls. New hardscape and plantings add a modern touch.
By Nora Burba Trulsson Photography by Matt Winquist/Shepley Bulfinch
I p r oj e c t W a l k-T h r o u g h i
windsor and churn Phoenix, Arizona
Shepley Bulfinch Phoenix, Arizona
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ince the 1940s, the red brick and stacked sandstone strip mall served the Windsor Square neighborhood in central Phoenix. A floral shop and a beauty salon, best known for creating the iconic, cottoncandy beehive sported by Arizona’s former Governor Rose Mofford, were among the many businesses that have called the 4,200-square-foot shopping center home. When the building went on the market a few years ago, some neighbors across the street took note. Lauren and Wyatt Bailey, and Kris and Craig DeMarco, partners in Upward Projects, the company behind the über-successful Postino Winecafe, thought the nearby strip mall would make a great location for a new restaurant. “We didn’t really have a concept in mind,” admits Lauren Bailey, “but we decided to let the building dictate the concept.” Despite layers of old paint and “really ugly turquoise awnings,” the partners decided that the building had great bones and charm. The seeds for what became Windsor, a neighborhood restaurant and bar, and adjacent Churn, an ice cream and candy parlor, were planted.
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Top: Churn’s bright interior includes traditional cabinetry, honeycomb tile flooring and marble countertops. Above: In back, an old storage building (left) was re-purposed into a dining ramada. Tables and chairs down the center serve both Windsor and Churn. Opposite page: Friends and neighbors donated some 2,500 cassette tapes to serve as a community art project down the hallway connecting Windsor and Churn.
The Phoenix office of Shepley Bulfinch was enlisted to design the adaptive re-use project, spearheaded by principal architect Joe Herzog, AIA, who worked with project manager/designer Ryan Grabe and firm principal Chris Nieto. “The restaurant partners had a soulful concept,” recalls Nieto. They wanted it to be a neighborhood restaurant that was both family-friendly and had a great bar, plus an ice cream shop that would appeal to everyone.” The design team found the building, which had six bays for different businesses, to be structurally sound, but the existing systems had to be brought up to code. They opted to remove brick partition walls between the first three bays to create the space for Windsor, dedicated the fourth bay to Churn and the fifth to the pastry kitchen serving both both eateries. A salon still occupies the sixth bay. A floorplan challenge was keeping Windsor and Churn separate, yet connected. The design team opted to keep front and back entrances for both establishments, then connected them with a back hallway, which allows patrons to travel between both without having to step outdoors. Two restrooms that serve both eateries were placed along the hallway. Indoors, Windsor is anchored by a central bar, equipped with both draft beer and wine service, that can seat 18. Tables and booths wrap around the bar in an L shape. “We wanted the restaurant to reveal itself as you walk around,” says Grabe. “You don’t walk in and look at a sea of tables.” Exposed ceilings, soda-blasted brick walls and the original september
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Above: The patio’s brick pavers were recycled from demolished interior partition walls. Right: A collection of wire chairs awaits Churn customers.
concrete flooring (a white rectangle marks the spot where the florist’s cooler once stood) provide an imperfect, warm and patinaed backdrop that creates the restaurant’s public-house ambiance. The design theme is further carried out with furnishings and accessories such as vintage molded plywood school chairs, chicken-wire glass-front cabinetry above the bar and mirrors crafted out of window frames from New York’s Flatiron Building, all finds by Lauren Bailey and the partners, who spent months scouring websites, vintage-furniture dealers and antiques stores for interior details. While the interior of Windsor is warm and moody, Churn is bright, white and cheerful, marked by honeycomb tile flooring, traditional cabinetry and marble countertops, with pops of color coming from wall graphics, vintage candy displays on shelves and tubs of ice cream. A special community art project was installed in the hallway between Windsor and Churn. “I 30
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An exposed ceiling and brick walls, along with an unadorned concrete floor, give Windsor a warm, aged look. Seating is mid-century molded plywood school chairs.
was inspired by the story of a homeless man who lived under a bridge,” explains Lauren Bailey. “He glued cassette tapes to the bridge walls for decoration.” Bailey sent out an e-mail blast to friends, patrons and neighbors asking them to donate old cassette tapes, collected some 2,500 and had them glued to the hallway wall. “We put a drink rail under the installation so people could hang out there and look at the tapes to see how many they recognize.” Outdoor spaces were equally detailed. The building’s original wood doors and windows were meticulously duplicated and replaced. One section of back wall was replaced with a telescoping window wall that allows the bar and patio to be connected. The Shepley Bulfinch team recycled brick from the interior partition walls into a back patio and converted an old storage shed in the back into a ramada-like structure for outdoor dining. Exterior lighting, gutters and downspouts were replaced with vintage-style weathered steel pieces. Outdoor furnishings include salvaged chairs from Arizona State University, reupholstered in plaid fabric backs and baseball-stitched seating, and vintage oil cans used as flower pots. Opened in April of this year, Windsor and Churn has been a hit with the neighborhood–and beyond. On any given night, it’s filled with
families who come for dinner and ice cream treats, young professionals who hang with friends at the bar and couples enjoying a meal out. “The place is always packed,” says Nieto. “It’s comfortable and accessible, so people tend to come back often.” n
Architecture: Shepley Bulfinch, 1437 N. First St., Suite 201, Phoenix, AZ 85004; (602) 430-3223 or www.shepleybulfinch.com. Landscape architecture: Chris Winters & Associates, 820 N. 3rd St., Phoenix, AZ 85004; (602) 955-8088. General Contractor: Venue Projects, 748 W. Pierce St., Suite B, Phoenix, AZ 85007; (602) 390-9916 or www.venueprojects.com. Bar: DB Woodworks, Phoenix, AZ; www.dbwoodworks.com. Door and window reproduction: Michael Abbott, Phoenix, AZ; (602) 370-3310 Telescoping window wall: Arcadia, www.arcadiainc.com. Molded plywood chairs: Amsterdam Modern, www.amsterdammodern.com. Chicken-wire glass and Flatiron mirrors: Olde Good Things, www.ogtstore.com. september
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AIA Utah’s
}}}
Sustainable Design Excellence Awards
A
Paul Richer, Richer Images
IA Utah’s fourth Sustainable Design Excellence Awards 2011 competition recognized four projects–three workplaces and a low-tech home–that exemplify sustainable design principles. The projects, designed by Utah-based firms, were juried by a panel that included David Miller, FAIA, of Miller Hull Partnership in Seattle; Jennifer Languell of Trifecta Construction Solutions in Ft. Myers, Florida; and Henry Tom, AIA, of Line and Space Design in Tucson.
}}}H o n o r A w a r d
Bogue Building FFKR Architects Salt Lake City downtown business district, the Bogue Building was built in 1904 for Salt Lake Engineering Works. The 24,400-square-foot pitchedroof brick warehouse is on the National Register of Historic Places and proved to be the ideal new home for FFKR Architects. The firm embarked on a sensitive adaptive re-use program that included leaving most of the building and its architectural details intact, cleaning up the surrounding brownfield and creating a shady, drought-tolerant landscape. Sustainable strategies and systems in the building also include the use of historic and new skylights, natural ventilation, motion-sensitive lighting and photovoltaic panels. Additionally, the architectural firm committed to green business practices, including recycling and the use of green cleaning products. Last year, the building received LEED EB Silver certification, the first in the state. 32
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John Sturr, Sturr Photography
} } } Located at the edge of Salt Lake City’s
Rob Beishline, AIA
}}}M e r i t A w a r d Salt Lake County Public Works Administration Building Blalock and Partners Salt Lake City
} } } The new 22,807-square-foot building Rob Beishline, AIA
houses sanitation, highway, fleet and flood-control divisions of Salt Lake County Public Works, in an airy, stylish and sustainable setting. Located in Midvale, just south of Salt Lake City, the two-story building includes building materials such as cast-in-place concrete, steel panel cladding, reclaimed heavy timber columns and glass. A butterfly roof allows natural light to penetrate deep into the building, while the building’s orientation and roof overhangs protect the interior from the summer sun but allow solar heat gain in colder months. Photovoltaic panels, a high-efficiency mechanical system, recycled-content materials and drought-tolerant landscaping were other strategies that helped the building achieve LEED Platinum certification last year. september
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Jim Fairchild/Twede Fairchild
}}}M e r i t A w a r d Architectural Offices Architectural Nexus Salt Lake City
formed a nondescript, 1960s suburban fitness center into their new, sophisticated and open architectural studio. The 30,000-square-foot building was opened up and a portion of the roof removed to create an atrium, which brings light to the building’s central core. The existing gym floor was repurposed into floating ceiling panels that hover over conference areas, while existing bathroom and locker areas were maintained but scaled back to suit the needs of office workers. A new double-height, glazed entry and perforated metal panels helped to modernize the exterior. Sustainable elements include drought-tolerant landscaping, low water-use plumbing, photovoltaic panels and new, energy-efficient electrical, mechanical and ventilation systems. The building received LEED Platinum certification in March. 34
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Jim Fairchild/Twede Fairchild
} } } Architectural Nexus trans-
Scot Zimmerman
}}}C i t a t i o n A w a r d Whitehorse Residence DesignBuildBLUFF with Hank Louis, AIA Park City, Utah
Scot Zimmerman
} } } DesignBuildBLUFF is a nonprofit organi-
zation under the direction of Hank Louis that builds low-cost, sustainable homes in the Navajo Nation. A recent project, designed and built with the help of the University of Utah architecture students, is the Whitehorse residence in Montezuma Creek. The three-bedroom, one bath, 1,025-square-foot home’s form was influenced by the lines of single-wide trailer as well as a pole barn. Raised on a telephone pole foundation that allows fine sand to blow beneath, rather than against the structure, the home’s building materials include recycled sheets of aluminum, reconstituted shipping pallets and hand-mixed natural plaster. An adobe stove warms the interior, while windows provide natural ventilation. The shed roof directs rainwater to a buried cistern, which is pumped to provide bathroom and landscape water. n september
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Hot Shots }}}
PHOTOGRAPHERS OF DESIGN
Scot Zimmerman
H e b e r C i t y, U t a h
I
Below: A commercial project by Lisman Studio, Salt Lake City. Right: A fountain at Frank Lloyd Wright’s Storer house.
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n the early 1980s, photographer Scot Zimmerman found himself living in Fresno, California. Zimmerman, who’d started his career with a small shop and studio serving the ski industry in Park City, Utah, began noticing soaring, curving and angular modern buildings and homes around Fresno. Asking around, Zimmerman discovered they were all designed by architect Arthur Dyson. After making a point of introducing himself to Dyson, Zimmerman soon found himself shooting the architect’s work. “Art got a portfolio,” says Zimmerman, “but he taught me to see the drama in architecture. He mentored me.” The collaboration also led to a book, Romanza, The California Architecture of Frank Lloyd Wright, published by Chronicle Books in 1988. Doing the book, which was sparked by an idea from Dyson and written by David Gebhardt, was both a learning experience and a success. “My life changed,” recalls Zimmerman. “It started my career.” Zimmerman, a Utah native and self-taught photographer, began working on numerous
architecture and design books, including The Details of Frank Lloyd Wright (Chronicle Books, 1994), Architecture of Arthur Dyson (Fresno Art Museum, 1993) and California Cottage Style (Sterling/Chapelle Publishing, 2003) written by his wife, writer and stylist Ann Zimmerman. He also found himself in demand as magazine photographer, submitting design images to House Beautiful, Western Interiors and Design, Architecture, Sunset, Utah Style and Design, Cooking with Paula Deen, and numerous other publications. More recently, he’s been shooting resorts, including projects in New Mexico, South Carolina and Florida. In between, there have been gallery showings of photographs, lectures and presentations. “I wound up traveling all over the country shooting projects,” explains Zimmerman. “That’s why my client base is in many different states. The magazine and book projects led to meeting architects and interior designers who had me photograph projects for their portfolios.” Known for his dramatic angles, lighting and saturated colors, Zimmerman embraced the digital age with gusto. “The digital revolution has allowed me to deliver the images I envisioned but could never do with film,” he notes.
“I don’t miss film at all.” Last year, Zimmerman began experimenting with architectural videos, capturing in motion the drama that his still photography portrays. “It’s been a steep learning curve. I have a glide camera that lets me walk through an interior without jerkiness. I’m aiming for videos of projects that architects and interior designers can link to their websites. I think a video can really capture the feeling of a space.” These days, Zimmerman says he’s busy as ever. “Thirty years later, I’m still doing photography and loving it. That says something, doesn’t it?” n Scot Zimmerman Photography, Heber City, Utah, (800) 279-2757 or www.scotzimmermanphotography.com. Top: A Fresno residence by Arthur Dyson. Above: A residence by GSBS Architects, Salt Lake City. Left: A residence by Will Bruder + Partners, Ltd., Phoenix.
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market watch
Green Products
Need LEED points? Or are you just looking for products that are energy efficient and made sustainably? Here’s a sampling of the latest eco-friendly architectural and interior products on the market today.
Lights Up, a Brooklyn, New York-based lighting manufacturer, has introduced lamp products that feature shades made of 100 percent recycled PET (polyethylene terephthalate, a product used in soft-drink bottles), with patterns printed using waterbased inks. The products are available in table and floor lamps, sconces, flush ceiling mounts, chandeliers and pendants. Available through Lights Up Arizona, Scottsdale, AZ; (480) 600-2504, www.lightsuparizona.com or www.lightsup.info.
Caroma’s new Invisi Series II wall-hung toilet hovers above the f loor, attached to the wall. Plumbing is hidden inside the wall for a clean, modern look. The tank, flush valve and trap are designed to work as one optimized system, meaning less water is used per flush. The toilet includes two buttons for flushing: a half flush that uses .8gpf, and the full flush, which uses 1.28gpf. www.caromausa.com. EcoGlass, a new line of textured architectural glass from Bendheim, contains 60 percent recycled material. Available in 10 textures and varying degrees of privacy, the material can be used in residential applications such as partitions, sliding doors, shower enclosures, cabinetry and more. Produced in Europe’s only clean-burning oxygen/fuel-fired cast glass furnace, EcoGlass is offered in 5/32”, 1/4” and 3/8” thicknesses and is available in sheets up to 70” by 126”. www.bendheim.com. 38
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Crossville’s metal line, Mixology, is made with a minimum of 50 percent post-consumer recycled content, and was designed for commercial or residential interior vertical applications, suitable for accent walls, moulding, ceiling trim, chair rails, window and door borders, backsplashes and more. The line includes seven field tile designs in two sizes, plus ten trim options and two random mosaics in four finishes. www.crossvilleinc.com.
Revolv stone composite tiles from Flux Studios are made with 76 percent recycled material collected from the area around the Chicago-based firm’s headquarters, including waste limestone from a local architectural ornament manufacturing site. The handmade tiles contain no petrochemicals and emit zero VOCs, and come in a contemporary assortment of dimensional and relief tiles. Suitable for use in walls or floors, wet or dry interior applications, commercial applications and outdoors in non-freezing environments, the Revolv tiles come in 18 colors. Customization is available. www. fluxstudios.com. september
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The low-profile Modena range hood by Zephyr features DCBL Suppression System, a quiet, direct-current, brushless motor that exceeds Energy Star requirements, using only 26 watts of energy and pulling approximately 30 percent more CFM on working speed settings. Additionally, the stainless steel and glass canopy hood features a dimmable LED light, which uses only three watts of energy and offers 25,000 hours of life. www.zephyronline.com.
Bilco’s enhanced-performance roof hatch meets LEED standards for recycled content and is about 48 percent more energy efficient than standard roof hatches. Designed for buildings seeking LEED certification and for those located in extreme climates, the product features a cover and curb that are fully insulated with two-inch polyisocyanurate thermal insulation board, which achieves an R-value of 12 and is ozone-friendly to protect the environment. It also has an EPDM finger-type gasket that ensures a positive seal. www.bilco.com.
Kaguya bamboo subway tile can be used in vertical applications, such as accent walls and backsplashes, in both commercial and residential settings where they are not subjected to repeated moisture. Made of 100 percent bamboo, the 2” by 4” tiles can complement a hardwood or bamboo floor. Available through Anchor Bay Tile, www.anchorbaytile.com. 40
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Four Hands’ new Sierra Collection, which delivers a modern, Western design influence, is made with 100 percent FSC-certified reclaimed and repurposed wood. Each piece is handmade, features cast-iron hardware and is finished with a clear sealer and wax. The collection includes a bed, chest, table and credenza. www.fourhands.com.
Sustainable Flooring’s Versacork flooring is sourced from the byproducts of Portugal’s wine-cork industry. Discs of cork are placed on thick backing to create a mosaic sheet, which can be mounted onto any surface, then grouted. Cork, a renewable product, is anti-microbial and slip resistant, as well as a thermal and acoustic insulator. It can be used in commercial and residential applications, including wet areas, and seems especially perfect for wine bars. Available in Arizona through Misty Hancock, (602) 3200798 or www.sustainableflooring.com.
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Brentano’s new drapery fabric, Silhouette, is woven of 100 percent natural bamboo fiber, a fine yarn that is structurally similar to linen and shares the qualities of a supple hand and outstanding drape. The fabric features a luxurious luster, has good moisture absorbency, and is resistant to microorganisms and sunlight damage. www.brentanofabrics.com.
Able to follow your design or create custom designs S how room featuring high quality decorative accessories in addition to lifelike permanent botanicals
D eposit required. Four day approval policy available on items on showroom floor Trade discount is 50%. Quotes are generated as net Twenty years plus working with the Southwest design community Safe professional on-time delivery
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Ciralight’s Smart Skylights use sun-tracking mirrors to bring in full, natural daylight for up to 12 hours a day. Each 4’ by 4’ skylight can light more than 800 square feet, without heat gain or use of electrical lighting. Available through SouthWest Daylight, Scottsdale, AZ; (480) 980-5091 or www.ciralightglobal.com.
The Bosch 800 Plus dishwasher uses only two gallons of water per cycle and 97 percent less energy than the federal standard. Operating at a virtually silent 39 dBA, the dishwasher features the InfoLight, a small red light that projects on the floor to indicate the appliance is in use. The 24” stainless steel dishwasher has a third rack for additional capacity and has a half-load option for smaller amounts of dishes. Available through Ferguson Bath, Kitchen & Lighting Gallery, www.ferguson.com or www. bosch-home.com.
Adagio, the fiberglass/mineral fiber ceiling from CertainTeed is a hybrid design that combines the sound absorption of high-density fiberglass with the sound containment qualities of mineral fiber. The design eliminates the need for field-fabricated sandwich panels and full-height wall partitions that can add complexity and cost to construction. With a recycled content of 38 to 59 percent, the product can contribute to LEED certification. www.certainteed.com. 42
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Maria Yee, a furniture company long known for its environmentally friendly manufacturing and business practices, has introduced the Papyrus sideboard. Made of responsibly harvested elm wood and finished with natural tung tree oil, the sideboard includes three self-closing drawers and three bottom compartments with adjustable shelves. The handcrafted piece also features leather pulls. Available through C.A.I. Designs, Denver Design District, 595 S. Broadway, Denver, CO 80209; (303) 282-8100, www.caidesigns.net or www.mariayee.com.
Fireclay Tile has introduced Crush, a new United States-manufactured, 100 percent recycled glass tile. Waste glass is sourced within 20 miles of Fireclay’s San Jose, California manufacturing facilities. The firm employs a proprietary glass-fusing technology that’s paired with state-of-the-art kiln firing that uses about one quarter of the energy needed to make traditional glass tile. Custom colors, sizes and shape development are available. www.fireclaytile.com.
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Ultimate Fabric Roman Shades Patent Pending
BY DSC WINDOW FASHIONS
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T HIS G R E EN I N V E ST M EN T S H AD E O FF ER S SU P E RI O R E N ERG Y EFF IC I ENT B EN EF IT S Its cellular properties offer a 62% reduction in heat or cold loss. Huge savings will be evident to client on heating and cooling expenses - a positive return on their custom investment.
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Child Safe - no cords exposed at the rear of the a fabric roman shade with the insulating shade Cellular backing provides energy efficiency and properties of cellular backing, resulting in adds curb appeal a 62 percent reduction in heat or cold loss. Custom Fabric Roman Shade Program Choose from DSC’s fabric selection or send in Made in the United States, the product is COM selections. Free 4 1/2” Valance available with DSC fabric choices or it can High quality, exclusive design be made with COM. Motorization is availImpeccable, precise pleating and stacking 1/26/11 6:52 PM Sleek and modern headrails able. www.dscwindowfashions.com. Motorization Available
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Recycled Leather by Spinneybeck is produced by combining milled scraps of 100 percent vegetable-tanned leather and a natural rubber adhesive that emits no VOCs to form a paste, which is then pressed together using heavy rollers and heat to produce sheets. The product can be used for small leathergoods manufacturing, vertical surfaces and as a woven material for upholstered wall panels, shown here. Like all Spinneybeck leathers, the product is GreenGuard certified. www.spinneybeck.com. 44
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Pow er f ul S trat egies for A/E/C Fir ms
7KLV IDOO OHDUQ ZK\ PRUH $ ( & ÀUPV choose PSMJ to train their employees than all other training programs combined.
ECO by Cosentino is a new countertop and surfacing material made with 75 percent post-consumer and post-industrial recycled raw materials, including mirrors, glass, porcelain and crystallized ashes. Bound together with an eco-friendly resin made in part with corn oil, the slab and tile product can be used for residential and commercial kitchen and bath projects. The product, which is available in 10 colors, has been recognized with a silver-level Cradle To Cradle certification. www.ecobycosentino. com. n
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Datebook
SUBS C RI P T IONS
September
September 14 Get Published: Portfolio Review, Las Vegas Design Center, Las Vegas, NV; www.lvdesigncenter.com/events. Tips for architects and interior designers on getting published, presented by Sources+Design editor Nora Burba Trulsson and Las Vegas architect Eric Strain, AIA. September 16 IIDA Rocky Mountain Chapter Pret-A-Porter Fashion Show, Ellie Caulkins Opera House, Denver, CO; www. iidarmc.org. September 17 Valley Forward Association’s 31st Annual Environmental Excellence Awards, The Westin Kierland Resort, Phoenix, AZ; www.valleyforward.org. Event honoring environmentally sensitive projects throughout metro Phoenix. September 22 Architects Speak: Jess Holmes, FAIA, Historic Fifth Street School Auditorium, Las Vegas, NV; www.aialasvegas. org. AIA Las Vegas program on “Design in the Desert.” September 23 AIA Denver Design Awards Gala, Denver Botanic Gardens, Denver, CO; www.aiacolorado.org. September 23-24 AIA New Mexico State Conference and Awards Banquet, Santa Fe Hilton, Santa Fe, NM; www.aianewmexico. org. October
October 4-7 Greenbuild 2011, Metro Toronto Convention Centre, Toronto, Canada; www.greenbuildexpo.org. October 6-8 AIA Western Mountain Region Conference, Historic Fifth Street School, Las Vegas, NV; www.aialasvegas.org. October 13 1952-2012/60 Years of Architecture: Reginald Sydnor and Douglas Sydnor, Appaloosa Branch Library, Scottsdale, AZ; www.scottsdalelibraryfriends.org. Lecture by Douglas Sydnor, FAIA, and discussion of his new book, Plugger: The Architecture of Reginald Sydnor, covering the work of his father from 1952 to 1994. October 13 Design Under Par, Continental Golf Course, Scottsdale, AZ; www.idca. info. Fundraiser presented by Interior Design Coalition of Arizona. October 30-November 2 ASLA Annual Meeting and Expo, San Diego Convention Center, San Diego, CA; www.asla.org. November
November 3 1952-2012/60 Years of Architecture: Reginald Sydnor and Douglas Sydnor, AIA Arizona offices, Phoenix, AZ; www.aia-phoenixmetro.org. Lecture by Douglas Sydnor, FAIA, and signing of his new book, Plugger: The Architecture of Reginald Sydnor, covering the work of his father from 1952 to 1994. November 3 UnVeiled, Salt River Fields at Talking Stick, Scottsdale, AZ; www.iidasw. org. IIDA Southwest Chapter trade show. Sponsored by Sources+Design. n
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An Image by Scot Zimmerman A 1950s Florida cottage.
2011
Full hides No plate lines
G ar r e t t Leather
800.342.7738 | www.garrettleather.com