Innovative Design Quarterly March 2016

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

ISSUE 316 • 2016

FME Architecture + Design renovates a 1917 building into an urban art gallery and residence in San Francisco.

6 459 Geary

Urban Arts Renaissance

18 Arhaus Furniture Welcome to Arhaus

26 MetroSquash Academic & Squash Center Making a Racquet

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6 459 Geary Photos by Patrik Argast

16 Design Workshop

18 Arhaus Furniture Photos by Arhaus Furniture

24 Product Showcase 26 MetroSquash Academic & Squash Center Photos by Š 2015 Marian Kraus

34 Global Lighting News Making the switch

Innovative Design Quarterly Magazine, Issue Volume 316, is published quarterly by Gow Industries, Inc., PO Box 160, Elkton, SD 57026.

Editor: Camille LeFevre Postmaster: Send address changes to Innovative Design Quarterly Magazine, PO Box 160, Elkton, SD 57026 Subscription Inquiries: There is no charge for subscriptions to qualified requesters in the United States. All other annual domestic subscriptions will be charged $29 for standard delivery or $65 for air delivery. All subscriptions outside the U.S. are $65. For subscriptions, inquiries or address changes contact info@innovativedesignquarterly.com.

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Copyright Š 2016 Innovative Design Quarterly Magazine. All rights reserved. Nothing in publication may be copied or reproduced without prior written permission of the publisher. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Innovative Design Quarterly and Gow Industries Inc, assume no responsibilities for unsolicited manuscripts or photos. Printed in the USA.

TA B L E O F

CONTENTS Renaissance 459 Geary

Arhaus Furniture

MetroSquash Academic & Squash Center 5

Urban Arts Renaissance 459 Geary

FME Architecture + Design Greg Sheppard, Architect Photos by Patrik Argast

The Tenderloin area of downtown San Francisco, now also known as the Theater District, has been experiencing a renaissance of late. A family-oriented residential area after the Gold Rush of the mid-1800s, the neighborhood gradually gave way to nightclubs, theaters and speakeasies, then vice, corruption and the hard-boiled detective fictions of Dashiell Hammett. Since the 1980s, however, artists, activists and other local residents have been transforming the area’s dilapidated buildings into music venues, cultural centers and art galleries.

Today, the Tenderloin is an arts mecca within bustling San Francisco. Last year, 459 Geary Street joined the mix.

The 1917 building “had a crazy life” before its renovation into an art gallery, offices and a residential suite, says Greg Sheppard, an architect with FME Architecture + Design in San Francisco. Sheppard led the design team that worked on the project. Constructed as small apartments for actors working in the Tenderloin’s theaters, 459 Geary was later modified into an office building. The seven-story structure subsequently housed a high-end clothier and his design, cutting and sewing operations. “We also found an old sign for an art gallery, probably from the 1950s,” Sheppard adds, “and there were permits for a cabaret in the basement.”

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[With 459 Geary,] we’ve challenged the norm. It’s a unique offering for the community arts scene, not only because of the gallery’s ability to exhibit urban art and large-format work in a variety of settings; but also because we’ve transformed another dilapidated, underutilized building into a multipurpose amenity that further enlivens the street and the neighborhood at large.”

– Greg Sheppard, Architect, FME Architecture + Design

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When FME was asked to interview for 459 Geary, the firm was completing The Battery, located across town in the Jackson Square neighborhood. In addition to overseeing a complex seismic upgrade, FME transformed the former Musto Building into a members-only club with upscale restaurant, penthouse with custom glass curtain wall, suspended steel stair, glass bridge in the courtyard and a roof living area with a spa pool.

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So when the family that owns 459 Geary asked Sheppard whether he could seamlessly combine historic renovation and a seismic retrofit with hospitality and cultural typologies, “that was one of the fun parts of the interview,” he says. “We just pointed out the window to The Battery.”

The project includes an upper-level, private residence with a 2,000-square-foot roof deck used for entertaining, gatherings after art openings and donor events.

459 Geary became “the mini-Battery,” Sheppard continues, “as it has many of the same programmatic parts, custom features and one-off ideas. In the last couple of years, we’ve enjoyed working on unique, complicated projects that don’t fit a certain typology.” In fact, 459 Geary was actually “four distinct projects rolled into one.”

In collaboration with Holmes Culley, a San Francisco structural-engineering firm, FME undertook the first phase of the project: a seismic update to protect the historic structure.

The 23,000-square-foot building is “typical of its time period,” Sheppard says, in that it was built using “a concrete structural frame and concrete perimeter walls.”

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(Left) Seismic restraints. (Right) The building’s welcoming new entrance was constructed from structural concrete moment frames and lit from within.

After gutting the building down to its structure, the upgrade involved introducing new seismic restraints, sheer walls and concrete moment frames to the building’s columns and beams with strong connections that resist lateral movement. The building’s narrow floorplates made the seismic upgrade challenging. “It was like trying to balance a book on its end without it tipping over,” Sheppard says. New building systems were also installed, including heating, cooling, ventilation and plumbing.

The building’s main staircase was also in dire need of stabilization. Not only were the stair steps a mere inch-and-a-half wide, the structure lacked vertical support. The team reinforced and suspended the staircase from the roof with metal tension rods. “The metal rods accentuate the staircase’s verticality,” Sheppard says, “and add a touch of soft modern that blends with the existing character of the old building.”

Next, the team updated the building’s shell, retrofitting windows and balancing criteria set forth by the Tenderloin Historic District’s preservation guidelines with the building’s need for renewal. 459 Geary, Sheppard explains, “went through some awkward renovations in the 1970s. We got rid of those and incorporated subtle touches with lighting and glass that are more indicative of the building’s original exterior, without sacrificing a more contemporary approach.”

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The team highlighted the building’s new entrance—constructed from one of the structural concrete moment frames—by moving the lighting inside to illuminate the entrance from within and “create a glowing frame around the entrance perimeter,” Sheppard says. A blade sign on the building with 1970s graphics inspired the team to “collaborate with the owner

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on a framework for a new sign,” Sheppard says. The team also worked with local artists on “translating their ideas for the sign into something real, workable and compatible with the historic district.”

The next phase of the project was designing a 4,500-square-foot art gallery. Previously used for retail, the first floor was partially demolished “to connect it with the basement to create a grander space,” Sheppard says. A new custom feature connects the two levels: a minimal, sculptural stair. Track lighting designed for the art gallery was installed. A reclaimed wood floor “adds a touch of the rustic, a rough-hewn feel to the space,” Sheppard says.

The floor also adds a tougher finish to the gallery, which uniquely specializes in exhibitions on such contemporary art forms as graffiti, poster paste-ups, participatory installations and other street art—as well as painting and sculpture. As such, Sheppard says, “We had a lot of conversations with the client about whether we wanted traditional white gallery walls.”

“We decided that if the gallery was showing urban and contemporary art, then the space needed to support that,” he continues. “So we exposed a lot of the concrete structure— street artists are used to painting on the different textures and colors that exist in an urban environment, which is usually illegal—to create an exhibition area that includes legal walls.

And the tension between the rustic and the refined materials creates a variety of opportunities to display diverse art in diverse ways.”

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(Left) A minimal, sculptural stair connects the gallery’s two levels. (Right) Upstairs, glass walls separate the art gallery office from the art studio, which has windows overlooking Geary Street.

The third part of the project included designing an art studio—for the building owner and for the gallery’s visiting artists—and administrative offices for the gallery on the second level. “The floor plate is so small, and with the new core (elevators, rest rooms and a staircase) in the middle, the plan becomes something of a barbell,” Sheppard says. A lounge, cubbies for personal items, seating and a kitchenette are on one end; a glass wall separates the studio (with oversize windows overlooking Geary Street) from the office.

“The office has a fairly high level of finish in terms of its glass walls and case work,” Sheppard says, while throughout the second level an exposed ceiling with diagonal bracing from the seismic upgrade adds an industrial aspect to the space. The team turned an existing outdoor space on the second level into a roof deck by lowering the roof several feet and inserting a large skylight for the gallery on one side. Quinn Landscape Architects in San Francisco detailed many of the roof deck’s screens and trellises, and designed and installed plantings.

The final portion of the 459 Geary project was designing a private residence for the building owner. The two-level apartment includes large windows overlooking the street below, a private office, two bedrooms, two and half baths and a stone-clad gas fireplace

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(Above) The gallery’s sculptural stair leads to an upper level sitting area. (Middle) Wood flooring gives the upper level galleries a rough-hewn look that contrasts with the pristine white walls and glass. (Below) In the upper level gallery, the architect exposed the building’s concrete structure.

with charred-wood surround (an idea the client found on Pinterest).

The apartment also opens onto a 2,000-square-foot roof deck with glass-front hot tub. The client uses the outdoor space, Sheppard says, “largely for entertaining, gatherings after art openings and other events.

One weekend, for example, she held a dinner up there for 30 art patrons.”

Artists have also been responding enthusiastically to the gallery and its non-traditional exhibition spaces.

“Some artists have been creating work specifically for the two-level gallery space—large-scale, highimpact work,” Sheppard says. A small courtyard off the main gallery at the back of the building has been the site of several art shows, with murals painted on the building’s walls and temporary installations created that maximize the visual impact of the alternative space.

While today’s Tenderloin is a burgeoning arts district, “the neighborhood is largely conventional, commercial galleries on a single floor,” Sheppard says. With 459 Geary, “we’ve challenged the norm. It’s a unique offering for the community arts scene, not only because of the gallery’s ability to exhibit urban art and large-format work in a variety of settings; but also because we’ve transformed another dilapidated, underutilized building into a multi-purpose amenity that further enlivens the street and the neighborhood at large.” n – CLF

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“

We exposed a lot of the concrete structure to create an exhibition area [including an outdoor courtyard] that includes legal walls.”

– Greg Sheppard

The small courtyard off the main gallery provides legal walls on which artists have been invited to create large-scale work.

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Welcome to Arhaus Arhaus Furniture

RDL Architects, Inc. Mark Poltorek, Principal Photos by Arhaus Furniture

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Early on, Arhaus executives made clear that they want their buildings’ architecture to showcase and reflect the nature of their eclectic, custom-designed furniture.”

– Mark Poltorek, Principal, RDL Architects, Inc.

Since 1986, Arhaus Furniture has been manufacturing, marketing and distributing highquality, earth-friendly home furnishings—designed in collaboration with artisans the world over—from its headquarters in Walton Hills, Ohio. Now with more than 60 store locations across the United States (with a recent expansion into California and Arizona), Arhaus specializes in sustainable woods (cherry, elm and other hardwoods, but no rainforest trees) and recycled materials (from copper reused for tabletops to tree roots transformed into chairs).

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An Italian glass and polished-steel staircase connects the store’s two levels and glistens beneath a skylight overhead.

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The company also incorporates natural stone, forged wrought iron and 100-percent cotton fabrics in its furnishings. Scouring the globe for fresh inspiration and time-honored construction methods—and the craftspeople to bring its designs to fruition—Arhaus’ commitment to the local region extends to the architecture firm it has relied on for more than 20 years to design its stores: RDL Architects, Inc., in Shaker Heights, Ohio.

“Arhaus is an extremely successful, design-driven client,” says Mark Poltorek, principal and director of RDL’s commercial studio. “Early on, Arhaus executives made clear that they want their buildings’ architecture to showcase and reflect the nature of their eclectic, custom-designed furniture.” Moreover, there’s nothing cookie-cutter about the Arhaus showrooms.

“No two stores are alike, which is very unusual for a retail client,” Poltorek explains.

Every store has a signature stone fireplace and sales vignettes designed to inspire their customers’ creativity. “But the architecture of each store is unique,” he adds, “which makes Arhaus a fun client to collaborate with.”

In fact, every couple of years, Arhaus commissions RDL to create a distinctive design for a new series of stores. Arhaus Furniture at Kenwood Town Centre, outside of Cincinnati, “marked a new era for the company,” Poltorek says. “For this showroom, we devised a contemporary style that’s atypical for a shopping mall addition.”

The 17,000-square-foot, two-level building, completed in 2007, has a dramatic front of 30-foot-high tilted glass. Flanked by and grounded with ledge-stone walls, the glass curtain wall incorporates the clearest non-reflective glass on the market (Solarban 60) “for complete transparency,” Poltorek says, “so Arhaus can display furniture that’s easily seen from the street. Moreover, the tilted glass adds design flair to the building.”

The building is a ground-up addition to the Kenwood Town Centre mall and located on a site with high visibility from the adjacent freeway. Connected to the mall via a service entrance, the Arhaus building has two entrances from the parking areas through doors built into the tilted glass wall panel system. This approach, Poltorek says, “helped us keep a nice, uniform, monolithic look, with a light, airy, open feel on the outside.”

Inside the store, an Italian glass and polished-steel staircase connects the two levels and gives the showroom a “European sensibility,” Poltorek says. “We worked with the Italian artisan and fabricators on the stair design, then it was fabricated and shipped in from Italy.” The design team wrapped the entire stairwell with a matching glass handrail system, and inserted a 45-foot-by-30-foot skylight over the staircase.

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Recessed emergency lighting was carefully integrated with LED track lighting systems in the ceilings. Arhaus’ custom-designed chandeliers provide additional artificial lighting throughout the space, although the building receives plentiful natural light through the skylight and glass curtain wall.

Reclaimed white oak flooring was used throughout the first level, along with Italian marble tile; on the second level, sisal carpet covers the floors. Poltorek and his team designed the retail space so customers can easily flow from one vignette or display bay to another.

Desk units for sales associates were custom made by a local Amish fabricator.

Since the Arhaus Furniture store opened at Kenwood Town Centre, RDL has designed several similar showrooms. For the iteration at Park Meadows Mall in Lone Tree, Colorado, RDL placed the tilted glass in the corner of the building. The front of Arhaus Furniture at

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“

For this showroom, we devised a contemporary style that’s atypical for a shopping mall addition.”

– Mark Poltorek

(Far left) Recessed emergency lighting was integrated with LED track lighting systems, while Arhaus chandeliers provide additional lighting.

(Left) Every store includes a signature stone fireplace and sales vignettes design to inspire customers’ creativity.

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Freehold Raceway Mall in Freehold, New Jersey, has a flat glass panel curtain wall without the tilt.

“The timeless design we created for this series of stores, starting with the original outside of Cincinnati, met the company’s need for a new, clean, edgier design with a contemporary feel,” Poltorek says. “They didn’t want the showroom to resemble the rest of the mall. They wanted a simple but stunning design that would never get old and a beacon at the end of the mall since the showroom is always lit from within. They love it.” n – CLF

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Making a Racquet MetroSquash Academic & Squash Center Nagle Hartray Architecture Donald J. McKay, Architect & Principal Photos by ©2015 Marian Kraus

The South Side of Chicago isn’t particularly familiar with the game of squash. The racquet sport, invented in the 1830s at the Harrow School for boys in northwest London, is often associated with the East Coast elite, along with high-powered businessmen who play to burn off steam during their lunch hours. In April, however, the Woodlawn area of Chicago became the South Side’s squash hub—perhaps even a hub for the whole city—when MetroSquash Academic & Squash Center opened its new 21,000-square-foot facility.

The nonprofit organization has, for 10 years, been teaching South Side kids from fifth grade through high school to play squash, improve their academic skills and adopt a healthier lifestyle. During that decade, MetroSquash used the University of Chicago’s Henry Crown Field House for squash lessons and tutored its students in an upper-floor office in University Church in Hyde Park. The new center brings the entire program home, under one attractive roof.

Designed by Donald J. McKay, an architect and principal with Nagle Hartray Architecture in Chicago, the new MetroSquash includes four classrooms, locker rooms and a

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“

We were charged with balancing a number of competing interests— affordability, functionality and attractiveness for the donors and administrators, along with security and openness, so when the kids walk in the door they’re in a safe and welcoming place.”

– Donald J. McKay, Architect, Nagle Hartray Architecture

Divided into two zones around a central, axial space—the sleek, modern squash courts are on one side, well-lit academic classrooms on the other—the interior was designed so students can circulate easily between the courts and classrooms.

parent lounge. Moreover, the facility has eight squash courts—seven singles courts and one doubles court—which means MetroSquash is one the largest squash facilities in the Midwest.

It’s also the fourth stand-alone purpose-built urban squash youth enrichment facility in the United States, and the only urban facility in the world with a doubles court.

Designing the unique facility was a balancing act, McKay says. Not only did the center need to house academics (quiet) and fitness (noisy), but also present an open, welcoming face to the community while giving the students, mentors and administrators inside a sense of security.

The facility also had to be designed on a budget, yet be inviting and intriguing enough to entice donors to contribute during the fundraising campaign.

“MetroSquash isn’t the kind of facility that architects have designed a 100 times before,” says McKay. “At the interview, we emphasized how we’d listen to the client, creatively find the right and appropriate solutions to the design challenges, and create good architecture that MetroSquash would be happy to have its name associated with.”

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We like to blend in.

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McKay and his team started with the site, a southwest street corner with two public faces; the other sides face an alley and an adjacent building. “MetroSquash wanted its program visible and embraced by the local community,” McKay says. The design team used a precast concrete panel construction system, which is rugged and cost-effective, then broke up the precast with clerestory windows of fritted glass and glass-fronted squash courts along the two busy streets.

In doing so, McKay says, “We were able to balance security concerns, and ensure the design was open and friendly to the community. Putting glass in the squash courts also exposes the community to the sport and the kids having fun playing the game.” The undulating and pitched rooflines also add character to the building, and “directly relate to the program inside,” McKay says, which is organized around an axial space that also delineates the centerline of the roof form.

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Divided into two zones around that central, axial space—the sleek, modern squash courts are on one side, well-lit academic classrooms on the other—the interior allows students to circulate easily between the courts and classrooms via pathways planned in a donut shape. During the after-school program, McKay explains, half of the students receive academic tutoring, while the other half receive squash instruction.

“Halfway through the program, they switch,” he explains. “So the donut configuration allows the switch to occur without kids crossing paths or running into each other.” In the classrooms, the design team—which specializes in educational facilities—used indirect lighting that bounces off the ceiling to control glare associated with computer use. A company specializing in squash courts dropped their design program into the precast concrete boxes McKay and his team designed for the facility.

“

We were able to balance security concerns, and ensure the design was open and friendly to the community. Putting glass in the squash courts also exposes the community to the sport and the kids having fun playing the game.”

– Donald J. McKay

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(Above) Academics are an integral part of MetroSquash’s program. (Right top) The lobby includes the building’s central axis, which has academics on the left and squash courts on the right. (Right bottom) The academic wing’s hallway, which leads to the classrooms.

“We were charged with balancing a number of competing interests—affordability, functionality and attractiveness for the donors and administrators, along with security and openness, so when the kids walk in the door they’re in a safe and welcoming place,” McKay says. “The balancing act was tricky. But we were committed to the idea that if you do good design and create a good program embraced by the community, the neighborhood and client will respect that. And they do.” n – CLF

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“

MetroSquash isn’t the kind of facility that architects have designed a 100 times before. At the interview, we emphasized how we’d listen to the client, creatively find the right and appropriate solutions to the design challenges, and create good architecture that MetroSquash would be happy to have its name associated with.”

– Donald J. McKay

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Technologies are advancing in every field and at a faster pace then ever. The field of Occupancy Sensor technologies is no exception.

It was only a few years ago that commercial and residential designs started to incorporate these eco-friendly gadgets. Once the ease of function and real energy savings were realized, this quickly led to the current required and mandated inclusion in a wide selection of projects.

Continuous advancements and improvements in these sensors would seem like a natural course of technological evolution, but what about a completely concealed sensor?

Invisible Above Ceiling Installation

In With The New Completely invisible with no ceiling penetration • Unobtrusive to interior design •

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Detects motion via the Doppler Principle

Unique ability to monitor a determined target area • Eliminate false tripping

SPACESTATION SENSOR

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ADJUSTABLE SIGNAL DISTRIBUTION AREA

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Hidden Smart Sensing Technology

Vandal-resistant Less costly to retrofit into existing buildings • Applies towards LEED certification.

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Available from concealite.com

Out With The Old • •

Protrudes from walls or ceilings No ability to hide or customize

Hard wired models costly retrofits Cannot monitor determined target area • No protection from vandalism • •

Exposed, Ugly & Subject to Vandalism

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Exposed Occupancy Sensors

The SpaceStation offers just this, a completely concealed operation of occupancy sensors.

Occupancy sensors from other manufacturers offer only exposed and architecturally unattractive versions that are surface mounted.

Concealite’s SpaceStation can detect motion through many dense materials, so it can be installed completely out of sight behind any ceiling material (aside from metal).

SpaceStation Series 2000 detects motion via super high frequency electromagnetic waves and the Doppler Principle; automatically activating the room lighting when someone enters the room, then automatically deactivating the lighting when the room is no longer occupied.

The ingenious occupancy sensor also incorporates a unique Range Control Panel system that allows the installer to adjust the footprint of the monitoring area to reduce false tripping which is common on the earlier occupancy sensor designs. For more information visit www.concealite.com.

Invisible Sprinklers

The best sprinkler is the one you can’t see. With this simple truth in mind, we have dedicated special attention to making our flat concealed sprinklers virtually unnoticeable while maintaining optimal water dispersion, pressure, and flow rates.

Sprinklers finished to match your acoustic tile, wood, marble, and stone ceilings, making them one step closer to becoming truly “Invisible Sprinklers.”

“Custom finish is our standard” Economically finished to match ceiling color, pattern and texture.

Smallest Coverplate Available

Matching Ceiling Tile Finish Factory Applied to Coverplate

Custom finish is our standard!

No minimum quantity. No minimum order.

Request your Specifier Kit today! info@concealite.com

Subject: Concealed sprinkler specifier kit

605.542.4444

www.concealite.com

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36 Pewaukee, WI Permit No. 3315

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