UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT
SUMMER • 2019
6 Tasting Notes 16 Military Service 28 Gallery Music Davies Vineyards
Lodge at the Presidio
Rita Blitt Art Gallery
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Osborn Siegert Architecture designs a tasting room in Napa Valley that references the area’s historic context with a modern sensibility
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6 Davies Vineyard Photography by Sara Sanger
15 Global Lighting News 16 Lodge at the Presidio Photography by David Wakely
26 Product Showcase
28 Rita Blitt Art Gallery Photography by Rachel Lock
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Copyright Š 2019 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 Davies Vineyards
Lodge at the Presidio
Rita Blitt Art Gallery 5
TASTING NOTES
Osborn Siegert Architecture designs a tasting room in Napa Valley that references the area’s historic context with a modern sensibility As various contractors searched for their job site—the new tasting room for Davies Vineyards under construction on Main Street in St. Helena, California—all they could find was “the old stone building,” recalls Dave Siegert, Principal Architect, Osborn Siegert Architecture (os-arch), Santa Rosa. The confusion actually spoke to the historic nature of the tasting room’s design.
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Davies Vineyards
Osborn Siegert Architecture Dave Siegert, Principal Architect Photography by Sara Sanger
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That “old” building was in fact new. The two-story structure, clad in stone quarried from the Napa Valley Mountains, so resembled the town’s historic buildings, which also had been constructed from local stone, that any differences were indiscernible. “The stone was an obvious choice,” says Siegert, who designed a building with materials that blend into St. Helena’s existing architectural lexicon. Along with concrete, steel and repurposed barn wood, the 55,000-square-foot Davies Vineyards tasting room conveys “historic context with a modern edge,” Siegert adds. With that remark, he’s not only referring to the building’s context sensitivity. He’s also referencing the winery’s remarkable provenance. Davies Vineyards produced its first vintage in 2012. But the venture was conceived at the historic Schramsberg Vineyards in Napa Valley. Founded in 1862 in the Diamond Mountain appellation south of Calistoga by Jacob Schram, that 218-acre property was re-established by sparkling wine producers Jack and Jamie Davies in 1965. Subsequently, Schramsberg Vineyards became known globally for its signature sparkling wines. Today, the Davies’ son, Hugh Davies, is Vintner/President of Schramsberg Vineyards, J. Davies Estate and Davies Vineyards. He expanded the holdings with the addition of Davies Vineyards for the production of still red wines. The first step for the new Davies Vineyards was building a production facility that repurposed an existing building on the site of a former Chevrolet dealership in St. Helena. Siegert, along with os-arch partner Doug Osborn, assisted with that project. Then they began master planning the rest of the property. The next structure to build was the tasting room.
Design details (above) of the stone and steel building (right) were seamlessly integrated so the new building resembles the town’s historic buildings.
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We needed a sculptural lighting element in the space. We started with hanging barrels, which evolved into an exploding barrel, and finally deconstructed into the barrel rings woven together.” - Dave Siegert, Principal Architect, Osborn Siegert Architecture
“Hugh has extensively researched and studied his family’s history, and the history of winemaking in the area,” Siegert says. “The architecture and materiality of the tasting room reflect how Davies Vineyards is rooted in tradition. At the same time, we introduced modern elements and innovations that clearly separate the old from the new, and establish Davies Vineyards as a separate entity.” As a result, the new tasting room “provides a nice narrative transition within the overall history of the winery.” Throughout the interior, Siegert left the stone walls, steel structure, and Douglas Fir framing and walls salvaged from old barns exposed to convey an aesthetic both industrial and rustic. Adding to the aesthetic are polished concrete floors, floor-to-ceiling windows, and metal sheet cladding behind the tasting bar and in the reception and display areas. The front entrance opens into a two-story atrium and reception space. In the sitting area next to the stone fireplace family memorabilia and artifacts are displayed, including the Davies family crest. The dramatic circular chandeliers above the couches and chairs were constructed from metal winebarrel straps. “Everyone knew we needed a sculptural lighting element in the space,” Siegert says, including Davies, his wife Monique, and Pam Silleman, Interior Designer. “We started out with hanging barrels, which evolved into an exploding barrel, and finally deconstructed into the barrel rings woven together, which Pam and her team then developed.” Daylighting through expansive windows and strategically placed LEDs also illuminate the interior while highlighting spaces and wine displays.
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On the outdoor patio, which overlooks the demonstration garden, visitor sip wine while learning about wine making.
The building has several private tasting rooms, including the Pinot Noir room on the main level and the Cabernet Sauvignon (the winery’s flagship) room on the upper level. On the first floor, a commercial-grade kitchen is equipped with a dumbwaiter so food and wine can be transported to the second floor. The second level also houses administrative offices, an event space that doubles as a board room, and a sitting area next to another fireplace.
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Glass doors adjacent to the first-floor reception area open onto an outdoor patio, which overlooks a demonstration vineyard. Here, visitors are invited to learn about wine-making practices and taste the grapes before harvest. Osborn and Siegert are currently working on the next phase of the winery’s master plan and designing a barrel-room extension on the production facility.
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Spaces throughout the tasting room’s first floor are defined by stone or glass walls, the steel and wood structure, and the dynamic lighting element.
Several wine writers, in celebrating the addition of Davies Vineyards to the Napa Valley and lauding its new tasting room, referred to the structure as having the feel of a ghost winery—stone wineries typically built before Prohibition. Relics of a previous century, with some purported to be haunted, those historic wineries stand as reminders of Napa Valley’s heritage. The design of the Davies Vineyards tasting room nods to that historic precedent with contextual sensitivity, while introducing a modern winery with architectural flair to the public. n – CLF
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MILITARY
SERVICE Architectural Resources Group leads the adaptive reuse of a historic barracks into a prestige hotel at San Francisco’s Presidio
Lodge at the Presidio
Architectural Resources Group Deborah J. Cooper, Principal Laura Cook Interiors Laura Cook, Principal O’Mahony & Myer Pieter Colenbrander, Principal, Electrical Engineering David Orgish, Principal, Lighting Design Photography by David Wakely
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Adventures in San Francisco have long focused, for a majority of travelers, on such well-known destinations as Fisherman’s Wharf, the Ferry Building Marketplace and Ghirardelli Square; the Coit Tower on Telegraph Hill; and Golden Gate Park and Bridge. Not far from the iconic bridge, within the Golden Gate Recreation Area, lies another destination fast becoming a hot spot: The Presidio. Claimed by the Spanish from the original indigenous inhabitants in 1776, then later transferred to Mexican ownership, the United States took control in 1848 and turned the area into a military base with more than 800 structures. Since the Presidio Trust took over the site two decades ago, in partnership with the National Park Service and the Golden Gate National Parks Conservancy, 1,191 acres have been transformed into a destination brimming with recreation, education, and hospitality opportunities that are open to all.
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In 2012, Pershing Hall, a former bachelorofficers’ quarters, was renovated into the Inn at the Presidio. Six months later, Funston House next door was renovated to add four more guest rooms to the Inn. The Inn has been booked to 94 percent occupancy ever since. To build on this success, the Trust asked Architectural Resources Group, San Francisco, which specializes in historic preservation and adaptive reuse, to do the same with the former Montgomery Street Barracks, also known as Building 105. The U.S. Army built the barracks between 1895-97 to accommodate six artillery companies, a cavalry troop, and two infantry companies. Last year, the 43,038-square-foot Lodge at the Presidio opened in the former barracks. Within two months, it was the number-one hotel on Trip Advisor, says Deborah J. Cooper, Principal, Architectural Resources Group (ARG). “The Lodge has views of the Golden Gate Bridge, Alcatraz, downtown, and the Presidio’s parade grounds,” she explains. “Also, the Presidio Trust has created so many activities in the area that are appealing to visitors, including 24 miles of hiking trails, 25 miles of bicycle paths, and museums and restaurants within the historic buildings. It’s an incredibly inspiring location.”
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The brick and sandstone building retained many of its historic elements, which resulted in a stunning adaptive reuse of the barracks into a hotel.
Centrally located on the Main Post in the heart of the Presidio, the 42-room Lodge provides easy access to the park’s amenities, as well as downtown San Francisco. Because the barracks contributes to the Presidio National Historic Landmark district, Cooper and her team utilized the principles of adaptive reuse: They preserved the barracks’ historic elements and original character while reimagining the Lodge as a contemporary hospitality amenity. The Lodge was also designed in compliance with the US Green Building Council’s Leadership in Energy and Environmental Design (LEED) Gold standard. The red-brick and sandstone barracks building was renovated in the 1980s, then sat vacant for more than a decade before ARG began work on the project. “The exterior envelope had signs of wear,” Cooper says, “including some damage to the stone sills. The building needed a new roof. Many exterior doors were gone. But the historic elements were still there.” Brick walls, most of the windows, cast-iron columns, and the wood framing were intact, she adds, “as was the original floor plan once we removed the non-historic infill walls.”
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“
The Presidio Trust has created so many activities in the area that are appealing to visitors. It’s an incredibly inspiring location.” - Deborah J. Cooper, Principal, Architectural Resources Group
The front of the building, with its welcoming porch and two doorways, remains intact. The former barracks is actually comprised of two buildings conjoined by a party wall. The two entrances open into a lobby with restored stairways on either side of the wall, which gives the building a simple symmetry. After abating hazardous materials, removing the 1980s wall additions, and strengthening the structure to meet California’s seismic code for historic buildings, ARG began reprogramming the interior. “We looked at how to layout the common spaces and the guest rooms in a way that would allow the original plan to read,” Cooper says. The first level’s large open spaces are arranged in quadrants. Offices original to the barracks were not reconstructed in the new spacious hotel lobby, but ARG indicates their former locations with dark wood inlaid into the floors where old walls stood. The lobby also opens out to a back porch where a new courtyard with fire pit beckons guests to enjoy views of the Marin Headlands and Golden Gate Bridge.
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Throughout the interior brass detailing, a color palette of military blues and white, and murals reflecting the outdoor environment give the decor historical context.
The lobby’s ceiling beams align with the front desk, to further reinforce the space’s symmetry. Brass striping along the desk provides a detail “drawn from the military aesthetic,” Cooper explains, “which is spare and crisp.” In collaboration with Laura Cook Interiors, Sausalito, ARG developed a color palette of blues, grays, and gold for the Lodge’s interiors that reference not only the building’s military history, but also the sky and ocean. A large space at the front of the building is now the dining room. Here the designers wrapped a new element, the Servery, with an ocean mural. They also used wall graphics behind the beds in three rooms on the third floor. “Two of the rooms are very small, so we brought in nature with the wall graphics to create a sense of expansiveness and connect the interior spaces with the outdoors,” Cooper says. “On the third floor, in a large room perfect for families, we put a 30-foot mural across the main wall.” In the other guest rooms, canvas headboards reference tents the military issued when servicemen camped on the parade grounds. Lighting throughout the building, whether integrated into the structure or portable and decorative, had to include light sources that meet California code and LEED requirements. “Integrating new ‘authentic’-looking LEDs and the State’s current lighting-control requirements into the historic structure took lots of thought and collaboration,” says David Orgish, Principal, Lighting Design Studio, O’Mahony & Myer, San Rafael.
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Orgish finessed the color temperatures of the various LED light sources to complement the interior décor and the hotel’s hospitality needs. He made sure the decorative fixtures that Cook specified, including pendants and chandeliers, could accommodate LED products with the appropriate lumen output for the visual needs of the space. Digital occupancy sensors for public spaces and key-card overrides for the guest rooms had to be integrated into the historic structure. Wall-mounted picture lights, recessed accent lights, and recessed wall washers were selected for specific artworks and historic artifacts. To meet the building code and simplify conduit routing within the historic structure, the emergency lighting system was wired separately from the architectural lighting. Additionally, the covers of the emergency lights were field painted to match the surrounding architectural surfaces. On the building’s exterior, custom-shielded pole lights prevent light from entering guest rooms and from illuminating the night sky. An energy-efficient VRF heating and cooling system was installed after “an in-depth conversation about whether to air condition the building,” Cooper says. “At the Presidio, most of the buildings are cooled by the ocean breeze, rather than mechanically.” To keep the building quiet for guests, the client opted to install air conditioning. The design team sited the air handers on top of the two stair towers and wrapped them with louvers painted to match the roof color. The Presidio Trust has “set a high bar for sustainability for the entire campus,” Cooper adds. “In the future, the Trust is looking to make the whole area a net-zero water and energy site.” Sustainable and spectacular, the site has become a top tourist attraction for the City by the Bay. “The Army gifted us with iconic buildings in a great location,” Josh Bagley, Director, Real Estate Development, Presidio Trust, told the San Francisco Chronicle. “There’s an authenticity to the building you’re in and the place you’re in. The plan was putting these buildings back into service in a way that respects their histories and that allows guests or visitors to experience them in a new way.” n – CLF
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Gallery Music Schwerdt Design Group creates a legacy gallery in Topeka that integrates the artist’s love of dance, music, and nature with art and architecture
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Rita Blitt Art Gallery
Schwerdt Design Group Greg Schwerdt, Architect of Record, Principal in Charge Lauren Fitzpatrick, Designer Photography by Rachel Lock
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Rita Blitt is not only celebrated in the world of visual art for the drawings, paintings, and sculpture she creates, which convey a vibrant simplicity. The artist, who was born in Kansas City, Missouri, and now lives in California, is also revered by her colleagues in the worlds of dance and music for the singular ways in which those art forms have inspired her work. Choreographer David Parsons has said: “In Rita’s creations, I find movement caught in time. Her paintings and sculpture allow me to see elements of my dances, which normally pass too quickly.” Conductor David Barg once told her: “You make energy visible like one needs the trees to see the wind.” David Knaus, founding director of Marrakech Museum of Photography and Visual Arts in Morocco, describes Blitt’s work as “reflective on both a visual and intellectual level, inviting the viewer to share in its simple beauty.” About her own artistic process and work, Blitt has said: “I feel like I’m dancing on paper.” In 2017, Washburn University in Topeka, Kansas, invited Blitt to endow her work and archives to its Mulvane Art Museum. In return, the University would build a gallery devoted to exhibiting Blitt’s work. Once
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an agreement was reached, the question became how to design a gallery that would best showcase Blitt’s drawings, paintings, sculptures, and archival materials. The Topeka-based office of Schwerdt Design Group, in collaboration with Westlake Reed Leskosky, took the most sensitive and sensible approach, designing a clean light-filled space that positions Blitt’s artwork at the forefront. The Rita Blitt Art Gallery and Sculpture Garden was added on to the University’s White Concert Hall, in order to emphasize the connections between art, music, and nature so integral to Blitt’s creative process and artwork. “We designed a bold modern gallery with interior access through the lobby of White Concert Hall, with plans to later connect the gallery to a new recital space in order to generate a meaningful link between the performing and visual arts,” explains Lauren Fitzpatrick, Designer, Schwerdt Design Group (SDG). On its southeast wall, the gallery opens to the concert hall via a glass entry bracketed by the rough Kansas cottonwood limestone of the hall’s former exterior. “The existing exterior of
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The new gallery “is a perfect setting for [Blitt’s] legacy collection of works… we’ve created a connection to all of the things that are important to her.” – Lauren Fitzpatrick, Designer, Schwerdt Design Group
From the outside entrance, through the sculpture garden, the new glass-walled gallery addition glows from within while its glass and steel construction stands in dynamic contrast with the existing building’s stone façade .
White Concert Hall now makes up the south interior wall of the gallery corridor, and was kept intact and practically untouched,” Fitzpatrick says. The gallery can also be entered from the sculpture garden, where Blitt’s outdoor works are on display. Uplighting around the sculpture bases illuminates the pieces at night. Bollards light the walk in the sculpture garden, which includes a custom-designed limestone fireplace with zinc-paneled chimney. Along the base of each limestone bench is a rope of LED lights that “creates a nice glow on the graphite-colored plank pavers of the walk,” Fitzpatrick says. Located at the edge of campus, on a high-traffic street, the gallery is clad in honed Kansas cottonwood limestone panels and zinc composite metal panels, in contrast to White Concert Hall’s narrow, horizontal limestone banding. “The contrast between the zinc and the limestone is stunning,” says Fitzpatrick. “We also played with pushing and pulling different sections of the façade to create more interest and to add shadow lines.”
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A variety of discreet lighting fixtures and glazing strategies keep the galleries well-lit and connected with the outdoors.
The gallery proper is 1,685 square feet. Surrounding vestibules and corridors added 830 square feet. Another 500 square feet was used for mechanical, technology, and storage areas. “The volumetric glazing system carefully introduces modulated natural light to the interior during the daytime and functions as a backlit ‘lantern’ at night, indicating to passersby that exciting things go on in the space,” says Fitzpatrick. Large volumes within the gallery “give a sense of monumentality and room for the curators to position Rita’s large pieces.” While the vertical surfaces are drywall, the hard-maple floors cover layers of foam in an assembly that functions as a “sound control underlayment,” Fitzpatrick explains, “similar to a gymnasium.” The unique acoustical ceiling also was designed to absorb sound. “We took care in providing technology that would allow the gallery to enjoy enormous flexibility, so it can be used not only as a gallery, but also as a lecture space, reception space, and for musical performances,” says Fitzpatrick. Several walls are on casters, for easy reconfiguration. “Cleverly disguised floor boxes and a continuous electrical strip hidden in the wall bases allow the gallery staff to plug in equipment along any wall,” she explains. Along with flanged track lighting integrated into the acoustical ceiling tile, Fitzpatrick and her team specified slot diffusers around the perimeter of the gallery, “which blend in with the motif of the track lighting.” Wall-wash fixtures and round trim-free downlights were incorporated for additional lighting options. Within the gallery, from east to west, strategically placed glazing creates connections with the outdoors while letting in natural light. “We didn’t use a lot of glass in order to maximize the wall space,” says Fitzpatrick, “but by inserting slivers of glass, and by using Rita’s sculptures
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as end points for the views, we created a fun interplay between interior and exterior, nature outside and the nature-inspired artwork inside.” The first phase of an ongoing expansion project, the gallery will soon open to another rehearsal room and recital hall on its east end. “Rita’s work is inspired by music, dance, nature, and her love of life,” Fitzpatrick says. “We feel the new Rita Blitt Art Gallery and Sculpture Garden is a perfect setting for her legacy collection of works and that we’ve created a connection to all of the things that are important to her.” n – CLF
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