UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT
ISSUE 604 • 2015-16
Clubhouse for the 6 Nicklaus Painted Valley Golf Course Mountain High
Family Galleries, 18 Haub Tacoma Art Museum Western Expansion
28 Catholic Church of St. Monica Spiritual Uplift
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MOUNTAIN HIGH Swaback Partners brings high architecture to the world of golf
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Clubhouse for the 6 Nicklaus Painted Valley Golf Course Photos by Allen Kennedy
16 Design Workshop
Family Galleries, 18 Haub Tacoma Art Museum
Photos by Benjamin Benschneider, Kevin Scott & Kyle Johnson
26 Product Showcase 28 Catholic Church of St. Monica
Photos by John W. Davis, ASMP, AIAP, DVD Design Group, and Fisher Heck
38 Global Lighting News Making the switch
Innovative Design Quarterly Magazine, Issue Volume 604, 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 Nicklaus Clubhouse Haub Family Galleries, Tacoma Art Museum
Catholic Church of St. Monica 5
Mountain High Nicklaus Clubhouse at the Painted Valley Golf Course
Swaback Partners • John E. Sather, Architect & Senior Partner Photos by Allen Kennedy
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The world of golf has not, for the most part, been notable for its clubhouse architecture. “Clubhouses are most often expressed in Georgian or classic terms architecturally,” says John E. Sather, architect and senior partner with Swaback Partners, Scottsdale, Arizona. “I refer to them as big white houses on a hill with bad food.” Now, the golf courses—that’s another story. The Painted Valley Golf Course outside of Park City, Utah, which is part of the Promontory Club, was designed by Jack Nicklaus and has been critically acclaimed as one of the toughest courses in Utah. The course was also rated the third best new private course in 2008 by Golf Digest. Nearly 8,000 yards long, the course features views of Park City, and plays through both deep valleys and high meadows. The course is an excellent example of golf courses as “land art,” Sather says. “I’ve always thought that whether you like or hate golf, or worry about the earth and putting too much water and chemicals on golf courses, the reality is that golf courses are visually stunning, sculpted pieces of land art. Then they get mucked up by clubhouses from the past.” When Sather and his design team were asked to design a new Nicklaus Clubhouse for the Painted Valley Golf Course, they decided to tackle the architecture issue head on. Previously, Sather had designed another clubhouse for the Promontory Club and did much of the original land planning for Promontory’s luxury community. So he knew his client would be receptive to a change. “We had long, stimulating discussions about how to bring high architecture to the world of golf,” Sather says, “and not only high architecture, but also high food and high
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fashion. We decided to bring all three together in a social gathering place that’s as much about life after golf as it is about golf.” In doing so, Sather and his team set a new benchmark for modern golf clubhouse architecture. The 16,000-square-foot clubhouse boldly sits on its wind-swept site above the course, firmly anchored into the ground with concrete and cut-limestone buttresses that allow 16- and 18-foot cantilevers of rusted Cor-Ten to soar upward. “The buttress forms are a symbol of strength, in keeping with the Wasatch Mountains nearby,” Sather says, “while the cantilevered roof forms show the building is proceeding forward in the world of golf architecture.”
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The clubhouse’s front entry features a Cor-Ten sculpture of cut forms that Sather designed, which were inspired by artist Alexander Calder’s mobiles. Clustered in an oval shape to create a meeting, gathering or lingering space, with floating steel clouds above in soft overlapping shapes, the forms create shade while the top is open to the sun and moon. The sculpture, Sather adds, “is a strong art statement up front, and uses shade and shadow as an architectural element. It’s architecture as art.”
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[The sculpture] is a strong art statement up front, and uses shade and shadow as an architectural element. It’s architecture as art.” -John E. Sather, architect and senior partner at Swaback Partners
The Cor-Ten sculpture, located at the clubhouse’s front entrance, is an assemblage of cut forms that create light and shadow. The design was inspired by artist Alexander Calder’s mobiles.
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The golf boutique, housed in the floating glass cube on the west side of the clubhouse, was designed to stimulate and communicate new styles in golf fashion.
The buttresses, veneered with local cut limestone, also ground the building’s extensive glazing, which cuts glare and mitigates the hot sun. The glazing, however, receives its strongest expression in a glass cube floating on the west side of the building. The cube houses the golf boutique. “We asked ourselves: ‘What would actually stimulate new fashion in golf?’” Sather says. “The members here are fashionable, hip people. So we didn’t want a dated golf shop, but rather something equivalent to Madison Avenue, with that level of clothing, retail and merchandising.” Rather than burying the shop inside the building, the strikingly modern glass cube lends the golf boutique a singular exterior expression, at once integrated into the architecture and yet with a sense of place uniquely its own. A unique mullion pattern, window tinting and interior lighting give the form “a certain playfulness” during the day and evenings, Sather says.
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We didn’t want a dated golf shop, but rather something equivalent to Madison Avenue, with that level of clothing, retail and merchandising.” -John E. Sather
The mullions reappear as structural supports for the sheet-glass wind guards fronting the balconies and in the ceiling pattern inside the clubhouse. In the clubhouse restaurant, The Peak, which features Asian-fusion cuisine, wood batten strips cover prerusted Cor-Ten in patterns similar to that of the cube,
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In the clubhouse dining room, a fireplace of cold-rolled steel contrasts with the Cor-Ten as well as high-end surfaces like the onyx bar.
to “break down the noise in the room,” Sather says. Fireplaces of cold-rolled steel contrast with the Cor-Ten, as well as “perfect surfaces like the back-lit onyx bar,” Sather says. “In the end, we used common materials in uncommon ways, to create high architecture on a budget,” Sather says. “The materials are customized, but they’re put together simple ways. The result is clean, sophisticated and rather daring.” In the dining room, Sather and his team also seamlessly integrated the bar with traditional four-top dining, high tops, long communal tables and lounge seating by the fireplace. “We were
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We were very involved in experience mapping with the client; what is this whole experience we’re about to enter into and how does it all come together? It was clear they wanted different parties all together in one space.” -John E. Sather
very involved in experience mapping with the client; what is this whole experience we’re about to enter into and how does it all come together?” Sather says. “It was clear they wanted different parties all together in one space.” In the living room, stone masses rise up to crop and frame the scenery while cutting glare. “In snow country you deal with a lot of glare,” Sather explains, “and the clubhouse is used in the winter as a community gathering place. So we had to control the light in the winter, and balance and frame it like a shadow box. We also lifted the roof to celebrate distant views to the mountains, and to capture sun in late summer and winter and funnel it into the room.”
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In collaboration with interior designer Donna Vallone of Vallone Design in Scottsdale, the team used royal blue and cream as contrast colors throughout the interior, “so we have the clouds, sky and mountains coming together,” Sather says. Outside the clubhouse, a xeriscaped landscape of low-maintenance and low-water sage and shrubs offers another contrast, this time with the manicured golf course. “Park City is a place of fresh minds and new thinking, youthfulness and excitement,” Sather says. “There’s no reason golf architecture here need be old and tired. Or anywhere else, for that matter.” With his design of the Nicklaus Clubhouse, Sather set a new benchmark for golf clubhouse architecture that brings tired tropes into the 21st century. “I describe the building as forward thinking and uplifting,” he says. “When you enter, it’s very pristine, with perfectly framed views. You feel your spirits rise. That’s what forward thinking architecture should do. We may have disrupted the golf world a bit with this clubhouse. But we were trying to break a lot of rules.” n – CLF
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Western Expansion Haub Family Galleries, Tacoma Art Museum
Olson Kundig Architects • Tom Kundig, Principal Photos by Benjamin Benschneider, Kevin Scott & Kyle Johnson
The small port town on the Washington coast became known as the “City of Destiny” after President Abraham Lincoln signed legislation in 1864 chartering the Northern Pacific Railroad to connect the Midwest to the West Coast. Suddenly, Tacoma was both the rail line’s western terminus and a launch point for European exploration of the West. Tacoma flourished, becoming a city rich in industry, transportation, history, and the arts and culture of Native Americans and Europeans. In 1935, a volunteer group founded the Tacoma Art Museum. The museum quickly grew into a national model for regional, mid-size cultural institutions because of its diverse collection, which featured art and artists of the Northwest and greater West. Meanwhile, a couple of German origin— Erivan and Helga Haub—visited Tacoma on their honeymoon, moved to the city, established business and philanthropic ties, raised a family, and collected Northwest and Western art. Several years ago, the Haub family gifted its formidable collection to the Tacoma Art Museum, which in 2003 moved into a new 50,000-square-foot building designed by Antoine Predock, principal of Antoine Predock Architect PC in Albuquerque, New Mexico. Olson Kundig Architects of Seattle worked with Predock on the museum. So when the museum held a competition for the design of a new entry plaza,
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which Olson Kundig won, then expanded the project to include a new wing to house the Haub Family Collection, Olson Kundig had the insight necessary to fulfill the commission. The 16,000-square-foot project also happened to be principal Tom Kundig’s first museum. In designing the addition, Kundig took his inspiration from a variety of sources. One was the city itself, which grew out of the industrial confluence of shipping, logging and railroading. The architect also drew from the rectangular, rugged forms of railroad boxcars, Native American long houses and barns in the rural Northwest. The museum site, which is on land once occupied by the
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In addition to designing the sleek new Haug Family Galleries, Olson Kundig also created a new transparent and welcoming entrance canopy constructed of aluminum grating and stainless steel panels saved during demolition necessary for the expansion.
Puyallup tribe and is today in the Union Depot/Warehouse historic district at the intersection of a pedestrian mall, light rail line and several city streets, also influenced the design. In subtle contrast to the stainless-steel clad museum designed by Predock, Kundig’s addition is a long, low form evoking the vernacular architecture of the West. Simple and modern, the form features floor-to-ceiling windows. The horizontal addition is innovatively wrapped in bronze-colored Richlite. Manufactured by the Tacoma-based Richlite Company, the sustainable material is comprised of recycled paper, organic fiber and phenolic resin. The
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(Above) Kundig’s addition is clad is bronze-colored Richlite panels and features operable window shutters--also of Richlite--over the galleries’ floor-to-ceiling windows. (Below) To connect the addition with the existing museum Kundig and his team designed a striking new 30-foot-high entrance canopy.
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Richlite’s “earthy color, provenance and material components connect to the city’s shipping, logging and railroading industries,” Kundig explains. Kundig deployed the Richlite in two ways: as fixed panels on the addition’s exterior, and in a series of overlapping window shutters or screens that open and close via a giant hand wheel prominently located in the museum’s lobby. The design’s form, materiality and operable sun/shade mechanism, Kundig explains, reference “Tacoma’s railroad associations
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The design’s form and materiality reference “Tacoma’s railroad associations via its boxcars, and the local Western tradition via its resemblance to fencing and barn slat ventilation. The intended impression is of industrialness as opposed to post-industrialness. Intimateness as opposed to grandiosity.” – Tom Kundig, architect & principal at Olson Kundig Architects
With the industrial hand wheel, museum staff can easily adjust the screens to control the amount of light and heat entering the galleries.
via its boxcars, and the local Western tradition via its resemblance to fencing and barn slat ventilation. The intended impression is of industrialness as opposed to post-industrialness. Intimateness as opposed to grandiosity.” With the hand wheel museum staff can easily adjust the screens, which are approximately 16 feet wide by 17 feet tall, to control the amount of light and heat entering the galleries, and to control the extent to which passersby can see inside. The industrial mechanism also
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The addition includes 7,000 square feet of new galleries dedicated to the Haub Family Collection.
enhances the museum-going experience with an engaging feature through which the building and the museum’s staff can respond to the outdoor environment. To connect the addition with the existing museum Kundig and his team designed a striking new 30-foothigh entrance canopy. The canopy, constructed of aluminum grating and stainless steel panels saved during demolition necessary for the expansion, also creates an outdoor plaza utilized as a public gathering space. Unlike the original entrance, “which people had real difficulty finding,” Kundig says, the new entry canopy establishes a strong visual presence for the museum along Pacific Avenue, Tacoma’s main thoroughfare. The canopy is also “transparent, covered and welcoming” and “is illuminated at night and equipped for light projections,” Kundig adds. Inside the main entrance is an enlarged, light-filled lobby where Kundig says he “sought to make the wayfinding experience warmer and more intuitive. When the museum reopened post-expansion, one of the most satisfying observations I heard was that everything seems to breathe and flow more easily now—that it feels natural, like it was always there.” In addition to 7,000 square feet of new galleries dedicated to the Haub Family Collection, the project incorporates 3,500 square feet of new back-of-house service and mechanical space. In addition to renovating the lobby and creating a new studio where the public is invited to make their own artworks, Kundig and his team completed 3,000 square feet of interior renovations in the museum bookstore, café and restrooms. To ensure the project’s sustainability, Kundig specified low-flow water fixtures, high efficiency mechanical and LED lighting systems, and the incorporation of reclaimed materials from the existing site. Approximately 61 percent of the total construction budget went to Tacoma-area companies.
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A 2008 recipient of a CooperHewitt National Design Award, and the subject of several architectural monographs—most recently Tom Kundig: Works published by Princeton Architectural Press—Kundig built his reputation on rugged yet elegant and welcoming residential designs, commercial work and a line of hardware. In 2009, the American Institute of Architects celebrated Olson Kundig as its Firm of the Year in part due to Kundig’s innovative leadership. With his first museum project, Kundig conquers yet another building topology with an addition and new entry that’s been lauded as “a quintessential Kundig building, reflecting the surrounding environment through the creative use of industrial elements, an earthy palette of materials, and mechanical features that allow the building to respond to its environment while helping to engage visitors.” n – CLF
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Spiritual Uplift The Catholic Church of St. Monica Fisher Heck Architects • James Heck, Senior Vice President and Principal Photos by John W. Davis, ASMP, AIAP, DVD Design Group, and Fisher Heck
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Original narthex elevation
New narthex elevation with addition In January 1959, Pope John XXIII ushered in a new year by announcing the creation of the Second Vatican Council (also known as Vatican II). Such a gathering of Roman Catholic religious leaders, assembled to review doctrinal issues, hadn’t been held in nearly 100 years. The outcome was 16 documents revising church practices centered on a theme of reconciliation— with other Christian denominations and non-Christian faiths—along with other new positions on education, the media and divine revelation. Several years later, in 1966, a new 800-seat house of worship in the Diocese of Dallas, Texas, was completed: The Catholic Church of St. Monica. It was the first one constructed in the Diocese after Vatican II and designed as a church in the round, which was uncommon at the
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time. The church had a modern, white rectangular exterior, and the circular sanctuary featured walls of spectacular floor-toceiling stained glass. Over time, however, the church’s dark-wood interior, lack of light and cramped auxiliary spaces led church leaders to desire some changes. Among other concerns, church leaders wanted to increase the sanctuary platform’s usable space and provide wheelchair access; open up the choir area and install a new pipe organ; and improve lighting, energy efficiency and acoustics. In keeping with current liturgical practices, leadership asked that the confessionals be replaced with reconciliation rooms, and the font placed in a more visible and mass-oriented location. “The client asked us to renovate and breathe new life into the space,” says James Heck, senior vice president and principal of Fisher Heck Architects in San Antonio, Texas. “The Bishop required that the project stay within the physical limits of the existing building with the exception of the narthex, and that we incorporate familiar and appropriate elements from the original spaces into the new design.” In other words, Fisher Heck (a firm specializing in religious architecture and historic preservation) was charged with renovating an iconic, historic and beloved place of worship while retaining a sense of the familiar. “It was so important for us to honor the church’s contemporary design and the feel of the space,” Heck says. “We didn’t want to force another style of architecture on the building.”
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Inside the sanctuary, the renovation began with asbestos removal, which meant the space was gutted down to its concrete and steel structure and surrounding walls of stained glass and vertical mahogany strips. During demolition, most of the dark wood was removed, as well as the wood and steel enclosure that separated the choir from the congregation. In the sanctuary’s ceiling, the circular stainedglass rose window was given new life when a skylight was constructed over the window, allowing natural daylight to filter through and illuminate the colorful glass (formerly lit with neon tubes). New light fixtures were installed above the stained-glass window for nighttime illumination.
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It was so important for us to honor the church’s contemporary design and the feel of the space. We didn’t want to force another style of architecture on the building.” – James Heck, senior vice president and principal of Fisher Heck Architects
(Above) Renovated interior with skylight. (Right) Original interior with dark wood and back-lit stained glass.
This oculus became the origin for the layout of the sanctuary. The ceiling “rays” emanating from the circular stained-glass window correspond with the aisle and pew configuration below. The pews, which seat 850, are in a semi-circular pattern. The new aisles align with the entrances and focus the
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What was once a dark and uninviting sanctuary is now a light and airy worship space that honors the architectural style and history of the original building.” –James Heck
parishioners’ attention on the altar as they enter. Heck and his team positioned the altar directly beneath the oculus and the stained-glass rose window. The designers simplified the narrow rectangular altar, reached via several steps. They expanded the altar platform and decreased the altar’s overall size, while incorporating a new granite top. Behind and on either side of the altar, the church’s original dark-wood paneling was replaced with lighter oak paneling and painted sheetrock walls. The Ascension mosaic, a feature formerly obscured by the dark wood paneling, is now highlighted by oak paneled columns on both sides and new linear lighting from above. The baptismal font, formerly tucked into the narthex, was relocated inside the nave. The architects opened up the font’s trefoil shape by having a new bowl carved out of a single block of granite. A terrazzo floor was put down in the sanctuary. New acoustical enhancements were incorporated into the perimeter circular walls behind articulated hardwood and cloth covered panels. Along with improved lighting and air-conditioning systems, technology enhancements included high-definition television monitors in the narthex for event announcements, and dropdown screens, projectors and (point tilt zoom) cameras inside the nave. Around the perimeter of the nave, the architects devised an ingenious solution for the required concealed fire alarm devices. “Our solution,” Heck says, “hides the [concealed fire alarm devices] in plain sight, directly above the Stations of the Cross.” Where there was a station without an emergency light, the designers had a sign fabricated that mimics the emergency light in every detail. Six of the 14 stations have concealed fire alarm devices above them.
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(Above) The design team simplified the altar and expanded the platform. Lighter wood throughout opens and brightens up the worship space. (Right) The original worship space featured dark-paneled walls and a larger altar. (Bottom opposite page) The designers innovated an ingenious solution for hiding concealed fire alarm devices in plain sight.
(Left) The original font was tucked away in the narthex. (Right) The redesigned baptismal font, now located inside the nave, has a bowl carved out of a single block of granite.
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(Left) An original shrine. (Above left) The new shrines include components from the originals. (Above right) The church’s confessionals were replaced with new, large reconciliation rooms behind new stained glass walls.
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COMMERCIAL • RESIDENTIAL No Minimum Order, No Minimum Quantity www.concealite.com • 605.542.4444
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Fisher Heck’s renovation of St. Monica’s also included replacing the traditional confessionals with two new reconciliation rooms. Instead of the small booths, Heck explains, the larger rooms have a kneeler and screen partition that separates penitents from priests for privacy and anonymity, as well a pair of chairs for face to face and more open conversations. The reconciliation rooms are located behind new stained glass walls, which separate the rooms from the shrines. In the shrines, existing statues sit on salvaged marble bases; new Italian glass mosaics shower them with light. The church also has a new, more intimate chapel with glass depictions of St. Monica on one side and her son, St. Augustine, on the other. On either side of the narthex, the architects added space for an expanded vesting sacristy, new restrooms, and a new glass-walled parlor for brides before wedding ceremonies or families preparing for a funeral. “We wanted parishioners, when they returned to their church, to feel a new vitality, to walk into a space that was fresh and uplifting, yet still familiar,” Heck says. “What was once a dark and uninviting sanctuary is now a light and airy worship space that honors the architectural style and history of the original building.” The design of St. Monica garnered Fisher Heck a 2015 Liturgical-Interior Design Award from the Interfaith Forum on Religion, Art & Architecture (IFRAA), an international honor. n – CLF
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GLOBAL
LIGHTING NEWS For Architects & Design Professionals Making the Switch
Concealed Occupancy Sensors
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. •
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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40 Pewaukee, WI Permit No. 3315
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