Innovative Design Quarterly Issue 917

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

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ISSUE 917 • 2017

Stavros Niarchos Foundation Parkway Film Center Rescued Ruin

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Glen Cairn Hall Thomas Edison State University Academic Gateway

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Hanse Cottage Mossy Oak Golf Club Southern Hospitality

Ziger/Snead LLP Architects renovates a storied Baltimore movie theater, juxtaposing its layers of history with contemporary technologies

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Niarchos Foundation 6 Stavros Parkway Film Center Photography by Karl Connolly Photography

15 Design Workshop Glen Cairn Hall 16 Thomas Edison State University Photography by Jeffrey Totaro

26 Product Showcase

Cottage 28 Hanse Mossy Oak Golf Club Photography by Michael Williams

Innovative Design Quarterly Magazine, Issue Volume 917, 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 2017 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 Stavros Niarchos Foundation Parkway Film Center

Glen Cairn Hall Thomas Edison State University

Hanse Cottage Mossy Oak Golf Club

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Rescued Ruin Ziger/Snead LLP Architects renovates a storied Baltimore movie theater, juxtaposing its layers of history with contemporary technologies

In 1915, the Parkway Theater in Baltimore opened its doors with Paramount Pictures’ silent film Zaza. The melodrama, based on the French stage play of the same name, directed by Edwin S. Porter and Hugh Ford, and starring Pauline Frederick in the title role, found its perfect setting in the opulent, Italian Renaissance-style theater. Designed by Baltimore architect Oliver B. Wight, and modeled after the West End Theater in London and the Strand Theater in New York, the Parkway was clad in light-gray terra cotta and multi-hued brick. The interior boasted an ornately decorated dome with a large golden sunburst at its center.

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Stavros Niarchos Foundation Parkway Film Center Ziger/Snead LLP Architects

Steve Ziger, Partner

Photography by Karl Connolly Photography

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Over the years, the theater endured multiple renovations as cinema technology evolved and the movie-going experience changed. The Parkway’s ornate side boxes and several rows of main-floor seats were removed, the lobby enlarged, new sound equipment installed and screen sizes enlarged.

The marquee changed four times. The walls acquired layers of paint and finishes. Then the building sat dormant for decades, except for a time during the 1980s when the lobby was a grocery.

When the Maryland Film Festival (MdFF) acquired the dilapidated yet storied theater from the City of Baltimore, Ziger/Snead LLP Architects of Baltimore was brought in to restore the building while retaining its history.

“Structurally the building was still in pretty good shape. The interior had been preserved in its many layers, which informed the design approach,” says Steve Ziger, partner. “We had a few rules we followed. If a feature was existing and in good shape we kept it. If it existed but was in really bad shape or falling apart, we removed it and replaced it to match the original. If it was missing, it stayed missing. If it was new, it was emphatically new.”

Today, the new three-screen Parkway (also known by its official name, the Stavros Niarchos Foundation Parkway Film Center) exists as a physical record of the technical and cultural evolution of film from its earliest days to the 21st century. “Our design approach celebrates the accumulated layers of each movie era, which we intentionally contrast with modern interventions,” Ziger adds. “The result is an authentic, rich, vibrant ‘rescued ruin’ that energizes the film complex and anchors its critical location in the heart of the Station North Arts District.”

The energizing effect is clearly apparent in the theater’s new, modern structure at the corner of North Avenue and North Charles Street. Where a row house once stood is a modernist cube clad in white-metal panels hovering above a transparent glass base. The vertical marquee of LEDs designed by Baltimore’s Post Typography spells out “Parkway.” A digital billboard between the cube and its base announces the evening’s events.

The new entrance wraps around and connects to the existing theater, its historic marquee ablaze with new LEDs.

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New and old exist compatibly side by side, their marquees illuminating the busy corner of the Station North Arts District.

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Our design approach celebrates the accumulated layers of each movie era, which we intentionally contrast with modern interventions. The result is an authentic, rich, vibrant ‘rescued ruin’ that energizes the film complex and anchors its critical location in the heart of the Station North Arts District.”

– Steve Ziger, Partner, Ziger/Snead LLP Architects

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Existing brick walls, plaster, stairways and floors are enlivened with modern interventions, including bright bold colors, LED lighting and vibrant signage.

Inside the new corner structure are a welcoming public lounge, two new state-ofthe-art screening rooms, fire stairs and an elevator with access to the main theater and balcony levels. “Through artful curation,” Ziger says, “we combined layers of history with state-of-the-art amenities and technologies. In some instances, layers were removed to reveal hidden aspects of history. Other times, we incorporated new elements that are unabashedly of their time. In many areas, several periods of the building’s history coexist side by side.”

In the Parkway’s main lobby, for instance, the design team removed drywall covering historic walls and columns, which in turn were coated in layers of plaster and paint: those walls and columns were cleaned, stabilized, clear sealed and “left to tell a story,” Ziger says. The coved ceiling of white plaster was repaired and rebuilt, and a modern chandelier inspired by historic lighting in the theater was created and installed.

The design team added a new steel-plate concession stand. A red wall in the lobby displays a graphic history of the building.

The wall separating the new lobby from the existing theater was painted an intense, bright pink and is decorated with smart new LED letters spelling out “Parkway.”

When the building formerly on the site was demolished, the team discovered a brick wall the two buildings had butted up against. They kept it, repurposing the masonry surface as a donor wall. Throughout the existing and new structures, linear slot diffusers for HVAC were inserted, as were concealed sprinklers, speakers, electrical, lighting and life-safety systems.

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In the historic theater, the design team retained the ornamental ceilings and walls.

Where plaster was deteriorated and had to be removed, the team replicated and replaced the ornamentation but didn’t paint it, so theater goers can note the distinction between old and new. The team retained existing openings for the projectors, but added a booth to accommodate two 35mm projectors and one classroom projector, and added acoustic windows for better sound performance. New decorative LED lighting around the perimeter of the recessed portion of the dome was installed, and the dome’s sunburst was finished with mica dust. Existing house lighting was restored.

At the orchestra level, the seating was reconfigured to provide space for the concessions area off of the lobby. Portions of the concrete slab left over from the grocery were removed and a new raked slab installed to optimize sightlines. The movie screen was positioned outside the proscenium arch and a new truss installed to support a larger screen sized to accommodate a variety of formats. The existing stage curtain was replaced; an acoustic panel added to the new back wall; and remnants from the absent side boxes retained. A chase originally used for organ pipes was repurposed for the HVAC system and covered with a digital print of the existing latticework on acoustically transparent material.

In the balcony of the theater, the design team added a sound and light lock at the vomitoriums and the top of the balcony; reconfigured steps and railings; and installed new seats and rebuilt a platform to allow for contemporary seating clearances, while reconfiguring the seating to a centralized arrangement to optimize sightlines.

They added a new decorative pendant and upgraded lighting in existing stairwells and restored the marble on the stairs. One door opening was filled in, but its trim retained.

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The theater includes restored and left-tobe ornamental ceilings and walls, and a new armature for a large screen mounted outside the proscenium arch.

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Also upstairs was a former tearoom with two small bathrooms and a fireplace. Here the design team removed the drop ceiling and discovered an original vaulted ceiling, which they left as is. The team recreated the wood windows, and inserted new wood flooring where necessary but left it unstained. “Now, in this former tearoom, there is a 1915 ceiling, mid-20s ornamentation and a 2017 bathroom,” Ziger says. “If you have forensic curiosity about the stories buildings tell, you can read this building like a book. It’s been absolutely fascinating to discover the layers of changes.”

On the exterior of the historic building, the team had a light touch. The original 1915 marquee was recreated from historic photographs. The original cornice lighting was restored and the original entry doors recreated.

Graffiti was removed and new paint colors that are historically compatible were used. The terra cotta was cleaned and the brick was tuck The original theater’s 1915 marquee was recreated pointed. from historic photographs and welcomes film goers alongside its modern addition.

The stories the refurbished theater tells aren’t only about its own resilience or the history of cinema, however. The building also speaks to the resilience of the creative district in which it is located. “The Parkway occupies a critical corner in downtown Baltimore, in the vibrant Station North Arts District,” Ziger explains. “So its renovation is not only about the bright future of the building, but also about the future of the film program and film festivals housed here, and about the vitality of the arts district.”

“I’ve been doing historic renovation for more than 40 years,” he adds. “Because the Parkway has so many stories to tell, it was the most deliberately curated project I’ve ever worked on. For every square inch, we worked closely with the owners and craftspeople to make critical decisions.

Today, the Parkway continues to tell its stories of more than a century of movie-going history and the vital role it is playing in Baltimore’s future.” n – CLF

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Academic Gateway Clarke Caton Hintz redefines Trenton, New Jersey’s historic district with a context-sensitive academic building for Thomas Edison State University

Glen Cairn Hall Thomas Edison State University

Clarke Caton Hintz Architects John D. S. Hatch, Principal Stephen Doyle, Project Manager, Designer Photography by Jeffrey Totaro

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Glen Cairn Hall was designed to reflect the history of the area and the mansions nearby.

Since moving to downtown Trenton near the New Jersey State House in 1979, Thomas Edison State University (TESU) has methodically enlarged its campus by restoring a number of singular buildings in the State House Historic District, which is listed on the National Register of Historic Places. The university began by establishing its headquarters in the 1911 Kelsey Building, which was renovated and connected to five restored mid-19th-century brick townhouses. Next was the stately, early 20th-century Kuser Mansion. Over time, the new Hanover Hall and Canal Banks Building were added. Most recently, an Art Deco building was renovated to house the Center for Learning and Technology.

As TESU continued its expansion and investment in Trenton, spurring economic development and urban renewal in the historic downtown area, a dilapidated 19th-century apartment building called the Glen Cairn Arms sat vacant for more than 20 years. Perched on a sloping site considered a gateway to downtown, and with views of the Delaware River, the Calhoun Street Bridge and the Trenton skyline, the structure was nonetheless considered an eyesore. In 2013,

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TESU bought the tight urban site with the intention of building a new facility and had the building demolished.

In 2014, construction for the new building designed by Clarke Caton Hintz, also in Trenton, began. In 2016, Glen Cairn Hall opened to tremendous civic acclaim and fanfare. “This is a marvelous day in the life of our city,” said Eric Jackson, Trenton’s Mayor. “When commitment, bold ideas, resources, collaboration and leadership intersect, the result is what you see right here in Glen Cairn Hall.”

The 34,360-square-foot building, designed to reflect the former mansions nearby—including the Kuser Mansion next door—incorporates traditional and durable exterior materials such as composite slate roofing, brick walls and caststone accents. The design of Glen Cairn Hall also respects the building set-back of the adjacent Kuser Mansion. The massing of the building reinforces the dominant north-south central circulation axis with a gable roof. The secondary axis is marked

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with another intersecting gable roof. Large-scale windows are centrally organized at each axis.

“One of the goals of TESU’s president, Dr. George A. Pruitt, was to create a new building that would fit into the historic district and refer to the mansions, while knitting the urban fabric back together,” says John D. S. Hatch, Principal.

“Our firm is also committed to working with and improving the historic urban context, so Dr. Pruitt really let us do our best work.” Brick figures prominently on the building’s exterior, Hatch adds, because “Trenton is a brick city with lots of clay deposits in the area. It was once the number-one producer of pottery and ceramics in the country. Many of the historic district’s buildings, including the Glen Cairn Arms, were brick.

Brick and stone were therefore natural choices.”

“Our firm is also committed to working with and improving the historic urban context, so Dr. Pruitt really let us do our best work.” Brick figures prominently on the building’s exterior, Hatch adds, because “Trenton is a brick city with lots of clay deposits in the area. It was once the number-one producer of pottery and ceramics in the country. Many of the historic district’s buildings, including the Glen Cairn Arms, were brick.

Brick and stone were therefore natural choices.”

The design team worked with traditional elements to organize the three-level building into a base, middle and top.

They also broke the massing up into small, medium and large elements to accentuate the public spaces and entrances.

Window openings are articulated by cast-stone casings at the perimeter, as well as a variety of mullions to break the glass panels into smaller components and keep the building at a human scale. The sloping site allowed the two-level, 44,828-square-foot parking garage to be buried from view to the north. The garage’s south portion extends out from under the building where the roof is used as a garden and amenity space for the university.

The building was also designed for sustainability and longevity, and is on track for LEED Gold certification. Glen Cairn Hall’s high-performance building skin has robust insulation, thermal breaks, continuous air barriers and other details adapted from the National Institute of Building Sciences best-practice design guidelines. As a result, large windows in

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The sloping site allowed the garage to be buried from view to the north (top). The building’s first floor has meeting and conference spaces with large windows, and a student advising center (above).

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classrooms and offices bring natural light inside without the energy loss associated with glass expanses. When approved, Glen Cairn Hall will be Trenton’s first LEED Gold project.

The building’s first floor has meeting and conference space and a student advising center.

In a nod to the site’s history, the two-story lounge features the salvaged terra cotta entry from the former Glen Cairn Arms apartment complex. The first floor also includes gallery space to display inventions, artifacts and memorabilia from Thomas Alva Edison donated to the Thomas Edison State University Foundation. The second floor houses the W. Cary Edwards School of Nursing and includes nursing simulation laboratories, lecture halls, classrooms and a testing center. The third floor has meeting rooms and additional offices.

The design centers around a common room for informal meetings and lounge areas. In addition to Project Manager and Designer Stephen Doyle, Jacqueline Wolverton, the firm’s Director of Interiors, also worked on the project along with Annette Hladio of Architectural Lighting Design in Ambler, Pennsylvania. They specified LED lighting throughout the

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In a nod to the site’s history, the two-story lounge features the salvaged terra cotta entry from the former Glen Cairn Arms apartment complex (top). Offices and classrooms were positioned to bring in plentiful natural light (above).

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building. Pendant lamps, tile floors, finishes, and moldings and trims were selected to ensure the interior felt traditional in an academic sense yet also contemporary and fresh.

“We do a lot of college projects and a lot of urban revitalization work, so Glen Cairn Hall was a great opportunity to combine that expertise,� Hatch says. “Also, because our firm is based in Trenton, we were thrilled to work on a project that would have such a positive

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“

One of the goals of TESU’s president, Dr. George A. Pruitt, was to create a new building that would fit into the historic district and refer to the mansions, while knitting the urban fabric back together.” – John D. S. Hatch, Principal

The building was also sustainably designed and is on track for LEED Gold certification. When approved, Glen Cairn Hall will be Trenton’s first LEED Gold project.

impact on the city. This particular site is really a gateway. Today, with Glen Cairn Hall on the site, it announces how the university and the city have worked together to make Trenton a place of high-quality collegiate learning opportunities, urban renewal and economic prosperity.” n – CLF

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Southern Hospitality PryorMorrow designs a cottage for the Mossy Oak Golf Club in Mississippi that blends the rustic and refined

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Hanse Cottage Mossy Oak Golf Club

PryorMorrow Roger A. Pryor, Principal Jason Bigelow, Project Architect Photography by Michael Williams

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When the George Bryan family, founders of Old Waverly Golf Club in northeast Mississippi, decided to create a sister golf course that emphasized preserving the natural setting, the family called on minimalist golf-course architect Gil Hanse and outdoor brand giant Mossy Oak to create a new experience known as “Nature’s Golf.” The result is the new Mossy Oak Golf Club, which includes a 7,400-yard par-72 course, guest cabins to accommodate stay-and-play golfers, and a pro shop.

The Nature’s Golf experience, as created by Hanse and Mossy Oak, is a sustainable and mindful approach to course development that leaves a gentle footprint on the local habitat while delivering a worldclass golf experience. The land’s existing contours, including ridge views, were kept along with a native prairie. As the Bryan family had worked exclusively with PryorMorrow, an architecture and engineering firm in Columbus, Mississippi, on Old Waverly Golf Club, they commissioned the firm to design a pro shop for Mossy Oak with the flexibility to become a guest cottage in the future. They named the project the Hanse Cottage in tribute to Gil Hanse.

The PryorMorrow team followed Hanse and Mossy Oak’s lead in creating a structure that would “sit nicely in the landscape,” says Jason Bigelow, Project Architect, who worked on the Hanse Cottage with Roger A. Pryor, Principal. “The tagline for Mossy Oak is Nature’s Golf.

Everything associated with the project needed to feel like an integral part of the landscape, like it had been here for 100 years. Likewise, the cottage needed to have a timeless feel, but with modern amenities and conveniences.”

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wanted our building to be a simple “ We structure reminiscent of an outbuilding; to feel original, yet of a place.”

– Jason Bigelow, Project Architect

The cottage has an open interior with high barn-like rafters, while clear cypress pillars mark the front entrance.

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The design team took its cues from rural vernacular buildings in the south; more specifically, barns, with their open interiors and high rafters, and the dog-trot house, which historically consisted of two cabins connected by a breezeway or dog-trot and all under one roof. “We’re also fans of Hugh Newell Jacobsen,” Bigelow adds. Jacobsen is an architect known for his modern, pavilion-like residences composed of simple, gabled forms that are rectangular in plan, and inspired in part by the vernacular architecture of rural homesteads. “We wanted our building to be a simple structure reminiscent of an outbuilding; to feel original, yet of a place.”

The Hanse Cottage has two square forms that bracket a large middle volume with floorto-ceiling glass. The design team clad the building in dark gray-green cedar board-andbatten siding. The roof is cedar shingles. At the building’s entry, on either side of the glass curtain wall, are large clear-cypress pillars. “George [Bryan] insisted that we use clear cypress to strongly mark the entry,” Bigelow says. “The massing of those logs was important. We worked hard to find beefy and muscular logs that would really work there and anchor the building in the landscape.”

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Inside the building’s entrance is a central gathering space with vaulted ceiling—it’s also the heart of the pro shop—with the 14-foot-high curtain wall offering expansive views of the golf course. The ceiling has an exposed board-andbatten surface. Angled glass windows on the gable ends give the vaulted space the appearance of an old barn. Suspended from the ceiling is a 10-by-10-foot grid of black tube steel for hanging lighting and merchandise. The team designed the grid as an independent structure.

The cottage includes other spaces that will become a Founders’ Room, locker rooms and four guest suites with shared baths. “In anticipation of the guest rooms, we installed LED lights for energy efficiency and low maintenance,” Bigelow says, “and included finishes like marble, slate and granite. Just what you would expect in a well-known golf course with high-end accommodations.”

With the golf course located just 300 yards from the cottage’s front entry, and glass expanses with views of the action outdoors, the Hanse Cottage is poised to address the trend in stay-and-play golf travel. “Northern golfers love to come down in groups for birthdays, vacations and parties during the cooler months,” Bigelow says.

“We designed the pro shop to be adaptable as a communal space where groups can enjoy each other and the course without having to go anywhere else to stay.”

Roger Pryor has been designing golf clubhouses for more than 30 years, including at Old Waverly nearby. The team is currently working on the permanent

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Inside the pro shop, a 14-foot-high curtain wall offering expansive views of the golf course. The ceiling has an exposed board-and- batten surface.

clubhouse for Mossy Oak, which will house the pro shop and a restaurant when completed.

“Roger has a good feel for traditions and trends in golf-course facility design,” Bigelow says.

“And while this was a small project for us, we enjoy and share George’s passion for developing structures that become an integral part of the landscape.” n – CLF

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