Innovative Design Quarterly March 2018 by Sumer

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

ISSUE 318 â&#x20AC;¢ 2018

6 16

Baltimore Center Stage Word Palace

McGuire and Hester Firm Foundation

The Lakes of Valparaiso Clubhouse Classic Contemporary

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6 Baltimore Center Stage Photography by Karl Connolly

15 Design Workshop 16 McGuire and Hester Photography by Patrik Argast

26 Product Showcase

28 The Lakes of Valparaiso Clubhouse Photography by Jacob Sharp Photo

Innovative Design Quarterly Magazine, Issue Volume 318, 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.

Copyright ÂŠ 2018 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 Baltimore Center Stage

McGuire and Hester

The Lakes of Valparaiso Clubhouse

word palace

In 1963, a foresighted and determined community theater troupe founded the State Theater of Maryland in Baltimore. In 1975, the group moved to a former high school, unused for decades, on Calvert Street in the Mount Vernon Cultural District. They renamed the company and the building Center Stage. For 40 years they created theatrical magic while working around and

Cho Benn Holback + Associates collaborates on the renovation of Baltimore Center Stage with a focus on the power of the written and spoken word

Baltimore Center Stage

Cho Benn Holback + Associates, a Quinn Evans Company Rima Namek, Senior Associate Photography by Karl Connolly

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Lighting is a major feature. When walking or driving by the theater, people are very aware that something creative and exciting is happening inside.” – Rima Namek, Senior Associate, Cho Benn Holback + Associates

within the six-story brick structure’s classrooms, study halls and a small auditorium. Additions and remodeling occurred. New prop and scene shops were built onto the back of the building. The Head Theater was added in 1991 on the fourth floor; and yet, the design failed to provide the seating and stage flexibility necessary to accommodate a variety of stage productions. Exterior and interior stairways were under a historic trust easement, which limited the options for adapting these features to better accommodate the company’s needs. The lobby, with exposed red brick walls and a stairway at its center, was updated several times but remained dark, static and claustrophobic. Moreover, the building needed new electrical, heating and air conditioning, lighting and plumbing systems. Nonetheless, Center Stage took on a leadership role in the regional theater movement. Along with the Guthrie Theater in Minneapolis, Arena Stage in Washington and Alley Theatre in Houston, Center Stage helped change the ways in which Americans experience professional theater. Today, Center Stage is rehearsing and performing in a renovated building that supports and enhances its ambitions. In 2017, the renamed Baltimore Center Stage opened to thunderous applause. Redesigned by Cho Benn Holback + Associates, a Quinn Evans Company, with contractor Whiting-Turner, both of Baltimore—with a new Head Theater created in conjunction with Charcoalblue, a London theater design company—the updated building introduces audiences to a clean design aesthetic and bright flexible spaces dedicated to the power of the theatrical word. “The renovation [allows] the building, like the theater’s artistic programming, to embrace both the old and the new, with a design that structurally reflects the building’s rich history while providing state-of-theart patron services and modern architectural elements,” Michael Ross, Baltimore Center Stage’s Managing Director, told DC Theater Scene. The transformation begins on the building’s exterior. The architects accented the brick building’s granite base with a bold front door below a transparent canopy, which emphasizes the structure’s original carriage entry to a one-time interior court. The front door’s arch and the balcony walls above are enlivened with a new vertical marquee and programmable LED lighting. In this way, Baltimore Center Stage “can introduce visitors and guests to the theatrical experience at the curb,” says Rima Namek, Architect and Senior Associate, Cho Benn Holback.

A new glass-and-steel vestibule ushers guests into the two-level, atrium-like lobby, where quotes from plays and playwrights are projected on the walls (above) and inscribed in a word wall around one of the building’s three theaters (opposite).

Audiences once walked into a dim, congested lobby. Now, a glass-and-steel vestibule ushers guests into the two-level, atrium-like Deering Lobby, where the brick walls sport a bright new whitewash. “Lighting is a major feature” in the lobby, Namek says, to illuminate the transparency between inside and outside. “When walking or driving by the theater, people are very aware that something creative and exciting is happening inside.” Put another way, the lobby was redesigned to function “as another stage, to engage guests in a theatrical conversation from the get go,” Namek explains. Theatrical DMX LED lighting can be programmed to create various moods or ambient environments in the lobby, or to project enticing text onto walls that’s related to the productions occurring in the building’s three theaters. LEDs were also used to light a dramatic new feature: metal panels on either side of the entrance to the 541-seat Pearlstone Theater (updated with improved audio-visual and lighting capacities), which rise to the lobby’s mezzanine level. Cut into the quarter-inch-thick metal panels are lines from iconic plays. Kwame Kwei-Armah, Baltimore Center Stage’s Artistic Director, originated the concept. “We enter a palace of words when we enter into any theater,” he told Baltimore Style, describing words as vessels for ideas and catalysts for conversations. “And so words and conversations are right at the root of what I think we do here in theater.” “It’s such a dynamic feature,” says Namek of the word wall, which was created in collaboration with Pentagram, a New York-based design studio. The word wall also connects the first and mezzanine levels in the lobby, thereby strengthening the verticality of the space. The mezzanine’s underside and base were painted red to demarcate the horizontality of this upper lobby level,

where the design team placed a new dining area, new restrooms, lounge spaces, and gathering areas with projection technology for audience talk-backs, forums and live-streaming events. The former box office, which was dark and closed in, was replaced with a new ticket desk of zinc panels. Poised in front of a maple-paneled wall stained dark walnut that contrasts with the whitewashed brick, the ticket desk “has a welcoming, contemporary aesthetic,” Namek says. The design team reanimated an underutilized five-level historic stairway by adding a chandelier of LED-lit plexiglass tubes programmable with different colors. Red vertical lights along the red elevator doors cue theater goers to “follow the red thread,” Namek says, to the theaters on the upper levels. On the fourth floor, an area previously used to

The lobby also houses a new zinc-paneled ticket desk (opposite top). A historic stairway was reanimated with a chandelier of LED-lit tubes (opposite). The prominent red color provides a “thread” leading visitors up to the Head Theater’s lounge (above).

store light fixtures, furniture and other props, and where large arched windows had been covered in black-out curtains, is now the spacious Deering Lounge—a lobby for the Head Theater. The design team uncovered the enormous, dramatic windows for light and views, painted the walls and ceiling, introduced comfortable furnishings in red and tan, included a bar area, and installed DMX LED programmable lighting so words and images can be projected on the walls. The Head Theater was gutted and reconfigured to allow the company to stage productions using a narrow-thrust, wide-thrust, in-the-round or proscenium stage configuration. Flexible seating can accommodate 215 to 412 theater goers. “A mechanized platform system and removable chairs next to the stage allow the theater to accommodate a greater variety of productions,” Namek says. In the Deering Lounge, a steel staircase with wood risers lit from below leads to the Head Theater’s balcony seating. A phrase about playwriting curves along the ceiling above the stairs. Inside the Head Theater, a new displacement air system installed beneath the seats ensures a quiet and comfortable experience for theater goers. Also on the fourth level, in a former backstage area, the design team inserted a 99-seat theater called The Third Space. In this small venue, Kwei-Armah told The Baltimore Sun, “we can do exciting work for families and work by new and emerging playwrights.”

The Head Theater was reconfigured and renovated to accommodate a range of stage configurations, including narrow- and wide-thrust stages.

The renovated building also includes a new costume shop with facilities for dyeing material, and sewing, fitting and storing costumes. Two new rehearsal rooms, one with soaring ceilings and abundant natural light, another for small groups of actors or musicians, provide the company with spaces in which to hone their craft. Throughout the building, mechanical systems were updated. The theater is now a lively presence in a burgeoning urban neighborhood. “We’ve created more opportunities for art making and community building, with new public spaces to gather before and after shows, and state-of-the-art performance spaces with the best in theater design and technology,” Michael Ross, the theater’s Managing Director told Baltimore Fishbowl. “We’re thrilled to reopen our doors and welcome the community to experience our remarkable transformation.” For Terry H. Morgenthaler, President of the Baltimore Center Stage Board of Trustees, renovating the building encompasses more than “putting on plays,” she told Baltimore Fishbowl. “It’s about being a presence in a vital, vibrant city neighborhood. I want us to be on par with all the other major institutions in the city. We’re a big anchor here. We need to have a strong presence in this neighborhood.” And indeed, Baltimore Center Stage now does. n – CLF

DESIGN

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Firm Foundation FORGE-SF designs a new headquarters for McGuire and Hester on San Francisco Bay that honors the past and ushers in the future Call it the luck o’ the Irish—combined with a century of diligence, innovation and hard work. But the evolution of Michael J. McGuire’s construction business, which he began in 1926 with sewer installation service for homes in and around Oakland, CA, after emigrating from the old country to California, is also a classic example of the American Dream. In 1931, McGuire invited his friend Mike Hester to join the company as his business partner. Using their 1921 Buick as a mobile tool truck, they worked on such major Depression-era projects as the Alameda County Courthouse. They eventually bought a pickup, while continuing to office out of McGuire’s home. In 1938, McGuire and Hester built their first headquarters on a site where the Oakland Coliseum was later built. During World War II, the company took on large military projects, including laying the underground utilities at the Oakland Army Base and Naval Supply Depot in Oakland. They incorporated their partnership in 1947, but a year later McGuire died and Hester assumed leadership of the company. Throughout the 1950 and 60s, the company kept pace with the community’s growing needs—including creating a prototype for the California Aqueduct Canal—and constructed a new office. By the 1970s, the next generation had expanded operations from construction to grading and paving, concrete and mechanical work. Landmark projects included the beautification of Market Street and the Powell Street Cable Car and Turntable in San Francisco, CA, and the Napa Downtown Mall in Napa.

McGuire and Hester

FORGE-SF Terri Emery, Senior Project Architect; Derek Cunha, Project Lead Photography by Patrik Argast

Emergency work during earthquakes, fires and floods; the passing of the baton to the next generation; the addition of landscaping, architectural concrete and aggregate divisions; a transition to a 100-percent employee-owned company: Today, McGuire and Hester is an industry leader in the Bay Area with a new corporate headquarters on the San Francisco Bay shoreline, a site with sweeping views of the Bay and a scenic pedestrian walkway. Designed by FORGE-SF in San Francisco, the new two-story, 23,000-square-foot headquarters serves as a brick-and-mortar tribute to McGuire and Hesterâ&#x20AC;&#x2122;s nearly century-long past and future success. Designed in collaboration with the companyâ&#x20AC;&#x2122;s employees, the two-

toned, masonry and steel building with copper accents blends McGuire and Hester’s deep history in construction with modern elements that support today’s company culture. “While our clients are always at the forefront of the design and construction processes, this particular project had an exceptionally high volume of involved parties, including a design team from McGuire and Hester dedicated to fulfilling the needs and meeting the expectations of every employee,” says Terri Emery, Senior Project Architect, FORGE-SF. “To manage all of the input and streamline responsibilities” she continues, “our internal team established points of contact for the

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Not only did this project bring together multiple decision makers, it also set an example of shared decision making between the project owner, contractor and design team.” – Terri Emery, Senior Project Architect, FORGE-SF

The building’s masonry exterior is punctuated with “smart,” electrochromic glass (left) that automatically maximizes natural light, reduces heat and glare, and provides unobstructed views from inside the building (above).

various elements of the process, and honed in on our signature ability to listen and understand the client’s underlying goals. Ultimately, we were successful in delivering an exceptional project that exceeded our client’s expectations.” The building’s understated exterior is punctuated with large windows of View Dynamic Glass, a “smart,” electrochromic product that automatically tints to maximize natural light, reduce heat and glare, and provide unobstructed views. “The building was designed to face southwest, toward the Bay,” says Derek Cunha, Project Lead, FORGE-SF, “with spectacular, sweeping views of the Bay from almost any angle. The electrochromic glass allows employees to enjoy the views and natural daylighting, while also being able to work in functional and comfortable offices without the need for curtains or shades.” On the building’s exterior, articulated aluminum sunshades rhythmically punctuate its horizontal mass, which has two office wings organized around a nearly 40-foothigh, steel-and-glass atrium at the front entry. Within this airy, light-filled volume is a dynamic, open staircase. Supported by a steel structure and bowstring truss bridge,

The building’s airy, two-story atrium has catwalks leading to offices (above) and opens to an employee patio on the first level (opposite) with walkways along the shoreline (opposite above).

the stair connects with mezzanine-style walkways and brings a rugged, industrial aesthetic into the volume along with clear circulation. Wood stair treads, poured-in-place concrete flooring with a polished finish, interior exposed-masonry walls and ductwork, and industrial pendant lighting further brand McGuire and Hester’s “earthy” roots through design. The main gathering space also includes training, break and executive conference rooms with sliding glass doors that open to the back patio overlooking the Bay. To support McGuire and Hester’s emphasis on flexibility and work/life balance, FORGE-SF designed a large kitchen area that opens to the outdoor patio with a fire pit, grill and bocce court. A butterfly roof and vertical-grain Douglas fir soffit demarcate the lively gathering area at back of the building. Artifacts and materials from McGuire and Hester’s past projects, including sourced wood and an original drag bucket, are utilized both functionally and aesthetically throughout the office to showcase the company’s foundational roots and evolution. Private offices were sized to accommodate work spaces for examining large sets of drawings. Interior glass walls on the private offices allow employees seated at shared workspaces to enjoy light and views. Illumination from LED fixtures and daylight entering through windows were deftly balanced with motion sensors and computerized control systems to meet California’s energyperformance requirements.

Within the atrium is a dynamic, open staircase supported by a steel structure and bowstring truss bridge (above). The stair connects with mezzanine-style walkways (opposite) and brings a rugged, industrial aesthetic into the volume.

The result is a building designed and constructed to LEED Gold standards, while conveying McGuire and Hester’s historical roots and march into the future. “McGuire and Hester asked us to design a two-story headquarters that captures Bay views and conveys an aesthetic that communicates their longevity in an ‘earthy’ sort of sense,” Emery says. “They also worked closely with us to create an active environment centered on the company’s collaborative culture.” “Together, we learned lots of lessons and experienced tremendously positive outcomes,” she adds. “Not only did this project bring together multiple decision makers, it also set an example of shared decision making between the project owner, contractor and design team.” The result is a new headquarters in which tradition and innovation are poised to carry McGuire and Hester far into the future. n – CLF

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CONTEMPORARY BSB Design and Mitsch Design blend a clubhouse’s indoor and outdoor spaces with a rustic contemporary aesthetic at an Indiana residential community

When The Lakes of Valparaiso, a new apartment community in Valparaiso, Indiana, began planning a clubhouse with indoor features and outdoor amenities that residents would enjoy year around, the development company asked the national firm BSB Design to expand its already excellent work on the project. BSB had drawn its design inspiration for the multifamily community from resort architecture and the active lifestyles of today’s families. The complex’s

The Lakes of Valparaiso Clubhouse

BSB Design • Jeff Mulcrone, Director of Design Mitsch Design • Jill St. Claire, Project Manager Photography by Jacob Sharp Photo

The clubhouse’s exterior of Coronado stone, Hardie panel and lap siding, metal roofing and cedar trim conveys Colorado Craftsman style.

23 handsome stone, timber and metal buildings were sited in a serene tree-filled setting with rain gardens, lakes and rolling landscapes. The future 8,000-square-foot clubhouse and leasing center would be the social and fitness hub for residents, along with their friends and families. BSB wanted the architecture, says Jeff

The focus of the clubhouse interior is an open-plan, two-story volume with wood beam accents beneath a 24-foothigh ceiling and large window expanses.

Mulcrone, Director of Design, to reflect yet depart from the area’s traditional styles, while “embracing the pool area and the lakes and views beyond.” With a design team that included Mat Buster and Doug Wirth, Mulcrone devised a classic style blending rustic and contemporary. On the clubhouse’s exterior are Coronado stone, Hardie panel and lap siding, metal roofing with deep overhangs, and cedar brackets, beams and corbels. Mulcrone calls the style Colorado Craftsman, which he says was “influenced by an emerging design trend rooted in the history of great lodges in our National Parks.” On the interior, the design team brought the aesthetic through. After entering a high stoneand-beam “porch” and tall foyer, the interior opens into an open plan, two-story volume with wood beam accents beneath a 24-foot-high ceiling. “As you step into the main clubroom, the viewpoint widens to encompass the game and fitness rooms, lounge areas and demonstration kitchen while drawing the eye right back outside to the pool and lakes,” Mulcrone says.

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We created the feel of the outdoors—of water, stone, wood, sky and clouds—through a soft, inviting color palette of creams and tans, slate blue, a deeper turquoise and a variety of gray tones.” – Jill St. Claire, Project Manager, Mitsch Design

To create a more residential feel, particularly in the large airy atrium at the clubhouse’s center, “we had to think about how to create intimate and inviting spaces for gathering, playing, lounging and enjoying time with neighbors, friends and family,” says Jill St. Claire, Project Manager, Mitsch Design, Carmel, Indiana. “The client also wanted to bring the outdoors inside, not only through the large windows but also with colors and materials.” “The project is after all called The Lakes,” she continues, “so we created the feel of the outdoors—of water, stone, wood, sky and clouds—through a soft, inviting color palette of creams and tans, slate blue, a deeper turquoise and a variety of gray tones.” Because the interior design also had to appeal to a wide demographic range of residents, “including younger people who want a clean modern feel and older residents wanting a comfortable classic feel, we had to find the right aesthetic balance,” she adds. One innovative solution was the design of convex curves hung from the ceiling over the kitchen/bar area and the living room or TV lounge. The enormous curves were fabricated out of

light-weight aluminum, then wrapped in black walnut and finished with polyurethane. Embedded with lighting and speaker systems, with cove lighting above, the dramatic curves “bring down the scale of these spaces, define them, and add softness and intimacy,” St. Claire explains. The kitchen/bar area, where personal chefs are invited to plan and cook meals with residents, or residents can entertain small groups, is also defined by a wood wall behind the television. Comprised of a quartered-walnut veneer that comes in wallpaper form and was stained on site, the wall is bracketed by columns of porcelain tile tumbled to resemble pebbles. Wood trim defines the columns and completes the composition. The flooring is a luxury vinyl tile that resembles wood, while down the center of the main space is a “street” of porcelain tile with a stone feel. Carpet planks in a giant chevron pattern were used in the leasing office and computer area. In the main volume, pendant lamps of walnut and an antique bronze finish, and with circular or cloud-like shades, hang from the ceilings at varying lengths. Decorative wall sconces, can lighting and a variety of additional pendant lamps provide decorative illumination that, in the evening, sets the clubhouse aglow. To appeal to residents of various ages, St. Claire specified traditional lounge seating and couches in commercial-grade fabrics with residential textures, including velvet, chenille and faux leather. Fun modern patterns for upholstery and lighting introduced a more contemporary aesthetic. In the game room with pool and shuffleboard tables, faux beams textured and stained to look like wood were suspended with aircraft cable at varying heights with pendant lights coming through. In the fitness room, curved forms on the ceiling and floor demarcate a separate but accessible area for group fitness classes such as yoga and pilates. A custom-made curtain was installed on a curved track and can be pulled for privacy during those classes. Between the leasing center and residents’ clubhouse, St. Claire specified six large slider doors. “As you pull, they slide all the way open on lower and upper tracks, stacking up to create a cool, dramatic accent,” she says.

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Large convex curves hung from the ceiling above the kitchen/bar (top) and lounge area (middle) demarcate those spaces while adding a more intimate scale to the large volume. Curved forms and a wood floor mark the group-fitness area (above) in the fitness room.

The clubhouse’s contemporary-lodge aesthetic continues outside in the outdoor eating and entertainment space (right) and pool area (above).

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The contemporary lodge-like feel continues outside where veranda seating overlooks the pool. A covered outdoor dining area has a stone fireplace and pillars, a lounge area, farmhouse tables and an outdoor kitchen. The roof of cedar trusses and decorative joinery adds “volume and texture to this outdoor room,” Mulcrone says. In the evenings, up-lighting on columns illuminates the trusses while down-lighting creates a sense of warmth. By the pool, banquette seating beneath umbrellas has aluminum framing with quick-dry foam pads covered in sturdy Sunbrella fabric. The clubhouse’s backyard also has cabanas, a fire pit, grilling stations, and deck and lawn areas. The easy flow between the clubhouse and the pool area ensures a balance of experiences for residents — inside and outside, poolside and lakeside. “We wanted the clubhouse to become a beacon for this community — day and night,” Mulcrone says. “It’s their home away from home.” n – CLF

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