Innovative Design Quarterly - September 2018

ISSUE 918 • 2018

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

6 Prime Time 16 Triple Threat GT Prime

Pearl Izumi North American Corporate Headquarters

28 Grand Narrative Museum of the Bible

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Studio K Creative and Lightswitch illuminate a new steakhouse concept in Chicago with dramatic design and theatrical enchantment

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6 GT Prime

Photography by Anthony Tahlier

15 Global Lighting News Izumi North American 16 Pearl Corporate Headquarters Photography by Raul Garcia

26 Product Showcase

28 Museum of the Bible

Photography by Alan Karchmer and Alex Fradkin

Innovative Design Quarterly Magazine, Issue Volume 918, 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 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 GT Prime

Pearl Izumi North American Corporate Headquarters

Museum of the Bible

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Giuseppe Tentori, the long-time visionary chef of the Boka Restaurant Group in Chicago, saw the space’s potential. On the ground floor of a new brick and concrete high rise in the bustling River North neighborhood sat a bland, empty box hemmed in by a parking ramp. Tentori realized the site, located in Chicago’s steakhouse district, was perfect for launching a bold new restaurant concept: GT Prime. He called his go-to design team, the Chicago-based Studio K Creative, to transform the box into what Karen Herold, Principal, calls an “enchanted cabin.”

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PRIME TIME Studio K Creative and Lightswitch illuminate a new steakhouse concept in Chicago with dramatic design and theatrical enchantment

GT Prime

Studio K Creative Karen Herold, Principal Lightswitch Avraham Mor, Partner Photography by Anthony Tahlier

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“I’ve done so many restaurants for Giuseppe and Boka,” says Herold, who teamed with Lightswitch’s Chicago office on the project.

“They’re the ideal client. Giuseppe explains what he wants, describes the concept, shows me the menu and location, and we sit down and taste the food. Then he gives me creative freedom.” The result is “a space that’s different every time you go in,” she adds, “with the hope that there’s always something new to discover.”

The design isn’t GT Prime’s only innovative aspect. Forget the traditional steakhouse, with its relish tray, shrimp cocktail and slabs of beef beside loaded baked potatoes. GT Prime’s menu is a sophisticated take on that American classic. The restaurant offers a half-dozen meats, ranging from prime beef tenderloin to A5 Miyazaki Wagyu, in four- and eight-ounce portions skillfully arranged on cast-iron serviceware, pre-sliced and free of bone and fat. The menu also includes seared foie gras, black-truffle tagliatelle, and an array of cooked, raw and chilled seafood selections.

Herold previously designed Tentori’s GT Fish and Oyster. She’s also delivered timeless, eclectic and fanciful designs for such popular restaurants, bars and luxury multifamily residences as Girl & the Goat, Maple & Ash, Monteverde, BLVD, Bellemore and The Aurelien. For GT Prime, she based her vision on the food and Tentori’s descriptions of the future restaurant.

“Black or charred wood, a feeling of warmth,” she says of her design. “A lot of hidden surprises, like make-believe animals above the host stand and wall niches holding random birds. There’s a crazy crystal chandelier that normally would have no place in a cabin unless that space was enchanted. We used lots of jewel tones, including a dark red the color of dried blood on floors and glass restroom doors.”

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My client is my muse. With every single choice made for Giuseppe’s GT Prime, my hope was that he’d walk in and say, ‘This is exactly the restaurant I’ve always wanted.’ And he has.”

– Karen Herold, Principal, Studio K Creative

The host desk is flanked by fantastical taxidermy in this “enchanted cabin,” where lighting (opposite) was integrated to create theatrical flair.

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The drama begins on the exterior, where the sleek GT Prime logo lights up against a background of rugged wood planks, with massive dark wood doors opening into the restaurant below. Inside, the space is cavernous yet intimate; the dÊcor rugged and elegant, painterly and fantastical. Above the black wood and brass-trimmed host desk are custom taxidermy antelope heads festooned with feathers. Rough black-stained oak planking lines the wall above the walnutwood bar. Open black-steel cabinets are stacked with firewood. Between square concrete pillars are the bar’s walnut hightop tables; the leather stools are draped with faux fur.

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Lightswitch’s dramatic lighting enhances Studio K’s materiality, mood and concept in the the mysterious, elegant space.

The bar leads into a dining room with rough, black timber walls that conjure the charredwood or Japanese shou sugi ban affect. In the bar and dining room are large, photorealistic stilllife artworks in the Dutch Masters style, featuring an octopus, ham hocks or grapes. Blackened niches enclose diorama-like installations of taxidermy birds, moths and woodland greenery. An open copper staircase leads to the mezzanine and 16-seat private dining area, which has been dubbed the Owl Room for its bird’s-eye view—through glass walls—of the activity below.

At the top of the stairs, Tentori glowers from beneath the hood of his black robe in a ninja-like portrait. Royal purples add a luxe touch in juxtaposition with the rough-hewn stacked wood. Tree-like light fixtures provide another example of fairytale nature meeting chic urban design. “With Karen’s design, we had to showcase the materiality, mood and concept in the right light,” says Avraham Mor, Partner, Lightswitch. “You can’t just put in fluorescents and call it a day.”

“Our job is to make sure what Karen has done is actually seen and seen appropriately,” he continues. “Ultimately, there’s the challenge of being able to read a menu, and we don’t want the experience to change based on the time of day, the month or the season. So the lighting

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palette for GT Prime is warm, with high-color-rendering LEDs. Dimmable controls allow subtle changes to occur smoothly, to make the setting, the food and the customers look good.”

Lightswitch is known internationally for its innovative theatrical lighting and dazzling immersive experiences. A consortium of lighting, media and visual designers, Lightswitch’s client roster includes such corporations as Virgin Galactic, Porsche, Heineken and Infiniti; bands like Imagine Dragons; museums from the Kennedy Space Center to the John G. Shedd Aquarium; and collaborations with Wrap Architecture, Aedas, Studio Gang and Perkins + Will on hotels, theaters, healthcare and technology offices.

“Designing a restaurant means creating a theatrical experience,” Mor continues. “The first time you walk in should be a wow moment. We don’t want anyone looking at their watch— or their cell phone. Illuminating the environments Karen designs means bringing mood and emotion into the lighting palette, by making sure materiality pops in certain places, by lighting the artwork to draw the eye in. The decorative lighting works in tandem with the distinctive

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The open stairway leads to the private dining on the mezzanine.

interior design strategy in order to emphasize comfort and warmth, and accent lavish finishes and rich tones.”

Down lights use visually pleasing warm-dim technology, which allows light to warm in color as it dims, echoing the familiar characteristics of incandescent lighting. Fixtures are wirelessly controlled and color tunable, which allowed Mor and his team to balance the space and feature multiple finishes while managing and controlling every lamp independently. User friendly and flexible controls allow the restaurant staff to preset multiple lighting settings, each carefully programmed with slow, smooth transitions to minimize distraction to restaurant patrons.

The result is a project “that’s absolutely one of the most gorgeous spaces I’ve ever worked on,” Mor says. Adds Herold: “Every one of our restaurant designs are completely different, but the one thing that is consistent is that they are emotion-based designs. We always start by thinking about the way people want to feel or need to feel in the spaces we create. My client is my muse. With every single choice made for Giuseppe’s GT Prime, my hope was that he’d walk in and say, ‘This is exactly the restaurant I’ve always wanted.’ And he has.” n – CLF

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TRIPLE

THREAT Arch11 and ZGF’s new headquarters for Pearl Izumi in Colorado showcases a commitment to the company’s “Ride-Tri-Run” product lines

Pearl Izumi North American Corporate Headquarters ZGF Architects LLP Randy Mcgee, Project Architect Arch11 EJ Meade, Principal Architect Kimball Hobbs, Project Manager Photography by Raul Garcia

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The modern building with the rugged exterior has ‘set a new standard for the level and style of development in the business park’.”

– EJ Meade, Principal Architect, Arch11

The simple yet elegant “design-barn” concept is perfectly suited to the company’s desire for connectivity between departments, which include sales and marketing.

In the Rocky Mountain state of Colorado, outdoor recreation is fueling the state’s economy—with such non-motorized, clean-energy sports as mountain biking and road cycling, triathlons and running. Kayaking, canoeing and river rafting, mountain climbing, hiking, swimming and outdoor group sports are immensely popular, too. More than 70 percent of the state’s residents (not to mention visitors) participate in outdoor recreation each year, according to a 2017 report from the Outdoor Industry Association, a Boulder-based trade association.

In fact, the report also noted that outdoor recreation is a $28-billion-a-year industry in Colorado. More than 229,000 jobs are tied to the state’s outdoor-recreation industry, and all of that recreating contributes $2 billion in state and local tax revenue every year. In comparison, the oil, gas and mining sector claimed only 58,000 jobs in Colorado in 2017, the report adds.

No surprise, then, that when Pearl Izumi, which was founded in Japan more than 60 years ago, was searching for a headquarters site in the United States, the sports-apparel company chose Louisville, Colorado. Like its outdoor-loving and athletic customers, Pearl Izumi envisioned an equally high-performing work environment for its employees, in order to support

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its longtime goal of developing (according to the company’s website) the world’s “foremost line of technical-performing and quality-manufactured sports apparel.”

To create Pearl Izumi’s new North American headquarters, the Boulder-based Arch11 collaborated with ZGF Architects LLP out of Portland, Oregon. During master planning, says EJ Meade, Principal Architect, Arch11, the design team came up with a simple yet elegant, modern and open-plan “design-barn” concept—in homage to the site’s agrarian roots—that’s perfectly suited to the company’s desire for connectivity between departments, which include research and prototyping, design, sales, marketing and finance.

The new 54,000-square-foot energy-efficient structure also nestles perfectly within its eight-acre site in a business park at the foot of the dramatic Flatirons just outside of Boulder.

Moreover, the design team strategically positioned the building along the Coal Creek bike and running path that connects the communities of Boulder County. The location provides quick and easy access for testing and commuting year-round, in order to showcase the company’s commitment to its triple-threat “Ride-Tri-Run” (cycling, triathlons, running) product lines.

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The long, low building is clad in a minimal, agrarian palette of natural weathering steel, concrete, glass and wood planks. The inside is purposely rough.

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With an emphasis on research and development, prototyping and testing—along with a commitment to exercising outside 365 days a year in all weather conditions—Pearl Izumi wanted its building to have a connection to the outdoors and reflect a design that dialogues with the site’s topography. “From the beginning our concept was to rebuild the hill, not build on the hill at the site,” Meade explains, “so aesthetically we wove the building into its location rather than placing it on the site. Also, from a sustainability point of view, the building is nestled into the hillside, opening to the south, which really allowed us to control the heat gain and loss in the building.”

The team had the long, low building clad in a minimal, agrarian palette of natural weathering steel, concrete, glass and wood planks recycled from a nearby snow fence, so the headquarters emerges organically from the ground plane and follows the site’s gentle topography. For ease of construction and improved energy performance, the building’s structure is comprised of structural insulated panels (SIPs) within an exposed steel frame. The inside is purposely rough. Exposed ductwork and framing, and walls of oriented strand board (OSB), create an industrial yet warm interior.

The building’s elongated floor plan is oriented outward so that “inside, wherever you are working, you have a view to the landscape,” Meade says. Large window apertures pop up along the sweeping metal roof forms—including triplicate clerestories on the south side, representing Pearl Izumi’s “Ride-Tri-Run” motto— to provide natural ventilation and abundant natural light deep into

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The workspaces feature open offices with shared amenities, including gathering areas for meetings, relaxing and sharing ideas.

interior spaces. Computerized daylighting and occupancy sensors turn on LED lighting only when needed. Finishes help attenuate sound in the open space.

The headquarters’ workspace features open and transparent offices along with shared amenities that include a fitness room, a “living room” or gathering space, collaboration spaces, break areas, bike room and locker rooms. By limiting vertical separation between spaces the design naturally encourages interdepartmental exchange. Outside the building are a protected courtyard, porches and an amphitheater, which extend the social and work spaces to the outdoors.

Outside magazine called out the headquarters building as one of its “7 Best Gear Offices in the World,” citing the structure’s connections with the natural surroundings and the ways in which the design intentionally promotes employees’ active outdoor lifestyles. Locally, the design team received a bit of push back from the community, particularly when they suggested using rusted steel for the roof. “But now they see the texture and color as part of the surrounding landscape,” Meade says.

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The building’s structure is comprised of structural insulated panels (SIPs) within an exposed steel frame. Exposed ductwork and walls of oriented strand board (OSB) create an industrial yet warm interior.

The modern building with the rugged exterior has also “set a new standard for the level and style of development in the business park,” Meade adds, while adding a significant new building to Arch11’s portfolio. “We were on the cusp of developing a larger body of commercial work. This project launched that for us. We’re now doing projects of similar size, design and materiality in Texas and throughout Colorado.”

In designing the Pearl Izumi North American Corporate Headquarters, Arch11 and ZGF’s design respects the company’s Japanese heritage, celebrates the natural beauty of Colorado through the seasons, and exemplifies employees’ passion for outdoor sports—yet another triple threat of design excellence. n – CLF

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The Museum of the Bible in Washington D.C., designed by SmithGroup’s offices in our nation’s capital and in Detroit, has been lauded for establishing a new model for museum design in the United States. Located just off the National Mall, where an array of iconic Smithsonian and National museums offer destinationworthy adventures in art, science and history, the Museum of the Bible (MOTB) is equally impressive, as it projects a presence of, well, biblical proportions that suits its subject matter.

The eight-level, 430,000-square-foot, brick-and-glass building, which SmithGroup created within the footprint of a former refrigerated warehouse that later

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Grand Narrative SmithGroup transforms a Washington D.C. warehouse into a museum that brings Bible stories to life with lighting and technological innovations

Museum of the Bible

SmithGroup David Greenbaum, Lead Designer Photography by Alan Karchmer and Alex Fradkin

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photo caption goes here The imposing main entrance leads into the museum, a former warehouse that now includes a glass-and-steel addition. Š Alan Karchmer and Alex Fradkin

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served as Washington’s Design Center, is dedicated to the history, impact and narratives of the Bible. Each aspect receives its own floor of exhibits put forth via traditional approaches, as well as through technological and digital innovations that create engaging, immersive educational experiences.

MOTB also includes a vast atrium lobby, 12 theaters, three exhibition halls, a raremanuscript library, a conference facility with simultaneous-translation capabilities, a broadcast studio, hotel rooms for visiting scholars, a restaurant and a coffee shop, and a grand ballroom. MOTB has galleries that accommodate displays from visiting institutions such as the Vatican Library and the Israeli Antiquities Authority, thus creating, in effect, a “museum of museums.” MOTB, as The Washington Post stated, is “rich in content, stocked with historic treasures and carefully plotted to appeal to audiences of all ages.”

The business behind MOTB, however, has raised some eyebrows. It was funded by and has utilized, continued the Post, “the sophisticated marketing intelligence of the Oklahoma City-based Green family, who have used a fortune made from the Hobby Lobby retail chain to promote evangelical Christian causes.” As Curbed D.C. noted, the “Museum of the Bible has opened its doors to the public, and there is so much to look forward to (and maybe be cautious about). The museum, headed

by Hobby Lobby President Steve Green, has gained much notice from the public as well as many criticisms and questions.”

What can’t be disputed are the methods through which MOTB tells its stories, due in large part to SmithGroup’s grasp on the ways in which material, color and lighting technologies can create compelling narratives. “In our museum work, we always craft a strong visitor experience that’s sequential, beginning with the moment you arrive at the front door,” says David Greenbaum, Lead Designer, SmithGroup.

The design team created the imposing main entrance from a tall opening (filled in during previous renovations) originally used as a train portal. Colossally scaled, milled-brass panels inspired by typesetting blocks from the original Gutenberg printing of the Bible frame the entrance, which is punctuated by a stained-glass window depicting a portion of the Great Isaiah Scroll. Programmable LED lighting at the entrance illuminates and animates the stained glass. At the top of the building, a curvilinear, two-story, glass-and-metal rooftop addition, with a dramatic prow projecting over the entry façade, evokes an ark floating above the city.

Inside the main entrance (a former train loading bay) is a luminous marble atrium. Embedded in the 40-foot-high, 140-foot-long ceiling is a LED display, which can be programmed to change color or intensity, depending on the time of day or ambience desired. Footlights in Jerusalem columns generate a visual rhythm

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leading to the airy vertical circulation core. Etched patterns on glass railings in the circulation space, abstracted from the marginalia in illustrated manuscripts, evoke biblical places and stories.

On the second floor, exhibitions concentrate on “The Impact of the Bible.” Displays trace the history of the Bible in America, from the first colonial settlers to the 21st century, while exploring the impact of the book on culture in the United States and the Bible’s global influence. This section also includes a room animated with a live, digital feed of data and news about the Bible around the world, and a “flying” tour of biblical references in and around Washington, D.C.

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Innovative lighting solutions and technological innovations, primarily using LEDs, allowed SmithGroup to create immersive educational experiences throughout the museum. © Alan Karchmer and Alex Fradkin

The third floor is dedicated to “The Stories of the Bible.” Here, guests walk through a digitally enhanced “tunnel” in which they encounter stories from the Hebrew Bible, including Noah’s ark and Passover. Another space recreates first-century Nazareth, replete with trees and stone homes in which every detail was hand-painted by the exhibit designer. The New Testament Theater offers a 270-degree theater experience that introduces visitors to the story of how the followers of Jesus grew into a thriving community.

The fourth floor investigates “The History of the Bible” as a historical object, from early stone tablets and teachings on papyrus, to the hand-written bibles created by monks, to the printing press, through the book’s translations into many languages and its availability on mobile devices. On this level, exhibitions include an automobile “drive” through the places and events of the Bible; a reading room in which guests can listen to stories; and a showcase in which translations are illuminated through light, sound and the written word.

On the fifth and sixth floors, the addition’s glass-enclosed promenade provides visitors with stunning views of Washington, D.C. Guests can browse a long-term exhibition from the Israeli Antiquities Authority featuring archaeological discoveries. The grand gathering

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space and ballroom are lit with chandeliers designed and fabricated in Prague. In the 472seat World Theater, says Greenbaum, “Our concept was a tabernacle tent in the desert. Using programmable LEDs and a variety of house and stage lights, visitors can experience the sun rising and setting between the creases of the ‘tent fabric’.”

SmithGroup also reimagined traditional museum amenities to reinforce a broader cultural experience. The design of the restaurant, Manna, on the sixth floor, was inspired by Middle Eastern street food. “The idea was to evoke a Souk marketplace,” Greenbaum explains, “so we incorporated a sky-lit scrim system similar to what you’d see in an outdoor market with sunlight piercing through the fabric.”

The restaurant also relates to the Biblical Garden on the rooftop terrace. Designed by Michael Vergason Landscape Architects, the garden serves as a green respite in the city, while exploring biblical themes through horticultural and aquatic elements.

In the Milk + Honey Café, located on the mezzanine, SmithGroup placed panels with images and text interpreting the building’s former use, and installed LED filament bulbs to bring back the feeling of the old warehouse. “The lighting and décor came out of discussions with the historic-preservation review board during renovations as a way to ensure the spirit of the building lives on,” Greenbaum says.

The architects worked closely with the exhibition content team to insert the necessary infrastructure for the advanced lighting and technological features, along with a low-profile raised-flooring system that facilitates the rapid changeover of exhibitions. Careful coordination was also required to ensure that fire and life-safety components were integrated into longterm exhibition galleries, without compromising the immersive atmosphere of each experience.

The structure and envelope of the highly sculptural rooftop addition, whose bold asymmetry plays off the subtler asymmetry of the existing structure, required several innovative design solutions. The curtain wall lining the transparent, northern portion of the addition was engineered to support the floor between the addition’s two levels.

Exposed steel elements were coated in 3/4-inch-thick intumescent paint in order to meet fire codes while maintaining relatively slender structural ribs. The opaque southern side of the addition, which houses large-volume black-box spaces, is surrounded by a double-shell, metalclad roof designed to optimize thermal performance and reduce maintenance needs over the long term.

The design team accomplished these feats on a tight urban site, largely within the confines of an existing building. Dedicated to one of the world’s oldest texts, the new museum is resolutely modern, incorporating striking architectural forms and cutting-edge technologies. The building avoids the easy, literal symbolism that is often associated with biblical representation, in favor of rich but subtle allusions that live in such thoughtful details as: a hand-formed brick wall that

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SmithGroup utilized architecture and lighting throughout the museum, including in exhibition spaces, theaters and outdoor areas, to create an unforgettable experience for visitors. © Alan Karchmer and Alex Fradkin

references the Wailing Wall; the theme of ascension that guides visitors into areas of increasing illumination as they move upward in the building; and decorative fittings in the acoustic panels that mimic book edges.

The finished project, which has been winning awards for design and lighting, is a palimpsest—the built equivalent of a manuscript that bears traces of several versions of text added and erased over time. “Our goal was to provide a resonant experience in an uplifting setting that conveys messages through architecture, lighting and a variety of immersive experiences,” Greenbaum says. “While MOTB may not appeal to everyone, we’ve found that those who visit are surprised and have revelatory, memorable experiences. For us, that’s a sign of success.” n – CLF

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Designed for?

Concealed Exterior Egress Lighting

• UL listed for wet locations

• Vandal resistant

Pewaukee, WI Permit No. 3315

PRSRT • STD US POSTAGE PAID

• Fixture extends only 2” on surface

• Low profile semi-recessed installation

• 5x the light output as competitors fixtures

• Finished to blend fixture in with your design

Designed for Architects.

Code Required Exterior Emergency Lighting