Competition Kimball Art Center 1

Brooks + Scarpa Architecture 4611 W. Slauson Ave. Los Angeles, CA 90043

December 21, 2011Mr. Matt MullinKimball Art Center, Board of Directors638 Park AvenuePark City, Utah 84060

Dear Mr. Mullin:

Thank you for another opportunity to submit our design proposal and qualifications for the Kimball Art Center. It is with great enthusiasm that we present out work and we thank you in advance for your time and diligence in its review. Please allow me to take a moment to summarize our teams strengths:

• Overall Design Excellence: Brooks + Scarpa has been heralded as one the preeminent design firms in the nation, and has received 16 national AIA awards, including the AIA Architecture Firm Award in 2010 from both the California council and the National council. In addition our Landscape Architect, Coen + Partners, is a nationally recognized, renowned landscape architecture practice, with over 25 design awards. They received a Progressive Architecture citation in 2003.

• Experience Working with Art and Artists: Brooks + Scarpa is currently working on a new museum in St. Louis and has a museum under construction in Los Angeles. The CAM (Contemporary Art Museum) Raleigh project recently opened after a year long renovation and addition project under our direction. Our team has worked on numerous museums of various scales throughout the U.S. and Canada.

• Sustainable Design Ability: Brooks + Scarpa has been recognized worldwide for its sustainable design innovation. We have received four “Top Ten Green” awards from the AIA Committee on the Environments (COTE); this year alone 2 of our projects received awards out of the 10 given. Integral Group, our MEP engineer, is the first MEP firm in the U.S. to achieve 8 LEED Platinum buildings. Their speciality is the design of simple, elegant, cost-effective systems for high performance buildings.

• Renovation and Adaptive Re-use Experience: Brooks + Scarpa has designed several million square feet of creative space, including student art studios, galleries and offices, within existing structures. Our firm has garnered numerous awards for creative space design, including several National AIA Interiors awards and the 2008 Interior Magazine Lifetime Achievement Award. In the past two years, we have completed two adaptive re-use projects and have another under construction.

• Facade Innovation: Brooks + Scarpa and Buro Happold have collaborated to design a creative and efficient building skin. Buro Happold prides itself on their collaborative efforts in order to find the optimum solution. Their goal is to achieve a cost-effective, viable design that provides top performance at the lowest risk.

On behalf of myself and my firm, I would like to again state our sincere interest building a relationship with the Kimball Art Center. I look forward to discussing this project with you further. Please feel free to contact me at (310) 828-0226 x701 and [email protected] or Emily Hodgdon at (310) 828-0226 x703 or [email protected].

Sincerely,

Lawrence Scarpa, FAIAPrincipal, Brooks + Scarpa Architecture, Inc.

ly,

S FAIA

table of contents1 Narratives & Diagrams .......................................................... 5 Design Concept Design Methodology and Team Collaboration Structural Engineering & Facade Energy Phasing2 The Kimball Cloud................................................................ 21 Site Plans/ Model Photos Renderings Sections Plans3 Presentation Boards (Qty. 6) ............................................ 414 Fee Structure and Design Schedule .............................. 495 Team Introduction ............................................................... 536 Previous Project Experience .............................................. 577 Resumes .................................................................................115

1. Narratives and DiagramsDesign Concept

Design Methodology and Team CollaborationStructural Engineering & Facade

EnergyPhasing

6 Brooks + Scarpa Architecture Kimball Art Center - Stage II

1 : N a r r a t i v e s a n d D i a g r a m s

DESIGN CONCEPT NARRATIVE

With over 9000 skiable acres and 64 buildings on the National Register of Historic Places, Park City has drawn millions of people from around the world to live, visit and play among its unique natural beauty and blend of old and new. One of the most incredible and mesmerizing natural features is the seemingly endless deep blue sky. Despite the time of year or weather conditions, the sky always seems to quickly return to its infi nite and hypnotic clarity, with rarely a cloud in the sky. It provokes a kind of indelible wonder; a dreamlike state of mind that engages the viewer, heightens their sense of awareness, and brings a sense of vitality to the place. The design concept for the new Kimball Art Center addition and renovation is to perceptually bring the uniqueness of the Park City sky directly into the space of the city, allowing the user to forge a deeper and more meaningful understanding of the fundamental, yet delicate relationships that exist between themselves, the natural world, its vital resources, and our collective cultures. The Kimball Cloud delivers a new experience and expands art into the broader Park City community, creating a new social space for the 21st century.

The building’s façade creates a visual icon, a glowing beacon that can be seen and experienced from a distance and immediately adjacent. The upper fl oors are composed of a conventional glazing system that is covered by a rain screen made from a translucent honeycomb material. This translucent, faceted skin is not only aesthetic, but also plays a role in the building’s thermal performance. Below this envelope, the new ground level façade is constructed of very transparent glass and opens directly to the street, while delicately connecting and weaving into the heavy mass of the existing historic Kimball building. Spatially, the lower fl oor is absorbed into the adjacent existing building and the city, while the upper fl oors overhang the more transparent level below. The new ‘cloud’ building appears to levitate above the site, while the historic structure feels solid and grounded to the earth. This illusion enhances the buildings, giving them a collective strength that neither building could possess individually.

7Brooks + Scarpa Architecture Kimball Art Center- Stage II


Interior spaces delicately knit together passive and active uses, allowing the community to view and/or participate in the artistic experience. Rather than simply displaying art for view, the new design reveals to the community the very process by which art is created. Every feature of the building is multivalent and rich with meaning—performing several roles for functional, formal and experiential eff ect.

At the corner of Main Street and Heber Ave, the creation of a large exterior court links directly to the 20-foot high smithing, welding and glass studios that would use this court daily as their outdoor workspace. The façade between the exterior court and studio is visually clear, opening the Art Center to public view. Large sliding panel doors open and connect the exterior and interior together, so artist and students can use the court seamlessly from inside to out. This court, located midway between the existing Kimball ground fl oor and basement levels, is connected directly to the street, and allows most of the working studio spaces to be visually linked to the street corner. These spaces fl ow from the court deep into the building linking the new structure with the existing building. In this confi guration, the existing basement is opened up and connected to Main Street along with the existing Kimball ground fl oor and the new structure. Creating this split-level design at the street level on Main Street and Heber Avenue, serves several other important purposes: it allows for great fl exibility, aff ording the Art Center the ability to easily divide and use the ground level for a variety of purposes and functions, both large and small, while still remaining visually open and not feeling like separated smaller rooms.

The heart of the Art Center, the process by which art is made, is connected to the street corner. Passerby can see deep into the building, viewing people working throughout several studio spaces, the main exhibition space and the many other spaces that are visually linked together. Rather than simply displaying art to the community, the process itself is on display.

1 2 3 4

5 6 7 8

EXISTINGHistoric building

CONNECTLink existing and newbuildings with rooftop deck

SLICEMaximize usable space within new building

CONTRACTAugment floor plates to suit program,environmental factors, and urban context

WRAPClad new building inlight, ethereal skin

EXTEND ACROSSMaximize site utilization

EXTEND UPExpand usable space on footprint

CARVEAdd public space at street cornerand parking under new addition



DESIGN METHODOLOGY, TEAM COLLABORATION AND PROPOSED ENGAGEMENT OF THE KAC WITHIN THE GREATER URBAN CONTEXT NARRATIVE

Our team consists of innovative, creative professionals who continually push the envelope within their respective fi elds. We understand the boundary between architecture, structural design, building systems and urbanism is blurred as we move into the future; it is because of this blurring that we are able to eff ectively collaborate and create a whole that is greater than the sum of its parts. The structural system emerges from the intent to create a fl exible interior layout, enclosed by a translucent envelope. The energy strategy is inherent in this double-skin façade, which creates air movement and reduces energy usage. All aspects of the building work in tandem and complement each other.

There are three entries to the re-imagined Art Center. The existing entry location remains in approximately the same place and is connected to a new entry on Heber Ave., closer to Main Street. At the split level along Main Street is the secondary entry. Located near the current (and new) parking lot, this entry provides staff and students direct access to the lower (existing basement) and split-levels. It also provides direct access to the large elevator to the upper fl oors and delivery of art. At this location, between the elevator and Administrative offi ces, a concealed roll-down, open security gate is located. This entry allows controlled access to the upper fl oors of the building when the Art Center is closed, providing three fl oors of fl exible around-the-clock space usage, if and when desired.

The new plaza mirrors the existing open space on the adjacent corner, and creates a “negative” entry point to the city. This hardscape urban plaza contrasts with the landscaped plaza across the street.

Above the split-level ground fl oor are three additional fl oors and a roof top deck. A grand stair and oversized elevator that can also be used to move large art objects

SUN STUDYEXTERIOR SPACESDAYLIGHTING

10 AM 2PM 4PM

SUMMER

All public courtyards and plazasreceive year-round sunlight

10 AM 2PM 4PM

WINTER



connects seamlessly to the ground levels. The second fl oor houses the Adult and Children’s Studios which open to a large deck on the south side of the building, overlooking the main court below. There is a non-load-bearing partition between the two spaces that allows each space to expand or shrink as necessary or to program it as a single larger space. This level also has a large public roof deck over the existing building for use as expanded studio space. It is also envisioned that this deck would be used to show movies at night projected onto the adjacent building façade.

The third fl oor is dedicated entirely to the small exhibit space. It has a 20-foot high ceiling and fl exible non-bearing demountable partitions for a variety of exhibits. This fl oor could also be used for private events while the Art Center is open or closed.

The fourth and uppermost fl oor is the lease space for a restaurant with commanding views overlooking the city and into the surrounding areas. To the best of our knowledge this would become the only restaurant in the downtown area with such a panoramic view. The restaurant would also have access to the roof terrace above. This fl oor would be used to house the Kimball Administrative Offi ces until Phase Two construction is completed.

Finally, above the restaurant the building culminates with a public roof terrace with commanding views above the city. This space can be used for a variety of public and private events while the Art Center is open or closed. Since the restaurant (and kitchen) are in such close proximity, the terrace can be easily used by the restaurant and other private catered events providing additional revenue to the Art Center.

Other than the darkest portions of the existing basement, the entire Art Center has been designed to have a great deal of built-in fl exibility, which will allow the spaces to be used in a variety of confi gurations as the Art Center evolves and continues to grow.

N

8AM

10AM

12PM

2PM

4PM

All public courtyards and plazasreceive sunlight throughout the day

Street-levelpublic plaza

Roof decks



STRUCTURAL NARRATIVE

The strategy developed for the structural system emerges from the architectural intent to develop a fl exible interior layout shrouded in a cloud-like veil. To achieve this intent, a straightforward concrete fl at-slab structure – resulting in a fl at under soffi t – is used to frame the primary new building areas. Structural spans are limited to thirty-feet in any direction using 12-inch deep structural void slabs: void slabs reduce the dead load of the building structure, improving slab defl ections and reducing foundation loads. Round 24-inch concrete columns transfer gravity loads to the foundations. Secondary framing in structural steel is used to pick-up the glass and translucent panel enclosure and also assist in transitioning the enclosure geometry. A concrete shear core and fi n wall are strategically confi gured in layout to complete the lateral force resisting system. This simplifi ed approach to the building structure greatly reduces overall project complexity and enables a systematic approach to the complex perimeter enclosure.

The building enclosure consists of a glass curtain wall with exterior translucent panels confi gured in an accordion confi guration. The system is stick built using vertically aligned aluminium cassettes. Where necessary for lateral support, the curtain wall is supported by the secondary structural steel at points of geometric transition and long-span. The amorphic shape of the building form results in doubly curved surfaces. The fl oor to fl oor spans have been rationalized to within bending limits for glass to allow the glass to be cold bent to produce necessary surface curvature. Ceramic fritting on the outer glass light is used to cover up slab edge details at the fl oor levels. Horizontal knife plates (props) extend through the curtain wall joints of the glazed curtain wall to pick up the horizontal steel support framing for the translucent panels. The expose structural steel is galvanized for long-term durability.

8” THK STRUCTURAL CORE WALLS

STEEL EDGE BEAM

12” THK SLAB

12” THK SLAB

12” -14” THK SLAB

24” DIA. CONC COLUMN, TYP.



The system based logic for the structure and enclosure systems provides for a simplifi ed construction sequence. The primary structure – reinforced concrete – resides entirely within a single trade to avoid confl icting overlaps. The secondary steel of the enclosure and the main stair are geometrically complex and therefore benefi t by bound-up scoping of a single steel package for a specialist steel fabricator. Bidding this scope gives the package “size” – it is signifi cant enough in volume – to encourage competitive bidding and to bring qualifi ed architectural steel contractors into the mix. The diff erence between typical structural steel contractors and architectural steel contractors can and is most often extreme in their abilities to detail and execute the work. In the case of this project, the concrete structure is left exposed and it is expressed as part of the architecture. This not only saves money by allowing the omission of architectural fi nishes but it also produces a much more durable architecture. The construction sequence can be reduced and executed in sequential order: primary reinforced concrete structure, secondary and architectural structural steel (main stair) and double layer building enclosure system. This assures separation of work activities and greatly enhances construction coordination, tolerance control and detailing. The end result is a better built building.





EDGE BEAM EDGE BEAM

EDGE BEAM



12” THK SLAB

SEE ARCHITECTS DRAWINGS FOR PLAN OF CORE, TYP.

12” THK SLAB

12” THK SLAB 12” THK SLAB

14” THK SLAB

12” DIA. CONC COLUMN TYP.




ROOFLEVEL 2

LEVEL 3LEVEL 1

Structural Plans



TION

Defl ection



SPLIT

PLEATED TUBES

STRIATE

INCREASE STRUCTURAL RIGIDITY AS SELF-SUPPORTING SYSTEM

LARGE VIEW

SHIFT

STACK

USE INTERNAL CAVITY ASADDITIONAL THERMAL LAYER

TEXTURED SKIN INCREASES VISUAL TACTILITY AND OVERALLPERCIEVED DEPTH OF SURFACE

TRA

NS

FOR

MAT

ION

S

PLEATED SURFACE

DOUBLE SURFACE

SPLAYBEND

SKIN LOGICS

Facade StrategySection

Skin Logics

7

8 RestaurantEl. +44'

Roof deckEl. +56'

ExhibitionEl. +24'

6

4

5

3

1

2

A

Radiant cooled and heated slabs.Chilled and hot water from groundsource heat pumps.

Relief air windows and displacement vents are controlled thru bms for daytime temperature control and nightime purge

Chilled air from evaporative cool tower Passively falls thru chase and is delivered to space from displacement grilles; same chase provides fan powered warm air vent In winter



Facade DetailPlan

Facade DetailAxon

12345678

A Slab edge detail renderingNts

Folded polypropylene honeycomb panelInternal polypropylene rigid spacerFixed glazing unit (low-e double pane IGU)operable glazing unitGalvanized secondary knife-edge supportAir cavity for thermal pre-heat and recaptureMechanical chaseEmbedded radiant cooling and heating

Facade ExamplesBuilt examples



ENERGY NARRATIVE

In order to reduce energy consumption in the new Kimball Art Center we utilize well known bioclimatic design strategies in a new, innovative fashion. Our concept utilizes a unique double-skin facade to provide two important energy reduction strategies -- create air movement to reduce fan energy and natural warming of air to reduce heating energy. Our expectation is that these innovations and others will allow the building to use less than 50% of the annual energy of a similar facility designed to meet the national ASHRAE 90.1 energy code.

Passive HeatingIn the new structure, the interstitial space between the unique exterior honeycomb skin and the high performance glazing that forms the actual thermal envelope of those spaces, is perfectly suited to provide passive heating of air that moves through that cavity. This is called the greenhouse eff ect as heat from the suns energy is trapped in the interstitial space. We capture that pre-heated air in the winter months and distributeit through the building as necessary to provide heat where needed. This technique also allows the interstitial space to create a warm blanket around the building providing natural insulating eff ect. When this heating source is inadequate to maintain comfort conditions in the building, such as at night, radiant heating in the fl oor of the each space and in the ventilation systems will supplement.

Passive CoolingBecause the sun’s energy will create a greenhouse eff ect in the interstitial space of the new structure as mentioned above, that heat needs to be removed during summer months to avoid overheating of the interior. The warming air in the interstitial space is naturally buoyant and will rise causing a negative pressure that can be used to move air passively through adjacent openings into the interstitial space. In our concept we usethis to the energy benefi t of the building by allowing this phenomenon to draw cold air from the cool tower down through a shaft and into each of the spaces in the new structure. The cool tower is a simple, ages-old technique for naturally cooling air in dry

RADIANT HEATING AND COOLING

PASSIVE DOWNDRAUGHT COOLING

WA

RMER

AIR

RIS

ES T

HRU

STA

IR



GEO-EXCHANGEPIPING BELOWPARKING LOT

HEATPUMP

FAN

RADIANT HEAT AND SNOW MELT

solar tubes

climates like Park City’s. By strategically placing evaporative pads, saturated with clean water, at the air intakes on top of the tower, the incoming air temperature drops to a temperature useful for cooling even on the hottest days in Park City. The added energy benefi t of this strategy is that this cool air moves through the spaces in the new structure then into the interstitial space, thereby cooling it and eliminating the aforementioned overheating caused by greenhouse eff ect. We will also utilize the passive air movement in the interstitial space to induce natural air fl ow in much of the repurposed existing building. When these techniques aren’t adequate to provide the necessary cooling for the facility, additional cooling will be provided by chilling fl oors of the building with the same system used for supplemental heating.

Mechanical Heating and CoolingIn order to provide the necessary supplemental heating and cooling in the facility when our passive systems aren’t adequate to maintain thermal comfort, we will utilize a small ground-source heat pump system that can provide both hot and chilled water to the air moving equipment and the radiant slabs in the building. A minimal below grade piping system under the parking lot will provide a heat source in the winter and heat sink in the summer that makes this system one of the most energy effi cient heating and cooling systems available today. In our concept this system is much smaller and cost eff ective than would be typically found in a building of this type due to the innovative, low cost passive design strategies for heating and cooling described above.



PHASE IPHASE II

PHASE IPHASE II

EXISTING KIMBALL STRUCTURETO REMAIN EXACTLY AS IS DURING

PHASE I CONSTRUCTION

LOWER LEVEL ENTRY DURING PHASE I CONSTRUCTION

TEMPORARY STAIR - LOWEST LEVELTO EXISTING KIMBALL BUILDING ONLY.

PERMANENT STAIR ABOVE. STAIR IS BUILT LAST AFTER KIMBALL IS MOVED

AND OPERATIONAL IN NEW STRUCTURE

TEMPORARY EGRESS BETWEENBUILDING PHASES

NEW OPENING DURING PHASE IIAND CONNECT TO PHASE I

BUILD NEW ENTRY STRUCTURE1ST FLOOR STAFF ENTRY TO

LOWER LEVELS

EXISTING STAIR & ELEVATORTO REMAIN DURING PHASE ICONSTRUCTION. REMOVE ATEND OF PHASE I AND REPLACEWITH TEMPORARY STAIR

TEMPORARY WALL TO REMAIN DURING PHASE I AND PHASE II CONSTRUCTION. REMOVE ATCOMPLETION OF BOTH PHASES

EXISTING KILN TO REMAIN UNTIL PHASE I IS NEAR COMPLETE ANDNEW KILN IS INSTALLED IN PHASE I

SLIGHT ADJUSTMENT TO PLAZASTEPS DURING PHASE II

TEMPORARY ENTRY

LOCATION OF NEW KILNABOVE FOR PHASE I

PHASE IIEXISTING KIMBALL

BUILDING

NOTE:DURING PHASE II REMODEL OF EXISTING KIMBALL BUILDING ADIMINISTRATION FROM LOWER LEVEL WILL MOVE TO 3RD FLOOR OF PHASE I. AT COMPLETION OF PHASE II AD-MINISTRATION MOVES BACK TO EXISTING KIMBALL BUILDING AND RESTAURANT MOVES TO 3RD FLOOR OF PHASE I.

PHASE INEW KIMBALL

BUILDING

PHASING NARRATIVE

The design of the Kimball Art Center is planned to maintain continuous operation while Phase One and Phase Two are under construction. The key to any successful phased construction is the tying together of the adjoining phases and interim temporary construction that allow portions of the building to gracefully operate and feel complete, during a time when the entire structure has not yet been completed.

Phase One would begin with the construction of the new addition located at the corner of Main and Heber and connection to the existing Kimball structure. This phase would begin with isolating the kiln and the existing stair and elevator while construction is in progress. Full construction would begin immediately upon isolating these elements.

When nearing completion, the Kiln, elevator and stair would be removed. The new kiln would have already been installed and operational in the new addition. A new temporary stair would be constructed connecting the existing Kimball Building along Heber with the new split-level on Main Street. With proper planning this can take place within a 3-4 week period and minimize the need for the center to close.



RestaurantAdmin

1 PHASE I - InitialIsolate kiln and existing stair/elevator core 2 PHASE I - In Progress

Temporary stair connecting historic building and new wingPartial construction of final plaza stepsKiln in new wing becomes operational

3 PHASE I - Near CompletionCompletion of plaza stairs and entrance through historic building 4 PHASE II

Administration space returns to historic buildingRestaurant to occupy former admin space in new wing

This phase would also require a temporary main entry located adjacent to the large 20 foot high studio(s) spaces located at the split-level. In addition, the court located at the corner of Main and Heber would require some temporary construction between the new addition and existing building where the kiln was located. This small portion of exterior work would be removed and reconfi gured during Phase Two.

Phase Two would involve the remodel of the existing Kimball Art Center Building. No signifi cant exterior changes are planned. The intent of this phase is to restore the Historic Building, keep the work simple and the construction cost very low. By keeping the existing fl oors, walls and roof structures, the costs can be kept to a minimum. The windows need to be retrofi tted and the roof would require some structural reinforcement to properly handle snow loads and the new roof deck but a majority of the work can be cosmetic in nature and costs can be kept to a minimum. Nonetheless, when Phase Two is completed it will feel like an entirely new building. The greatest cost (and architectural impact) would be the tie-in between Phase One and Two, where a portion of the main level existing fl oor between the two phases would be removed to provide an opening to the existing basement below and visually connect all the public spaces between the two phases.

2. The Kimball CloudRenderings

Site Plans Model Photos

SectionsPlans


2 : T h e K i m b a l l C l o u d

View R1Main Street and Heber Ave.



View R2Entry Plaza



Urban Context Plan





A

A

C

C

B

B

R1

R7

R3

Site Plan





View R3View down Heber Ave.



View R5Upper Deck





View R7Heber Ave. Elevation



View R4Lecture Area and Receiving



View R6Restaurant



Section A-A



Section B-B



Section C-CWith the building skin off .



Section C-CWith the building skin on.



LARGE EXHIBITION SPACE

HEBER AVENUE

STORAGE

GIFT SHOP

CAFE

WOMEN

MEN

JAN

ITO

RC

LOS

ET

COATS

RECEPTION

LOBBY

ENTRY PATIO ENTRY

LANDING

CERAMIC STUDIO WET CLAY

CLAY CLAY

PASSENGER& FREIGHT

ELEV.

KILN

OPEN TO STUDIOS BELOW

TERRACE BELOW

SKYLIGHT ABOVE

DISPLAYSHELVING

STORAGE

MINI TOWERABOVE

ENTRY BELOW

UP

UP

DN

DN

UP

DN

DN

DN

DN

DUMB WAITER

EL. -1’-0”

EL. +2’-6”

EL.+/-0’-0”

EL. +/-0’-0”

UP

WELDING, SMITHING,GLASS STUDIOS + SHOP

- STAFF ENTRY & STAFF PARKING, DELIVERIES

- EVENING RESTAURANT ENTRY AND/OR EVENT ENTRIES TO UPPER FLOORS WHEN ART CENTER IS CLOSED

TERRACE

MECH. ROOM

CONFERENCEDIGITAL LAB

PHOTO LABDARK ROOM

SHOP EXHIBIT SUPPORT STORAGE/CRATING + UNPACKING

CATERING KITCHEN

BATHOFFICE

OFFICE

OFFICE

MEN

WOMEN

KIT

CH

EN

ETT

E

BATH LAUNDRY SPRAY

LECTURE AREA/ RECEIVING

LOADING

MUSE

ADJACENT LOT

ENTRY

NIGHT SECURED ZONE FOR TOWER

PARKING

ADMINISTRATION PASSENGER& FREIGHT

ELEV.

PAR

K AV

EN

UE

HEBER AVENUE

MAI

N S

TREE

T

R2

R6

UP

UP

UP

UP

DN

UPTO CLAY

SLIDING DOOR

DUMB WAITER

SLIDING GLASS DOORS

DEMISING WALLSFOR STORAGE, CRATING,ETC. AS NEEDED

SECURITY GATERECESSED ABOVE

GARAGE DOOR

STORAGE

EL. -7’-6”

EL. -10’-0”

EL. -7’-6”

EL. -10’-0”

EL. -7’-0”

Basement Plan Ground Floor Plan



ADULT STUDIO

STUDIO

CHILDREN’S STUDIO

MECHANICAL

TERRACE

PASSENGER& FREIGHT

ELEV.

DECK

NIGHT MOVIE PROJECTION ONTO FACADE

TERRACE

R4

BATH

UP

UP

UP

UP

DN

DN

BATH

SEATING

SKYLIGHT TO GIFTSHOP/ CAFE BELOW

EL. +12’-0”

EL. +15’-0”

EXHIBITION

SMALL EXHIBITION

CATWALK ABOVE

EXHIBIT PARTITIONS

DN

UP

DN

UP

EL.+24’-0”

EXHIBIT PARTITIONS

VIE

W TO

QU

AR

RY M

OU

NTA

IN

VIEW DOWN DEER VALLEY

DIF

FUSE

D L

IGH

TIN

G IN

TO G

ALLE

RY

RESTAURANTSERVICE STATIONWOMEN

RESTAURANT

MEN

RESTAURANTWAITING

BAR

R5

DUMB WAITER

UP

UP

DN

DN

EL. +44’-0”

FIREPLACE

VIEW TO

IRON MOUNTAIN


VIEW

DO

WN

SOUT

H DE

ER V

ALLE

Y

VIEW TO

BALD EAGLE MOUNTAIN

ROOF DECK

BAR

WAITING

RECEPTION

KITCHEN

DUMB WAITER

UP

DN

FIREPLACE

SKYLIGHT TO BELOW

DN TO RESTAURANT

EL. +56’-0”

OPEN TO BELOW

VIEW TO

IRON MOUNTAIN


VIEW

DO

WN

SOUT

H DE

ER V

ALLE

Y

VIEW TO

BALD EAGLE MOUNTAIN

Second Floor Plan

Third Floor Plan Fourth Floor Plan Roof Plan

RESTAURANT

ADMINISTRATION

RETAIL / GIFT SHOP

EXHIBITION

STUDIOS

3. Boards


3 : B o a r d s

R1

NURBAN CONTEXT PLAN1” = 50’-0”

DESIGN CONCEPT NARRATIVE

With over 9000 skiable acres and 64 buildings on the National Register of Historic Places, Park City has drawn millions of people from around the world to live, visit and play among its unique natural beauty and blend of old and new. One of the most incredible and mesmerizing natural features is the seemingly endless deep blue sky. Despite the time of year or weather conditions, the sky always seems to quickly return to its infi nite and hypnotic clarity, with rarely a cloud in the sky. It provokes a kind of indelible wonder; a dreamlike state of mind that engages the viewer, heightens their sense of awareness, and brings a sense of vitality to the place. The design concept for the new Kimball Art Center addition and renovation is to perceptually bring the uniqueness of the Park City sky directly into the space of the city, allowing the user to forge a deeper and more meaningful understanding of the fundamental, yet delicate relationships that exist between themselves, the natural world, its vital resources, and our collective cultures. The Kimball Cloud delivers a new experience and expands art into the broader Park City community, creating a new social space for the 21st century.

The building’s façade creates a visual icon, a glowing beacon that can be seen and experienced from a distance and immediately adjacent. The upper fl oors are composed of a conventional glazing system that is covered by a rain screen made from a translucent honeycomb material. This translucent, faceted skin is not only aesthetic, but also plays a role in the building’s thermal performance. Below this envelope, the new ground level façade is constructed of very transparent glass and opens directly to the street, while delicately connecting and weaving into the heavy mass of the existing historic Kimball building. Spatially, the lower fl oor is absorbed into the adjacent existing building and the city, while the upper fl oors overhang the more transparent level below. The new ‘cloud’ building appears to levitate above the site, while the historic structure feels solid and grounded to the earth. This illusion enhances the buildings, giving them a collective strength that neither building could possess individually.

Interior spaces delicately knit together passive and active uses, allowing the community to view and/or participate in the artistic experience. Rather than simply displaying art for view, the new design reveals to the community the very process by which art is created. Every feature of the building is multivalent and rich with meaning—performing several roles for functional, formal and experiential eff ect.

At the corner of Main Street and Heber Ave, the creation of a large exterior court links directly to the 20-foot high smithing, welding and glass studios that would use this court daily as their outdoor workspace. The façade between the exterior court and studio is visually clear, opening the Art Center to public view. Large sliding panel doors open and connect the exterior and interior together, so artist and students can use the court seamlessly from inside to out. This court, located midway between the existing Kimball ground fl oor and basement levels, is connected directly to the street, and allows most of the working studio spaces to be visually linked to the street corner. These spaces fl ow from the court deep into the building linking the new structure with the existing building. In this confi guration, the existing basement is opened up and connected to Main Street along with the existing Kimball ground fl oor and the new structure. Creating this split-level design at the street level on Main Street and Heber Avenue, serves several other important purposes: it allows for great fl exibility, aff ording the Art Center the ability to easily divide and use the ground level for a variety of purposes and functions, both large and small, while still remaining visually open and not feeling like separated smaller rooms.

The heart of the Art Center, the process by which art is made, is connected to the street corner. Passerby can see deep into the building, viewing people working throughout several studio spaces, the main exhibition space and the many other spaces that are visually linked together. Rather than simply displaying art to the community, the process itself is on display.


3 : B o a r d s

R2

A

A

C

C

B

B

R1

R7

NSITE PLAN1/16” = 1’-0”


3 : B o a r d s

1 EXISTINGHistoric building 2 EXTEND ACROSS

Maximize site utilization 3 EXTEND UPExpand usable space on footprint 4 CARVE

Add public space at street cornerand parking under new addition

5 CONNECTLink existing and newbuildings with rooftop deck

6 SLICEMaximize usable space within new building 7 CONTRACT

Augment floor plates to suit program,environmental factors, and urban context

8 WRAPClad new building inlight, ethereal skin

SKEW

SPLIT

SMALL VIEWS

PLEATED TUBES

STRIATE

INCREASE STRUCTURAL RIGIDITY AS SELF-SUPPORTING SYSTEM

LARGE VIEW

SPLIT

SHIFT

STACK

USE INTERNAL CAVITY ASADDITIONAL THERMAL LAYER

TEXTURED SKIN INCREASES VISUAL TACTILITY AND OVERALLPERCIEVED DEPTH OF SURFACE

TRA

NS

FOR

MAT

ION

S

SCALECENTER

PLEATED SURFACE

EDGESCALE

DOUBLE SURFACE

LOCAL

SPLAYBEND

MASSING DEVELOPMENTSKIN LOGICS

R3


3 : B o a r d s

RestaurantAdmin

1 PHASE I - InitialIsolate kiln and existing stair/elevator core 2 PHASE I - In Progress

Temporary stair connecting historic building and new wingPartial construction of final plaza stepsKiln in new wing becomes operational

3 PHASE I - Near CompletionCompletion of plaza stairs and entrance through historic building 4 PHASE II

Administration space returns to historic buildingRestaurant to occupy former admin space in new wing

SUN STUDYEXTERIOR SPACESDAYLIGHTING

10 AM 2PM 4PM 10 AM 2PM 4PM

SUMMER

All public courtyards and plazasreceive year-round sunlight

WINTER

N

8AM

10AM

12PM

2PM

4PM

All public courtyards and plazasreceive sunlight throughout the day

Street-levelpublic plaza

Roof decks

SECTION B-B SECTION A-A SECTION C-C 1/16” = 1’-0” 1/16” = 1’-0” 1/16” = 1’-0”

PHASING MITIGATION SUN STUDYEXTERIOR SPACES

R4

R5

R6

R7


3 : B o a r d s

WELDING, SMITHING,GLASS STUDIOS + SHOP

- STAFF ENTRY & STAFF PARKING, DELIVERIES

- EVENING RESTAURANT ENTRY AND/OR EVENT ENTRIES TO UPPER FLOORS WHEN ART CENTER IS CLOSED

TERRACE

MECH. ROOM

CONFERENCEDIGITAL LAB

PHOTO LABDARK ROOM

SHOP EXHIBIT SUPPORT STORAGE/CRATING + UNPACKING

CATERING KITCHEN

BATHOFFICE

OFFICE

OFFICE

MEN

WOMEN

KIT

CH

EN

ETT

E

BATH LAUNDRY SPRAY

LECTURE AREA/ RECEIVING

LOADING

MUSE

ADJACENT LOT

ENTRY

NIGHT SECURED ZONE FOR TOWER

PARKING

ADMINISTRATION PASSENGER& FREIGHT

ELEV.

PAR

K AV

EN

UE

HEBER AVENUE

MAI

N S

TREE

T

R2

R6

UP

UP

UP

UP

DN

UPTO CLAY

SLIDING DOOR

DUMB WAITER

SLIDING GLASS DOORS

DEMISING WALLSFOR STORAGE, CRATING,ETC. AS NEEDED

SECURITY GATERECESSED ABOVE

GARAGE DOOR

STORAGE

EL. -7’-6”

EL. -10’-0”

EL. -7’-6”

EL. -10’-0”

EL. -7’-0”

ADULT STUDIO

STUDIO

CHILDREN’S STUDIO

MECHANICAL

TERRACE

PASSENGER& FREIGHT

ELEV.

DECK

NIGHT MOVIE PROJECTION ONTO FACADE

TERRACE

R4

BATH

UP

UP

UP

UP

DN

DN

BATH

SEATING

SKYLIGHT TO GIFTSHOP/ CAFE BELOW

EL. +12’-0”

EL. +15’-0”

N

N

BASEMENT LEVEL1/8” = 1’-0”

2ND FLOOR1/8” = 1’-0”


3 : B o a r d s

LARGE EXHIBITION SPACE

PAR

K AV

EN

UE

HEBER AVENUE

MAI

N S

TREE

T

STORAGE

GIFT SHOP

CAFE

WOMEN

MEN

JAN

ITO

RC

LOS

ET

COATS

RECEPTION

LOBBY

ENTRY PATIO ENTRY

LANDING

CERAMIC STUDIO WET CLAY

CLAY CLAY

PASSENGER& FREIGHT

ELEV.

KILN

OPEN TO STUDIOS BELOW

TERRACE BELOW

SKYLIGHT ABOVE

DISPLAYSHELVING

STORAGE

MINI TOWERABOVE

ENTRY BELOW

UP

UP

DN

DN

UP

DN

DN

DN

DN

DUMB WAITER

EL. -1’-0”

EL. +2’-6”

EL.+/-0’-0”

EL. +/-0’-0”

UP

EXHIBITION

SMALL EXHIBITION

CATWALK ABOVE

EXHIBIT PARTITIONS

DN

UP

DN

UP

EL.+24’-0”

EXHIBIT PARTITIONS

VIE

W TO

QU

AR

RY M

OU

NTA

IN


DIF

FUSE

D L

IGH

TIN

G

INTO

GAL

LER

Y

RESTAURANTSERVICE STATIONWOMEN

RESTAURANT

MEN

RESTAURANTWAITING

BAR

R5

DUMB WAITER

UP

UP

DN

DN

EL. +44’-0”

FIREPLACE

VIEW TO

IRON MOUNTAIN


VIEW

DO

WN

SOUT

H DE

ER V

ALLE

Y

VIEW TO

BALD EAGLE MOUNTAIN

ROOF DECK

BAR

WAITING

RECEPTION

KITCHEN

DUMB WAITER

UP

DN

FIREPLACE

SKYLIGHT TO BELOW

DN TO RESTAURANT

EL. +56’-0”

OPEN TO BELOW

VIEW TO

IRON MOUNTAIN


W D

OW

NAL

LEY

VIEW TO

BALD EAGLE MO

N

NNN 5TH FLOOR4TH FLOOR3RD FLOOR

GROUND FLOOR1/8” = 1’-0”

1/8” = 1’-0”1/8” = 1’-0”1/8” = 1’-0”

4. Fee Structure and Design Schedule


4 : F e e S t r u c t u r e a n d D e s i g n S c h e d u l e

FEE STRUCTURE

Brooks + Scarpa can structure the design fee either as a Lump Sum Fixed Fee or a Fee as the Percentage of Construction Cost. We prefer a Fixed Fee based on a defined scope of work. Once the scope and deliverables are clarified and confirmed, we can determine a lump sum fixed fee. Or, we can establish a fee based on an estimated cost of construction, which is usually approximately 15% of the cost of construction.

The following consultants will be included in our fee, and therefore under contract directly with Brooks + Scarpa: Local Architect/ Architect of Record, Structural / Facade Engineer, Mechanical, Electrical & Plumbing Engineer, Specifications Writer, Lighting Designer, and Landscape Architect. Costing, Civil Engineering and Entitlement Work is not included. Should any other consultants be required, they will be retained directly by Kimball, or by Brooks + Scarpa as an additional fee.

Reimbursable expenses are billed separately with a fifteen percent surcharge and include: travel, phone, photographs, parking, printing and reproductions, and permits. All consultants retained by Brooks + Scarpa will have fifteen percent surcharge added to the cost of their services.

Invoices for services will be billed on a monthly basis as a percentage of the completion of the project. All bills are payable within ten days of the invoice date. Bills unpaid in thirty days will be charged with interest, and bills unpaid in 45 days will be charged an additional sum for administrative costs.

In order to begin the project, we expect the Owner, the KAC, to provide the following items: survey, legal address, As-built drawings of the existing space, and any other pertinent information and legal information. This information will be necessary in order to begin the Schematic Design phase.

Brooks + Scarpa uses AIA document B101-2007 edition for contracts.

DESIGN SCHEDULE

C l i e n t T e a m R e v i e w - F o u r w e e k s

Upon notification of project award, the Brooks + Scarpa team and KAC will review all the competition material and the KAC will give comments and direction to the design team in order to move forward with the Schematic Design Phase. This shall include comments about design direction, community and funding strategies, project program, budget, schedule, KAC milestones and deadlines and any other information that will help the design team advance through the schematic design phase.

At this stage the design team will familiarize themselves with key representatives of KAC and establish the desired line of communication between the KAC and the project team. The design team will work with KAC to develop the agenda for the next stage. Also at this time, the design team will collect any outstanding information, such as topographic survey, existing building floor plans and sections, legal description, etc. At this point, we would also begin an in-depth code review and physical building inspection. The team would then prepare a preliminary report outlining our findings. The report would be reviewed by KAC and revised as necessary. Once approved by KAC this document will become part of the Schematic Design Preliminary Project Manual.

S c h e m a t i c D e s i g n - 6 - 8 w e e k s

Based on the information above, the design team will prepare schematic design documents for the KAC to review.

During this process the design team will work with KAC to:


4 : F e e S t r u c t u r e a n d D e s i g n S c h e d u l e

Plan, organize and develop the Community Outreach• Identify the most practical and cost-efficient mechanical, electrical and structural systems and any other necessary shell and core improvements.• Determine the best approach to landscape design.• Assess code impacts relative to the design and verify code compliance issues.• Establish preliminary anticipated project costs.•

Schematic design deliverables and presentation material are outlined herein:

The Schematic Design Documents will include items presented at the competition stage: study models, perspective sketches, electronic modeling • or combinations of these media. Preliminary selections of major building systems and construction materials shall be noted on the drawings or described in writing. Based on the mutually agreed upon program and requirements from the above outlined process the Design team will prepare, for approval by the KAC, Schematic Design Documents consisting of drawings and other documents illustrating the scale and relationship of the project components.

Site plan showing the siting strategies and layout of floor plans, elevations and schematic material finishes.•

Floor plans at a mutually agreed-upon scale with sections and elevations. •

Material/Color Concept Board - The team will develop, in concert with the building, materials and color palettes, a coordinated and compatible • interior design palette. The Team will develop one alternative color/material palettes for the Clients approval. Each will reflect a unique solution within the Client’s color preference parameters.

Coordination of Structural, Mechanical, Electrical and Plumbing concepts and engineering consultants as the design progresses.•

P r i c i n g – T w o w e e k s

At this stage, we recommend having at least one contractor or cost estimator review the drawings and outline specifications to provide an estimated cost of construction. We prefer to monitor costs early on in the design in order to avoid large value engineering exercises later on in the process.

C l i e n t T e a m R e v i e w – T w o w e e k s

KAC will review all the Schematic Design material and provide comments and direction to the design team in order to complete the final Schematic Design Package. Revisions will be made and a final schematic design package will be prepared.

D e s i g n D e v e l o p m e n t P h a s e – a p p r o x i m a t e l y 1 1 w e e k s

This includes approximately 8 weeks for production of the Design Development drawings, and 3 weeks for review.

C o n s t r u c t i o n D o c u m e n t s P h a s e - a p p r o x i m a t e l y 2 4 w e e k s ( v a r i e s d e p e n d i n g o n t h e f i n a l d e s i g n )

After completion of Construction Documents, the drawings will be submitted for permit. Thus, the time noted does not include plan check review or plan check corrections.

The schedule does not include any entitlements. Should entitlements, such as Environmental Review or other, be required, the schedule will be modifi ed as needed.

5. Team Introductions


5 : T e a m I n t r o d u c t i o n

Brooks + Scarpa

Brooks + Scarpa has redefi ned the role of the architect and results in some of the most remarkable and exploratory design today. They do so by looking, questioning and reworking the very process of design and building. Each project appears as an opportunity to rethink the way things normally get done; to redefi ne and cull-out latent potentials that exist in materials, form, construction and even fi nancing—to, as Scarpa says, make the “ordinary extraordinary.” This produces entirely inventive work that is quite diffi cult to categorize because it is driven by exploration rather than an initial intent. It is environmentally sustainable, but not about ‘sustainable design.’ It employs new materials, digital practices and technologies, but is not defi ned by nor molded by technologies. It is socially and community conscious, but it is not created as a politically correct statement. Rather, it is deeply rooted in conditions of the everyday, and works with our perception and preconceptions to allow us to see things in new ways.

Over the last ten years, Brook + Scarpa has received more than 50 major design awards, notably 18 National AIA Awards, including the 2010 AIA Architecture Firm Award and 2010 AIA California Council Firm of the Year Award, four AIA Committee on the Environment “Top Ten Green Project” awards, 2005 Record Houses, 2003 Record Interiors, and the 2003 Rudy Bruner Prize. Brooks + Scarpa was a fi nalist for the 2002 United Nation’s World Habitat Award and the Architectural League of New York named the fi rm an “Emerging Voice” in 2004. Their work was recently on exhibit at the National Building Museum in Washington, DC and has been featured in Newsweek. Lawrence Scarpa has also appeared on The Oprah Winfrey Show.

Brooks + Scarpa is a architecture and planning fi rm founded in Santa Monica in 1991. Principals Lawrence Scarpa, FAIA, and Angela Brooks, AIA, LEED AP, have garnered international acclaim for their success in marrying an innovative modern aesthetic with leadership in sustainable and socially progressive design. Their exploratory, inventive approach has led to seminal work such as the Colorado Court aff ordable housing project and the Solar Umbrella home, both recognized for their achievements in design and sustainability. Brooks + Scarpa is currently working on a wide variety of commissions for public, private, and institutional clients.

Brooks + Scarpa has teamed with the following fi rms:

Blalock and Partners (Local Architect)

Blalock & Partners Architectural Design Studio is an award-winning fi rm of architects and design professionals located in Salt Lake City, Utah. Directed by its principal and founder, Kevin Blalock, AIA, the fi rm currently holds licenses and practices in Utah, Arizona, Colorado, Idaho and Wyoming.

Established in 2004, the fi rm’s endeavor is to create thoughtful and intriguing design solutions with particular sensitivity to a client’s site and budgetary constraints. Each project’s challenge carries with it the underlying principle of creating architecture that is harmonious with the natural environment while aspiring to uplift the human spirit. A project’s eventual design solution draws inspiration from man’s relationship to, and reliance on, the environment; taking into account the evolution of time, changes in season, passage of day to night. This philosophy infl uences and invokes design solutions that are specifi c to the user’s needs, the client’s goals and budget.

Blalock & Partners off ers a full-service, collaborative approach to all projects. Drawing on a diverse background and layers of expertise in architecture, interiors, programming and master planning, the fi rm does not distinguish between interior and exterior design. Rather, team members promote design ideas that allow the solutions to seamlessly evolve from exterior to interior; from large scale master plans and site developments to sensitive additions, renovations and adaptive re-use.



Buro Happold (Structural and Facade Engineering)

Buro Happold advises clients on the best way to develop, design and procure the building envelope, using our knowledge of the full supply chain to provide high level technical advice across the whole design process, including the choice of materials and systems. Our aim is to achieve a cost-eff ective, viable design solution that provides top performance at the lowest possible risk.

The facade makes a major contribution to the sustainability of a building, infl uencing both energy effi ciency and the quality of the internal climate. It is also an integral part of the building’s aesthetic, complementing the structural form and defi ning its visual impact on the urban environment. Buro Happold uses a rigorous methodology to resolve the inter-connected issues involved in effi cient facade design and detailing.

Our facade engineers work closely with other members of the project team to bring the benefi ts of high-level technical knowledge to the design of the envelope. With sustainability now a key regulatory requirement, we carefully analyze the environmental ‘behavior’ of diff erent facade designs using advanced techniques such as thermal modelling, wind analysis, acoustic design, solar and glare studies.

This rigorous assessment enables us to design a facade that is appropriate for both the building and the locale. Combining our practical knowledge of natural ventilation, shading and daylighting systems with environmental factors such as solar gain, wind fl ow and weather proofi ng we are able to deliver well built, high performance facades that provide superb occupant comfort with much reduced energy and running costs.

Integral Group (Mechanical, Electrical and Plumbing Engineering)

Integral Group has a reputation for a practical approach to high performance building design on a budget. As you will see from our qualifi cations, there are a great number of examples of this expertise for a variety of buildings with similar functions; project types represented include museums, galleries, interpretive centers, community and visitor centers, historic renovations, classroom and public gathering facilities. Our experience is also representative of every unique climate region in North America, including colder climates.

Art facilities, such as Kimball Art Center, present unique design challenges and can present heating and cooling load profi les that require creative design approaches. Art Spaces, galleries, and archival spaces frequently have very specifi c environmental requirements and must be designed to be highly energy effi cient without sacrifi cing performance. Museums can also feature unique architecture and building envelopes that require sensitivity and innovation to renovate for energy effi ciency.

Since the mission of our company is to provide exemplary buildings that serve to set the standards for high performance, one of our approaches is to take advantage of “teachable moments” in building systems for certain types of facilities. For example, in the Exploratorium, a ground-breaking, innovative science museum located on San Francisco’s waterfront, we designed a unique system for providing “free cooling” from the water in San Francisco Bay. This system is planned as part of an exhibit in the museum itself, giving visitors a concrete example of sustainable design at work.

Art not only serves as a tool for cultural enrichment, but can be a powerful way to communicate sustainable thinking in a diff erent way to audiences that include artists and the general public. We embrace collaboration with our clients in fi nding innovative ways to incorporate art into our projects so that they vividly illustrate the uses of high performance building strategies and reinforce the experience of green buildings – improved comfort, air quality, heating, cooling, and natural light.



Coen + Partners (Landscape Architecture)

Coen + Partners is a nationally renowned landscape architecture practice based in Minneapolis. Through a process of collaboration, experimentation and questioning, our work embraces the complexities of each site with quiet clarity and ecological integrity.

Our landscapes are infl uenced by people and place. We collaborate extensively with top and emerging global design talent to create site designs integrating programmatic, architectural, and ecological goals with innovation and beauty. We off er a comprehensive suite of services including master planning, site design, programming, and project administration for urban, green roof, rural and multiscaled residential, institutional, and commercial projects. In each area of emphasis, we expose and enhance in-situ systems while highlighting the architectural concept through site-specifi c materials, deferential textures, and supportive plant palettes.

Our work refl ects an understanding of site, visual beauty, environmental advocacy and fi scal responsibility unmatched in the landscape architecture community. We seek not to recreate nature in our work, but rather to redefi ne natural frameworks and transform them into innovative solutions for comprehensively designed environments.

The success of our practice is due to our design vision and dedication to our clients.

Over the past nineteen years, Coen + Partners has been acclaimed with over twenty-fi ve design awards and recognized by AIA, ASLA, the Committee on Urban Environment and infl uential publications such as The New York Times, Metropolis, and Dwell. Coen + Partners received a Progressive Architecture citation in 2003 for Mayo Plan #1. This citation, given for the radical interpretation of a standard subdivision plat, is only the second time a landscape architecture studio has won the prestigious P/A award in its fi fty-plus year history.

Coen + Partners work was recently featured in ‘Worlds Away: New Suburban Landscapes’, a traveling exhibition in collaboration with the Walker Art Center in Minneapolis and the Carnegie Museum of Art in Pittsburgh. ‘Worlds Away’ presents our new approach to design within the context of American suburbia. In addition, Coen + Partners exhibited work in New York City with a team of infl uential architects, led by Architecture Research Offi ce, as part of the Downtown Alliance’s Strategic Framework for Greenwich Street and Lower Manhattan.

Luminesce (Lighting Design)

Luminesce Design Inc. was founded in 2006 by Heather Libonati, LC. After receiving her MFA in theatre design from California Institute of the Arts, Heather became intrigued by the permanence and scale of architectural work. An Award winning lighting designer with 10 years of architectural lighting design experience, Heather founded Luminesce Design Inc. with the goal of working with equally passionate clients and architects.

Determined to never specialize in one lighting application or project type, we have found that each past project informs the next giving us the ability to solve any lighting design challenge with a fresh solution rooted in practical experience. Luminesce Design seeks to work with Designers and Owners that are driven to innovate and inspire.

Whether it’s a temporary art piece, permanent interior or exterior commercial project, or your home, Luminesce Design provides every project with individualized lighting solutions specifi c to each project and design team. Luminesce Design is passionate about lighting and sustainability. We understand that successful lighting design can create an atmosphere, an identity, an impression and an experience.

We believe that good lighting design begins with a healthy collaboration with the Design Team, Owner and End-users and understand that the lighting systems have a life beyond initial occupancy.

6. Previous Project Experience


6 : P r e v i o u s P r o j e c t E x p e r i e n c e

L o c a t i o n : Raleigh, North Carolina C o s t : $5,800,000 S i z e : 22,300 SF D a t e : 2010

F i r m s I n v o l v e d : Brooks + Scarpa S c o p e : Renovation of a 2 story, brick warehouse with an addition of new 900 sf entry lobby. Program included: Exhibition spaces, archive and art storage, educational center, administrative offices, catering kitchen, sculpture garden

The client originally secured the services of Brooks + Scarpa to design a 96,300 SF mixed-use building, with galleries and retail at the ground level and residential units above. At the time, this was a growing trend among museums as a means for increasing their financial capabilities. Brooks + Scarpa participated in and conducted a series of workshops and charrettes with the Board and museum stakeholders to generate and select a preliminary design. At the culmination of this effort, the economy took a turn downward, and the project was re-evaluated. Our ultimate project for CAM closely parallels the Kimball Art Center’s proposed project.

The second and final scope maintained the historic 1920 two-story brick warehouse that is located in Raleigh’s Historic Depot District. The Depot District contains Raleigh’s only significant collection of buildings related to the heyday of railroad transportation and shipping in the Capital City. By recycling this important building, CAM preserves an important part of Raleigh’s history and demonstrates its commitment to sustainability and leadership in historic preservation. Similarly, KAC seeks to preserve its more than 100-year old historic livery stable turned gas station in the heart of Park City.

Equally important to the preservation of the existing structure at CAM was the addition of the new 900 square foot entry structure. The dramatic lobby is a glass-enclosed space set beneath a spectacular folded-panel roof that extends over the entry’s sculpture garden to form a kind of welcoming front porch. Located on the east side of the existing building, the lobby is a modern re-interpretation of the old loading dock, moving people, goods and art deep into the central core of the main exhibition space. This asymmetrical cross axis was created to juxtapose and complement the symmetry of the old historic building. The two buildings collapse together and fuse into one structure. Old and new become one. The space provokes a kind of indelible wonder while still affording traditional values to the people who visit. Again, KAC’s mission is similar: to create a new identity in the community by means of an artistic building exterior.

Of CAM, John Morris, a software engineer, photographer and writer, says: “The building itself is a work of art. It chronicles the solid utility of Raleigh’s red-brick past. It’s an old building with a new purpose, a new interior with a futuristic canopy roof that pulls it off really, really well.”

CAM’s director of development, Rosemary Wyche points out that much of the original fabric of the building, a produce warehouse with loading bays for trucks and a connection to a railroad spur, is largely intact, including the original apparatus for the freight elevator visible from the open stair to the museum’s main level. There the Main Gallery is revealed as a dramatic space with tall ceilings with the original metal trusses exposed and a row of porthole-like details that are part of the new ventilation and heating and air conditioning system. An original lunette window floods the space with light penetrating deep into the new basement gallery cut into the floor below.

The lower level gallery’s square cast-in-place masonry columns with distinctive flared capitals and sheared caps have a delicacy of their own to complement to main exhibition space above. The lower level is also home to administrative offices, storage and preparation areas and the catering kitchen. The administrative area is defined by half-walls that give the basement a sense of openness. This level also accommodates one more exhibit space, the Media Lab, or Black Box Room, intended to display digital art and other technology.

Every feature of CAM is multivalent and rich with meaning—performing several roles for functional, formal and experiential effect. This marriage of the old and new, respect for history, while bringing something entirely new and exciting makes this building inseparable from the history of the region. The transition from an anonymous asbestos-covered block to a visually exciting and functional art space in the midst of Raleigh’s Depot Historic District, is a remarkable.

Parallel goals, contexts, constraints, scales, missions and scopes can be made between Brooks + Scarpa’s CAM Raleigh project and the Kimball Art Center’s exciting endeavor. Our experiences with CAM serve to better inform us of about approach, process, lessons learned, although each individual project has it’s own “solution” and requires it’s own unique response.

CAM was featured in the November issue of Architectural Record magazine.

C A M R a l e i g h ( C o n t e m p o r a r y A r t M u s e u m )



L o c a t i o n : Olvera Street, El Pueblo, Los Angeles, California C o s t : $3,400,000 S i z e : 40,000 GSF D a t e : Under construction

F i r m s I n v o l v e d : Brooks + Scarpa S c o p e : Provide protection for historic mural with new canopy; viewing platform for mural, and renovation of existing building to be a visitor center/ interpretive museum. Currently under construction.

Brooks + Scarpa created a permanent shelter structure, interpretive museum and viewing platform, showcasing and protecting the allegorical mural “Tropical America” by David Alfaro Siqueiros, a radical, expelled from Mexico in the 1930s. This project is currently under construction and scheduled for completion in early 2012.

Offensive to the conservative society doyennes of the time, the mural, depicting the struggle of native peoples against imperialism, was painted over. As the whitewash peeled away, the mural was rediscovered in the 1960s as the Chicano movement gained momentum, but a lack of funds prevented its full restoration, which is now finally underway.

There are multiple stakeholders involved in this project, including The Getty and the LA Bureau of Engineering. Brooks + Scarpa has been working in collaboration with the entire team for over 10 years to see this project realized. We have become experts at recognizing and addressing the requests of the parties involved. We can assist KAC too in evaluating and incorporating the ideas and needs of its staff, users, the Board, the Project Landmark Committee, and the community. Assessing these comments and realizing them in a comprehensive and outstanding design is our expertise. We pride ourselves on listening to the clients needs and responding.

We understand KAC’s context and goals to be similar to the ones on this project. The Siqueiros mural is located in the historic heart of Los Angeles, Olvera Street, along a second-story exterior wall. The aim of Brooks + Scarpa’s canopy design is to announce the mural’s existence to the public and create a new focal point near the vibrant shopping streets of the original 18th-century Pueblo de Los Angeles, and adjacent to important 20th century icons, Union Station and City Hall.

The project includes complicated engineering challenges, such as reinforcing the masonry structure of each of the separate buildings comprising the project, and placing the columns for the protective canopy so that it does not compromise the historic buildings’ structural walls, nor the historic Zanja Madre watercourse located directly below the museum. The historic nature of the site, and density of ownership and cultural interests involved in the project, also requires coordination among an unusually complicated set of consultants and clients.

S i q u e i r o s M u r a l S h e l t e r , C a n o p y , V i e w i n g & I n t e r p r e t i v e C e n t e r



L o c a t i o n : St. Louis, Missouri B u d g e t : $7.5 million S i z e : 18,350 SF D a t e : In design

F i r m s I n v o l v e d : Brooks + Scarpa S c o p e : New, 2-story art museum and offices on the grounds of an existing sculpture park. The new building is sited to take into account the two existing structures that will remain and be connected via bridge at the 2nd floor.

The 105 acre Laumeier Sculpture Park contains 85 pieces of sculpture exhibited throughout the park and large estate home and separate carriage house. Accredited by the American Association of Museums, Laumeier Sculpture Park is today an institution of international significance and has over 300,000 visitors annually. Laumeier’s mission is to initiate a lifelong process of cultural awareness, enrich lives, and inspire creative thinking by engaging people in experiences of sculpture and nature simultaneously. Laumeier provides high-quality learning experiences for the greater St. Louis community and for visitors from all over the world. The many changing exhibitions, concerts, educational programs, lectures and special events developed at Laumeier Sculpture Park for all to enjoy support the mission of the institution.

In this project, the art can be found inside, out and encompassed within. This gallery & office building is a simple wrapped volume, yet by use of innovative cladding material and techniques, the building moves beyond a fundamental house for art, to become one of the pieces of art in the landscape. The exterior skins serves not only an aesthetic purpose, but also a sustainable one: by mitigating the solar heat gain, utility costs can be kept to a minimum. The original design also incorporated a green roof, to be used for displaying art as well as additional gathering space during special events.

Like its sculptural neighbors, the Fine Arts Center interacts with the viewer in a uniquely individual manner on all fronts. Light and shadows play in the perforated skin, due in part to the diverse materials and distances of the enclosure beyond, as well as the custom natural pattern inscribed on each panel. Each façade engages the user for its own purpose: the lower side of the hill is the main entrance, while a secondary entrance is provided on the uphill slope, adjacent to the main existing building. The south façade is covered with a perforated metal canopy for an exterior Resource Terrace. Most practical is the north entrance for loading and unloading exhibitions and large scale works of art. The viewer is allowed a preview of the art inside from an exterior overlook into the main gallery accessed from the East façade. This strategic feature draws intrigue from park visitors, persuading them to return during gallery hours, and thus achieving the Owners goal of diversifying their audience.

The Fine Arts Center will provide a much needed, and their first, year-round facility for the Park as they continue to broaden horizons in the region. Having been termed “the crowning jewel” of the Park, the building will meet American Association of Museums (AAM) accreditation. It will house serve as the offices for the 8 staff members and museum director. KAC’s programmatic needs are similar: gallery space, back of house, administration area, education department space, and the usual building operations (restrooms, circulation, etc.).

It was not always so easy to reconcile design and budget: the simplicity of the plan and volume, seeking to allow for an economical building system, were not always present. Through multiple design conversations and cost estimations, a reasonable program was established and the building was sited. Brooks + Scarpa worked together with a local contractor during the Schematic Design phase to obtain pricing information. As a result, the Owner was able to place a value on certain aspects of the design and programming of the building. Taking advantage of existing infrastructure, some program was re-purposed to other buildings on site, to result in a 2- story concrete and masonry structure set into the hill.

Prior to Schematic Design, Brooks + Scarpa collaborated with the Park’s Board and Building Committee to host an initial ‘design ideas’ charrette. Brooks + Scarpa also led multiple public presentations regarding the development of the design and how it related to the budget and schedule. A highly detailed model was constructed to be used in part for fundraising purposes.

Laumeier’s mission in creating this new building echoes Kimball Art Center’s mission for their upcoming project: increasing operational space and raising presence and awareness in the community through sustainable, world-class design- all within a budget. As architects, we do our best work within constraints and limitations- whether they are financial, site or functionally driven.

A r o n s o n F i n e A r t s C e n t e r a t L a u m e i e r S c u l p t u r e P a r k



L o c a t i o n : Santa Monica, California C o s t : $1,218,000 Live/Work Lofts, $405,000 Office/Studio space S i z e : 14,000 SF Live/Work Lofts, 9,000 SF Office/Studio space

F i r m s I n v o l v e d : Brooks + Scarpa S c o p e : Adaptive reuse of an industrial warehouse complex into an art center with 45 galleries, the Santa Monica Museum of Art, and Live/ Work lofts, including Master Planning services, feasibility studies, entitlements and design. Bergamot Station Arts Complex (BSAC) is an adaptive reuse of an industrial warehouse complex that was once an important hub along the railway connecting the Westside to downtown Los Angeles. Developed in three phases starting in 1994, BSAC is an internationally known art center comprised of a series of buildings converted into 45 art galleries including the Santa Monica Museum of Art (SMMA), Live/Work Lofts, a cafe and office space. BSAC contributes to a live-able future for the Westside of Los Angeles, not only by creating a pedestrian oriented commercial node within the city but also by creating a center teeming with richly diverse cultural and urban experiences.

Phase I of BSAC, which was initiated by Frederick Fisher and Associates, consisted of preliminary schematic design for the rehabilitation of a portion of the existing site and its buildings. In Phase II, Brooks + Scarpa completed all Phase I elements, prepared the BSAC Master Plan, performed crucial parking analysis, feasibility studies, and entitlement work necessary for the realization of the project. During Phase III of the project an adjacent 45,000 sq.ft. private parcel was incorporated into the BSAC. Renovation of existing buildings on this parcel and implementation of the only new building on the site followed as part of the Master Plan. During this phase, Brooks + Scarpa engineered the building of the SMMA (Narduli Grinstein Architects) and designed two distinct buildings on the site: Bergamot Artist Lofts, the only new building at BSAC, and Click3XLA, a renovation and addition to an industrial warehouse formerly used to manufacture residential water heaters.

The Bergamot Artist Lofts and Click 3XLA were developed as feature design elements of the Bergamot Station Master Plan. Without compromising formal and material innovation, both projects express a fundamental concern with maintaining continuity and coherence with the character of the existing buildings at Bergamot Station. The14,000 sq.ft. Artist Lofts mixed-use program includes a ground level studio/gallery space with three artist live/work units above. This project evolved as a careful response to its context: a primary palette of materials was established, sympathetically relating to the industrial materials at the site. Corrugated metal, steel and glass blend in with the surrounding context while cold rolled steel and translucent lexan panels help establish the building’s idiosyncratic identity. Click3XLA is a renovation and addition to an existing 9000 sq.ft. industrial building. The program includes “Flame” rooms used to create visual effects and computer animation for TV commercials, shows and large format movies. Also included are several computer animation studios, avid rooms, CGI suites, open production space, conference rooms, executive offices and a machine room housing sophisticated visual effects computers.

As demonstrated on this project and on others, Brooks + Scarpa is adept at working on phased projects. Although the phasing at KAC will involve temporarily incorporating all programmatic needs into a new building and then ultimately expanding into both buildings, unlike BSAC which involved implementation of a Master Plan for multiple tenants, the concepts behind the phasing processes are similar. We will work together with KAC to execute a phasing plan that satisfies the needs of the users throughout all three phases.

Consistent throughout the Bergamot Station Art Complex is the desire to create space characterized by elegance, fluidity and a coherence appropriate to its context while also innovating elements of distinction and complexity that help create a unique personality and experience within the greater urban context. Here, like at KAC, the original “texture” of the buildings is integrated in the design- similar materials are utilized and the warehouse style is maintained- but new life is breathed in by innovative use of those materials and a fresh interpretation of a standard warehouse building.

Again, by maintaining the majority of the original buildings and the site, the urban fabric is left undisturbed. The site will again soon be revitalized when the new Los Angeles “Expo” subway line is constructed with station is located one block away, it will link downtown Los Angeles to the westside of the city.

B e r g a m o t S t a t i o n A r t s C o m p l e x a n d A r t i s t s L o f t s



L o c a t i o n : Los Angeles, California S i z e : 158,000 GSF D a t e : 2009

F i r m s I n v o l v e d : Brooks + Scarpa S c o p e : Adaptive re-use of and addition to existing building to market rate lofts, retail and parking.

A prime example of smart urban development, the Fuller Lofts project is a 127,500 sq. ft. adaptive reuse and nearly 30,500 sq. ft. vertical expansion of a 1920s concrete industrial building in a depressed neighborhood of East Los Angeles. Located convenient to a station on a recently constructed light-rail line, the Fuller Lofts was the first transit-oriented development begun in the area and has spurred the revitalization of Lincoln Heights.

We use the term “smart urban development” for the same reasons the Kimball Art Center seeks to re-use and expand upon their existing building. We as well, find the importance in “recycling” buildings, and not using valuable resources to construct a completely new building. From an environmental standpoint, it is erroneous to construct a new building on virgin land if an existing building can be upgraded. This concept particularly makes sense when the existing building is in a prime location, such as adjacent to public transportation, or at the most visited corner of the city. Adaptive re-use allows for the surrounding urban fabric to be maintain, while a new identity is formed. Generally, from a budgetary point of view, adaptive re-use is more cost effective than new construction. Furthermore, money saved on re-using an existing building can be used for design features of the rehabilitation or new structure. Consisting of 102 housing units along with 15,500 sq. ft. of commercial space, the program for our Fuller Lofts project adds two stories of penthouse lofts above the original four-story structure. Connected by an open-air paseo, a newly constructed two-story parking structure lies directly adjacent.

Our design was the result of several design options explored that took best advantage of cost, schedule, and sustainability while incorporating design excellence. We worked with the contractor early on in the process under a Design/Build and Guaranteed Maximum Price contract.

The design solution for Fuller Lofts creates a daring juxtaposition between new and old. The original neoclassical façade is preserved—along with the elegant, formal lobby—and crowned by a striking steel-clad façade wrapping the addition on the upper floors. Inside, an atrium courtyard was cut into the structure, bringing light and air into the center of the building and thereby reducing the mechanical systems needed. The courtyard was designed with an exterior stair and walkway system to build community through informal interaction. Units are entered directly off this open area, making it the central circulation point of the complex. Two rooftop gardens—one open to all occupants—further enhance residents’ quality of life along with operable windows in every unit, many of which also have private balconies.

As stated above, and KAC understands through their mission statement, sustainable features can be designed into existing building structures, as well as being easily incorporated into new designs. At Brooks + Scarpa we prioritize integration of passive sustainable ideas, before adding active sustainable elements into the scope. These passive features are part of the design and have no additional cost; they are concepts such as siting the building and it’s openings properly to take advantage of sun and wind. Active elements, such as solar panels, can then be added to the scope if the budget allows.

F u l l e r L o f t s


6 : P r e v i o u s P r o j e c t E x p e r i e n c eE c c l e s C e n t e r f o r t h e P e r f o r m i n g A r t s a n d H o r n e S c h o o l o f M u s i c a t S n o w C o l l e g e

L o c a t i o n : Ephraim, Utah C o s t : $17.4 million S i z e : 84,000 GSF D a t e : 2004 complete

F i r m s I n v o l v e d : Blalock and Partners R e l e v a n t P r o j e c t I n f o : Project for multiple art disciplines; location outside of Salt Lake City; historical campus context; gateway project for college and community; exhibit and gallery spaces for visual arts; art classroom and administrative spaces; performing arts spaces; response to campus context.

The Eccles Center for Performing Arts and Horne School of Music at Snow College combines the theater and music disciplines into a single building for education, production and performance. The project brings theater and musical art productions to the small, rural community of Ephraim, UT.

Music and theater disciplines intersect in the shared, dynamic lobby space linking the 550-seat theater, black box theater and 750-seat concert hall. The lobby serves as a gathering space, exhibition space and lounge. The varying brick textures, colors, building massing and window placement were conceived as part of an overall music composition and theatric production.

Snow College won the AIA Utah Honor.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eM a n o n C a i n e R u s s e l l / K a t h r y n C a i n e W a n l e s s P e r f o r m a n c e H a l l a t U t a h S t a t e U n i v e r s i t y

L o c a t i o n : Logan, Utah C o s t : $12 million S i z e : 18,000 GSF D a t e : 2005 complete

F i r m s I n v o l v e d : Blalock and Partners R e l e v a n t P r o j e c t I n f o : World-class performing arts space; community icon; mountain location using out-of-state architect (Sasaki Associates) in collaboration with Salt Lake City architect (Kevin Blalock, AIA); set in historical campus context; performing and visual arts facility; public gathering space; lobby / gallery / display space; educational facility.

The Performance Hall at Utah State University represents the school’s commitment to developing a competitive, signature arts program as part of their core curriculum. As the first building in the campus Arts District, the project profoundly addresses an educational need as well as becoming a cultural icon for the community. The acoustics, lighting and infrastructure are all designed to world-class standards, achieving the highest levels of performance support attainable.

In addition to acting as an educational and performance space, the facility hosts student, community and professional events in the lobby’s gallery space. Designed to open to the exterior, the lobby extends outside to facilitate larger events year round.

USU Recital Hall won the AIA Utah Honor.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eU i n t a C o u n t y L i b r a r y – L y m a n B r a n c h

L o c a t i o n : Uinta County, Wyoming C o s t : $1.2 million S i z e : 10,200 GSF D a t e : 2010 complete

F i r m s I n v o l v e d : Blalock and Partners R e l e v a n t P r o j e c t I n f o : iconic community building; located outside of Salt Lake City; multiple stakeholders (city, county and community representatives); direct response to city and site context; public building; exhibit / display spaces; meeting room / educational facilities.

The Lyman Public Library, a branch of Uinta County, WY, anchors the civic core of the community in its placement adjacent to the existing City Hall, filling in the vacant space on the block.

This small project is able to establish its own identity with dramatic use of materials and building massing. The architectural form and materials were inspired by the local agrarian buildings surrounding the town. Zinc panels were used in response to the metal clad roofs and silos; stone cladding was incorporated to reflect the stone fences found in the neighboring landscape; exposed wood timbers and roof deck pay homage to the aging barn structures in both material and form.

Lyman Library won the Engineering News Record Mountain States “Best Small Public Project” award.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eD o l o r e s D o r e E c c l e s C e n t e r f o r P e r f o r m i n g a n d V i s u a l A r t s a t D i x i e S t a t e C o l l e g e

L o c a t i o n : St. George, Utah C o s t : $16 million S i z e : 78,000 GSF D a t e : 2004 complete

F i r m s I n v o l v e d : Blalock and Partners R e l e v a n t P r o j e c t I n f o : Project for multiple art disciplines; location outside of Salt Lake City; restrictive site constraints; gateway project for college and community; exhibit and gallery spaces for visual arts; art classroom and administrative spaces; performing arts spaces; response to campus context.

The Performing and Visual Arts Center at Dixie State College is a facility that supports the education and production of a wide variety of art disciplines: fine and visual arts, music, theater and dance. The project serves the students and faculty as well as contributing to the artistic endeavors of the community.

Programmatically, the building provides indoor and outdoor gallery spaces, administrative and storage spaces for the fine and visual art department; a concert hall, rehearsal and related support spaces for the music department; a 450 seat proscenium theater, black box theater, rehearsal and production spaces for the theater department; and rehearsal and performance spaces for the dance department.

Dixie State College Dolores Dore Eccles Center for Performing and Visual Arts won the AIA Utah Honor.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eS a l t L a k e C o u n t y P u b l i c W o r k s A d m i n i s t r a t i o n B u i l d i n g

L o c a t i o n : Midvale, Utah C o s t : $4.3 million S i z e : 23,000 GSF D a t e : 2010 complete

F i r m s I n v o l v e d : Blalock and Partners R e l e v a n t P r o j e c t I n f o : Project serving multiple disciplines; public building; restricted budget; project featured a competition for public art which drove the lobby development; public gathering / meeting spaces.

The new 2-story administration building for Salt Lake County’s Public Works Department serves as a new identity for the County to the public, facilitating greater and more efficient public interface. The project is Salt Lake County’s first LEED Platinum project and the first 100% publicly funded Platinum project in the State of Utah.

The architectural expression incorporates materials in the various stages of their life cycle. Steel panels are used in a raw state as exterior cladding and in a more finished, refined approach for interior wall surfaces. The body of the building is constructed of board-formed concrete, expressing the tactile nature of both the process and finished product. Concrete waste from the construction process was in-turn used to create gabion retaining and landscape wall elements.

Salt Lake County Public Works Administration Building won the following awards: AIA Utah Merit Award, AIA Utah Sustainable Design Merit Award, Engineering News & Record Mountain States “Gold Medal - Best Public Works Project” and “Gold Medal – Outstanding Architectural Design”.






6 : P r e v i o u s P r o j e c t E x p e r i e n c eA o r t i c A r c , C a l i f o r n i a C o l l e g e o f t h e A r t s

L o c a t i o n : San Francisco, CA D a t e : 2009 complete

F i r m s I n v o l v e d : Buro Happold S e r v i c e s : Structural Engineering

A new canopy for a student lounge at the California College of the Arts (CCA) hangs within a double-height space and functions as a light scope, spatial definer, and viewing portal. The minimum surface structure is made up of 546 unique HDPE panels linked to one another by over 4000 pop-rivets. The name of the piece comes from its resemblance in form to a portion of the human heart and the fact that it leaps over an existing structural beam. The surface is suspended from three upper stainless steel rings (two circular, one elliptical) which are held and hold each other in tension. A singular large parabolic ring functions as a ‘hoop skirt’ below.

The technical and artistic challenges are unique and did not allow for a conventional approach. Collaborating closely with the designers, the engineers employed non-linear analysis tools and parametric BIM technology to model and predict the final minimal energy form of the piece which, structurally, behaves as a hybrid between a cable-net and membrane structure.

A panelized system was developed using Generative Components and a customized Rhino script that took the raw data and turned it into a drawing file to drive a CNC milling machine that generated all the parts. HDPE plastic, the same material used to make milk jugs, was selected for the panels due to its low cost, resistance to solar degradation, recyclability, low embodied energy, and high tensile capability.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eC r y s t a l B r i d g e s M u s e u m o f A m e r i c a n A r t

L o c a t i o n : Bentonville, AR, USA C o s t : $180 million D a t e : 2011 completion expected C l i e n t : Walton Family Foundation

F i r m s I n v o l v e d : Buro Happold S e r v i c e s : Structural Engineering, MEP Engineering, Sustainability Engineering

The museum, Crystal Bridges, takes its name from an inspired glass-and-wood design that traverses a local spring-fed stream. Designed by Boston-based architect Moshe Safdie, the museum will present perspectives on the flow of America’s history and heritage through the eyes of the nation’s most influential artists.

The museum will house a permanent collection of masterworks from American artists along with galleries dedicated to Native American and regional art and artists. In addition, temporary exhibitions drawn from national institutions will be displayed in the museum. A dynamic temporary exhibitions program will complement the holdings of the permanent collection. The permanent collection, assembled by Alice Walton and the Walton Family Foundation, is composed of paintings and sculptures by American artists from the Revolutionary period through the modern era.

The innovative museum design includes plans for approximately 100,000 sf of gallery, library, meeting and office space. Crystal Bridges will house a 250-seat indoor auditorium, areas for outdoor concerts and public events, gallery rooms suitable for large receptions, as well as sculpture gardens and walking trails.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eI s a b e l l a S t e w a r t G a r d n e r M u s e u m

L o c a t i o n : Boston, MA C o s t : $114 million D a t e : 2012 completion expected A r c h i t e c t : Renzo Piano Building Workshop

F i r m s I n v o l v e d : Buro Happold S e r v i c e s : Structural Engineering, MEP Engineering, Fire Protection, Lighting Design, LEED Energy Consulting and Performance Assessment

Isabella Stewart Gardner Museum is a world famous art museum. A 70,000 square feet extension to the museum is envisioned as well as minor refurbishments to the existing main building. The extension will house the museum shop, a special exhibition space, new green houses, the entrance, artist residence, restoration space, offices, the orientation space and a new state of the art Auditorium.

The design team was given the mandate to create a signature architectural landmark building. Renzo Piano Building Workshop is the design architect of the project and the architectural concept consists of 6 separate building blocks tied together by one façade.

Buro Happold’s services include the mechanical, electrical, plumbing, fire protection, structural and lighting design as well as LEED energy consulting and performance assessment at the various stages of the design. In close cooperation with Renzo Piano Building Workshop and the other design consultants on the project, Buro Happold is designing a building where all the building elements are integrated to a great extent, thereby maximizing the usable floor space and clear story height.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eN a t i o n a l G r e a t B l a c k s i n W a x M u s e u m

L o c a t i o n : Baltimore, MD C o s t : $20 million D a t e s : 2010- present C l i e n t : The National Great Blacks in Wax

F i r m s I n v o l v e d : Buro Happold S e r v i c e s : Electric lighting / daylighting, structural engineering, MEP engineering, sustainability

In the twenty-three years since its founding, The National Great Blacks in Wax (NGBIW) Museum has experienced significant growth, becoming one of the State’s great tourist attractions with over 300,000 visitors annually. Connection to the community has always been an important focus of the NGBIW Museum. Floating above the existing row homes of East North Avenue, the new NGBIW Museum’s transparent first floor follows the contours of the site. The structure overhangs the sidewalk of East North Avenue to enhance the sense of entry and public spaces are oriented towards this thoroughfare to reinforce and add vitality to an important urban edge. The cultural program is organized around a central garden stepping with the topography of the site. Gallery spaces are situated within the context of a landscape park. An elevated roof terrace reinforces the notion of public space and connects with the views and vistas of greater Baltimore while bus drop off is sited towards the north to allow for ample green space to the south.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eM i n n e a p o l i s C e n t r a l L i b r a r y

L o c a t i o n : Minneapolis, MN S i z e : 50,000 SF C o s t : $1.2 million (landscape) D a t e s : completed 2006

F i r m s I n v o l v e d : Coen + Partners P r o j e c t T y p e : Institutional landscape and streetscape design

Coen + Partners’ design strategy for the Minneapolis Central Library was to claim a zone around the building that connected and attracted people to the function of the place while celebrating the role of the Library within the downtown heart of Minneapolis. The site solution responds to and supports the scale, geometry and action of the architecture through the use of uncomplicated materials in inventive arrangements. The innovative design solution created a powerful terminus for the city’s famous, highly-trafficked Nicollet Mall while accommodating both a limited budget and concerns regarding durability and maintenance in harsh mid-western winters.

Coen + Partners extended the internal column grid of the structure into the landscape by means of a forest-like grid of custom light columns. The lighting scheme expanded the luminous character of the building into the landscape and provided a consistent wash of light at both overhead and pedestrian scales. Additionally, a layered garden of reclaimed slate wraps the building’s north half. Birch trees emerge from the slate garden, planted only several feet apart, mimicking the natural growth pattern of the trees in a thicket or forest in rural Minnesota. The close arrangement of the plantings forces a vertical growth habit, providing dapple screening for the interior reading rooms. Strategically placed seating created space for quiet outdoor reading, gatherings, eating lunch, or waiting for the bus.

This project won the ASLA Minnesota Award.






6 : P r e v i o u s P r o j e c t E x p e r i e n c eW e s t m i n s t e r C o u r t y a r d a n d M e m o r i a l C o l u m b a r i u m

L o c a t i o n : Minneapolis, MN S i z e : 25,000 SF C o s t : $2.1 million D a t e s : completed 2008

F i r m s I n v o l v e d : Coen + Partners P r o j e c t T y p e : Institutional urban landscape design

Westminster Presbyterian Church is a prominent institution in downtown Minneapolis with far-reaching community service and social justice programs. The Church enlisted Coen + Partners to complete a new design for the landscape surrounding the 110-year-old building; the firm was challenged to create a new presence for Westminster along two busy urban streets, a meaningful courtyard for receptions and ceremonies, and a memorial columbarium containing nearly 2,000 companion niches. Such a design must blend the new, contemplative exterior space with both the historic building and bustling urban fabric of the city.

Views of the reception and columbarium spaces are obscured from the street by a patinaed metal screen, custom-designed with patterns abstracted from those in Westminster’s original stained glass windows. A stone wall along 12th Street contrasts and complements the materiality of the church itself, while groundcover gardens are interspersed throughout the landscape spaces, providing color and texture. The columbarium is accessed by a subtly sloping procession from the street level. The reception and ceremony area consists of stone paving, a birch garden, and a series of vine-covered screens. A narrow water rill parallels 12th Street, reflecting the linear form of the columbarium wall and animates the space.

This project won the ASLA Minnesota Award and ASLA National Award.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eD a n i e l s F a c u l t y o f A r c h i t e c t u r e , L a n d s c a p e a n d D e s i g n B u i l d i n g , U n i v e r s i t y o f T o r o n t o

L o c a t i o n : Toronto, Canada S i z e : 13,000 SF (street level) 19,500 SF (roof) D a t e s : in progress

F i r m s I n v o l v e d : Coen + Partners P r o j e c t T y p e : Institutional streetscape and roofscape design

Office dA with Coen + Partners won the competition for the redesign of The Daniels Faculty of Architecture, Landscape, and Design building at the University of Toronto; the project is currently in progress. Coen + Partners collaborated on the design for streel-level landscape and an innovative rooftop garden.

The streetscape design integrates the renovation and addition to the Daniel’s building through a quiet palette of paving, lights, and trees. A simple planar framework grounds the structure to showcase the fabric-like exoskeleton enveloping the project.

Atop the new library an occupiable green roof houses a variety of environments, both educational and social, for students and faculty. A multi-purpose terrace area is created for events, installations, and general gatherings outside the library. A series of terraced landforms are planted with bands of varying flora and codified as an extension of the library itself; areas to be reserved for student explorations, horticultural exercises, and experiments. The rooftop culminates at the pinnacle of the building with an outdoor auditorium space for lectures, concerts, or informal student gatherings.

Office dA and the larger project team were honored with 2010 P/A Award for the innovative design.


6 : P r e v i o u s P r o j e c t E x p e r i e n c eL a v i n B e r n i c k C e n t e r , T u l a n e U n i v e r s i t y

L o c a t i o n : New Orleans, LA S i z e : 40,000 SF (exterior) C o s t : $1.9 million (landscape) D a t e s : completed 2006.

F i r m s I n v o l v e d : Coen + Partners P r o j e c t T y p e : Campus Landscape Design

The Tulane University Center project included the redesign and expansion of the existing university center and surrounding campus area. Coen + Partners collaborated with Vincent James Associates Architects to design exterior vegetative treatments for the building and to redesign a small pocket park adjacent to the University Center.

Largely driven by context and regional vernacular, the design explores ways to convey the lushness of the semi-tropical New Orleans climate purely through form. Therefore, the material and plant palettes are refined: vertical planes of climbing vines extend from the building into the surrounding landscape; these insertions into the pocket park create soft divisions between passive and active spaces. Linear benches along thoroughfares and within the pocket park recall the horizontality of the building. These features required extensive material research and determined design direction in order to produce simple and beautiful site forms that invite engagement and occupation.

This project won the AIA Committee of the Environment (COTE) Award (VJAA), and ASLA Minnesota Award.







L o c a t i o n : San Francisco, CA C o s t : $140 million S i z e : 210,000 GSF L E E D : Platinum (target)

F i r m s I n v o l v e d : Integral Group E n e r g y E f f i c i e n c y : Zero Energy Building - 1 MW PV system & 60% lower energy compared to typical U.S. Museum Water Efficiency: 65% better than typical U.S. Museum

The new home of this internationally acclaimed science museum is sited on San Francisco’s historic Piers 15 and 17, and will bring to life a dormant section of San Francisco’s waterfront. The building is being designed to be a net zero energy and net zero carbon building. It will house an observatory, public exhibitions, classrooms, programs, a restaurant and café, a museum store, a national center for teacher development, event space, exhibit-fabrication spaces and workshops, and ancillary offices.

By careful design, the building’s load has been reduced to less than half of that of a conventional museum building - the remainder of the building energy will be met with a large 1,000kW solar photovoltaic system. When completed, the building will be the largest Zero Energy Building in America. The building is being designed to meet the LEED platinum standard. Innovative mechanical and energy efficient system designs included in the project are: a bay water cooling system; radiant heating and cooling; natural ventilation; daylighting; heat pump heating (all electric heating allows for the net zero energy).

E x p l o r a t o r i u m



L o c a t i o n : Toronto, ON C o s t : $18 million S i z e : 22,000 GSF

F i r m s I n v o l v e d : Integral Group

The new Visitors Centre at the Fort York National Historic Site will pay homage to Toronto’s founding story and Canada’s military past. Situated beneath the Gardiner Expressway on a 43 acre site in downtown Toronto, the centre will serve as a museum and explore the relationship between natural landscapes and the built environment.

Scheduled for completion to mark the bicentennial of the War of 1812, the museum will act as a hub, connecting visitors to the site’s rich history and surrounding areas while also providing enhanced facilities for public programs. The centre will include multi-purpose and meeting rooms as well as a theatre.

Integral Group is currently providing mechanical and electrical services for this project, offering a truly innovative approach to museum design. Careful consideration for the varied historic collections informed both mechanical and electrical design strategies utilizing such systems as displacement ventilation to maintain humidity levels as well as UV protective lighting. This 22,000gsf facility is designed to the Canadian Conservation Institute’s Class A Museum standards. Additional features include radiant slab heating and cooling, an air source heat pump system with condensing boilers and a fully adjustable lighting control system. Exterior LED lighting will illuminate the site boardwalk and will also be suspended from the causeway to provide lighting from above.

Key Features Include:• Radiant slab heating and cooling• Displacement ventilation• Air source heat pump• Exterior LED lighting• UV protective lighting systems• High performance theatrical lighting control system

F o r t Y o r k N a t i o n a l H i s t o r i c S i t e V i s i t o r s C e n t r e



L o c a t i o n : Vancouver, BC C o s t : $35 million S i z e : 22,900 GSF

F i r m s I n v o l v e d : Integral Group O w n e r : A.S.T.C. Science World Society

For the past two decades, Science World has played a fundamental role in our community by providing science education and encouraging a love for science. The charitable, non-profit organization has been an integral part of Vancouver’s historyand is now planning a $35M renewal. The iconic structure will undergo renovations and expansion to support the increasing number of visitors each year and create a healthy sustainable environment.

The approximate total area of renovation and expansion activities is 22,900gsf which consists of approximately 9,600gsf of new construction and 13,300gsf of renovations. The majority of the expansion work will be a west addition that is comprised mainly of additional gallery space on Level 2.

In support of Science World’s mission of engaging our community in science and inspiring future science and technology leadership throughout BC, Integral Group is providing innovative mechanical engineering services that will help Science World realize its environmental, economic and social goals. Science World has invested approximately $3M of their budget on sustainable building technologies, such as advanced glazing systems, LCD glass, photovoltaic cells, solar-thermal panels and a green roof.Extensive glazing on the façade will fill the new facility with light during the day and will act as a light beacon at the east end of False Creek at night. Key Features Include:• Heat recovery • Radiant slab• Solar panels: evacuated tube and plate technology for domestic hot water • Green roof• Glazing systems• Photovoltaic cells

S c i e n c e W o r l d F a c i l i t y R e n e w a l



L o c a t i o n : Vancouver, BC C o s t : $21.9 million S i z e : 21,527 GSF

F i r m s I n v o l v e d : Integral Group O w n e r : City of Vancouver, Vancouver Board of Parks and Recreation, VanDusen Botanical Garden Association

As one of Vancouver’s renowned tourist destinations, the VanDusen Botanical Garden has been a landmark for over 30 years, creating a picturesque landscape year-round with its unique plant collection. The facilities renewal project includes a new garden pavilion designed to support VanDusen’s vision of providing an inspiring and enjoyable environment for visitors by constructing a ‘living building’ that aims for a net-zero ecological footprint. The development is currently pursuing the “Living Building Challenge” – a certification program that addresses development at seven performance areas: Site, Water, Energy, Health, Materials, Equity and Beauty.

Integral Group was retained to provide mechanical and electrical consulting services for this target LEED Platinum recreation project. The strategy behind this 2,000 m2 living building involves taking into consideration the building’s natural surroundings to ensure a harmonious balance between the built and natural environment. A living building (net-zero) generates all of its own water and energy on site on a net annual basis. Sustainability Goals:

Targeting LEED Platinum Certification• Net Zero Energy• Living Building Challenge•

V a n D u s e n G a r d e n V i s i t o r C e n t r e



L o c a t i o n : Los Angeles, CA C o s t : $165 million S i z e : 1,200,000 GSF D a t e : 2004 complete

F i r m s I n v o l v e d : Luminesce O w n e r : State of California, Department of General Services

This fast track design build project has a Silver LEED rating and won an Illuminating Engineering Society Award of Excellence for the exterior lighting design. The exterior is illuminated with a combination of linear fluorescents concealed in architectural elements, a three story neon art piece and light spilling from the interior into the courtyard. The white architectural lighting provides security lighting without overpowering the impact of the art piece.

Collaborating with the Los Angeles Bureau of Streetlighting, the lighting design integrates this contemporary building into the urban context by utilizing the city’s standard streetlights around the building’s perimeter. The streetlighting is supplemented with washes of light on building surfaces to improve the nighttime pedestrian experience.

In the interior, lines of light pass through the building aligning from floor to floor when viewed from outside the building. In the open office spaces, linear fluorescents with dimmable ballasts, occupancy sensors integrated into the luminaires and controls allow end users to tune the light levels to their personal tastes while allowing facilities managers to shed load during peak demand as needed. The integrated occupancy sensors provide approximately 30% energy savings compared to traditional office lighting schemes; the user controls provide a potential for an additional 30% savings in energy savings.

C a l T r a n s D i s t r i c t 7 H e a d q u a r t e r s







L o c a t i o n : Los Angeles, CA C o s t : $273 million D a t e : 2001 complete

F i r m s I n v o l v e d : Luminesce O w n e r : City of Los Angeles / Project Restore, Kevin Jew

By studying historic photographs and electrical drawings, the original lighting scheme was replicated using modern lighting technology restoring this Los Angeles icon’s prominence in the city’s skyline. Careful consideration was given to locating lighting fixtures in such a way as to not impact the historic elements while allowing for ease of maintenance. The new façade lighting system utilizes 25% of the electricity of the original lighting design, and has been awarded an IIDA Award of Merit and a Lumen West Award of Excellence.

L o s A n g e l e s C i t y H a l l , F a c a d e L i g h t i n g

7. Resumes


7 : R e s u m e s

L a w r e n c e S c a r p a , F A I A , Lead DesignerPr incipal , Brooks + Scarpa Architects

REGISTRATION:

Registered Architect, California, C21812Registered Architect, Florida, AR00132227 Registered Architect, North Carolina, 8534Registered Architect, Missouri, A-2008011825Registered Architect, Arizona, 50353Registered Architect, MontanaNCARB Certified

SELECTED HONORS AND DISTINCTIONS:

2010 National Architectural Firm Award, AIA2010 Architectural Firm Award, AIA California CouncilElected, College of Fellows, AIANational Education Honors Award, AIACommunity Impact Award, Los Angeles Business Council2008, “Hall of Fame”, Lifetime Achievement Award, Interior Design Magazine

PROFESSIONAL AFFILIATIONS:

Chairman, Organizing Committee, 2011 State of California AIA Monterey Design ConferenceAffordable Housing Design Leadership Institute, Co-founderMayor’s Advisory Council for City Design, 2009- presentFrederick P. Rose Architectural Fellowship, Selection Committee Member, 2009-present Advisory Board Member, Woodbury University School of Architecture, 2008 – presentParticipating Resource Team Member, Mayor’s Conference on the City Design #43, Philadelphia, PA February 2009Organizing Committee Member, 2009 State of California AIA Monterey Design Conference

ACADEMIC POSITIONS:

John Jerde visiting Professor, University of Southern California, August 2011 - December 2011Distinguished Visiting Professor of Practice, Mississippi State University, January 2011- April 2011

EDUCATION:

Master of ArchitectureUniversity of Florida

Bachelor of Design University of Florida

The work of Lawrence Scarpa has redefined the role of the architect to produce some of the most remarkable and exploratory work today. He does this, not by escaping the restrictions of practice, but by looking, questioning and reworking the very process of design and building. Each project appears as an opportunity to rethink the way things normally get done – with material, form, construction, even financing – and to subsequently redefine it to cull out its latent potentials – as Scarpa aptly describes: making the “ordinary extraordinary.” This produces entirely inventive work that is quite difficult to categorize. It is environmentally sustainable, but not “sustainable design;” it employs new materials, digital practices and technologies, but is not “tech” or “digital;” it is socially and community conscious, but not politically correct. Rather, it is deeply rooted in conditions of the everyday, and works with our perception and preconceptions to allow us to see things in new ways.

Mr. Scarpa is also an artist. Ask Scarpa “Who are you?” and he will reply, “I’m an artist! I see myself as an artist who happens to love building.” For Scarpa painting is both an extension of, and a diversion to, the practice of architecture. His work seeks to establish

rich connections for those who experience it—a layering of the ephemeral with the permanent that parallels the notion of multiplicity, creating vibrancy beyond the nature of the individual.

Scarpa’s work also emphasizes the experience of making. The object is important but the experience also has a profound impact and leaves something that lasts well beyond the mere physical and visual formation. Surprising discoveries occur more frequently when the process of discovery takes precedence, emphasizing the exploration. Because of this, he employs a process that is open ended: experimental and exploratory.

Over the last ten years Mr. Scarpa has received fifty major design awards including sixteen National AIA Awards, 2005 Record Houses, 2003 Record Interiors, 2003 Rudy Bruner Prize, FOUR AIA COTE “Top Ten Green Building” Award and was a finalist for the World Habitat Award, one of ten firms selected worldwide. In 2004 The Architectural League of New York selected him as an “Emerging Voice” in architecture. His work has been exhibited internationally including the National Building Museum in Washington, DC. He has been Featured in NEWSWEEK and appeared on The Oprah Winfrey Show. In 2009 Interior Design Magazine honored him with their Lifetime Achievement Award. In 2010, he was awarded the National and State Architecture Firm Award from the American Institute of Architects.

He has taught and lectured at the university level at numerous schools. He was the 2011 John Jerde Visiting Professor at the University of Southern California, the 2010 Ivan Smith Eminent Visiting Professor at the University of Florida, 2009 E. Fay Jones Visiting Professor at the University of Arkansas, the 2008 Ruth and James Moore Visiting Professor at Washington University, the 2007 Eliel Saarinen Visiting Professor at the University of Michigan, 2005 Max Fisher Visiting Professor at Taubman College of Architecture at the University of Michigan, 2004 Freidman Fellow at the University of California at Berkeley. He is a co-founder of Livable Places, Inc.; a nonprofit development and public policy organization dedicated to building mixed-use housing on under-utilized and problematic parcels of land. Most recently he co-founded the Affordable Housing Design Leadership Institute (AHDLI) to help develop more sustainable and livable communities.

Mr. Scarpa has been the lead designer on all projects, including the projects herein, since 1993.


7 : R e s u m e s

A n g e l a B r o o k s , A I A , L E E D A P , Project ManagerPr incipal , Brooks + Scarpa Architects

REGISTRATION:

Registered Architect, California, C27554

SELECTED HONORS AND AWARDS:2011Distinguished Architect Alumni Award, University of Florida (ARC 1987)2010 USA Network “ Character Approved” Award for Innovation in the Field of Architecture2009 Recipient, National American Institute of Architects, “Young Architect” Award2008 AFLA Design Green Award (Architecture Foundation of Los Angeles) TreePeople 2007 Recipient, Alumni Young Architects Design AwardCollege of Design, Construction and PlanningUniversity of Florida, School of Architecture

PROFESSIONAL AFFILIATIONS:Peer Reviewer, PLACES: Design Forum for the Public Realm, 2010Peer Reviewer, GreenBuild International Conference, 2010Board Member, AIA Los Angeles Chapter, 2010- presentAdvisory Board Member, Solar Santa Monica, 2009 - presentVan Alen Institute, member, 2009 - presentLEED Accredited Professional, US Green Building Council, 2003 -presentThe American Institute of Architects, 2003 – presentSouthern California Association of Non Profit Housing (SCANPH), 2006 – 2011United States Green Building Council (USGBC), 2002 - 2005

SELECT PUBLICATIONS:“AIA honors winners of 2009 Young Architects Award,” Architectural Record, May 2009

PROFESSIONAL EXPERIENCE:Brooks + Scarpa, Principal 1999 – 2010Killefer Flammang, 1996-99Los Angeles Community Design Center, 1993-96Appleton Mechur, 1991-92Skidmore Owings Merrill, 1988-89

EDUCATION:Master of Architecture, 1991, Graduation with DistinctionSouthern California Institute of Architecture

Bachelor of Design in Architecture, 1987University of Florida

Angela Brooks, a recognized leader in the field of environmental and sustainable design and construction, has been practicing architecture since 1991. Since 1999, she has been responsible for overall project management, firm development and leading the Sustainable Development Department.

Ms. Brooks served as Project Architect for Colorado Court, a 44-unit affordable housing project in Santa Monica that generates the majority of its energy on-site. At Colorado Court, Ms. Brooks was also responsible for LEED™ Certification; the project received a Gold rating from the United States Green Building Council, which led to the evolution of the rating system so that this type of project could be competitive. She has served as a sustainable consultant on various projects, has lectured about the importance of design and sustainability and has served as Project Architect on several projects at Santa Monica College, multi-family residential projects, and public projects such as the Santa Monica Senior Recreation Center and the City of West Hollywood’s Plummer Park. Ms. Brooks’ was a peer reviewer for Global Green USA’s book

Blueprint for Greening Affordable Housing: 2nd Edition and was featured in the book Women in Green: Voices of Sustainable Design for her policy work with Livable Places and on Fuller Lofts, a sustainable mixed-use project designed to be a catalyst for neighborhood revitalization.

Ms. Brooks was also a co-founder and past President of Livable Places, Inc., a non-profit development company dedicated to building sustainable mixed-use housing in the city of Los Angeles on under-utilized parcels of land as a reaction against Southern California’s suburban sprawl. She has served as an advisor to the National Endowment of the Arts, Mayors Institute on City Design and currently, she sits on the Advisory Board of Solar Santa Monica, a program whose mission is to achieve net zero energy imports by 2020 for the City of Santa Monica; a model that can be replicated throughout the country. Over the last ten years Ms. Brook’s firm BROOKS + SCARPA has received fifty major design awards including sixteen National AIA Awards, 2005 Record Houses, 2003 Record Interiors, 2003 Rudy Bruner Prize, 2006 and 2003 AIA COTE “Top Ten Green Building” Award and was a finalist for the World Habitat Award, one of ten firms selected worldwide. Her work has been exhibited internationally including the National Building Museum in Washington, DC and has been featured in NEWSWEEK magazine. In 2010, she was awarded the National and State Architecture Firm Award from the American Institute of Architects. In 2009 Ms. Brooks received the National American Institute of Architects Young Architects Award. In 2010, she received the USA Network “Character Approved” Award for her innovative work in the field of architecture.


7 : R e s u m e s

E m i l y H o d g d o n , R A , L E E D A P , Project ArchitectSenior Architect , Brooks + Scarpa Architects

REGISTRATIONS:

Registered Architect, California, C30043LEED Accredited Professional

SPEAKING ENGAGEMENTS2010 California Association of Museums Annual Conference: “Greening Your Museum”

PROFESSIONAL AFFILIATIONS:Member, Design Review Board, Westwood, Los Angeles

EDUCATION:

Bachelor of ArchitectureVirginia Polytechnic Institute and State University

SELECTED PROJECT EXPERIENCE:

Rosa Gardens Apartments, Palm Springs, CARole: Project Architect• $12.5 million, 4.5 acres, 2011 complete, LEED-Homes Silver (est.).• 57-unit, 2-story multi-family housing for low income families.• Program: Community Room, Pool, Tot Lot, Laundry facilities, surface parking•

Palmdale Senior Center, Palmdale, CARole: Project Architect• $5.5 million, 16,500 SF, 2010 complete• Program: offices, reception desk, conference room, computer room, three breakout rooms, kitchen, patio and auditorium.•

Laumeier Sculpture Park Arts and Education Center, St. Louis, MORole: Project Architect• 15,000 SF, in Schematic Design• A museum building in a sculpture park in St. Louis County, MO.; includes exhibition and meeting spaces, cafe, and • administrative offices.

Morley Gate Land Port of Entry, Nogales, AZRole: Project Architect• Project is in the Bidding Phase, est. 2012• New pedestrian entry facility housing US Border Patrol personnel and featuring enhanced wayfinding and protective canopy. •

Apple Retail Stores, Prototypes & Multiple Locationswith Bohlin Cywinski Jackson• Developed new prototypical standards for Apple Retail• Project Manager for stores in Hollywood, Rome, New York and others.•

Pixar Animation Studios Headquarters, Building 2, Emeryville, CAwith Bohlin Cywinski Jackson• Design team for new office building on headquarters campus• Program: offices, conference room, screening rooms, cafe.•

Farrar Residence, Park City, Utahwith Bohlin Cywinski Jackson• New 7,000 SF custom residence with cantilevered lap pool.•

Emily Hodgdon has been a project manager and architect with Brooks + Scarpa since 2007, working on a variety of projects, ranging from single-family homes to affordable housing, museums, and community centers. She is typically responsible for day-to-day project management on each project, with services ranging from drawings production to construction administration.

PROFESSIONAL HISTORY:Brooks + Scarpa Architects (formerly Pugh + Scarpa Architects), 2007- present• Bohlin Cywinski Jackson, San Francisco, CA, 2001-2007• House + House Architects, San Francisco, CA, 1999-2001• Jon Hensley Architects, Arlington, VA, Summer Intern 1998, 1999•


7 : R e s u m e sK e v i n B l a l o c k , A I A , Pr incipal - In-ChargePr incipal , B la lock and Partners

REGISTRATION:

Registered Architect:

Utah #4753142

Idaho #AR-984430

Wyoming #C-2466

Colorado #400587

EDUCATION:Bachelor of Architecture,University of Detroit

Foreign Studies,Warszawa Politechnika,Warsaw Poland

Kevin’s planning and architectural design background encompasses a 17-year career as a design professional. Throughout his career, Kevin has focused on a broad range of design projects affording him a unique spectrum of experiences. He has led the feasibility, programming, planning and design efforts on construction projects ranging from 1,000 square feet to more than 400,000 square feet.

Among those projects are numerous award-winning civic and public-use facilities. Kevin’s commitment to a collaborative process means engaging in and facilitating meetings with the various stakeholders. His experience affords him the ability to adequately plan for the critical infrastructure necessary for a successful end product. He recognizes the importance of balancing the design aesthetics with the necessary programmatic requirements at the earliest possible stage to maintain a realistic project budget, and ensure a beautiful, dynamic end product.

Civic / Municipal Experience Park City Library Expansion, Park City, Utah• Davis County Administration Building & Library, Farmington, Utah• Davis County Children’s Justice Center, Farmington, Utah• Grantsville City Library, Grantsville, Utah• Uinta County Library, Lyman Branch Library, Lyman, Wyoming• Uinta County Library, Mountain View Branch, Mountain View, Wyoming• Murray City Library Renovation, Murray, Utah• Cedar City Library, Cedar City, Utah• Grand County Library, Moab, Utah• Grand County Community Center, Moab, Utah• Salt Lake County Riverton Senior Center, Riverton, Utah• Salt Lake County Public Works Administration Building, Midvale, Utah• Salt Palace Expansion Phase II, Salt Lake City, Utah•

Commercial ExperienceGregory Swapp Office Building, Sandy, Utah• Dry Creek Office Complex, Lehi, Utah• The Gateway Complex, Salt Lake City, Utah• Novell Corporate Headquarters, Orem, Utah• Morgan Stanley Riverwoods, II Office Complex, Riverwoods, IL• Pinnacle Point Office Complex, Draper, Utah•

Education ExperienceDixie State College Fine & Performing Arts Center, St. George, Utah• Snow College Performing Arts Center, Ephraim, Utah• Utah State University Recital Hall, Logan, Utah• BYU Idaho Eliza Snow Performing Arts Center, Rexburg, Idaho• Snow College Activities Center Expansion, Ephraim, Utah• University of Utah, Merrill Engineering Building Renovation, Salt Lake City, Utah• University of Utah, A. Ray Olpin Student Union Renovation, Salt Lake City, Utah•


7 : R e s u m e s

C h a d P a r k e r , A I A , Project ArchitectSenior Associate , B la lock and Partners

EDUCATION:Bachelor of Architecture,Montana State University

Chad is one of the firm’s most talented Project Architects. With over 12 years in the profession, he brings a wide variety of experience in public and civic buildings, fine arts, K-12 & higher education, and mixed-use facilities. A critical team member on any project, Chad brings added value to all phases of design, production, project management and client interface.

Civic / Municipal Experience • Park City Fire Station, Park City, Utah• Davis County Administration Building & Library, Farmington, Utah• Grantsville City Library, Grantsville, Utah• South Jordan City Police & Courts, South Jordan, Utah• Apache Junction City Hall, Apache Junction, Arizona• West Bountiful City Hall, West Bountiful, Utah• Draper Library, Draper, Utah• Northeast Superior Courts, Maricopa County, Arizona• Mesquite City Hall and Fire Station, Mesquite, Nevada• Lehi Activity Center, Lehi, Utah• Davis County Conference Center, Farmington, Utah• West Jordan Library, West Jordan, Utah•

Mixed Use ExperienceTurnberry Resort Village, Deer Valley, Utah• Traverse Mountain Mixed-Use Development Master Plan, Lehi, • Utah Desert Pearl Development, Springdale, Utah• Gas Lamp Village Master Plan, Salt Lake City, Utah• The Gateway Development, Salt Lake City, Utah• Station Park Mixed Use Development Master Plan, Farmington, Utah•

Commercial ExperienceZions Bank Tower Reskin, Salt Lake City, Utah• LDS Archives Building, Salt Lake City, Utah• Morgan Stanley Riverwoods, II Office Complex, Riverwoods, IL• Main Street Pedestrian Plaza and Underground Parking Structure, Salt Lake City, Utah• DABC Liquor Store, Holladay, Utah•

Education ExperienceWeber State University, Davis Campus Four Classrooms Building, Layton, Utah• Herriman Middle School, Jordan School District, Herriman, Utah• Orion Junior High School, Harrisville, Utah• West Jordan Elementary School, West Jordan, Utah• Tooele High School, Tooele County School District, Tooele, Utah• University of Hawaii, Manoa Campus Center, Master Plan, Honolulu, Hawaii• The University of Arizona Memorial Student Union•


7 : R e s u m e s

C h a r l e s G a d d i s , L E E D A P , Project ManagerSenior Associate , B la lock and Partners

EDUCATION:

Bachelor of ScienceUrban PlanningUniversity of Utah

Coupled with over a decade of experience in the professional field of architecture, Charles’ diverse range of skills and abilities afford him the opportunity to take a very hands-on approach to project delivery from project conception through construction completion. Charles excels at delivering complex projects, particularly phased renovations and additions, on time and within budget. In addition, his diverse project portfolio affords him an extensive knowledge base in a wide variety of planning practices, design and construction types, and details beneficial to offering clients the best possible service in many areas. Charles strives to foster environmental stewardship and true civic engagement in each of his projects, as well his daily life. Charles has been LEED accredited since November of 2006.

Civic / Municipal Experience Park City Library Expansion, Park City, Utah• Park City Recreation Center Addition / Renovation, Park City, Utah• Davis County Administration Building & Library, Farmington, Utah• Davis County Children’s Justice Center, Farmington, Utah• Grantsville City Library, Grantsville, Utah• Uinta County Library, Lyman Branch Library, Lyman, Wyoming• Uinta County Library, Mountain View Branch, Mountain View, Wyoming• Murray City Library Renovation, Murray, Utah• Cedar City Library, Cedar City, Utah• Grand County Library, Moab, Utah• Salt Lake County Kearns Recreation Center Renovation, Kearns, Utah• Salt Lake County Riverton Senior Center, Riverton, Utah• Salt Lake County Public Works Administration Building, Midvale, Utah•

Education ExperienceDixie State College Fine & Performing Arts Center, St. George, Utah• Snow College Performing Arts Center, Ephraim, Utah• University of Utah, Merrill Engineering Building Renovation, Salt Lake City, Utah• University of Utah, A. Ray Olpin Student Union Renovation, Salt Lake City, Utah• University of Utah, Eccles Health Sciences Library Renovation, Salt Lake City, Utah• University of Utah, Heritage Center Renovations, Salt Lake City, Utah• University of Utah, Orson Spencer Hall – Hinckley Institute of Politics Renovation, Salt Lake City, Utah•


7 : R e s u m e s

G r e g O t t o , B S C E B A r c h M E n g , Project Pr incipalPr incipal , Buro Happold

DISCIPLINE:

Structural and Facades Engineering

QUALIFICATIONS:

BSCE Cooper UnionBArch Kansas State UniversityMEng Massachusetts Institute of Technology

BURO HAPPOLD:

2001- present

Greg Otto founded the Los Angeles office in 2006 and currently leads the structural group on the west coast. Having been educated as an architect and engineer and engaged in the practice of both, Greg has been focused on collaborative working between the architect and engineer and the potential for innovation. His current research is directed toward computer modeling and analysis, and manufacturing methods that bring the architect, engineer and fabricator into a more collaborative and innovative environment. With a focus on integrated design and the use of appropriate technology, Greg has played a significant role in ensuring a high level of quality and innovation in Buro Happold’s projects over the last seven years. In addition to his professional work, Greg has been actively engaged in academic research and teaching of both Architecture and Engineering at numerous academic institutions including Yale University, Harvard University, Southern California Institute of Architecture (SCI-Arc) and University of Southern California (USC).

RELEVANT PROJECT EXPERIENCE:

University of Iowa Visual Arts BuildingIowa City, IA, USA

Curtis R. Priem Experimental Media and Performing Arts CenterTroy, NY, USA

Smithsonian Institution Patent Office BuildingWashington, DC, USA

Harvard University Art MuseumCambridge, MA, USA

General Motors Headquarters: Campus Master Plan*Detroit, MI, USA

King Abdullah International GardensRiyadh, Saudi Arabia

Aortic Arc, California College of the ArtsSan Francisco, CA, USA

Bathing Lady SculptureNew York, NY, USA

CradleSanta Monica, CA, USA

Dragonfly, Southern California Institute of ArchitectureLos Angeles, CA, USA

JACCC Canopy DesignLos Angeles, CA, USA

Levitated Mass, Los Angeles County Museum of ArtLos Angeles, CA, USA

Live Wire, Southern California Institute of ArchitectureLos Angeles, CA, USA

Mesquite SculptureMesquite, TX, USA

reALIzeLos Angeles, CA, USA

RealD StairLos Angeles, CA, USA

Siqueiros Interpretive Center Mural CanopyLos Angeles, CA, USA

Talus Dome Edmonton, Alberta, Canada US 101Los Angeles, CA, USA

LAX Skylight Art InstallationLos Angeles, CA, USA


7 : R e s u m e s

S a n j e e v T a n k h a , A I A , Associate Pr incipalBuro Happold

DISCIPLINE:

Structural Engineering

QUALIFICATIONS:

MBS, University of Southern California, School of Architecture, Los Angeles, CABArch, School of Planning and Architecture, New Dehli, India

BURO HAPPOLD:

2011- present

Sanjeev holds a Masters of Building Science from the USC School of Architecture and a Bachelor of Architecture degree from the School of Planning and Architecture in New Delhi. He is a LEED accredited professional and is an active member of the U.S Green Building Council (USGBC). Prior to joining Buro Happold in 2011, Sanjeev Tankha was instrumental in developing innovative solutions to complex design challenges all over the world. He has also played a significant role in the research and development of High Performance Building Envelopes which focuses on design issues related to the performance of buildings. Projects that Sanjeev was actively involved in include the People Mover Station at the MGM CityCenter in Las Vegas; SEC Headquarters Building, the world’s first double curved cable net supported facade in Washington DC; and New Poly Plaza Building, the world’s largest cable net facade in Beijing, China.

RELEVANT PROJECT EXPERIENCE:

Anaheim Regional Transportation Intermodal CenterAnaheim, CA, USA

Confidential Global Headquarters CampusSan Francisco, CA, USA

LA Event Center*Los Angeles, CA, USA

El Monte Transit Center*El Monte, CA, USA

San Diego Airport Extension Smart Curb Canopies*San Diego, CA, USA

Ritz Carlton Hotel and Residences Tower and Conference Center*Los Angeles, CA, USA*

Palladium Hotel and Offices*Hollywood, CA, USA

City Lights Hotel*Downtown Los Angeles, CA, USA

Sunset La Cienega Hotel*West Hollywood, CA, USA

MGM City Center, People Mover Station Tension Structure*Las Vegas, NV, USA

Port of Long Beach Headquarters Building*Long Beach, CA, USA

Los Angeles Convention Center Repositioning*Los Angeles, CA, USA

Event Deck Structure Design*Los Angeles, CA, USA

Pedestrian Bridge - Concept Design Competition*Seoul, South Korea

*denotes experience prior to joining Buro Happold


7 : R e s u m e sS h a n e C o e n , Lead Landscape DesignerPr incipal , Coen + Partners

PROFESSIONAL EXPERIENCE:Founder and Principal, Coen + Partners, Inc., Minneapolis, 1991- Present; New York, 2005- Present

SELECTED AWARDS:2011 American Society of Landscape Architects Merit Award, Minnesota Chapter Lake Calhoun Residence, Minneapolis, MN 2011 American Society of Landscape Architects Honor Award, Minnesota Chapter U.S. Land Port of Entry, Warroad, Minnesota 2010 American Society of Landscape Architects Honor Award, Minnesota Chapter Sullivan Residence, Minneapolis, Minnesota2010 American Society of Landscape Architects Honor Award, Minnesota Chapter Lavin Bernick Center for University Life, Tulane University, New Orleans, Louisiana2010 American Society of Landscape Architects Honor Award, Minnesota Chapter A Living Street: A Landscape Illustrating Five Principles for Greenwich South, New York, New York2009 American Society of Landscape Architects Honor Award, National Speckman House, St. Paul, Minnesota2009 American Society of Landscape Architects Honor Award, National Westminster Presbyterian Church Columbarium and Courtyard, Minneapolis, Minnesota

PROFESSIONAL AFFILIATIONS:American Society of Landscape ArchitectsRegistered Landscape Architect: Minnesota, New Jersey, New York, North Dakota, TexasUrban Land Institute, Institute for Urban Design, Forum for Urban Design

SELECT ACADEMIC EXPERIENCE:Harvard University GSD Options Studio Instructor, Fall Semester 2011, 2010Rhode Island School of Design, Department of Architecture, Visiting CriticUniversity of Massachusetts, Department of Landscape Architecture and Regional Planning, Visiting CriticWashington State University, School of Engineering and Architecture, Visiting CriticClemson University, Department of Planning and Landscape Architecture, Visiting Critic

EDUCATION:University of Massachusetts, Amherst, MA 1990

Shane Coen is the Founder and Principal of Coen+Partners. He was raised in Boulder, Colorado, and received his professional degree from the University of Massachusetts, Amherst. For nineteen years, Shane has led Coen+Partners’ innovative practice, directing the design vision for each project in the studio. As a result of his creativity and disciplined design approach, his work has received numerous awards and is recognized by influential design publications throughout the world. The New York Times architectural critic, Anne Raver, describes Shane’s work as ‘pushing Midwestern boundaries’. He received a Special Award for Collaborative Work from the American Institute of Architects Minnesota Chapter.

In addition to his practice, Shane lectures extensively, speaking not only about his work, but about the importance of landscape architecture in shaping our urban, suburban, and rural environments and of truly collaborative design processes. He was a featured speaker for the Emerging Voices Lecture Series, sponsored by the Architectural League of New

York, upon receiving an Emerging Voices Award for 2009. Other notable speaking engagements include panel participation in the lecture series “The Influence of the New West, Confounding Expectations: Photography in Context” at the New School in New York and at the symposium “Sustainable Waterfronts: Learning from the Dutch Experience” co-hosted by AIA Chicago and the Kingdom of the Netherlands. Shane has lectured at Harvard University’s Graduate School of Design, University of California Berkeley, University of Southern California, Princeton University, University of Michigan’s “Future of Design” conference, James Rose Center in New Jersey, and Portland Museum of Art as part of the 2010 Architalx Lecture Series.

For the past two years, Shane has taught an options studio at Harvard University’s Graduate School of Design (GSD). His studios explore relationships between modern landscape design, significant and historic works of architecture, and large-scale campus design. In addition, Shane devotes time to critique student work at Rutgers, Clemson, University of Massachusetts, University of Minnesota, Washington State University, North Dakota State University, and University of California Berkeley.

He also serves on the GSA National Registry of Peer Professionals. This appointment follows a winning entry in the 2010 Design Excellence Awards for Landscape Architecture for the U.S. Land Port of Entry in Warroad, Minnesota. Shane is joined by a select group of highly regarded private-sector professionals in the fields of design and architecture to advise the GSA Public Buildings Service for the next two years.


7 : R e s u m e sB r y a n K r a m e r , Project ArchitectSenior Designer , Coen + Partners

PROFESSIONAL EXPERIENCE:Senior Designer / Marketing Director, Coen + Partners, Inc. Minneapolis 2001 – 2005; New York City 2005 – 2009; Minneapolis 2009 - PresentHorticultural Scientist, Department of Horticulture, University of Minnesota, 1999-2001

SELECTED AWARDS:2010 American Society of Landscape Architects Honor Award, Minnesota Chapter Lavin Bernick Center for University Life, Tulane University, New Orleans, LA2010 American Society of Landscape Architects Honor Award, Minnesota Chapter A Living Street: A Landscape Illustrating Five Principles for Greenwich South, NY2009 Architectural League of New York Emerging Voices Award - Coen + Partners2008 American Institute of Architects, Committee on the Environment (COTE) Award Lavin Bernick Center for University Life, Tulane University, New Orleans, LA2008 American Institute of Architects Honor Award, Minnesota Chapter Mayo Plan #1, Rochester, Minnesota2007 American Society of Landscape Architects Award, Minnesota Chapter Minneapolis Central Library, Minneapolis, Minnesota2004 American Society of Landscape Architects Award, National Mayo Plan #1, Rochester, Minnesota2004 American Society of Landscape Architects Award, Minnesota Chapter Mayo Plan #1, Rochester, Minnesota2003 Progressive Architecture Award, Architecture Magazine Mayo Plan #1, Rochester, Minnesota

PROFESSIONAL AFFILIATIONS:American Society of Landscape ArchitectsInstitute for Urban Design, New YorkArchitectural League of New York

SELECT EXHIBITIONS / EXHIBITION DESIGN:2009 Yale School of Architecture ‘Worlds Away: New Suburban Landscapes’, New Haven, Connecticut2008 Carnegie Museum of Art ‘Worlds Away: New Suburban Landscapes’, Pittsburgh, Pennsylvania2008 Walker Art Center ‘Worlds Away: New Suburban Landscapes’, Minneapolis, Minnesota2003 Progressive Architecture Award Exhibition, Architecture Magazine, New York, New York

EDUCATION:College of Architecture and Landscape Architecture, University of Minnesota Twin Cities Master of Landscape Architecture, 2001 Bachelor of Environmental Design, 2000

Bryan Kramer is a Senior Designer at Coen + Partners. He received his Bachelor of Environmental Design and Master of Landscape Architecture degrees from the University of Minnesota. Bryan’s work experience is focused on project visioning, conceptual design, and design development for residential, cultural, and institutional projects in the United States and abroad. His work encompasses the design and management of projects from the conceptual design phase through construction documentation and project implementation phases.

With Coen + Partners, Bryan has been the lead designer for key projects within the firm, including the P/A Award-winning Mayo Plan #1, Minneapolis Central Library, Lavin Bernick Center at Tulane University, Systems Biology Courtyard at the Institute for Advanced Study in Princeton, and the Depot Hill Equestrian Community in upstate New York, and competition entries for Gwanggyo Pier Lakeside Park in Suwon, South Korea and The Daniels Faculty of Architecture, Landscape, and Design building at the University of Toronto. His work has also

been integral in the design of numerous residential landscapes in California, Minnesota, and New York.

From 2005 to 2009, Bryan led Coen + Partners’ New York City office. On the east coast, he designed and managed several residential master planning projects in the Hamptons and Hudson River Valley, green roof projects in lower Manhattan and New Jersey, and a high profile landscape master planning and visioning study for a neighborhood between the World Trade Center and Battery Park.

SELECT PROJECTS:A Living Street: A Landscape Illustrating Five Principles for Greenwich South, New York, New York• Depot Hill Equestrian Community, Amenia, New York• Institute for Advanced Study - Systems Biology Courtyard and Green Roof, Princeton, New Jersey• Daniels Faculty of Architecture, Landscape, and Design; University of Toronto, Toronto, Ontario, Canada• The Visionaire Green Roof and Garden, Battery Park City, New York• Lavin Bernick Center, Tulane University, New Orleans, Louisiana• Minneapolis Central Library, Minneapolis, Minnesota• Mayo Plan # 1, Rochester, Minnesota• Jackson Meadow Phase II Master Plan• Mecox Bay Residence, Southampton, New York• Tarica Residence, Larchmont, New York• Pryor Residence, Montauk, New York• Northwest Peach Farm Residence, East Hampton, New York• Private Residence, Venice, California• FlatPak Residence, Woodstock, New York• Assoufid Hotel Master Plan, Marrakech, Morocco• Smith Residence, Lakeville, Minnesota•


7 : R e s u m e sZ a c h a r y B l o c h , Project ManagerSenior Associate , Coen + Partners

PROFESSIONAL EXPERIENCE:Associate, Coen + Partners, Inc., Minneapolis. 2007–PresentHammel Green & Abrahamson, Inc., Minneapolis. 2004-2007Planner and Landscape Architect Intern, Sanders Wacker Bergly, Saint Paul. 2002-2004Assistant City Planner, City of Wayzata. 1998-2001

PROFESSIONAL AFFILIATIONS:American Planning AssociationAmerican Society of Landscape Architects

ACADEMIC EXPERIENCE:Adjunct Faculty, Department of Landscape Architecture, College of Design, University of Minnesota, 2009Visiting Critic, College of Design, University of Minnesota Twin Cities, 2004 - PresentTeaching Assistant, College of Architecture and Landscape Architecture, University of Minnesota Twin Cities, 2002-2003

EDUCATION:College of Architecture and Landscape Architecture, University of Minnesota Twin Cities. Master in Landscape Architecture, 2003 Leon Arnell Joint Thesis Award, 2003 ASLA Certificate of Honor, 2003 Port Cities Study Abroad Program - Portugal, Spain, Italy, 2002 University of Southern California, Los Angeles, California. Bachelor of Science in Urban Planning and Development, 1998

Zachary Bloch is a Senior Associate at Coen + Partners. Zachary has been integral to the development of a number of large-scale master planning projects at Coen + Partners, including Land Port of Entry projects in Warroad, Minnesota, and Van Buren, Maine, with the Government Services Administration (GSA); the Fort Snelling Master Plan Study; the Lafayette Yards Master Plan, and a number of private residences across the country.

He holds as a Bachelor of Planning in Urban Design and Development from the University of Southern California and a Master of Landscape Architecture from the University of Minnesota where he received the Leon Arnell Joint Thesis Award and ASLA Honor Award for design from the Minnesota Chapter. Prior to joining Coen + Partners, he worked for Hammel, Green & Abrahamson, and the City of Wayzata, Minnesota, both as a planner and landscape architect. Zachary also serves as an adjunct faculty member for the College of Design at the University of Minnesota and is a frequent guest critic for a number of graduate design studios.

RECENT PROJECTS:US Land Port of Entry, Van Buren, Maine• US Land Port of Entry, Warroad, Minnesota• Bull Creek Residence, Austin, Texas• Minarovic Residence, The Woodlands, Texas• Fort Snelling Visitors Center and Master Plan, Minnesota • Red Wing Park, Red Wing, Minnesota• Project Designer/Planner, Austin Peay State University Campus Master Plan, Clarksville, Tennessee*• Project Designer/Planner, Michigan Technological University Fresh Look Campus Master Plan, Houghton, Michigan*• Project Designer/Planner, Fort Valley State University Campus Master Plan, Fort Valley, Georgia*• Project Designer, Central Wyoming College Campus Master Plan, Riverton, Wyoming*• Project Designer, Western Wyoming Community College Campus Master Plan, Rock Springs, Wyoming*• Project Designer, Minnesota State University Mankato, Trafton Science Center South Addition Master Plan and Site Design, • Mankato, Minnesota*Project Designer, Gustavus Adolphus College, Campus Framework Plan, St. Peter, Minnesota*• Project Designer, Willmar Regional Treatment Center Campus Master Plan, Willmar, Minnesota*• *with Hammel Green and Abrahamson•


7 : R e s u m e sJ o h n A n d a r y , P E , L E E D A P , Pr incipal In ChargePr incipal , Integral Group

REGISTRATIONS:Professional Engineer, 1989LEED Accredited Professional

PROFESSIONAL ACTIVITIES:Award : American Council Of Engineering Companies (ACEC) – 2011 Engineering Excellence Grand Award (NREL RSF Project)Author : School Planning & Management Magazine (April 2010) – “Green School Design – Sustainable, Teachable, Promotable”Presenter : International Association of Science Parks Annual Conference (2011) – “Net Zero Energy Science Park Concept”Presenter : 14th Energy, Utility and Environment Conference (2011) – “Building a Zero Energy Building and a Zero Energy Campus”Presenter : AIA National Conference (2009) – “The Beauty Of Zero – The Design of a Zero Energy Building”Presenter : International Green Building Conference (Greenbuild 2005) – “The Waterless Office”Presenter : Colorado Sustainability Conference (2009) – “Vying For Net Zero – The NREL Research Support Facility”Presenter : 23rd International Passive and Low Energy Architecture Conference (PLEA 2006) – “North American Solutions”Presenter : UC/CSU Sustainability Conference 2008 – “Successful Examples of Integrated Building Design”Presenter : UC/CSU Sustainability Conference 2005 – “Eco-Charrette Workshop”Guest Lecturer : University of California at Davis – “Sustainability in the Built Environment” Spring 2005Guest Lecturer : California College of the Arts – “High Performance Buildings” Fall 2006Guest Lecturer : Pacific Energy Center – “How to Think About Building Energy Models” Fall 2007

PROFESSIONAL AFFILIATIONS:Member : USGBC, Northern California ChapterMember : American Society of Heating, Refrigeration and Air Conditioning Engineers

EDUCATION:North Carolina State University BSME, 1983

Heading up the bioclimatic design practice at Integral Group, Mr. Andary brings more than 25 years of engineering experience in civic, cultural and community, higher education, health care, commercial and laboratory design to the team. His career has coupled innovative technical designs with energy and resource efficiency. He has built an engineering practice focused on green buildings and energy efficiency in the high tech industry. Through integrated design, eco-charrettes, and with an eye on the triple-bottom line (people, planet, profit), John focuses on “design synergies” and “cost transfer” opportunities that yield the greatest environmental and social bottom line results without sacrificing the all-important economic bottom line. John believes that sustainable design is an engineer’s social responsibility and has served as the Project Manager and Principal In Charge on numerous LEED projects, including seven projects targeting Platinum certification, and six targeting net zero energy. John was the Principal In Charge for the Research Support Facility project at the National Renewable

Energy Laboratory (NREL), which at 350,000 square feet will be the one of the largest LEED Platinum, Zero Energy Buildings in the world when complete. He is active in the green building industry, contributing his sustainable design experience to various public committees, including the United States Green Building Council, while constantly presenting and lecturing on green building topics.

PROJECT EXPERIENCE:Research Support Facility, DOE National Renewable Energy Lab (NREL) – LEED®-NC Platinum Certified / Net Zero Energy Design • Golden, COEnergy Systems Integration Facility, DOE National Renewable Energy Lab (NREL) – LEED®-NC Gold and Net Zero Energy Targets • Golden, CO Marin Country Day School – LEED for Schools Platinum and CHPS Certified, Net Zero Energy Design San Rafael, CA• DOE National Laboratories Commercial Building Partnership, Low Energy Building Consultant• East Corporate Yard, Sacramento Municipal Utilities District – LEED NC Platinum and Net Zero Energy Targets Sacramento, CA• Southface Energy Institute Eco Office – LEED®-NC Platinum Certified Atlanta, GA• Edith Green Wendell Wyatt Federal Building Modernization – LEED®-NC Gold Target Portland, OR• Student Life Center at Sacred Heart School – LEED for Schools Platinum Certified, AIA COTE Top Ten Project Atherton, CA• AIA San Francisco Headquarters – LEED-NC Gold Certified San Francisco, CA• Marin Country Day School Phase I – LEED-NC Gold Certified San Rafael, CA• UCSB Ocean Sciences Education Building – LEED®-NC Gold and Net Zero Energy Targets Santa Barbara, CA• National Estuarine Research Reserve Facility – LEED®-NC Gold Certified Grand Bay, MS• Shiloh Sustainable Village – LEED®-NC/CS/ND Platinum and Net Zero Energy Targets Windsor, CA• LEED® Assessor for the United States Green Building Council • Moss Landing Marine Laboratories, San Jose State University – LEED®-EB Gold Certification Moss Landing, CA • Hearst Gymnasium, University of California– LEED®-NC Silver Target Berkeley, CA • Barnum Family Center for School and Community Partnerships, Stanford University, Palo Alto, CA • Kavli Institute for Particle Astrophysics, DOE Stanford Linear Accelerator Campus (SLAC) Palo Alto, CA•

*Resume encompasses experience prior to Integral Group.


7 : R e s u m e sJ o s e p h W e n i s c h , L E E D A P , Project Manager/ Mechanical EngineerSenior Engineer , Integral Group

REGISTRATIONS:LEED Accredited Professional

PROFESSIONAL AFFILIATIONS:USGBC Northern California ChapterASHRAE

EDUCATION:B.Sc. Mechanical Engineering, Massachusetts Institute of Technology (1996)M.Sc. Civil Engineering, Building Systems Program, University of Colorado, Boulder (2002)

Joseph’s areas of expertise include project management, energy modeling, and mechanical system selection and layout. He has been a lead designer for several prominent community and civic projects with Integral Group, including the Exploratorium, Oakland Museum Renovation, and the Portola Valley Town Center.

Before coming to Integral Group, Joseph worked for five years in a variety of research and engineering positions related to energy efficiency and renewable energy. As a graduate student in the Building Systems Program at the University of Colorado at Boulder, he studied and completed projects in building energy modeling and analysis, renewable energy system design, energy auditing, and HVAC controls. He has held full-time positions at the National Renewable Energy Lab and at GE Wind Energy, and spent ten months teaching renewable energy and energy efficiency software as a visiting instructor in Nepal. Before this, Joseph also worked for three years as a mechanical engineer and global services analyst at GE Transportation Systems. His responsibilities included designing fuel systems for locomotive diesel engines and reducing transportation and

parts replacement costs at field service locations worldwide.

PROJECT EXPERIENCE:• Oakland Museum of California Renovation / LEED Silver Certified, Oakland, CA • Exploratorium / LEED Platinum Registered, Zero Carbon, Zero Energy, San Francisco, CA• Confidential Historic Renovation / Targeting LEED Gold Certification, San Francisco, CA (historic renovation)• Presidio Officer’s Club Historic Renovation, San Francisco, CA (historic renovation)• Packard Foundation Headquarters / LEED Platinum Registered, Los Altos, CA• Portola Valley Town Center / LEED Platinum Certified, Portola Valley, CA• UC Davis, Tahoe Center for Environmental Sciences / LEED Platinum Certified, Incline Village, NV (cold climate)• WatsonvIlle Water Recycling Facility / Targeting LEED Platinum Certification, Watsonville, CA• Mills College, Betty Irene Moore Natural Sciences Building / LEED Platinum Certified, Oakland, CA• UC Santa Cruz Biomedical Sciences Research Facility / LEED Gold Registered, Santa Cruz, CA• 81st Ave. Oakland Public Library, Oakland, CA• California Polytechnic Institute / LEED Gold Registered, San Luis Obispo, CA• Moraga Barn, Canyon Construction / LEED Platinum Certified, Moraga, CA (historic renovation)• UC Davis Tahoe Environmental Research Center Hatchery Renovation, Lake Tahoe, CA (historic renovation)


7 : R e s u m e sD a v i d K . K a n e d a , P E , A I A , L E E D A P , E lectr ica l EngineerPr incipal , Integral Group

REGISTRATIONS:Professional Electrical Engineer, California No. E14003, Illinois, Nevada, ColoradoRegistered Architect, WisconsinLEED® Accredited ProfessionalEuropean Engineer, Chartered Engineer, UK

ADVISORY POSITIONS:U.S. Green Building Council Regionalization Working group (2011- Present)California Energy Commission PIER Evidence-Based Design and Operations Program - California Advisors on Measured Performance (2010-present)California Building Standards Commission - Green Building Code Advisory Committee (2009–present)Energy Division of the California Public Utilities Commission – Zero Net Energy Action Plan (2009-present)

PUBLICATIONS:“Less than Zero” – High Performance Buildings (2010)“Plug Load Reduction: The Next Big Hurdle for Net Zero Energy Building Design” – American Council for an Energy Efficient Economy: Summer Study (2010)“IDeAs Z2 Design Facility: Design for a Net Zero Energy Building” – American Council for an Energy Efficient Economy: Summer Study (2006)

PROFESSIONAL RECOGNITION & AWARDS:Penn State University Department of Architectural Engineering – Centennial Fellow (2010)USGBC: Northern CA Chapter – Environmental Superhero (2009)Santa Clara County: League of Conservation Voters - Environmentalist of the Year (2009) AIA – COTE Top 10 (2010, 2x2009, 2008)

PROFESSIONAL AFFILIATIONS:American Institute of ArchitectsUS Green Building Council Sustainable Silicon ValleyIlluminating Engineering Society of North AmericaNational Council of Examiners for Engineering & SurveyingThe Chartered Institute of Building Services EngineersThe Engineering Council

EDUCATION:Master of Business Administration, London Business School, London, England (1993)Bachelor of Architectural Engineering with distinction, Penn State University, University Park, PA (1981)

David brings distinctly out of the box, innovative thinking to the table. He is a professional engineer, a registered architect and a LEED® Accredited Professional as well as an MBA. He has over two decades of experience in the design and coordination of electrical systems for buildings in a broad range of projects including educational facilities, civic projects, and commercial offices. David’s specialties include sustainable electrical and lighting design. He has spoken on sustainable engineering issues at American Institute of Architects National Conventions, Greenbuild International Conferences, Lightfair International, the National Academies: Federal Buildings in 2030 Symposium, the IFMA 3D Sustainability Summit and the Pacific Energy Center, as well as at Penn State, University of Nebraska, Kansas State, and Stanford Universities. He has also published research on sustainable electrical system design at American Council for an Energy Efficient Economy (ACEEE): Summer Studies and the Rethinking Sustainable Construction: Next Generation Green Buildings Conference. He is a member of the General Services Administration’s National Register of Peer Professionals and the AIA California Council - Committee on the Environment. He also holds advisory positions on the California Building Standards Commission Green Building Code, California Public Utilities Commission

Zero Net Energy Action Plan, the California Energy Commission (CEC) /Public Interest Energy Research (PIER) Evidence-Based Design and Operations Program, the US Department of Energy (DOE) / CEC/PIER Building Façade Research Program.

PROJECT EXPERIENCE:• Oakland Museum of California Expansion, Upgrade HVAC System, Warehouse, Oakland, CA• Children’s Discovery Museum Renovation, San Jose, CA• San Jose History Museum Renovation, San Jose, CA• Art 21 Gallery Remodel, Palo Alto, CA• UC Davis, Tahoe Center for Environmental Sciences / LEED Platinum Certified, Incline Village, NV (cold climate)• UC Davis Tahoe Environmental Research Center Hatchery Renovation, Lake Tahoe, CA (historic renovation)• Kirkwood Timbercreek Lodge, Kirkwood, CA (cold climate)• Desert Research Institute Storm Peak Lab, Steamboat Springs, CO (cold climate)• Donner Summit Residence, Truckee, CA (cold climate)• David Brower Center Mixed Use / LEED Platinum Certified, Berkeley, CA• Packard Foundation Headquarters / LEED Platinum Registered, Zero Carbon, Zero Energy, Los Altos, CA• Gordon and Betty Moore Foundation / LEED Platinum Certified, Palo Alto, CA• StopWaste.org Headquarters / LEED Platinum Certified, Oakland, CA (historic renovation)• East San Jose Carnegie Library, San Jose, CA (historic renovation)• Bay School, San Francisco, CA (historic renovation)• Burlingame High School, Burlingame, CA (historic renovation)• Caltech Linde + Robinson Lab for Global Environmental Science / LEED Platinum Registered, Pasadena, CA (historic renovation)• UC Berkeley, Cloyne Hall, Berkeley, CA (historic renovation)

*Encompasses prior firm experience.


7 : R e s u m e sH e a t h e r L i b o n a t i , L C , Lead L ight ing DesignerPr incipal , Luminesce Design

PROFESSIONAL AFFILIATIONS:Illuminating Engineering Society, NCQLP

SELECT PUBLICATIONS:Architectural Record “Polishing a Hidden Gem”, October 2011Architectural Record “Giant Interactive Group”, January 2011Eco-Structure “Good Eats”, January 2011Lighting Design + Application “The Roadster’s Hipster Showroom”, December 2008

SELECT AWARDS:IESNA Award of Merit, Giant Group, Shanghai, PRC—Interior Lighting Design, 2011Lumen West Award of Merit, The Plant Café Organic, San Francisco, CA—Interior Lighting Design, 2011Lumen West Award of Merit, Cincinnati Convention Center Renovation and Expansion, Cincinnati, OH—Interior and Exterior Lighting Design, 2007Lumen West Award of Excellence, CalTrans District 7 Headquarters, Los Angeles, CA—Exterior Lighting Design, 2006Lumen West Award of Merit, CalTrans District 7 Headquarters, Los Angeles, CA—Interior and Energy Lighting Design, 2006Lumen West Award of Excellence, Los Angeles City Hall, Los Angeles, CA, 2001

EDUCATION:California Institute of the Arts, M.F.A. in Theater Design

Loyola University Chicago, B.A. in Theater, magna cum laude

Heather Libonati, LC is the design principal for Luminesce Design. After receiving her MFA from CalArts in theatrical lighting design, she worked on a wide variety of project types and sizes. Determined to never specialize in one lighting application or project type, Heather has found that each project informs the next giving her the ability to solve any lighting design challenge with a fresh solution rooted in practical experience. Her award winning lighting designs have been published in magazines including Architectural Record and Lighting Design and Application. With a sense of humor, a passion for lighting, and a love of the process, Heather designs lighting experiences that are efficient, effective and timeless.

SELECT PROJECT EXPERIENCE:

3M Center, St Paul, MN (interior and exterior remodel of center of campus)CalTech South Undergraduate Housing, Pasadena, CA (built 1931)*CalTrans District 7 Headquarters, Los Angeles, CA**Giant Group East and West Campuses, Shanghai, P.R.C.Hanny’s, Phoenix, AZ (built 1947; originally department store now a restaurant)Los Angeles City Hall Façade lighting, Los Angeles, CA (built 1928)**“Love” Theater at Mirage Resort and Casino, Las Vegas, NV*Plummer Park, West Hollywood, CATesla Motors, Los Angeles, CA

* Designed by Heather while at KGM Lighting **designed by Heather while at HLB Lighting


7 : R e s u m e s

4611 west slauson ave., los angeles, california 90043

tel. 310.828.0226 fax. 310.453.9606

b r o o k s + s c a r p a r c h i t e c t s

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