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We  aspire  to wake up every morning energized by the belief that we can change the world by designing a better environmental experience for its people. ASPIRE IS A PUBLICATION OF COOPER CARRY. ITS INTENT IS TO CELEBRATE THE PROJECTS AND THE PEOPLE WHO COLLABORATE TO MAKE THEM BECOME A REALITY.



Welcome to this edition of Aspire As we approach the close of another year, everyone at Cooper Carry extends their warmest wishes for the holidays. May next year bring with it good health, happiness and prosperity! This is our 12th issue of Aspire, and we believe it is one of our best. Our cover story is about the Georgia Tech Engineered Biosystems Building that Cooper Carry designed in collaboration with Lake|Flato. The research facility opened this summer. It is anticipated that significant findings will come from those labs in the years to come. With that article is a very interesting sidebar story about sustainability. Written by David Thomson, AIA, an Associate Principal in our science + technology studio, you will learn about many items that the design team factored into the building in order to save on energy costs, among other things. Kelly Zimmer, IIDA, an interior designer in our Washington, DC office gives a glimpse into the future of retail stores. She contends that stores must embrace new design paradigms that incorporate the use of technology; and she tells you how and why. Gary Elder, a designer on our interiors team and Alysha Buck from the mixed-use studio share how they collaborated on the recently opened 19-story Post Alexander apartments in Atlanta. You

will learn that collaboration is taken to a higher level that is incredibly productive and creative. We asked architects Bob Just, AIA and Megan Fagge to write an article for an education magazine, and it was so good we decided to include it in Aspire. Because Megan was once a classroom teacher before deciding to become an architect, I think you will find her perspective to be most unique. As always Bob puts forth an in-depth look at the elements of successful K-12 design. Last, but certainly not least, take a look at the line-up of 53 Cooper Carry team members recently promoted. Many of these individuals will be the future leaders of the firm! As always, we want to give a special “shout-out” to our clients for allowing us to design for you. For without your support and belief in what we do, we realize the firm wouldn’t exist.

All the best,

Pratt Farmer Associate Principal Director of Marketing

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CONTENTS Cover Story: Georgia Institute of Technology, Engineered Biosystems Building ������������������������� 6 Cooper Carry Promotes 53. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 The Art of Drawing (with a tablet) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Planning King Abdullah Economic City. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 A History of Architecture: Shigeru Ban. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Post Alexander Phase II: A Case for Collaboration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Designing the Perfect School. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Learn and Share . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Architecture in Schools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Experiential Shopping from an Interior Designer’s Perspective. . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Q&A With Jerry Cooper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Speed for a Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Hobbies of Cooper Carry Employees. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Anniversaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 First Round Draft Picks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Cooper Carry In the News. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Bulletin Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 On the Boards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Recent Wins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Contributors + Sneak Peak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Georgia Institute of Technology

Engineered Biosystems Building


1934, Georgia was still suffering from the Great Depression. Even so, the Board of Regents for the university system was seeking ways to stimulate the economy. It was decided they would maximize the university infrastructure as a way to capitalize on existing assets and spur innovation. W. Harry Vaughan, associate professor of ceramics at Georgia Tech, pointed out to the Regents that in 1919, the General Assembly had authorized—but not funded—the establishment of an engineering experiment station. It turned out Vaughan and two colleagues had prepared an operational blueprint for such a station in 1929. The Regents voted to allocate $5,000 of university system funds toward establishing an engineering experiment station, effective July 1, 1934. Research at Georgia Tech through the State Engineering Experiment Station (EES)—now known as the Georgia Tech Research Institute—was finally a reality.

As stated in the original authorization act, the EES’ purpose was to conduct research applicable to “any or all branches of engineering, manufacturing and the industries and the science related thereto.” Vaughan was named director, supervising 13 part-time faculty and a handful of graduate assistants. This was just the beginning. Through the years, Georgia Tech has become one of the preeminent research universities in the world, with an extensive list of significant, life-changing discoveries. Cooper Carry, in collaboration with Lake|Flato recently completed the Engineered Biosystems Building (EBB) at Georgia Tech, a six-story 218,000 square foot facility. College administrators expect this to be the first of several multidisciplinary buildings constructed on the northern edge of the campus, located in midtown Atlanta. The building will bring together chemists, engineers, biologists, and computational scientists from the College of Science and the College of Engineering to foster multidisciplinary

Panels on building exterior

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David Thomson, AIA, a member of the Cooper Carry design team explains, “When we began looking at the site and the future expectations for buildings to be built around the EBB, the team sought ways to have all of the buildings serve each other in synergistic ways. As an example, we designed a loading dock which can ultimately serve nearby buildings through tunnels, therefore reducing the overall cost and land use of utilitarian space for the three-building complex. This then creates the ability to design more functional space for academic and research use.” Rick Fredlund, AIA, another Cooper Carry designer, believes the expansive open spaces with small nooks will encourage students to spend more time in the building, often ending up in collaborative

discussions with other students. “We drew upon our firm’s expertise in the design of new corporate office space and hotels because those disciplines were early adopters of spaces within space—embracing a more relaxed design which focuses more heavily on comfortable seating, access to technology, lots of natural light and of course accessibility,” says Fredlund. For instance, the building has many features to encourage and facilitate multidisciplinary collaboration. Dramatic, open staircases incorporate lounge areas and break spaces within them to foster interaction. Large, secure equipment corridors connect or provide easy access to open-bench laboratories with abundant natural light. A groundfloor cafe provides another gathering point and draws passersby into the space as a result of its high visibility. A recent article in Civil Engineering explains the geotechnical considerations also identified in the design process. “Geotechnical conditions at the site presented the greatest engineering challenges of the project. The site was filled extensively, decades ago, burying a small stream in the process. The team performed a series of test borings to assess the situation.”

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collaboration. Scott Jones, the director of design and construction in Georgia Tech’s facilities management department says, “It was important for this space to encourage collaboration—to break down the silos that often exist in research. Creating a different type of building to bring together multiple types of researchers is what the core, original idea was.”

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Left: Exterior of building

Right: Building Lobby Opposite Page Top: Lab Space Opposite Page Bottom: Hallway with views of labs and seating.

“We were prepared, from a risk-management standpoint, to potentially run into seriously unconsolidated fill material, and perhaps contaminated materials,” Jones says. “That is often the case when areas are filled 20 to 30 feet, years and years ago, when people didn’t pay much attention to what was being used.” But, in fact, the soil was of a better quality than expected and bedrock was a short distance from the bottom of the basement slab, easily reached with drilled caissons. Although the team expected to find groundwater and was prepared to manage the situation, the water level was somewhat higher than expected and the flow was stronger. This was compounded by heavy rains in the Atlanta area during construction. “Dealing with the water was a challenge,” Jones says. “We had a great deal of the rain when we were doing excavation of the

foundation systems. The normal rainfall in this area in Atlanta is about 44 inches for the year. We had that much probably in the first four to five months of the year. Atlanta was inundated and it really slowed things down, making excavation difficult.” The building’s foundation was fitted with a system to permanently extract the groundwater, alleviating the hydrostatic pressure on the basement walls and slab, which are nearly 40 feet deep in some places on the sloping site. Water is diverted from the slab and foundation walls by a series of protective mats and drainage boards. “Given that water will follow the path of least resistance, what we designed is a conduit to a low collection point, and then we have a pump that takes it from this point to the filtration and cistern system,” Jones says.

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Left: Building exterior with sidewalks

Sustainability: A Big Driver in Design By David Thomson, AIA Associate Principal

“In the past, most people would just throw that water away. There are buildings all over Atlanta like that, built 20 years ago when people weren’t keen to how precious a resource water is. That has really changed in the last decade across Atlanta. We have been very interested in water harvesting for a long time at Georgia Tech,” says Jones, who notes the water from this site will be reused. “The flow was so significant that we are not using any drinking water to flush toilets or irrigate the landscape,” he says. Water management was also an issue with respect to rainwater; both runoff from the roof and chiller condensate will be captured and directed to a 10,000 gallon cistern. Other stormwater runoff is channeled into a small wetland pond, which then overflows into the cistern. The team used building information modeling (BIM) software to design the structure and constructed a series of mockups to ensure that the details were correct. This was critical in developing the large corrugated and perforated metal panels that were used in strategic locations along the building’s facade, to shade its signature, glass-enclosed, cantilevered spaces. The panels provide shading on both the east and west sides of the structure. “We wanted to be able to get good visual daylighting but not have the solar gain,” Jones explains. Using BIM, he says, “We got behind the windows and looked out, virtually, making sure we left areas in the vision plane so that occupants can see straight out without looking through the perforated metal.” Another key design challenge was ensuring the

Georgia Tech has long been a leader in the community for sustainable design and practices. From the campus green cleaning program to the landscape master plan, sustainable practices are at the forefront of green initiatives. Sustainable design was a goal from the very beginning of this project, with a minimum requirement of LEED Gold certification. The project included the first phase of construction for the campus landscape Eco-Commons master plan. From the early stages of the project, the design team included a green design team that developed the sustainable goals with Georgia Tech to meet the Institute’s goals. Early in the design phase, the design team conducted a Sustainable Design Charrette with Georgia Tech. The five main topics of the design charrette included: land use and site ecology, light, water cycle, energy and air quality, and materials and construction. The land use, the basic building layout, internal organization, the exterior fenestration, the energy use, and the use of materials, were all products of these early sustainability goals. Georgia Tech has developed a landscape master plan called the Eco-Commons to reduce the water runoff on the campus. This includes rain gardens, infiltration cells, bio retention areas, interconnected cisterns, and an increase in tree canopy coverage to mitigate stormwater runoff. The Engineered Biosystems Building included the construction of the first segment of the Eco-Commons. The decommissioned Neely Research Center was removed from the site and the Eco-Commons construction transformed the north end of the campus into a beautiful landscape that

building had the “bandwidth” of critical systems to adapt over time, Jones says. The building is fitted with some runs of empty conduit to facilitate easy installation of additional cables. The design also has sufficient air flow to accommodate additional fume hoods in laboratory areas. “[This is] a complicated building,” says Jones, who notes that the design is a complex balancing act between facilitating research, encouraging collaboration, providing flexibility for the future, and ensuring than the building is a pleasant place to be. “Balancing those priorities is a challenge. We were able to balance [those] priorities and bring the project in on budget, in part because we did a good job of risk management and were able to work on a prioritized basis.” To illustrate the building’s potential impact on research efforts in Atlanta

and beyond, one need look no further than the esteemed Children’s Healthcare of Atlanta (CHOA), Tech’s research and innovation partner in pediatrics. CHOA has committed in excess of $10 million and also has a prominent suite of offices on the first floor of the building and announced the formation of Children’s Healthcare of Atlanta Pediatric Technology Center (PedTech) “Disease is not simple,” said Paul Goldbart, dean of the College of Sciences. “To understand it and to redress it, we must quantify, analyze, and manipulate the cellular logic of life. The research neighborhoods have been designed and programmed to facilitate this vision. The fundamental discoveries made through the collaborations that will occur in EBB will lead to new insights that will ultimately help save lives. “Together, we are changing the lives of kids,” said Donna Hyland, CEO of CHOA. “The children of Georgia deserve the best possible care we can provide. Our combined expertise in clinical care, research and technology

provides an extraordinary opportunity to solve problems that will help make kids better today and healthier tomorrow.” No doubt, this building and the research that comes from it will have a great impact on the world for many years to come.

Top: Building Exterior Landscaping Top Right: Grand Stair from recycled wood Bottom Right: Building exterior with covered walkways

started the beginnings of the Eco-Commons development, allowing the Institute to reduce potable water use, reduce combined sewer overflows, and exceed the city’s stormwater regulations in a meaningful way. The building has a network of underground cisterns that capture dewatering water, condensate water, and roof top rain water to flush toilets, feed the fountain, and irrigate the ground. The organization of the building was crafted to provide the maximum amount of daylight to the graduate student office area and the large open research labs, with the smaller support labs flanking the southern edge of the building with smaller windows. The ceilings on the north facing graduate student offices were pushed up to fit into the structural pans to maximize the north daylight flowing into the building. Daylight is important, but control of glare is important also from the enjoyment of the work space. To provide daylight and control glare, the building fenestration was studied. The sun studies helped with the development of the design for sunscreens on the south, east and west elevations. The west elevation also includes automatic sun shades and light shelves. The concept of minimizing material use was reflected in the exposing of the structure and using polished concrete. Trees removed on the site of the Engineered Biosystems Building were recycled and now are part of the building’s sustainable staircase. Roof top solar and hot water panels help power the building, chilled beams reduce the amount of fan energy needed to push the conditioned air through the building, vacancy sensor control of lighting in spaces, heat recovery from relief/exhaust air, high efficiency condensing boilers, unoccupied setback of ventilation rates in lab and lab support (from 6 ACH to 4 ACH), demand controlled ventilation (fresh air flow in response to occupancy) in nonlab spaces and reduced (25 percent below ASHRAE allowable) lighting power density were all included to reduce the energy use.

Design firm invests in leadership to support growing demand

In a firm-wide meeting in August, Cooper Carry CEO Kevin Cantley, AIA, named five new principals to further broaden the reach of the firm’s hospitality, interiors, K-12 Education and Corporate Studios. Also announced was the appointment of 21 new associate principals, 11 senior associates and 16 associates. The appointments demonstrate the company’s commitment to continued growth and success and the recognition of the contributions these individuals are making to that success. Manny Dominguez, AIA, and Andrea Schaub, AIA, were named principals in the Hospitality Studio, which is recognized as one of the top five hospitality practices in the nation. The 1,175-key Marriott Marquis in Washington, D.C., the Douala Hilton in Cameroon, the Arlington Capital View Hotel, the Hilton Cleveland Convention Center Hotel slated to open in 2016, and The Sanctuary at Kiawah Island are just a few of Cooper Carry’s many hospitality projects around the world. Dominguez has worked on projects such as the Sea Pines Resort’s Plantation Golf Club, which was recently named Clubhouse of the Year by Golf Inc. Magazine. Schaub, who has been with Cooper Carry since 2005, is known for her work on the Capitol Point Hyatt Place in Washington, D.C., and The Main Hotel and Conference Center in Norfolk, Virginia. Kim Rousseau, NCIDQ, director of interior design, was named principal and currently leads the interior design of Park Center, where State Farm will be a lead tenant,

promoting the most current workplace strategies in its design as a response to the influence Millennials are having on today’s office buildings. In the K-12 Education Studio, Bob Just, AIA was named principal. Just has worked on several headliner projects including the 11-story North Atlanta High School, which garnered national attention for its adaptive reuse design of a 1970s era corporate office building. Bill Halter, AIA, Director of Corporate Services, joined Cooper Carry in 2010 and was named principal of the Corporate Studio. Halter has led innovative office design efforts for projects such as Intergraph’s Huntsville-based corporate campus, where the workplace strategy led the client to boldly eliminate all private offices in exchange for a more collaborative and open concept plan. Halter leads the design team for Park Center, which has direct street and lobby access to an expanded Dunwoody, Georgia MARTA station. “We’re proud to recognize the hard work and accomplishments of these talented professionals,” said Cantley. “Their work will continue to shape the future of the built landscape and serve as a model for timeless design. These additions to not only our senior leadership team but across the roster of promotions will help to ensure that the firm is solidly grounded for years to come.”

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Cooper Carry




|Hilton - Downtown Cleveland




| The Main at Norfolk Hotel & Conference Center



|Park Center



|Renfroe Middle School




|Times Square South

|Sea Pines Plantation Golf Club

|Hyatt Place - Baltimore Harbor

|Capitol Point Hyatt Place

|Marriott - Arlington Capital View

|Edward Andrews Studio

|Solis Downtown Circle


|Bunche Middle School

|North Atlanta High School

|North Springs Charter High School


|Park Center

|Intergraph Headquarters

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|Lancaster Marriott

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|Cherokee Co. Aquatic Center

(with a tablet) By Abbey Oklak, AICP Planner For so many centuries, art has been about connecting pen and paintbrush to paper and canvas. Today, art encompasses so much more and can be shared through various new mediums; but the desire to create and express remains the same. I draw on paper, but I also draw digitally with my tablet. A few years ago, I was given an iPad as a gift from my parents. I had scoffed when I first received it only to later realize the opportunities it offered to me as a digital sketchbook. A week after receiving my new toy, I downloaded a popular drawing app called Paper. The graphics were simple as though it was a digital moleskin and the drawing utensils were straightforward with no options to adjust them.

New York City Sketch

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Top: Color Elevation Study Bottom: Downtown Indianapolis Right: Old Town Alexandria Sketch

The results from Paper are elegant and similar to actual watercolor, but every new app update brings new challenges and opportunities. Sometimes, it’s even like learning a whole new program. In the years since I’ve completed my drawings in Paper, I’ve experimented with several other apps with various features such as layers and full brush manipulation. However, I prefer features that are simpler and easier to use. The lack of flexibility





The results are similar to hand drawing because I am still using my hand to do the drawing. The way the app renders the flick of my wrist so accurately reflects a pen that you might just not be able to tell the difference. Modern technology allows me to do virtually anything from behind a computer screen. In drawing, the tools may be different from what has been traditionally used, but the results can be identical and an artist can just as accurately depict the thoughts, emotions, or messages that he or she is trying to convey. Still, I am sure that even Leonardo da Vinci would not have guessed that someone might try to recreate his greatest works using a writing utensil that contains no ink— but I can’t wait to try.

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helps me to learn the tools better, and like many architects, I work best within constraints.

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Similar to holding a paintbrush for the first time, I had to learn how to use the digital watercolor brush or pen. It only took me two hours to get hooked and to realize that I needed a stylus to achieve the results that I wanted as the internet showed me what others were achieving. At the time, options were limited and I started with a pressure sensitive stylus that was compatible with the drawing app. I have since expanded to include in my repertoire a stylus created by Paper. With each new tool, I had to learn and get used to where a line was drawn in relation to where you press the stylus. It can be temperamental—sometimes it’s not where you place the stylus and each has its own quirks and issues.



It is a rare opportunity, outside the virtual world of SimCity, to be involved in designing and building a city the size of Washington, D.C. (67 square miles) from scratch. Four such cities are currently envisioned within the Kingdom of Saudi Arabia. Cooper Carry has been involved in master planning efforts for the largest of these cities: King Abdullah Economic City (KAEC). Located 80 kilometers north of Jeddah along the Red Sea and named in honor of the late King Abdullah, KAEC (pronounced “cake”) is being developed by Emaar, The Economic City (EEC). A framework master plan was done in 2006 and revised in 2013 for the entire city. EEC engaged Cooper Carry to design concept master plans for two primarily residential communities, Al Waha and Al Shurooq; along with conceptual building designs for affordable housing in Al Shurooq. Al Shurooq is anticipated to house almost 40,000 people in four- to seven- story buildings across 1.38 million square meters of land area once it is fully built out. Al Waha is anticipated to house over 25,000 people in apartments, row houses, paired townhomes, and villas across 2.6 million square meters of land area once fully built out.

a Cooper Carry magazine | © 2015 27 In many ways, the development of the City of KAEC will be a social experiment; compressing the time traditional cities have been built over generations into a 20- to 30- year time period. The initial development drivers in KAEC center around the port, which is constructed and operational. It is able to handle the size of ships our neighbors in Savannah are planning to handle once the dredging of the Savannah Port is completed. Given KAEC’s strategic location on the Red Sea, authorities expect the KAEC port to be a major economic development, manufacturing, and jobs driver for the city. The port—in addition to construction jobs, a lack of current housing supply in the area, the near completion of a high speed rail line connecting KAEC to other major Saudi cities, and other early phase uses— is driving residential demand. This residential demand is driving the early phase development in the Al Shurooq and Al Waha communities. Within the master plans are mosques, open space, bike and walking trails, retail, schools, and the necessary utilities and infrastructure to make it all work.

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By Kyle Reis, AICP Associate Principal





Al Shurooq is actually the first planned affordable housing community in the country, so it represents an opportunity for home ownership for families to live in much better conditions than they have been accustomed. Demand for housing has been strong at sales launches in nearby Jeddah, with people traveling from across the country for the

opportunity to own their home in this new city. The potential impact of KAEC and other Economic Cities for the Kingdom of Saudi Arabia’s future economic development is immense. It will be interesting to follow the progress of these monumental efforts over our lifetime; particularly over the next 10

years. It will take more patience than is required in playing SimCity.

Above: King Abdullah Economic City Master Plan Right: Master Plan featuring the four villages comprised in the overall scheme.

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Installment One of a Series of Articles

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part one

By Robert Edsall Architectural Designer


hroughout the centuries, the architecture of Asia has had a profound effect on Western architects. While the initial motivations for the exploration of the Far East were trade, occupation, colonization, and proselytization, it was through such efforts that the Western world was exposed to the architectural techniques of India, China, Japan, Indonesia, and Thailand. Within the past century, some of the greatest architects of the Western world began to incorporate elements of Eastern vernacular architecture within their own designs. Famous architects such as Alvar Aalto, Ludwig Mies van der Rohe, and Frank Lloyd Wright expressed their own interpretations and adaptations of Asian architecture in their

works as their own personal styles evolved. Many of these architects were asked to design major works and landmarks throughout Asia and, as a result, certain Eastern architectural elements and techniques became a part of their individual styles. With the adoption of Eastern architectural techniques by these “Western architects,” new forms of architecture were born through a distinct interplay between adaptation and interpretation. While Asian architectural elements found their way into European and American architecture, these elements became relatively indistinct over time. The works of the Western architects that were designed as a result of their exposure to the Eastern world have left an indelible

mark on many modern architects, including Shigeru Ban. Ban, a Japanese architect with an entirely Western education, is an architectural hybrid of the modern era because his design influences are deeply rooted within the Western architects while his traditional Eastern roots govern his rational and reductive vision of Western modernism. Under John Hejduk’s supervision at Cooper Union’s School of Architecture in New York, Ban developed a style governed by a rational outlook on architecture that required him to revisit the works of the Western architects, and it was through this process he gained a greater appreciation for Western architecture. With this greater appreciation, Ban

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An Eastern Vision of Western Modernism

was able to hone his reductive vision of Western modernism and combine it with traditional Japanese architecture to form a distinctly modern style that has roots in both Eastern and Western architectural practices. From this, he began many of his designs by referring to the influential works of the Western architects, and sought out to make them better by making his designs serve as architectural critiques from an Eastern perspective. With his Western education and influences paired with his Japanese heritage, Ban has revitalized the efforts of the Western architects and their movement to appropriate Eastern architectural

elements into Western building forms and methods. By revisiting their works within his own works, Ban serves as an Asian architectural ambassador—a hybrid who embraces the combination of Western and Eastern styles through his own architectural critiques as he plays the Eastern architect analyzing the Western architects who interpreted and eventually adopted Eastern building methods. It is through this dynamic cycle of interpreting, mixing, and melding various Eastern and Western building forms that ultimately led to Ban’s success and world-renowned status as a self-proclaimed nomadic architect whose wide range of work has come to represent the globalization of architecture.

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Left: Shigeru Ban - Paper Pavilion

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Right: Shigeru Ban - Paper House

The principal definition of globalization is the “growth to a global or worldwide scale,”1 and, while this is a trivial definition in relation to the nature of architecture, it is crucial to acknowledge the two separate definitions of globalized architecture. The globalization of architecture refers not only to the varied nature of an architect’s work in style, scope, and location as well as its international acceptance and acclaim, but also to the growing trend of architectural feats becoming cultural and political talismans representing the sophistication, wealth, and overall power of any given country or government. Essentially, both of these concepts stem from the technological, economic, political, and cultural exchange brought about by modern communication, transportation, and legal infrastructure as well as the political choice to open cross-

border links in international trade and finance. In light of this twopronged definition, Ban’s body of work represents the globalization of architecture in its former capacity, and, while he has many landmark works around the world, he does not make a conscious effort to work with countries and governments in order “to make their money visible.”2 Ban represents a dynamic cycle that has come full-circle, and the end result is an architect who employs a highly successful hybrid of architectural styles and forms. More importantly, his works should not be seen only as architectural critiques of the seminal works of his Western counterparts, but also as architectural homages to his Eastern inspirations. While his style may express the seamless integration of two distinct building forms, his motivation to design and build certain building types expresses a deep-seated desire to

engage in humanitarian activities – representing a conscious effort to reform the Japanese outlook of the architect as a superficial entity employed by governments and businesses to show their power and wealth. Ban realized, through his own upbringing, that architects are not well respected in Japan because they have a “very short history in Japan/…[and] people think architects drive up costs and create unusual buildings to call attention to themselves.”3 With this realization, Ban has made a conscious effort to spread his architecture globally by engaging in pro bono activities and relief efforts for various countries while simultaneously pursuing other personal, more monumental design projects. Ultimately, his efforts to redefine the role of the modern architect in light of his own culture’s

misconceptions have been successful because his distinct focus on relief efforts and humanitarian activities has propelled his status as an architect who represents the globalization of architecture through the worldwide exposure of his style and his work. Ban expresses a strong conviction in producing a predominately horizontal architecture which rejects industrial building conventions through a structure highly responsive to nature, the surrounding environment, and the human condition. The majority of his work can be best described as environmentally friendly structures made from sustainably reconstituted and reinforced paper tubes that are organized into the primary structural systems for both his permanent and temporary buildings – structural systems that, in effect, define the interior spaces of his buildings. Ban’s motivation for implementing this new material and new construction method comes from his observation of “Japanese property developers [that] destroyed and rebuilt overnight the re-enforced concrete buildings, which were previously thought to be ‘permanent’ or ‘universal’.”4 Overall, Ban has become the humanitarian architect of the 21st century through his accessible style and aesthetic and his efforts to employ his versatile relief structures in response to natural disasters around the world, but he is just simply following in the proverbial footsteps of one of his Western counterparts, Alvar Aalto – the true humanitarian architect.

1 Princeton University, 2006. Web. 1 Nov. 2010. 2 Naomi R. Pollock. “Ban-Aid.” features/ humanitarianDesign/0810banaid.asp. Architectural Record, 2005. Web. 1 Nov. 2010.

Naomi R. Pollock. “Ban-Aid.” features/ humanitarianDesign/0810banaid.asp. Architectural Record, 2005. Web. 1 Nov. 2010. 3

Shigeru Ban, Alvar Aalto: Through the Eyes of Shigeru Ban (London: Black Dog Publishing, 2007) 74. 4

Right: Shigeru Ban - Centre Pompidou-Metz

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19 Stories Rental Apartments over 7 stories of Parking Located at 600 Phipps Boulevard, Atlanta, Georgia 530,000 GSF, 340 Units at 830 SF average TYPE I, Cast-In-Place Concrete Structure with Steel Partitions and EIFS/Window Wall Skin

interior program: Ground Level Lobby, Mail Room, Leasing Office Fitness Center and Cyber Cafe Adjacent to Pool Deck Indoor Club Room with Adjacent Roof Terrace Elevator Lobbies and Corridors

project team: Principals: Roger Miller, AIA | Greg Miller, AIA Project Manager / Project Architect: Chris Culver, AIA Architectural Staff: Alysha Buck, Krista Dumkrieger, AIA Interiors Staff: Gary Elder

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architectural program:

post ALEXANDER phase II


By Alysha Buck Architectural Designer


the multifamily market sector, many developers have a preferred interior design firm they contract with directly for most of their projects. For this reason, it can be challenging to win an architectural contract for multifamily work that includes interior design services. One of the first in-house collaborations between our Interiors and Mixed-use/Residential Studios was Post Alexander Phase II. Since then, these two groups have continued to do more projects together, and have found a relatively smooth working process.

By Gary Elder Interior Designer

The collaboration on these projects comes with the challenges and compromises of working together as a team, but also results in a more unified product of a singular team effort. Through this process of collaboration, we have found the structure of a project team has significant impact on our owner relationships, the aesthetic product of our design process, and our efficiency and effectiveness in delivering coordinated documents.

Post Alexander Tower

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Front Door and Porch Seating

Rooftop Terrace

Exterior Pool Deck


On many multifamily projects up to this point, our clients had contracted directly with third-party interiors groups. This contractual arrangement may have its benefits, bringing the fresh ideas of two different firm cultures and design processes to the table. Yet this may also have potential drawbacks. When the two design teams have independent contracts, there is potential for conflicting “big ideas,” gaps in contract scope, and challenging document coordination. This contractual relationship often results in an architectural shell, within which the interior designer works, not unlike a tenant fit-out. It is more challenging to manage a unified project aesthetic, completeness of documents, and cross-discipline coordination of the two independent efforts. ADVANTAGE OF A SINGLE TEAM IN HOUSE Having worked with these third-party firms, we found that many interior designers are focused primarily on space planning and finish selections, and sometimes lack experience with code compliance and the design of interior architecture. This often puts pressure on the architect to increase our scope in order to cover those bases.

and the architectural staff may come together initially with varying ideas, working through the options together helps the entire project come to the best solution for the client. When this process of vetting ideas is guided by a single project manager on Cooper Carry’s team, the result is a unified set of goals and aesthetic principles. The project manager can then keep the entire design team on track with these goals as they manifest into construction, and also implement a single-source management of a complete and coordinated set of documents. WORKING TOWARD A UNIFIED DESIGN AESTHETIC In addition to a coordinated set of documents, another benefit of a single project manager is the implementation of a unified design aesthetic. With the entire design team working to establish the “big idea” together, all of the team members get initial buy-in to the concept. Part of a client’s motivation for separate architecture and interiors teams is the preconception that two independent design firms coming together will challenge each other’s concepts and processes and move toward a better end result. The reality of that situation is neither firm has leverage over the other’s production schedule, and it can be difficult to get the two design processes to align. As a result, the architectural design has the potential to be nearly complete by the time the interior design really gets underway. Instead of daily interaction and exchange of ideas, with simultaneous progression of the overall design, the back-and-forth collaboration with a third-party interiors group has the potential to be limited and out of sync.

This process can be exciting for the client to participate in, and it helps all involved to take ownership of the project’s main ideas and goals.

In contrast, Cooper Carry’s interior design group has experience in interior architecture, and also the understanding/awareness of working side-by-side with architects for many years. They bring the expertise of finish selection and space planning, but these skills are balanced and enhanced by a solid understanding of spatial design and code requirements. When working together under one contract, the interior design team is involved early in the process, and helps develop the program and shape of the architectural mass. IMPROVING THE CLIENT EXPERIENCE With the interiors team coming to the table at the beginning of the project, they are participants in the early, high-energy exchange of design ideas in the concept and early schematic phases. This process can be exciting for the client to participate in, and it helps all involved to take ownership of the project’s main ideas and goals. While the interiors staff

PRODUCING A COMPLETE AND COORDINATED SET OF DOCUMENTS The discord in this progression of design brings risk of inflexible and uncoordinated documents. A periodic exchange of backgrounds limits each team’s ability to respond to changes in the files. In contrast, when both teams are under one roof and share a set of files on one server, every team member has

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structuring a cross-disciplinary team

Apartment Interiors

the ability to respond to the current state of the documents. Shared files inevitably result in a more efficient, cohesive, and thoroughly vetted product. When two groups come together on a project, they are bound to have differing ideas and standards for compiling drawings. If these two groups exist in different firms, that is how the documents will be issued. But when the two groups are under one firm, there is a discussion about which team’s methods are more prudent and effective for that particular scenario, and the drawings become more consistent and effective. Consistent naming, noting, and tagging alone can make the contractor’s process more seamless, by minimizing confusion and easing their ability to read the drawings. When we have the opportunity for an inhouse collaboration, there is potential for both an improved working process and a higher quality product. The client gains the benefits of a single project manager. The entire design team is engaged at an early stage, so the interior design can influence the style and massing of the overall building, allowing the architecture to evolve from the inside out. The working process is streamlined because we can share documents and staffing resources. The documents are more cohesive and coordinated. Through an improved client experience, a unified design aesthetic, and a more coordinated set of documents, a team of designers working together internally results in a better product.

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designing the

PERFECT SCHOOL By: Megan Fagge Architectural Designer Certified School Teacher

By: Bob Just, AIA Principal Director of K-12 Education Studio

Children are impressionable and the experiences they have while in school have a profound impact on their lives. Compelling school design can inspire children and their awareness of the built environment. At Cooper Carry, we take seriously the challenge of creating schools that are shaped by the learning process and enhanced by human interaction in a way that will foster learning, nurture relationships and promote congeniality every day. Simply put, the perfect school will inspire, transform and bring added value to the educational systems and communities in which they operate. In today’s world, students are preparing for a technologicallydriven future with jobs that, in many cases, have yet to exist. So how do we create ‘the perfect school’ that not only enables students to excel, but also supports them as they prepare to join the global economy? In short, we believe the heart of this complex question resides in one single concept: ‘pride of place.’ The perfect school should encourage students to learn and empower teachers to educate. As

architects, we strive to create environments which connect people and places, making communities more valuable. From the start, the architect must engage interior designers, landscape architects, urban planners and graphic designers, as well as educators, administrators and the community. Collaboration, a cornerstone in 21st century learning, should also be the mark of great school design. We believe when students can take pride in their school, they learn to take pride in themselves and their community. As the success of a student is often derived from the support of parents and the community, ‘Pride of Place’ extends beyond the student to the community as a whole. The perfect school should encourage a student to say “I go to school there!” with a true sense of enthusiasm. It should also emphasize the value of education, collaborative learning and character development both inside and outside the classroom.

a Cooper Carry magazine | Š 2015 45 aspire | volume twelve North Atlanta High School: 11-Story Adaptive Re-Use School embodies a truly unique environment that instills great pride within the students and staff.

DESIGN MATTERS From a functional perspective, there are many components that would be at the top of any school administrator’s list when confronted with creating ‘the perfect school.’ Such components often revolve around energy efficiency and general maintenance often described as ‘high performance schools.’ Although these components are key and not to be overlooked, the design of the perfect school begs much more. Intuitively, we know that design matters. Teachers have long compensated for dull environments by creating colorful bulletin boards and hanging posters. They have attempted to improve their space with area rugs and carefully placed bookshelves. Teachers know that design matters; however, all too often, they are not invited into the design process. We see this as a missed opportunity. Our environments tell us who belongs, what behavior is expected, and what is valued. Recent research demonstrates our students are most certainly receiving these messages. At the University of Salford Manchester, data was collected from 751 students across a variety of learning environments. The results of the study were clear and compelling. The classroom environment, including lighting, spatial organization, even the color on the walls, “could affect [the students’] learning progress by as much as the average improvement across one year.”1 Subsequent research from the university has supported this initial conclusion – design in schools matters.2 Georgia Southern Dining Commons In a new study recently published in the Journal of Educational Psychology and conducted by the Washington Institute for Learning and Brain Sciences at the University of Washington, the results were equally pointed. Female enrollment in computer science classes tripled when the classroom environment was redesigned. Lead author Allison Master said, “Our findings show that classroom design matters – it can transmit stereotypes to high school students about who belongs and who doesn’t in computer science.”3 This study is particularly intriguing because the classroom was redesigned based on psychological rather than functional concepts. The redesigned classroom space was to be ‘inviting,’ not reflect gender stereotypes, induce a sense of belonging and

communicate an expectation of success. Imagine the impact this could have across the field, if the results of this study were carefully considered in the design of our educational environments. In addition to affecting students’ rates of learning and their sense of belonging and willingness to engage, the design of a school can affect the budget and bottom line. The San Francisco Unified School District was losing money in their school cafeterias. They had a large infrastructure dedicated to providing lunches, many to students entitled to free or reduced lunch, but were operating at a loss when students chose not to partake. The school district had been trying to address the quality of the food, the most obvious culprit, but the changes were making little impact. Usher in IDEO, a globally recognized design firm who took a fresh approach to examining the problem and realized they needed a “human-centered”

solution. They recommended a communal, family-style dining experience for elementary students, while the experience was more varied for older students. The lunch hour, considered experientially through the eyes of the student, yielded solutions that turned out to be mutually beneficial to the school system.5 At Georgia Southern University Dining Commons, we created quieter spaces focused on study or respite as well as spaces geared more toward socializing at lunch. The spaces were designed to enhance the student dining experience.

Reflecting on the studies above, there are a few key elements to consider when designing the perfect school. One feature to think about is lighting. The perfect school would include natural light and lots of it. As architects, we would accomplish this

In addition to spatial organization and lighting, color is a key consideration in designing the perfect school. We want to stimulate our students, not put them to sleep. This isn’t to say every color should be bright and bold as there is certainly a place for sophisticated and calming colors, but designers shouldn’t be afraid of color, particularly if its paint. With our design of Benning Elementary School, we incorporated bright colors and bold patterns throughout, energizing the students and faculty.


North Atlanta High School

with floor to ceiling windows, skylights and atriums. Our design of the 11-story North Atlanta High School, which opened to students in fall of 2014, incorporated floor to ceiling windows that let in plenty of natural light and offered inspiring views. Another key design focus for the perfect school is spatial organization. It is not just about proper adjacencies, but also about how you connect the dots and create the paths in between that will encourage interaction and promote learning. Learning doesn’t just take place in the classroom; it also takes place in the corridor, cafeteria, playground and the places in

Extensive research and prominent educators say that education must shift from traditional lecture style instruction to discovery. Thus as a foundation to the education process, active-based learning has been growing in popularity. Variations of active-based learning include deeper learning, expeditionary learning and blended learning. These styles have much in common, promoting a student’s experience that, at its best, is investigative, personalized and engaged. Much has been written about this pedagogical approach and we certainly see this type of creative learning demonstrated at the university level. Stanford’s, Harvard’s Innovation Lab, and MIT’s Media Lab all assert the idea that discovery through design and exploration fosters a type of learning that is not often supported by more traditional educational environments. And it’s catching on in the K-12 classrooms.6 This active-learning approach provides an environment poised to foster the performance characteristics of curiosity, teamwork and perseverance, all of which correlate to success. Embedded in a child’s education, these characteristics

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between. In designing Bailey’s Upper Elementary School for the Arts and Sciences, we integrated open spaces that allowed students to socialize and collaborate in between classes. The perfect school would have spaces of opportunity – a place outside the classroom where a teacher could sit with a student and explain homework or a spot for students to prepare for a class presentation. Learning can happen anywhere, and the perfect school would facilitate opportunities for learning and growing to occur around every corner.

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It is becoming increasingly clear that the design of these environments is inherently impactful on student experience and learning. Each decision made in the design process has an impact on our students whether intended or not. While there are many factors to consider in design, it is important to remember the mission of the building: not just to house, but also to educate and nurture the development of children. It is with this focus that perfect schools are created.

prepare students to love learning and become engaged in the process. And with retention rates tied directly to the style of teaching and learning, active-based learning strategies have become important components in the design of educational environments.7,8,9 Active-based and personalized, student-center learning requires a new conception of classroom organization that is both flexible and agile. In the perfect school, we move away from traditional desks in rows and begin to look for space that is flexible, adaptable and configurable to a variety of activities and experiences as the curriculum requires. Such space can and should be designed to foster learning. This isn’t to say we should toss out the traditional classroom in its entirety; rather, the traditional direct-instruction classroom organization becomes one setup in a variety of spaces that can be utilized by staff and students. These setups include team collaboration, individual study, project based learning, distance learning, traditional passive learning and learning though presentation. In this scenario, the ability to change the environment as needed to best suit the process of learning, and moreover the ability to do it quickly and with little effort is critical to 21st century learning. In one exploration of a 21st century small learning community, we created a variety of spaces suited to different activities which were to be shared by a group of students and teachers. The teachers themselves were no longer isolated in individual classrooms, but instead shared an office space designed to foster collaboration. The concept of ‘learning on display’ should also be incorporated as a way to encourage and support interaction and collaboration. Teacher collaboration, student collaboration and active media center concepts are all about putting ideas together, creating positive school climates, pushing the boundaries of technology integration and fostering connections to the environment, community and global network. Learning on display is a vital part of 21st century learning, and can be achieved by designing learning spaces to be open and transparent. For example, at Emory University’s Atwood Chemistry Hall, we incorporated glass walls for science and research labs to inspire and encourage students to create and experiment. Educators also understand the learning process takes place beyond the classroom. It happens on the Internet and playground, as well as the hallways and cafeteria. Invariably these spaces become key components in the educational process and deserve special consideration when designing facilities consistent with innovative learning opportunities. One school that has harnessed this concept is Georgia Tech with its new Engineered Biosystems Building designed by Cooper Carry. Few projects could be a better example with its transparent interiors that enable students and staff passing through the building to see into labs, study spaces and classrooms. The transparent design is intended to create

intrigue and encourage the cross pollination of ideas that will inspire students to collaborate and think outside of the box. Even the lobby of this new facility has an interactive monitor that literally puts learning on display. Technology-driven design is another key component to creating the perfect school. Many schools are experimenting with “flipped classrooms” or “blended learning” where technology is leveraged to deliver some portion of the content freeing classtime and teachers to engage in more personalized learning

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exercises or pursue deeper investigations of the material. Clintondale High School in Michigan experimented with the flipped classroom, and noted dramatic reductions in failure rates across academic disciplines as well as a reduction in disciplinary problems. The results were so compelling that they have committed their entire school to the model.10 Another school garnering quite a bit of attention is AltSchool founded by Max Ventilla, a Silicon Valley entrepreneur. The school is focused on personalized learning experiences,

and has been referred to by its founder as ‘Montessori 2.0.’ Technology rich, these ‘one-room schoolhouses of the 21st century’ are attempting to re-invent education by creating environments where students can follow individualized and self-paced curricula anchored by technology. At the forefront of technological integration in schools, AltSchool has even invested in a product, engineering and design team office within the school itself to design, among other things, hardware and software applications to further optimize the pedagogy.11,12

Georgia Institute of Technology Engineered Biosystems Building Lobby

Emory University’s Atwood Chemistry Hall

Benning Elementary School

When considering what it takes to design the ‘Perfect School,’ we certainly want administrators to value recent concepts which embody “High Performance” schools, but we also want to encourage administrators to embrace the pedagogy of 21st century learning. Putting it all together in a collaborative approach, the architect and administrator can create something great, something that creates ‘Pride of Place’ and thus the perfect school.

1 “Study Proves Classroom Design Really Does Matter,” University of Salford Manchester, 2 “Well-designed Classrooms Can Boost Learning Progress in Primary School Pupils by 16%, New Research Reveals,” University of Salford Manchester, accessed 24 February, 2015, built-environment-news2/well-designed-classrooms-can-boost-learning-progress-in-primary-school-pupils-by-up-to-16-in-asingle-year,-research-reveals. 3 “To Get Girls More Interested in Computer Science, Make Classrooms Less ‘Geeky,’” Washington Institute for Learning and Brain Sciences at University of Washington, accessed August 24, 2015, 4 Liz Stinson. “How to Reinvent the School Lunch and Get Kids to Eat Better,” Wired (2014), http://www.wired. com/2014/04/how-to-reinvent-the-school-lunch-and-get-kids-to-eat-better/ 5 Kiera Butler. “Happy Meals: Can San Francisco Reinvent the School Cafeteria,” The Atlantic (2015), http://www. 6 , ,


Paul Tough, How Children Succeed (Massachusetts: Houghton Mifflin Harcourt, 2012)


Tony Wagner, Global Achievement Gap (New York: Basic Books, 2010)


“Character Counts,” KIPP (2015),


“Flipped school model of instruction,” Clintondale High School (2012),

11 Issie Lapowsky. “Inside the School Silicon Valley Thinks Will Save Education,” Wired, altschool/. 12

“Educational Approach” AltSchool (2014),

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As we noted in the beginning, the success of the student is often derived from the support of the parents and community. With that understanding, we believe the perfect school works with the community; not just in providing space for intramural sports and voting precincts, but also in fostering true collaboration with the community in forming partnerships with local organizations and private companies. As an example, we are working with one local Atlanta school district to find ways in which the school district can collaborate with private sector organizations. This might include collaboration with a network of local hospitals in short supply of specific professions such as EMT’s and nurses. We suggest the perfect school might collaborate with such organizations where there can be shared spaces that will enable the organization to come in and coordinate programs that will intrigue young students to consider professions they may not have previously considered.

My Experience Teaching a Professional Development Curriculum By Mark Kill, AIA Chief Operating Officer

I had the privilege to assist Ohio State’s Knowlton School of Architecture (KSA) faculty on October 8, 2015. After nearly 39 years since I was a student, it was a memorable event. I taught a professional development curriculum about large firms— what and who they are, what’s a typical culture, the acumen they seek, and how one might determine fit and navigation of one once employed. I’d like to thank Director Mike Cadwell, Architecture Section Head Rob Livesey, Lecturer Mitch Acock and Landscape Architecture Section Head Dorothée Imbert for their warm hospitality. The audience consisted of 22 third-year graduate students, their teacher and practicing architect Mitch Acock, my classmate and Ohio State Facilities Operations and Development Senior Project Manager Rick Van Deusen, and my wife and Cooper Carry’s Resource Librarian Betsy Kill. The pressure was on. KSA’s celebration of 100 Years of Landscape Architecture at The Ohio State University or 100 LARCH OSU was scheduled for that evening immediately outside of our seminar room. The work on display was exemplary, much of it from a historical perspective. The discussion centered on questions regarding the practice of architecture in a large firm, including: • What’s in it for you? • My path—how and why did I do it? • Who are the large firms? • Your path—how and why? • What do firms deem important? • What are the behavioral expectations? • How do large firms encourage teamwork and provide coaching?

The class found the firm research, resume writing and interview tips valuable. The importance of firm culture and the notion of pigeon-holing were other important topics discussed. Cooper Carry is truly an entrepreneurial firm in that when employee aspirations are aligned with the firm’s goals, a symbiotic relationship results with both the employee and the firm benefitting. Do Cooper Carry intern architects spend a lot of time documenting? Sure they do; it’s part of the learning. However, we want our young staff to secure their registrations as soon as possible. Because of that, one’s project responsibilities are varied enough. Now, one is expected to leverage one’s strengths. If it’s design, great; if it’s documentation, wonderful—the firm and the intern collaborate to find those balances. The conversation also centered on meeting participation. We know that firsthand experience is a powerful teacher. Of course, once the documents are issued or we have a firm-wide recognition, we celebrate our accomplishments. Are we enthusiastically competitive? Sure. Is the success at another’s peril? Definitely not. Goal setting, teamwork and coaching are an effective triad. Since KSA is a part of the College of Engineering, the engineers joined us at Knowlton for the Homecoming Reunion. They got the East Entrance Patio; we got the Ruscilli Terrace shown in the exterior photograph that orients to Ohio Stadium. Thirty-nine years after my graduation, the event provided a great opportunity to reflect on what makes Cooper Carry and other large firms unique.

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Knowlton School of Architecture Campus

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By: Matt Nickel, RA Architect

By: Richard Berrios Architectural Designer

Among time-crunched deadlines, client meetings, endless coordination, and dozens of details, it is sometimes beneficial to step away from the grind of the architectural practice and dive into a world where wonderment is a part of everyday life, where concepts and principles that architects take as daily norms are discovered for the first time. Cooper Carry’s Torrey Law, Matt Nickel and Richard Berrios found such a place down the George Washington Memorial Parkway at Washington Mill Elementary. For 10 weeks during this past spring, the group participated in the Architecture in Schools program offered by the Washington Architectural Foundation, teaching a class of talented fifth graders about architecture by integrating it with their required course of study. Given that all three of the volunteers have mothers who are school teachers, this was an interesting and fun way for them to take a glimpse into their mothers’ daily lives, but with some design and model building added to the mix. It was also an opportunity to share their passion with a younger generation. One of the primary goals identified as part of the fifth grade social studies curriculum was to understand the idea of change over time—showing that throughout history, some things may change significantly while others remain the same. The other driving concept was that different cultures throughout history share common values and desires, which can be manifested through various symbols and spaces. With these goals in mind, a fitting launching point for the project was the National Mall, a place quite familiar to most of the students due to the school’s proximity to Washington, DC. The students learned to read site plans as they studied maps of the National Mall, and learned the cultural importance of a public space, which has been a crucial component of societies dating back to Greece’s agora and Rome’s forum. The students then investigated the Jefferson Memorial to discover that its design, with a round plan, domed roof, and front portico, was directly based on the Roman Pantheon. Lastly, the students looked at the Korean War Memorial, comparing it with the Terracotta Army in Xi’an, China, both demonstrating that life-size sculptures of soldiers is a commonality between cultures, centuries apart and worlds away. The 21 students showed much excitement, enthusiasm, and dedication in learning about the course material and completing the final project. This served as a great reminder that architecture is more than the daily grind experienced in the office—it has the profound power to incite curiosity and awe in people. Ultimately, while the program seemed to be quite influential on the fifth graders, the experience proved to be equally rewarding for all.

Right: Cooper Carry Architects, Matt Nickel and Richard Berrios work with children from Washington Mill Elementary.

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The retail industry is constantly evolving. New technology is shaping the way consumers shop. Cooper Carry interior designer, Kelly Zimmer shares one vision for the future of brick-and-mortar retail. By: Kelly Zimmer, IIDA Interior Designer

When was the last time that you physically walked into a store to shop for clothes? With the advent of online shopping there is increased incentive to browse for clothes online and pay for what you want without having to leave the comfort of your own home. Retail stores that operate under the traditional model cannot match the convenience created by modern technology. Today, we have endless choices at our fingertips. I can easily make a purchase with a few simple clicks and have it delivered to my front door in less than 48 hours. However, while online shopping is easy and convenient, it does not offer the optimal shopping experience that a brick-and-mortar store is able to provide.

on building shelf display for its line of products. Instead, the emphasis was on building activity areas to showcase electronics according to various usage roles. These divided physical areas concentrated on video, music, photos and kids. Apple was able to build a store layout that would showcase the many ways its products could be used, set up the physical space of its stores to demonstrate this, and simultaneously present the products within this strategic layout. With a similar concept in mind, a brick-and-mortar clothing store could redefine the shopping experience and maximize sales and brand loyalty by creating positive interactive experiences for its customers.

How many times have you guessed and fretted about the material, finish, and fit of a potential clothing online purchase only to leave it out of your final checkout basket? How many times have you ordered the “perfect dress” only to find out when it arrives days later that it was bright neon pink instead of the beautiful deep fuchsia that you had seen on your computer screen? Wouldn’t it be great if you could walk into a brick-andmortar store that provides the convenience of online shopping, the physical interaction with products, and an innovative store layout that enhances the overall shopping experience?

To offer such an experience, stores must embrace new design paradigms that incorporate the use of technology. Here is how I envision the layout of a clothing store that maximizes the retail experience by addressing all five dimensions.

This type of experience described can be categorized into five dimensions: discover, experiment, interact, recommend, and expedite. Apple Inc. is a great example of a company that succeeds at providing experiential shopping. When the company first opened its stores back in 2001, it did not focus

1 - DISCOVER Display Area: Similar to the look and feel of a boutique, instead of having cubbyholes filled with different sizes of the same items, a single sample is displayed. A single top can be matched with various bottoms in different colors and patterns to suggest multiple outfit options. Every item shown in the store is part of a complete look, not just a single item without a context. This approach both guides customers on how to mix and match pieces of different colors and patterns and inspires seasonal pairings that they may not have

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5 thought of before. It also creates the illusion that the displayed item is unique and exclusive because the customer only sees one and not a giant pile of the same item. Beside each item, there is a scannable bar code that opens a mobile app.



Mobile App: As customers make their way through the store, they can stop by an item, scan its corresponding bar code, and open up the store’s mobile app. The app contains additional pairing options created by a store stylist or suggested by other customers. Whereas a floor display might only showcase a maximum of one or two pairings, the app displays an entire catalog of pairings of various different styles that range from casual to formal and includes all of the pieces that make up a complete outfit. Through viewing these outfit options on the app, the customer can select additional items to complement the piece that they had originally selected. Selected items can then be added to a “virtual closet.” When the customer is ready to try on the selections, they can request a fitting room using the app. A store employee would then prepare a room with all of the

5 contents of the virtual closet. While this is being done, there is a lounge area where customers can wait.



Lounge: Customers will receive an estimated wait time after submitting their fitting room request. As they wait for their room, they can relax in the lounge area. The lounge is designed as a social area where customers can sit, try on accessories, sample perfume, take pictures, and share posts on social media about their outfit selections. A large screen displays a live feed of the posts, which serves to incentivize customers to post about the store brand. When used strategically, word-of-mouth and social media are two of the most cost-effective forms of advertising. The lounge area is furnished, so people can wait with their friends and family. There is a small elevated platform for people to model their outfits and take pictures. The lounge functions as more than a waiting room, it is a place for people to socialize and to promote the brand.

The Mercato



Fitting room: The fitting room is designed to be larger than the average fitting room to allow shoppers to invite in other members of their party. The fitting room contains two doors: one facing the lounge, and another facing back of the house. This second door allows store staff to assist shoppers with ease and to bring items to the fitting room from a stock room that contains every item in different sizes. Each fitting room will have a number on both sides of the door and a door bell. When a different size is needed, the customer can use the door bell to request help.  



Checkout area: After the customer has tried on all of the items, they can press the checkout button and a staff member will come to assist with the purchase. All items can

be purchased and detagged inside the fitting room—goodbye long checkout lines. With this option, there isn’t much need for a full checkout area. However, there is a small counter to assist those who don’t need to use the fitting room or for those coming in for in-store pickups.

KEY TAKEAWAYS We are living in an era where consumer choices are driven by technology and social media —businesses that do not take this into consideration will likely lag behind. Some of the most popular brands from a decade ago have faded out and newer and more innovative brands, including some ecommerce businesses, have pushed their way to the forefront. Consumers have less time, have higher expectations, and are more connected than ever. My proposed store concept is a valuable tool that would allow brick-and-mortar stores to stand out in a highly competitive market. By rethinking the shopping experience, customers will have greater

a Cooper Carry magazine | © 2015 59 aspire | volume twelve incentive to return to physical stores. This new store model combines the convenience of online shopping with the ability to immediately touch and feel the products, with a social component added to the mix—you can be glued to your smart phone, tweet to your heart’s content, and find out if that sweater hangs off of your shoulders the way you want it to. Browsing online is a great option, but it lacks the experience that only a physical store can deliver. While many businesses like Apple do not need brick-and-mortar to sell products, they recognize that it’s a valuable medium through which consumers can interact with the brand.

A S napshot


C o o p er C ar ry ’s Histor y

part one of a two part series


Jerry Cooper Principal & Founder Cooper Carry

1960 ushered in a new era in Georgia’s capital city. Martin Luther King Jr. became co-pastor of Ebenezer Baptist Church; the City of Atlanta approved plans to desegregate its public schools; Georgia saw 10 inches of snow in a single day, a record by any account; Coca-Cola received its trademark for the “contour” bottle; and the famous song, “Georgia on My Mind” by Ray Charles topped the charts at #1. It was a big year for the city. It was also the year that Cooper Carry opened its doors as an architectural firm. This year marks our 55th anniversary as a firm. We sat down with Cooper Carry Cofounder Jerry Cooper, FAIA, to catch a small glimpse into the rich history and perspectives that he has about one of Atlanta’s oldest design firms.

As a young architect with a new firm, raising questions about my engineering consultants was truly a challenging experience, but I learned the importance of trusting your instincts as a professional. Q: Which of your projects do you feel has had the most significant impact on a community and why? In my career, there were three buildings that stand out as having a major impact on the community. The first was Riverbend Apartments, which brought a new way of seeing to the marketplace. Prior to that, most of the apartment projects were two-story brick buildings which were placed on their sites without taking any notice of the topography, vegetation, sun angles, or prevailing breezes. They were objects in space. Riverbend changed that approach such that the buildings related to the land. Thus ‘architecture became landscape’ and ‘landscape became architecture.’ This occurred not just in Atlanta, but in other cities as well. The second was the corporate

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Walter and I worked together on the design and by then he was doing the construction documents. As he was nearing the completion, one Sunday evening we were both down at the office and I was looking through the documents. It was then that I sensed that something was not quite right with the structural engineering documents. We asked the most prominent structural engineer in Atlanta, T.Z. Chastain, to review the documents. After a few days he called back to inform us that we were fantastically lucky since the building was not just going to ‘fail,’ it was going to ‘fall.’ And then he wanted to know ‘how I knew.’ I told him that it was instinct.

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Q: At what point did it occur to we could design four speculative you to start a firm? houses for him that were modern architecture since almost everything Upon my return from Rome in 1957 else in the city was traditional where I had studied on a Fulbright at that time. The houses were Fellowship, I saw that many of the published in the Atlanta Constitution precepts of the international style newspaper and attracted the that dominated the architectural attention of several young couples community in America at that time who did not want to live in left something to be desired in their traditionally-designed environments. projects in terms of the manner in So we were asked to do a customwhich they related to the public over designed house. One thing led to time. another and soon we had several houses to do and decided to Several of these precepts were open the firm Cooper & Salzman, that buildings should be ‘objects in Architects. space’ and should ‘float above the ground.’ It was in Rome that I saw that the spaces that buildings make Q: How did you and Walter are as important as the buildings Carry Meet? themselves; and that buildings should reach out and ‘embrace the Shortly after having been in practice earth.’ I saw that in America we for about six months, I received an had a ‘reverence for the earth’ that invitation to be considered for the reflected our culture which was in design of a 20-story addition to the contrast to the international style Atlanta Cabana Hotel, which was which had been imported from then the preeminent hotel in the Europe. city at Peachtree and 7th Streets. Ultimately we were selected to do Another of these precepts was the job and we came face-to-face ‘how the building meets the sky.’ with our first management decision: Most of the buildings would have if one of us stopped doing the no punctuation at the top, but houses that we had in order to do would just end much the way that the hotel, then when the hotel was wallpaper was cut off and just finished we would have no houses ended. left and would be out of business. We then went in search of a wellAnother was the use of ‘ornament’ experienced top-notch architect which was seen as a worthless and found Walter Carry who had appendage within the International worked at Toombs, Amisano & Wells Style. None of the firms in the USA for seven years. Walter was a fine seemed to be dealing with these designer and was the preeminent issues of which the Seagrams construction document architect in Building and the Lever House in the city. He joined us and eventually New York City were pretty good the firm became known as Cooper, examples. So I saw from the outset Salzman and Carry, Architects. of my return that I would have to start a new firm. Q: What do you recall being the most challenging for you I had a boyhood friend, Alan in those first few years? Salzman, who was also a graduate of the School of Architecture at The owner of the Atlanta Cabana Georgia Tech. We were asked by Motel insisted on hiring the a residential builder, Bob Joel, if engineers for the project himself.

headquarters for National Service Industries which was located adjacent to Pershing Point Park at the fork of Peachtree and West Peachtree in Atlanta. It had been the site of a rather modest hotel. With the design and development of this corporate headquarters and with its three-story atrium as the backdrop to the park, this site became the visual gateway to Midtown Atlanta.

Q: Which buildings designed by any architect do you feel meet the label of being “iconic?”

The third was the new North Atlanta High School which was the adaptive reuse of an 11-story office building. In many, if not most, metropolitan areas, the availability of vacant land of suitable size for a new high school does not exist. Therefore the need to be able to identify existing buildings and adapt them to this type of use represents the preview of coming attractions for most metropolitan areas. Additionally, this project has been able to address the ‘senses and sensibilities’ of the students, their parents and their teachers. In doing so, it has created a ‘pride of place’ in their hearts and minds.

Q: Who or what defines a building as “iconic?”

IBM Tower - 14th and West Peachtree - Philip Johnson Hyatt Regency Hotel - Peachtree St. - John Portman National Service Industries Headquarters - Pershing Point, Atlanta, Georgia – Cooper Carry

In my opinion, in addition to being a building whose architecture is easily distinguished by the public, it should provide a sense of meaning to the public in terms of addressing their ‘senses and sensibilities,’ and thus become ‘memorable.’ In doing this, it should reflect a timeless quality that will endure over time and will not fade with the ‘fickleness of fashion.’ Q: If you could offer any advice for a young designer, what would that be? Do not start the design of any project until at least three weeks have passed since the receipt of the architectural record. Then think! Q: Can you describe the qualities of a good designer in a few words? In my opinion, a good designer does not begin to draw too quickly during the time which the following information should be secured: • The strategic plan of the owner for his institution and the role he wants this facility to play in achieving that. • An analysis of the building site including its urban/ suburban context, its topography, its vegetation, its solar relationship, its prevailing breezes, its traffic patterns and its storm water conditions. • A programmatic analysis of the institution including space requirements, adjacency requirements, and a statement regarding the philosophy of the workplace. From this, a number of design issues which the design solution should address can be identified. Once this information has been analyzed, then a good designer is ready to proceed.

Left: An early Cooper Carry project, the Atlanta Cabana Motel Bottom Left: Jerry Cooper at his desk in Atlanta. Top: Walter Carry (left) and Jerry Cooper (right) Bottom Right: Jerry Cooper (left), previous partner Alan Salzman (middle), and Walter Carry (right)

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By: Douglas Webster, AIA Senior Associate At the core of Cooper Carry’s mission is the desire to connect people to place. Sometimes it’s through creating authentic communities that improve the quality of life for everyone connected within, and sometimes it’s through thinking simpler. It doesn’t take much to make a positive impact—only a little time and, in this case, a lead foot. Cooper Carry recently hosted our first annual AEC industry “Speed for a Need” gokart event. This year’s benefactor was the Wounded Warrior Project, a charity service organization that empowers injured veterans and their families. Over 20 teams (which included 80 racers) from our AEC community competed for this worthy cause, and, of course, for bragging rights. Thanks in part to the generosity of our manufacturing representatives, Uzun + Case and Cooper Carry, every participant entry fee dollar was a direct donation to the Wounded Warrior Project. We could not have asked for a better turnout. It was a day of camaraderie, competition and high speed. We are proud to support and honor our wounded warriors through this event and look forward to participating again next year. Learn more about the Wounded Warrior Project at Top: The Speed for a Need finalists, which included three from Cooper Carry. Bottom Left: Cooper Carry architect, Markus Wilms gives the “V for Victory” signal as he prepares to go. Bottom Right: Going into the final lap, the competition is stiff.

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HOBBIES of Cooper Carry employees


David Kitchens, AIA Principal “There is nothing more exhilarating on a Saturday morning than getting up; having my protein breakfast of eggs, bacon, bagel and coffee; and getting out and pumping the pedals of my carbon fiber specialized Roubaix bike for 20 to 100 mile urban and rural bike rides through the DC, Maryland and Virginia countryside. I ride to stay fit, but more so I ride to enjoy the outdoors.”


Oscar Perez, AIA Associate Principal “Movies are my passion. Like architecture, they are a team effort. They involve as much creativity as technical ability, take years to develop, write, execute and finally premiere. Like architecture, movies can inspire and evoke emotion. Like buildings, movies can transcend generations and last long beyond the artists who created them. But the one thing that movies can do that architecture can’t, is capture imagination of the improbable and the impossible. For me, movie making is more of a creative outlet than architecture because I get to dream of unlimited possibilities. I started making movies long before YouTube. I’ve made documentaries, short films, and even a music video that played on MTV back in the days when they played music videos (it can still be found on YouTube).”

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Cooper Carry employees are a talented bunch. We are creative, collaborative, and inspired both inside and outside the office. When we aren’t busy in our ‘day jobs,’ many of us enjoy unique and interesting hobbies. Here are just a few of our favorite pastimes.

aspire | volume twelve



Julie Argo Young Graphic Designer | Marketing Coordinator “My great-grandmother was an avid crocheter, and while I was growing up, I was always amazed at the things she was able to create. Her hands would move at what seemed impossible speeds as she twisted and pulled the yarn in order to knot it into perfectly replicated stitches. When I was in the sixth grade, she sat me down and taught me the basics, and over the years it has become something that I truly love to do. It’s now a daily ritual as I wind down in the evenings. It’s like having a small piece of her with me all the time, and I greatly treasure that now that she is gone.”


Gweneth Kovar, NCIDQ Associate

“My husband and I love to restore cars. The older the better and sometimes we don’t even need them to be pretty. Our first full restore was this 1957 Chevy Belair. Most of the style is original to the make of the car, but the paint job is purely custom.”

MAKING HOMEMADE SOAP Katie Peterschmidt, AIA Associate Principal

“I make homemade soap… all-natural, without palm oil, fair-trade when I can find it, as organic as I can afford, with essential oils for beneficial and yummy scents, but sometimes unscented for sensitive skin, sometimes alpaca wool-felted, vegan or vegetarian or animal based, Hot Process (old fashion/cooked) soap.”

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HAIR STYLING Robyn Jackson Project Accountant

aspire | volume twelve

“My passion is being a hair stylist; there is nothing like the joy of transforming someone and watching them walk out of the salon with a new, positive attitude. It also serves as a ministry, allowing clients to pour out their heart and praying for them while doing their hair. My father (rest in peace) was a master barber and stylist. I’ve been following in his footsteps since the young age of three. It all began when my mother came home from a long day at work and was too tired to entertain a three year old. She gave me a comb to entertain myself by “doing her hair” while she took a little nap. Well a haircut with a Noxzema ‘relaxer’ (the smell woke her up!) later, and a stylist was born.”


Zach Carnegie Architectural Designer “I’ve been playing music since about the 6th grade. I’ve been a drummer from the start, but I’ve picked up guitar and bass along the way. In January, I met a couple of like-minded musicians in the area and we formed a band called Motor Earth. So far, we’ve played a couple of shows around Atlanta (with more shows on deck), and we’ve recorded an EP which was released on the 20th of November.”



We moved back to the United States when I entered eighth grade. Since I loved drawing, I took a drafting class. I couldn’t get enough of the class since it also appealed to my need for precision—working with mechanical pencils, odd looking triangles, T squares, and compasses was amazing. I only had this one class, but it carried with me throughout high school. As college preparation came along, I took some exams that were supposed to tell me where I would excel—all of them indicated architecture.

Color was and is still the first step for me. Photographs do, however, influence the structure of a painting. Much like the constraints in architecture, an image inherently is biased toward a certain shape once you mold and crop it. This creates a shape you then have to deal with—a square or rectangle. The shapes and sizes of the images influence placement, proximity, and ultimately the size and shapes of the bands of color in my pieces. I try to make a two-dimensional painting become three-dimensional by overlaying fields of color. The photographs contribute to the three dimensions, I hope, by layering on very fine line work and linking the photographs together. A line from one photo might travel underneath a field and reemerge on top of another to meet up with a photograph, implying a connection to it. What the connection is, is up to the viewer.

every corner. Tokyo, Japan, is another favorite simply because of the diversity between old and new. I love Decatur, Georgia, where I live, for its town square and walkability. Chicago and New York, of course, also rank in the top ten.

PAINTING Chris Culver, AIA Senior Associate


In Kyoto, Japan, I remember waking up before the rest of the world and walking to a historic temple atop a small mountain. I started from a quiet, empty plaza lined with blooming cherry blossoms which led to a narrow, winding path through a bamboo forest. I then arrived at a staircase that was lined with rotating, wooden wishing urns. The fog did not allow me to see the top, but as I climbed the stairs and approached the temple, I heard an ever so faint chant. As I got closer and closer, the chanting became louder and louder, and I soon realized there was a predawn monk chanting session going on. The rhythmic drum beat and singing was a once-in-a-lifetime experience.

Much like the

constraints in “The overarching theme and goal of my work is for the viewer to be engaged— architecture, an image inherently is biased to see, to think, to analyze, to stop, and to absorb. Today we see art toward and a certain shape once you mold and architecture of the past as nobody saw it before; we perceive it in a different crop it. This creates a shape you way. All of us see hundreds of images every day in the cities in which we live. then have to deal with—a square or The shapes In no other form of society in history has there been such a concentrationrectangle. ofand sizes of the images influence images—such a density of visual messages. One may remember or forget these placement, proximity, and messages, but briefly one takes them in, and for a moment, they stimulate ultimately the size and of the bands of the imagination by way of either memory or expectation. The image belongsshapes to color in my pieces. the moment. They never speak of the present, but often refer to the past and always speak of the future. We are so accustomed to being addressed by these images that we rarely notice their total impact.” hOw DO YOu DECiDE whAT

phOTOGRAphS TO pAiR wiTh A pAiNTiNG?

My paintings originally always started with color as the inspiration. I would then simply choose photographs of places I had been that would fit well with the color scheme. Very spontaneous. This then evolved into something more meaningful when I began assigning themes to each piece. For instance, I created a series titled Atlanta. One piece is all about various snapshots of Atlanta’s highways; I included historical photographs all the way through photographs of present conditions.





Most of my images are of architectural details, so naturally I focus on the details. But they also need to have interesting colors that complement what I am doing in the art piece as a whole. I’m not a professional photographer by any means, but I try to compose my shots simply by using my intuition, architectural background, and artistic sense.


All of my work, art or architecture, evolves from an emotional response to something. The aesthetic portion comes later as the effort evolves into making something look pleasing or conform to a set of standards. I cannot see myself starting with an aesthetic goal without having the emotional aspect as its generator; it would be like cooking a great dinner without starting with the craving that informs what type of dinner it is going to be. whAT ARE YOuR FAVORiTE CiTiES FOR phOTOGRAphiNG?

I would say that my favorite cities are located in very dramatic landscape settings. For instance, Kitzbühel, Austria, a tiny town nestled in the Austrian Alps, has a new detail around



hOw muCh TimE YOu SpEND bEiNG AN


I am a full-time, ten-hours-a-day architect with Cooper Carry, a mid-size firm in downtown Atlanta. My art has taken a backseat to my day job, so it’s currently only about three hours a week depending upon the number of pieces I currently have under commission. During busy times, my art time easily increases to ten to twelve hours a week.

AL 41

Congrats! A heartfelt “Thank You” to those celebrating an employment anniversary in the 3rd Quarter of 2015.

get to Don’t for late them u t a r g n o c In

on Linked


10 34 to

Rick Fredlund Associate Principal 34 Years

Rich Cogburn Principal 33 Years

Jane Matthews Payroll Manager 30 Years

Bob Neal Principal 27 Years

Tim Fish Principal 27 Years

Sean McLendon Principal 20 Years

Lane Chapman Senior Associate 18 Years

Bob Just Principal 15 Years

David Goodman Senior Associate 11 Years

Rose Pollion Studio Administrator 11 Years

Patrick Finucan Architectural Designer 10 Years

Mark Kill COO/Associate Principal 9 Years

Bill Halter Principal 5 Years

Flo Lavaran Office Manager 5 Years

Pratt Farmer Associate Principal 4 Years

Tyler Blazer Architectural Designer 4 Years


Gary Warner Associate Principal 4 Years

Sheila Jones Accounting Manager 27 Years

Gar Muse Principal 25 Years

Stan Williams Senior Associate 20 Years

Rick Kinkade Senior Associate 20 Years

Mike Service Associate Principal 20 Years


49 to


Don Reszel Senior Associate 10 Years

Andrea Schaub Principal 10 Years

Allison Bickers Associate 10 Years

Beth Anne Redmond Receptionist 3 Years

Assad Abboud Architectural Designer 3 Years

Andrea Smith Associate Principal 9 Years



to years Maria Galarza Architectural Designer 2 Years

Megan Fagge Architectural Designer 1 Year

a Cooper Carry magazine | Š 2015 71 aspire | volume twelve

3Q 2015

Congrats! A heartfelt “Thank You” to those celebrating an employment anniversary in the 3rd Quarter of 2015.



to years cont’d

Andrew Miller Architectural Designer 1 Year

Matt Wilson Project Architect 1 Year

Clarence Browne Project Architect 1 Year

Blake Rambo Architectural Designer 1 Year

John Goebel Project Architect 1 Year

Trey Howard Architectural Designer 1 Year

Eric Phan Project Architect 1 Year

Zach Carnegie Architectural Designer 1 Year

Hee Jin Cho Architectural Designer 1 Year

Qiongwen Kong Architectural Designer 1 Year

Ashley Hernandez Project Architect 1 Year

a Cooper Carry magazine | © 2015 73 aspire | volume twelve

3Q 2015

Welcome to employees beginning their career at C ooper Carry

Frank Rogg Architectural Designer

Danielle Ferguson Office Assistant

Faranak Ebrahimnejad Farahani Architectural Designer

Ryan Smith Project Architect

Allison Clark Architectural Designer

Jonathan Asiimwe Architectural Designer

Julie Argo Young Graphic Designer, Marketing Coordinator

Zhen Feng Project Landscape Architect

Mahnaz Asemi Esfahani Architectural Designer

Aadaam Kelly Systems Engineer I

Andrew Haney Project Architect

Marissa Peral Emeric Architectural Designer

Hongying Tan Architectural Designer

Yen Dinh Marketing Coordinator

Lauren Funk Student

Andy Brack Project Architect

Fadhil Fadhil Architectural Designer

Jeremy Jackson Student

a Cooper Carry magazine | © 2015 75 aspire | volume twelve Cooper Carry named one of the Top 100 Green Building Design Firms

Local Architects & New Home Builders Talk Future Proofing Homes

​ oble plans dual-branded AC N Hotel by Marriott/Moxy hotel for Midtown

Cooper Carry named in the Top 300 Architecture Firms

Triangle files permits for Lighthouse Point

Furnishing the 5 floors of Talley: the planning (and cost) of the Student Union’s chairs



lina State University, Talley Stu Georgia B dent Unio io Science T n Southeast ra in ing Cente ern Techn r ical Colleg e, Health Kennesaw Services C State Univ enter ersity, Stu d e n t Activities R Center ecreation and Georgia T ech, Engin eered Biosy Emory Un stems Buil iversity, A ding twood Ha ll Chemis try Additio n

We teamed with Winter Construction and Uzun +Case to build the new Star Wars droid: BB-8 is made entirely out of cans for CANstruction Atlanta.

We hosted a casino-themed game night to raise money for CANstruction DC.

Cooper Carry Principal Bob Neal was interviewed by WSB-TV about current hospitality projects in the Atlanta area.

ool to-sch tee e c fi f mmit ool o ry Sch AIA DC Co a t n e n m er Ele d for a . 's Upp as selecte y e il xhibit a Our B n project w chitecture e rsio on Ar conve

We hosted Speed for a Need, an AEC industry go-kart event in support of the Wounded Warrior project.

Cooper Carry's Atlanta office hosted one of our favorite annual employee events: the Pinewood Derby.

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The ribbon cutting cere designed Fu mony for the lton Science Cooper Car ryAcademy P celebrities in rivate Schoo cluding Okla l featured homa City T Kanter and hunder playe the world's r Enes tallest living man. Sultan Kösen.

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re ings a r h t g n Exciti g at Coope nin ick happe Here’s a qu n ee y! Carr of what’s b r the ot ve snapsh t the firm o on a ths. going st few mon la

Check out some of Cooper Carry’s ongoing projects.

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Aspire - Volume XII Contributors Richard Berrios Architectural Designer

Torrey Law, RA, LEED AP BD+C Architect

Alysha Buck Architectural Designer

Matt Nickel, RA, LEED GREEN ASSOCIATE Architect

Robert Edsall Architectural Designer

Abbey Oklak, AICP, LEED AP Planner

Gary Elder Interior Designer

Kyle Reis, AICP, LEED AP Associate Principal

Megan Fagge Architectural Designer

David Thomson, AIA, LEED AP Associate Principal

Bob Just, AIA, LEED AP Principal, Director of K-12 Education

Douglas Webster, AIA Senior Associate

Mark Kill, AIA, LEED AP, CDT Chief Operating Officer, Associate Principal

Kelly Zimmer, IIDA, LEED GREEN ASSOCIATE Interior Designer

Aspire - Volume XI Mentions Zach Carnegie Jerry Cooper, FAIA, LEED AP Chris Culver, AIA Robyn Jackson David Kitchens, AIA

Gweneth Kovar, NCIDQ, LEED AP Oscar Perez, AIA, LEED AP BD+C Katie Peterschmidt, AIA, LEED AP BD+C Julie Argo Young

The Mill 515 North Washington Street Alexandria, Virginia

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new york 


Aspire magazine Vol 12  
Aspire magazine Vol 12