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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.

EDITOR . . . . . . . . . . . . . . . . . . . . . . . PRATT FARMER ASSISTANT EDITOR . . . . . . . . . . . AMANDA D’LUHY DESIGN. . . . . . . . . . . . . . . . . . . JULIE ARGO YOUNG COPY EDITOR . . . . . . . . . . . . . . . CHRISTINA BAILEY COPY EDITOR . . . . . . . . . . . . . . . . . . . . . . YEN DINH CONTRIBUTORS. . . . . . . . . . . . . . . . . BRIAN CAMPA ANGELO CARUSI ROBERT EDSALL LAUREN PERRY FORD LAUREN FOWLER CLAY JACKSON GAR MUSE ABBEY OKLAK STEPHANIE SMID TANNE STEPHENS


Welcome to this edition of Aspire Welcome to our eleventh edition of Aspire magazine. Featured on the cover of this issue is the Sea Pines Beach Club in Hilton Head, South Carolina, which opened earlier this year and has received much attention from members and guests. With a signature design style blending Lowcountry, coastal and traditional elements, the inviting, beachside atmosphere delights property owners and guests from the moment they see it. Recently awarded LEED certification, the Beach Club combines exceptional craftsmanship with beauty. Premium finishes and attention to detail throughout affirm the Sea Pines Resort’s commitment to quality, durability, and first-class experience. The exterior is clad in a combination of brick, stone and cedar siding and is designed to reflect the relaxed elegance of the island community. In this issue you will read about the new Sea Pines Plantation Golf Clubhouse, which we also designed. This project was selected as the 2015 Clubhouse of the Year by Golf Inc. Magazine. We often talk about the importance of having legacy clients and how much they mean to our firm. In fact, the Sea Pines clients have worked with us for nearly 20 years now. We very much appreciate those clients who look to us for their next design project!

Also in this issue, Lesley Braxton, AIA, IIDA who is a designer in our Science and Technology specialty practice group, designed fixtures styled from laboratory beakers and containers, in the new Engineered Biosystems Building at Georgia Tech. Since our last issue, our retail team has attended the International Council of Shopping Centers (ICSC) annual convention in Las Vegas. Gar Muse, AIA and Angelo Carusi, AIA discuss the future of shopping malls and whether they are on life support, dead or just being reinvented. You will also be interested in an article that one of our planners, Abbey Oklak, AICP, has written about the importance of engaging the citizenry in efforts to plan public projects. There’s a lot happening at Cooper Carry! We hope that you enjoy this edition of Aspire as much as we did putting it together. All the best,

Pratt Farmer Associate Principal Director of Marketing

In this issue of Aspire… 12 24



Welcome to this edition of Aspire


Is the Mall Dead?


Clubhouse of the Year: Plantation Golf Club at Sea Pines Resort


The Art of Drawing


The Importance of Public Outreach in Public Planning


Midcentury Modern Influences Still Prevail


Why Design?


A Brilliant Idea Comes to Light


Out With the Old

Cooper Carry Building “Makeovers”


Marrying the Old With the New



50 44



ULI Atlanta Announces New Chair


First Round Draft Picks


Adaptive Reuse


Cooper Carry in the News


Activated Public Spaces A Tactical Urbanism Case Study


What’s New at Cooper Carry?


Hobbies: Our Passions


On the Boards


Recent Wins

56 Promotions 60 Anniversaries

CLUBHOUSE OF THE YEAR PLANTATION GOLF CLUB AT SEA PINES RESORT If you golf, or you know someone who does, then you know regardless of how wonderful a golf course might be, it’s the clubhouse that makes the day. That is certainly true with the new Plantation Golf Club at Sea Pines resort in Hilton Head, South Carolina. So much so that Golf Inc. Magazine named it their “Clubhouse of the Year.” An excerpt from the magazine properly sets the tone, “[T]ake one look at the new clubhouse at Plantation Golf Club and its role as a winner is clear. The elegance of the Lowcountry aesthetic awed judges for being simultaneously grandiose and understated. It sits at the intersection of two courses: Pete Dye’s Heron Point and the Mark McCumber designed Ocean Course. Bob Neal, AIA and Manny Dominguez, AIA architects of the Atlanta-based firm Cooper Carry, dutifully explored both courses before deciding a backward design approach was best.” Zach Wilson, RA and T. Jack Bagby, AIA rounded out the design team. “From the outset, the design team recognized the significance of the clubhouse and how the facility would be required to serve many purposes. It had to not only be a place where golfers would finish their day with dinner or a beverage, but others could come to relax, grab lunch, shop for branded items, or simply relax and socialize,” says Dominguez. The biggest challenge for the team, beyond capturing the Lowcountry vernacular was to adequately meet the owner’s objectives while designing a building appropriately scaled to the site.

Right: Sea Pines Resort Exterior

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“The Southern expression of a porch has a lot of connotations. It is really meant to be the living room of the community.” Bob Neal, AIA Principal Cooper Carry

Creating a sense of arrival is very important for any building, but especially so for resort-type properties. “I believe that our extensive experience in designing hotels, and certainly resort hotels, afforded the team a greater vision for how we should treat the club,” Dominguez says. “Working with Cary Corbitt, Sea Pines Director of Sports and Operations was very insightful and helpful as we listened to his thoughts about the project. His passion for the sport and desire to have a clubhouse that truly matched the awesome courses at Sea Pines challenged us to really dig deep for the overall design. We were able to maintain this wonderfully beautiful curbside approach to a building that had a stately sense about it while allowing for the back of the structure to embrace a second floor terrace level,” he said. The design approach was driven by Cooper Carry’s hospitality expertise in creating a sense of arrival, capturing beautiful views and choreographing spaces to maximize the guest experience. One key factor for the success of this project was really listening to the client’s needs and goals. According to Dominguez, “The science can often downplay the artistic thought process. Making buildings fit on sites can be a challenge that requires us to think outside the box. It’s interesting how we started

at one place and how the project evolved into a grander solution. Clubhouses are special buildings that require focus and attention to detail. Subtle treatment of color and texture can make all the difference in the world. Clubhouses also involve more face time, interaction with pros who work there and “visits” to fully understand the challenges and to create desirable solutions.” The Golf Inc. story concludes… “From the façade, the structure appears to be a one-story building. The sheer mass of the 23,000-square-foot structure is not visible until seen from the rear, where the second story comes into view.“ Knowing the appeal of the façade was important, Dominguez added, “We asked ourselves, how can we design the building so it doesn’t lose its charm. It’s really almost three buildings connected with wings. It’s a big building, but we didn’t want it to feel big. We wanted it to feel like a composition of smaller structures.” Along with wings, the building’s three smaller areas are connected through a perimeter of porches — a truly Southern element that Neal says could not be overlooked. “The Southern expression of a porch has a lot of connotations,” he said. “It is really meant to be the living room of the community.”

Right: Sea Pines Resort Front Porch

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Although Neal, Dominguez and interior designer Karen Kent, of Kent Interior Design, were responsible for replacing an existing structure, they did not want members to feel displaced. Elements of the previous clubhouse, including Savannah gray bricks and a bronze alligator statue, were reclaimed. “It was important that members felt like they had some of their past integrated into the design,” Dominguez said. “We reused old materials so as not to let go of that history.” Utilizing plenty of large windows, the clubhouse takes advantage of the 270-degree view to the north, east and west. While the view of the South Carolina sunset is free, the clubhouse was $17 million and the priciest in this year’s competition.

Left: Sea Pines Resort, Dining Area Below: Sea Pines Resort, Interior Lounge

“The siting and layout of the new clubhouse was well conceived and executed from the positioning of the site amenities and site circulation. The scale of the clubhouse and limited range of materials provide a formal yet intimate environment that reflect Southern charm.”

“The plan is simple, well organized and responds well to both large and small groups of golfers.” - ANGEL DEL MONTE


WHAT THE JUDGES SAID “Lowcountry in every aspect. A home run.” - LINDA BLAIR

“What a beautiful design and furniture. The project is done with great thoughts, taste and pizazz. Get ready, members; celebrating your milestone events will make your guests want to join the club.”




In 1959, as a prelude to the founding of Cooper Carry, which would become an internationally recognized firm, Jerry Cooper, FAIA was designing several houses across the northern arc of Atlanta. At the time, Atlanta was booming with growing post World War II families who needed bigger homes, but were still deeply concerned with their cost. One of the first projects was the design of four contemporary homes for a home builder who wanted something different from what was currently being done in Atlanta. These homes attracted a bit of attention and were published in the Atlanta Constitution newspaper. From there, Cooper began to develop a modest reputation as one of only a few architects in the city at the time who could design residences of contemporary architecture. Cooper says, “most architects in Atlanta at the time were doing residential projects of traditional character, that while handsome, were objects in space that were not site specific and could have been placed on sites anywhere.” Cooper developed a more contemporary approach to the design of residences which reached out to “embrace the earth” and were designed to take advantage of the characteristics of their specific site. That simple philosophy would later be further developed and become the cornerstone of the firm’s design philosophy of “Connecting people to place.” It was about this time Bernard and Marian Ely came to Cooper and asked him to design a home for them and their three little girls on a small tract of land about six miles from downtown Atlanta. Cooper recalls, “I sat

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down with the Ely’s and began to ask them questions about their family and really focused on their children in order to understand how they lived. What time do they go to bed? What time do they get up? Do they like to play outside? Does the family eat breakfast together? Do they like to entertain and have people over for dinner? Initially they could not understand why I wanted this information. These questions were important to me because I recognized that the movement of the sun and when and how it entered the house gave a rhythm to people’s lives and I wanted the homes that I designed to be an expression and reflection of the family that would inhabit them. I sought a connection, if you will.” That house on Ridgewood Road became home to a family who enjoyed it for many years. Little did Cooper know when he designed The Ridgewood House for the Ely family that nearly 60 years later it would become one of Hollywood’s most recognizable mid-century modern homes. See Some 25 years after the Ely’s had moved from their custom designed home, Debra Johnston was a rising star with Coca-Cola. She had lived in numerous cities before finally arriving in Atlanta. Growing up in Michigan, near the Cranbrook Institute of Science, Johnston has a love for modern architecture. When she began her search for a home, she tried to explain the type of home she wanted to the real estate agent. Finally, after an exhaustive search, the agent said with skepticism, “Well, I have this one house.” Johnston explains, “What I find most interesting in reflecting on that time 22 years ago, was that the minute we drove into the driveway and I could see right through the house, I knew it was the one. Even though it was completely original from 1959, it had beautiful horizontal lines like it was floating on the property. I felt as if it was

Previous Page: Jerry Cooper, AIA of Cooper Carry stands in front of The Ridgewood House Above + Right: The Ridgewood House backyard

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speaking to me. There was definitely a connection I couldn’t explain,” she shares.

Fashion in architecture changes through time. I have always believed that for the buildings we design to endure and hold their value over time, they must honor their surrounding environment, reflect their inhabitant’s lifestyle and most of all, create a sense of place in the hearts and minds of the inhabitants. Jerry Cooper, FAIA Chairman of the Board & Principal Cooper Carry

Fast forward several years and Johnston decided it was time to restore the house, but with appreciation to the period and architecture; preserving the horizontal lines prevalent inside and out, by using materials like slate and maple flooring, cherry cabinetry and marble surfaces that look and feel timeless. She added a new master bedroom location to maximize the views but ensuring that it blended with the existing architecture. The restoration took almost 2 years of multiple contractors and living in the basement until it was completed. “While living in New York, after college, I would pick up Metropolitan Home magazine each month and say to myself, ‘one day my home will win the Home of the Year Annual Contest.’ Then after completing the restoration in 1999, I submitted my “Cooper mid-century house” to the magazine for consideration of its infamous Home of the Year Award… and it won over 300 households,” she said. Her mid-century modern furniture and art collection, a mixture of Knoll, Platner, Bertoia and Eames, was the final touch that perfectly complemented the house in so many ways.

Later, Johnston was approached for her home to be used for photo shoots and she created a website to help market the location. Four years ago as the film industry in Georgia picked up steam, the now much-beloved house was becoming a favorite for TV commercials and movies and music videos for Usher and other artists. Currently it can be seen on two television series, BET’s “Being Mary Jane” starring Gabriel Union and NBC Universal’s series, “Satisfaction.” Johnston and the house were also featured in a home competition show called “Four Houses” in 2013. The Ridgewood House won and was coined “Zen Nirvana.” In addition, Johnston is often approached by actors in town for filming, seeking to live in the house while in Atlanta working. “It’s not unusual for me to pack a suitcase and head to the Loews for a few weeks, turning over the house and its beautiful grounds to an A-Lister,” she says. When asked about the house, it is quite obvious that Johnston is still as much in love with it as she was the day she looked at it for the first time. Having invested many months in its interior and exterior renovation, Johnston is now focusing her interest and energy on completing a

Top Right: The Ridgewood House Living Area Interior Top Middle: The Ridgewood House Dining Room Interior Below: The Ridgewood House Exterior

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As Cooper reflects upon the Ridgewood House with a certain gleam in his eye, he believes that it is representative of the philosophy of his life’s work in so many ways. “Fashion in architecture changes through time. I have always believed that for the buildings we design to endure and hold their value over time, they must honor their surrounding environment, reflect their inhabitant’s lifestyle and most of all, create a sense of place in the hearts and minds of the inhabitants. In order to achieve this, they must address the human senses that do endure such as the senses of weight, touch, time, light, shade and rhythm. This philosophy which began in 1960 with our residential work has continued and has influenced our current commercial and institutional projects.”

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Japanese garden design as a welcoming focal point on the front of the house. She admires the gardener who visits often to study his space in order to precisely place just the right rock or plant. “There’s definitely a lot of Zen going on,” she says.

WHY design?

We are a passionate group at Cooper Carry, so we reached out to some of our designers to ask a simple question: WHY? We wanted to know what has most influenced them as a designer and why they chose this path. We hope you enjoy reading what each of them had to say.

-Albert Einstein

EMIT TIME By Robert Edsall Intern Architect As a kid, whenever I visited my grandparents, I almost inevitably ended up playing with a century-old set of wooden building blocks that they kept in their basement. With these blocks, I made houses, skyscrapers, towns, cities and memories as I discovered my love for architecture. Over time, I began to create more advanced projects, and my grandparents would take photos of all of my “works” and sometimes keep them up for many days as if they had become sacred wooden mandalas left only to be destroyed by me days later. As I grew older, I began to see my grandparents less and less as school became more demanding, but it was in school where I found my second love, physics. In high school, I became extremely interested in physics, particularly special relativity and quantum theory. During my junior year, I applied to the

Oxbridge Academic Program at Oxford University. Once I had received word that I had been accepted, there was the small matter of selecting my major and minor. I was torn between architecture and quantum physics as my major and I could choose only one. Needless to say, I chose architecture, and after the Oxbridge program, I went on to pursue my undergraduate degree in architecture at the University of Virginia. In college, I realized how connected my two passions were as I pursued both fields. Indeed, architecture and engineering are naturally related but, more profoundly, physics and architecture are inextricably linked together by the consciousness of time or lack thereof. While time may not be an independent measure of change, I believe that change can be a measure of time and, ultimately, existence.

Furthermore, whether time is seen as a seemingly endless succession of “nows” or an arrow that can only go in one direction, it is not, in and of itself, a fundamental physical entity. As architects, it is our responsibility to fill that intangible void–to capture it, celebrate it and make manifest a sense of place within a greater context characterized by a change from one perception of the present to the next. It is our responsibility to strive for timelessness in our present through timeliness, however illusory or paradoxical it may seem. In striving to capture the elusive zeitgeist, the architect realizes that his or her success is entirely contingent upon society’s consciousness of its own time.

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Time has no independent existence apart from the order of events by which we measure it.

LIGHT By Lauren Fowler Intern Architect

What I have been MOST influenced by as a designer is light.

My most memorable lessons on history were always told through the eyes of musicians, artists, and architects. These things surrounded me - piano and violin lessons, art lessons, and having an architect as a dad. My dad taught me how to draw. I learned about balance and proportion from Greco-Roman architecture, rhythm and dynamics from classical music and light (chiaroscuro) from the Renaissance. I have always been intrigued by photorealism - art that “looks real.”

I’ve drawn so many nudes I’ve gotten it down to a science! For example, when drawing an arm, the instinct is to draw the darkest shade at the edge of the arm. In reality, a strip of white light will be seen on the very edge, because the light is reflecting from beyond the rounded form of the arm. Once you are aware of this simple rule (and there are many others), you are able to save them in your mental toolbox for future observations. Everything we see is a reflection of the light around us. It is difficult to drop assumptions on how an object “should look.” Only draw the light - only draw what you see. When we pay attention to the way light behaves around the form, we learn to craft beauty. In architecture, we are mindful of our historical lessons of proportion, rhythm, etc. when creating meaningful spaces; but we are able to manipulate light with the forms we create, and in turn, the light can dictate what the forms will become. Where are we casting shadows? How can color play a role? Where do we want transparency, reflections, artificial light, daylight, or darkness? Light is an incredibly powerful element to be understood and manipulated.

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As the new Engineered Biosystems Building (EBB) at Georgia Tech opened, there were many conversations about the lighting elements incorporated into the design. Lesley Braxton, AIA, IIDA served as the interior design architect on the building, and it was within her purview to source the various light fixtures throughout the 160,000-square foot building. “I saw the common areas as being my most challenging spaces because they required not only ample lighting, but sophisticated fixtures that reflected the program, and added value to the overall design of this wonderful building. The programming for the building has four two-story break rooms located throughout the building and one two two-story narrow lobby area on the first floor, which is ‘anchored’ by the upscale

coffee shop, Highland Bakery,” says Braxton. The team engaged Shea Taylor and Shelley Busby of Lighting Associates who worked tirelessly with Braxton to locate appropriate fixtures that met the team’s design requirements and would augment the space. “I envisioned custom lighting that serves three purposes: to light the volume of space appropriately, to visually express the kind of work that would be happening in the building, and to capture the verticality of the spaces. We looked everywhere, but I just never felt comfortable, simple as they were, that my criteria were being met, much less exceeded,” Braxton continues. After months of looking, Braxton began sketching fixture designs hoping to further assist the consultants with

sourcing just the right products. As she focused on the common areas and began to draw, fixtures started to take shape. Braxton says from the beginning she had thought about test tubes and beakers due to their intrinsic relationship to the lab programs in the building. She said, “Those who work in the EBB use test tubes and beakers as a part of their daily experience. They are shapes which they not only know, but have some degree of affinity for not only their utilitarian use, but shape as well.” So, as she drew, the large break room light fixtures formed from the idea of test tubes. Taylor and Busby then connected the design team with Wynona Lighting to take Braxton’s idea and transform it into a cylindrical shape resembling the test tube. Using T-8 fluorescents vertically

a Cooper Carry magazine | © 2015 23 aspire | volume eleven Above: Lighting inspired by laboratory test tubes and beakers

overall tube and LED down lights at the base for spatial lighting, the fixtures, which are 4 and 8 feet long, provide an appropriate amount of light to fully bathe the break rooms while, in an understated way draw from the look of a test tube. Problem solved. Near the main entry of the EBB front and center is Highland Bakery, a wellestablished Atlanta brand. “The goal was to attract visitors, even passersby, because the food is good and nutritious and certainly convenient,” says David Thomson, AIA, one of the project architects and the project manager for the team. Once again Braxton saw the lighting of the space as an opportunity to not only make the food and drink look even better, but to highlight the building program. “The design team had always talked about this area needing a custom

light and the simple form of beakers and Bunsen burner components as the light’s main design elements seemed to make sense. Not just one size beaker, but many. After several design conversations with Taylor and Busby, Braxton was introduced to Crenshaw Lighting, a manufacturer that specializes in custom “one off” lighting projects. Crenshaw became an invaluable resource, assigning a team from their company to assist Braxton with refining her design, transforming sketches from several pages in her sketchbook into a working set of drawings and specifying the appropriate bulbs to maximize illumination in the eatery. Glass Pyrex beakers, blue Bunsen burner gas line tubing used as electrical conduit, gas nozzles, and even the tiny clamps which hold beakers over Bunsen burners were incorporated into the design.

“This has been a remarkable endeavor because it started with my quest to not just light the space. That would have been easy. I wanted to create a light source that could celebrate the building and the impact it will have for decades to come. But even more fundamental to me as a designer was to create something that was fun, exciting, expressive, and most of all would relate to those who inhabit the building,” Braxton concludes. Suffice it to say her goals exceeded everyone’s expectations. Additionally, both manufacturers worked closely with the design team and the lighting consultants to manufacture products that would not only stand the test of time, but would help achieve the lofty sustainability goals of the building.


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By Gar Muse, AIA & Angelo Carusi, AIA Principals Retail Specialty Practice Group

The American shopping mall is dead! Or so some would have you believe. Since 2010, two dozen shopping malls across the country have closed. In the Atlanta suburbs, we have recently seen the closing of Shannon Mall, which is now being converted into a movie studio. Other malls like Southlake, Greenbriar and Gwinnett Place are arguably struggling. A proliferation of news articles and opinion pieces emphatically state that the enclosed mall concept is a thing of the past. But before we place the final “RIP” placard on the mall, it might be worthwhile to consider some other factors. Malls don’t die because the idea of an enclosed shopping venue is unattractive and obsolete. They die because demographics shift, shopping habits change, mall owners face financial challenges, malls become overly saturated with the same stores and merchandise, or a better retail venue is built nearby. The consolidation of department stores is but one example. Think Macy’s buying Rich’s locally, and maybe Belk soon?

If a mall does shut its doors, it’s because it has failed to adapt.

As far back as 10 B.C., people gathered together to conduct commerce. There’s something magical about being among hundreds or thousands of other people shopping. To illustrate that malls are not on the downward spiral, consider a few stats: mall rents are on the increase; mall sales are on the increase; and Net Operating Income in malls is increasing. These three facts alone should dispel any rumors about the demise of the American mall. No discussion about any subject is complete without inserting the effect Millenials will have on the mall. Conventional thought today would purport that this demographic alone will be the final nail in the proverbial coffin. But that would be a misguided conclusion. In a recent study, Opinion Lab concluded that among Millenials;85% planned to go to a mall this summer; 60% say they go at least once a month; nearly half rank browsing in stores as their number one reason for going to the mall; and only 10 percent say there is nothing to motivate them to spend time in a mall. Our conclusion is simple: If 3.2 percent of American malls have failed, then 96.8 percent have not. Malls will refine or reposition themselves as they respond to changing demographics, shopping habits or oversaturation of similar retailers. The bottom line is most of those malls in trouble will get new owners with the capital it takes to achieve the refinement or repositioning required to remain a viable investment asset. Those that don’t will be part of the 3.2 percent.

Right: An abandoned Sears at the Palm Beach Mall, West Palm Beach, Florida

(Lannis Waters/The Palm Beach Post)

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By Stephanie Smid Intern Architect

Every drawing brings with it a certain understanding of how the artist views their world. During my undergraduate studies, I had the opportunity to study abroad in Northern Italy. We spent five weeks roaming cities armed with nothing but sketchbooks, pens and pencils, learning how to analyze the built environment through freehand drawing. Without any rulers or erasers, every line had to be drawn with purpose–construction lines became just as important as finishing touches. I had to learn to slow down and reflect on what I wanted to convey through each sketch. Unless I wanted a page covered in confusing scribbles, I needed to understand the building before putting pen to paper. After a few weeks, I began to realize how preconceived notions combine with new understandings to create a unique portrayal of reality. In the end, I discovered that drawing is an act of observation–of gaining a greater knowledge of the world by establishing a framework through which to study it.

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The ability to cross your neighborhood street safely may seem like a basic right. Unfortunately, this is not always so. Neighborhoods and communities constantly change due to population increases or decreases, aging residents, and demographic shifts. In times of rapid flux, planning and urban design services become about both redevelopment and social justice for a community’s residents. Cooper Carry provided planning and urban design services and led a team in environmental site design, transportation planning, and economic revitalization strategies for Eastover/Glassmanor/ Forest Heights Sector Plan for Prince George’s County Planning Department of Maryland- National Capital Park and Planning Commission (M-NCPPC). The goal of the Sector Plan was to transform the auto-dominant suburban Maryland community into a more walkable, economically viable neighborhood. Our process involved extensive public outreach with residents, civic associations, county agencies and stakeholders in a series of small group meetings, targeted workshops and large information gathering sessions. Major concerns from all groups

were centered around safety, neighborhood attractiveness, and residential retail and amenity needs. These are all areas that can be improved with strategic redevelopment plans. Our team’s recommendations focused on infrastructure changes, environmental improvements, and urban design guidelines. To develop viable strategies, Cooper Carry led two public meetings, a stakeholder engagement session, and meetings with the M-NCPPC project manager; and met with local and state agencies in order to gather community input and build consensus. Active listening is always the first step in community outreach and collaboration, and we were cognizant of the residents’ biggest concerns. Apart from the community improvements many residents wanted to see happen, some community members were also worried the new planning efforts would result in community members getting priced out of their homes. After understanding the residents’ major concerns, we adjusted the typical visioning and compact development images to show the residents that the future we wanted to help them plan did not include Millenials in new high-rises but

a Cooper Carry magazine | © 2015 31 aspire | volume eleven rather new parks, improved sidewalks, and walkable destinations that aligned with their community vision. We refocused our own communications to show community members they deserved safe, walkable streets. Our team discussed with long-term residents the benefits that an improved public realm would bring, including increased neighborhood safety. Often times, when working with community groups and in public outreach, planners must balance the receipt of information with the provision of expertise. We come to a community and to a project with a specific knowledge base and training that can be valuable in shaping infrastructure and land-use into the best scenarios for the community members. However, our expertise needs the voices of a community to help guide plans into sustainable and community-supported outcomes. We must understand where a community is and where they want to be before advising on what necessary steps to take. Our team and our services are not cookie-cutter. You have to tell us where you

want to go before we can get you there. The final implementation strategy for the Eastover/Glassmanor/ Forest Heights communities follows the recommendations with public realm improvements, regulatory action, and site-specific redevelopment opportunities. The finished plan aspires to use public investment in the public realm to stimulate redevelopment and appropriately-scaled growth that contributes to the livability and resilience of the plan area. Improved streets and sidewalks, increased pedestrian safety, simplified traffic patterns, and enhanced environmental infrastructure and housing options will improve the community’s quality of life. The proposed plan will create safe places for people to congregate, and these additional people will increase the “eyes on the street” to further improve safety. The plan was adopted in early 2014, and numerous recommendations have been implemented to date.





Atlanta, Georgia The North Atlanta High School is designed to accommodate 2,350 students in what previously had been a 56acre IBM Corporate Campus. The adaptive re-use design includes an 11-story concrete-framed office tower that spans over a scenic lake, an assembly building, and a 942-car parking deck.


Washington, D.C. The facade of the Neiman Marcus at Mazza Gallerie was previously a modernist box with few windows, small doors, and little presence on the street. Cooper Carry’s design team removed the knife-edged corner of the building, installed a three-story glass box and retail window, created additional retail windows along the street; brightened and enlarged the Metrorail and Neiman Marcus entrances; and installed a series of sun shades and canopies that wrap the façade and create a pedestrian-scaled street.

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They say the greenest building is the one that already exists. Through time, more than a handful of our projects have consisted of building and streetscape repositioning and renovation. Here are just a few of our most dramatic transformations.

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Houston, Texas The new owner undertook an 818,014 square foot renovation of the existing common mall area and a 660,000 square foot expansion of gross leasable area. As with the renovation, the expansion of the Galleria was designed with clean, contemporary lines, rooted in classic modern architecture, resulting in a timeless look.


Cleveland, Ohio The East 4th Street Development area integrates national and local retailers in a renaissance of entertainment in downtown Cleveland. Catalyst projects include the new House of Blues, development guidelines and the Streetscapes, all developed by Cooper Carry.


Arlington, Virginia Cooper Carry developed a scenario / master plan design which inverts the complex from a 1960’s, internallyoriented, office superblock model to a street-oriented, 18 hour office / retail environment.


Washington, D.C. 50,500-square-foot Benning Elementary was formerly a DCPS “school without walls” building, with only large open spaces and no traditional classrooms. It has been transformed into a space fit for two charter schools, with traditional classrooms and administrative spaces, and two separate entrances


Washington, D.C. Cooper Carry was enlisted by Songy Partners to convert a 1960s office building into an 11-story Hyatt Place hotel.


Falls Church, Virginia Cooper Carry converted an existing five-story office building into a new school. As the first mid-rise elementary school in Fairfax County, the vertical design groups classrooms into two-story learning communities that open onto common learning areas and an interconnecting stair.

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Located in metropolitan Atlanta, Emory University is one of the world’s leading research universities and the fourth largest contributor in the nation to the discovery of new drugs and vaccines among public-sector research institutions. Nestled within the campus is the 40-yearold Sanford S. Atwood Chemistry Center. The Emory chemistry community is comprised of approximately 30 faculty, 25 staff, 50 post-doctorate students, 120 graduate students and 200 undergraduate students, all working together. The department is known for its By Brian Campa, AIA commitment to cutting-edge research, engaging teaching Associate Principal and impactful mentorship. To stay at the frontlines of its groundbreaking research and to promote collaboration of all members of the community, the university invested in a $52 million expansion and renovation to the 200,000-square-foot building. The project was largely funded through the proceeds of the discovery of an HIV-AIDS drug, which was made inside the building. To transform the boxed-in labs of the past into the sunlit foyer and communal spaces of the future, the university looked to Cooper Carry to design the 70,000-square-foot expansion and 40,000-square-foot renovation.

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Five ways to unify innovative, new laboratory space with a 40-year-old building

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This LEED-NC Gold achieving project is a five-story facility that includes laboratories, offices, an administration suite, teaching labs, conference rooms, a collaborative active learning classroom, a resource center, cafe and commons space. Cooper Carry was tasked with merging innovative, new space with the look and feel of the original building. Other opportunities included: renovating and adding new space while faculty continued their research and occupied the existing building throughout construction; creating highly transparent and collaborative spaces, a concept that most were not accustomed to; and transforming their culture by promoting, through the design, the planned and informal interaction of researchers, graduate students and undergraduates. Here are five ways Cooper Carry successfully delivered on those requests and created collaborative, technologically advanced space while maintaining the aesthetics of the original building.



Promoting collaboration with glass. To promote a truly collaborative environment, an atypical amount of glass was installed throughout the project. The idea was to put the researchers’ scientific efforts on display to inspire further discovery. While strolling through the atrium, one can see into classrooms, labs, offices, and lounge spaces via the new glass installations. Scientific research and education are put on display. Students, administration, and faculty are visually connected throughout the building.


Prototyping design with a prototype lab. Ten years ago, Cooper Carry developed a prototype lab on the fourth floor of the existing building to test this new concept of designing highly transparent space. Over the years, the team worked out the kinks and perfected the design of the space in order to implement it into the overall design of the building. Lessons learned from the prototype helped avoid major pitfalls in the larger scale addition that could have been significant. The prototype also allowed the department to test how faculty and students would perform in a space that provided a drastic increase in visibility.



Creating a collaborative commons at the intersection of the existing and new buildings. The building’s library originally lived on the fourth floor, away from the heavy foot traffic of undergrads. In order to overlap the paths of researchers and students, Cooper Carry moved the library to the new commons on the main level. The purpose of this main level was to provide paths of incidental interaction.

Unplanned collaborations and conversations would help fulfill the department’s vision for a new culture. The team added a café to the commons in order to draw additional students from other departments into the new space, further promoting a collaborative hub for the science district at Emory.


Commissioning an art installation and adding color. The Department of Chemistry Chair had a vision to relate the scientific research performed in the building to the arts. The interior design concept distributed bands of color throughout the project. Color takes on the role of stitching the rigid geometries of the existing building with the new curves of the addition. Color was also incorporated to signify each floor. Wayfinding was greatly improved as each floor gained its own identity. The department also hired an artist, an Emory alum, who devised a way to use color to apply on four 10-squarefoot panels within the atrium. Every semester, the four panels will be rotated into a different arrangement as a moving art installation. The installation hangs on the exterior wall of the original building, creatively marrying the old with the new.



Using natural light to unify. Due to the site restraints, the planned addition would have created a wide footprint for the complex. The internal core of the building would lack the benefit of natural light. The team devised a solution to create a five-story atrium that connects the old and new buildings. At the top of the atrium is a linear skylight that provides direct sunlight down to the main floor. This space has become the symbolic and literal connector between the old and new. The natural light that flows into the atrium unified the building in that all spaces are able to feel well lit and revitalized.


Previous Page: Emory University, Atwood Addition, Main Atrium with Grand Stair Top: Emory University, Atwood Addition, Chemistry Lab Atrium Corridor Bottom Left: Emory University, Atwood Addition, Lounge with Custom Lighting Design Bottom Right: Emory University, Atwood Addition, Hallway Art Exhibition

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As research and teaching activities continued throughout the construction process, Cooper Carry carefully coordinated with the engineering and construction management teams to phase and execute with limited disruption of ongoing activities. Despite the inconvenience, the students and researchers were excited for the addition and renovation, already admiring the prototype lab on the fourth floor.

Cooper Carry’s design redefined the culture of the institution for many researchers. Traditionally, they preferred solid walls and enclosed research space. Through the prototyping lab and working closely with the university, Cooper Carry instituted a paradigm shift that would bring scientific discovery out from the secluded research labs and put it on display for undergraduate students, teachers and other members of the community.

Department of Chemistry Chair David Lynn, PhD said, “Our new project provides incentive to think beyond the traditional, to integrate graduate and undergraduate education and create environments free to engage a broader group of thinkers. We will create a new center and research laboratories that are both adaptable and technologically advanced, facilitating our reach beyond the traditional questions to the new answers of the future.�

a Cooper Carry magazine | Š 2015 41 aspire | volume eleven Ultimately, the new commons, atrium and exterior courtyard have become the heart of the chemistry department and community. Students and researchers are scheduled to begin fully using the new space in fall 2015. The entire team is excited about the potrential discoveries that are waiting to be uncovered in this uniquely collaborative space.

Top: Emory University, Atwood Addition, Interior Lobby with Group Seating.


a Cooper Carry magazine | © 2015 43 aspire | volume eleven Last month, Urban Land Institute (ULI) Atlanta announced that Kevin Cantley, AIA, is the new Chair of ULI Atlanta – which covers Georgia, Alabama and Eastern Tennessee. A ULI member since 1995, Cantley joins past and present chairs, who volunteer their time to build a strong presence for the Urban Land Institute. As president and CEO of Cooper Carry for the past 20 years, Cantley is an active player in the Atlanta real estate scene. Cantley joined Cooper Carry in 1980 and has directed the design of corporate headquarters, office, residential, transit, retail, educational and mixed-use projects. Cantley has earned many awards for his designs, including the Development of Excellence from the Atlanta District Council of ULI. He is active in ULI’s Transit Oriented Development Council, Livable Communities Council and its Management Committee. “I became aware of ULI in the early 70s,

while in college studying architecture. Its mission was compelling to me and aligns with my professional and personal interests,” he said. “Because of its broad and diverse membership and its dedication to responsible use of land, ULI has a positive impact both globally and at the community level. I’m honored to be the next chair of the Atlanta district and motivated to contribute to that positive impact.” In addition to his involvement with ULI, Cantley is a member of AIA and NAIOP, where he chairs its Urban Redevelopment Forum. He also serves on the Board of Central Atlanta Progress, the Executive Advisory Board for the Georgia Institute of Technology College of Architecture; and the Board of Directors of the Buckhead Coalition. He is a previous trustee of the Georgia Tech Alumni Association; a past director for the Architects Foundation of Georgia and of NAIOP, and a previous director and treasurer of AIA Georgia.

“ULI Atlanta is proud to announce Kevin as its choice for the next chair,” said David Allman, immediate past chair of ULI Atlanta. “He has been an influential member for many years, served on boards and genuinely cares about ULI, its members and our community as a whole. I’m looking forward to seeing the positive impacts of Kevin’s leadership.” ULI Atlanta is a district council of the Urban Land Institute. ULI is a non-profit education and resource organization supported by a diverse base of 35,000 members in 100 countries worldwide. A multidisciplinary real estate forum, ULI facilitates an open exchange of ideas, information, and experience among industry leaders and policy makers dedicated to creating better places. Their mission is to provide leadership in the responsible use of land and in creating and sustaining thriving communities worldwide. For more information visit

Adaptive Reuse

The Transformation of Office Buildings to Schools

By Lauren Perry Ford, AIA Associate Principal

By Clay Jackson, RA Staff Architect

What happens when real estate becomes scarce for school districts? School systems must turn to architects and designers to uncover innovative, creative solutions. Often, vacant plots of land are limited and expensive. In recent years, the office market in certain areas has lagged behind other markets and much existing office space remains vacant and priced to sell. The real estate community is looking for creative ways to adaptively reuse such

facilities. Increasingly, these spaces are being converted to other uses, including schools. Decision makers are considering adaptive reuse as a time-efficient, sustainable and financially viable alternative solution. A DEFINITION Adaptive reuse involves the reclaiming of underutilized property and adapting it to a new purpose. School officials will increasingly need to look to non-traditional options such

as adapting underutilized buildings with tight sites to accommodate growing populations. Many communities are facing growing enrollments. Additional capacity can be provided with expansions to existing schools or on land already owned by the school district. However, when capacity shortages require new facilities on new parcels of real estate, challenges can arise. Finding land of sufficient size to support the state and local program

a Cooper Carry magazine | Š 2015 45 aspire | volume eleven within older communities that have been fully built out. New school sites should, whenever possible, be located within the communities they serve to allow students to walk to school. Even if land of sufficient acreage is available in a desired location, costs can prove prohibitive for public school budgets, particularly as the economy improves and land values continue to rise. Non-traditional sites can be efficient

solutions for real estate-challenged districts, while also providing effective venues for 21st century learning. BENEFITS As school districts face significant population growth, many struggle to find ideal sites to build new schools. Inner suburbs are running out of parcels that meet the prototypical requirements for schools. Finding large, undeveloped parcels of land near growing population centers is

Above: New North Atlanta High School, Interior Lockers

often difficult, if not impossible. In addition, capacity bubbles often occur quickly and school districts struggle to deliver new ground-up facilities in time to house the students. As previously stated, adaptive reuse can be a cost-effective and time-efficient option, cutting down on the construction costs, permits and timeline of the project. School districts can achieve significant cost savings by not having to build from the ground up. An adaptive reuse project begins with a building that is essentially dried-in. The structure is in place and utility lines are already established and serve as a functional envelope, which can in some ways turn the project into an interior renovation job. These benefits allow districts to establish a new school more quickly and affordably. In addition to being efficient and cost effective, adaptive reuse schools are also sustainable. The USGBC LEED rating system promotes walkable properties that are located in urban or semi-urban

environments. The reuse of existing buildings within walkable neighborhoods can enhance the sense of community and decrease the burden on developing green space. Adapting previously developed sites for schools can also reduce impervious cover, while simultaneously providing community recreation opportunities. Reusing previously developed parcels can help preserve undeveloped green space elsewhere. It can improve the overall quality of the existing land by replacing previous parking areas sized for office use loads with play areas, fields and green space for recreation. It can also revitalize neighborhoods and property values by transforming vacant, poorly maintained sites into vibrant new community centers. Additionally, adaptive reuse reduces urban sprawl, which cuts down on transportation energy use. Old facilities that have fallen out of favor can be rejuvenated to have a direct, positive impact on the community. BAILEY’S UPPER ELEMENTARY SCHOOL One successful example of an adaptive

reuse transformation is the new Bailey’s Upper Elementary School for the Arts and Sciences. Cooper Carry helped the Fairfax County Public School district in Northern Virginia undertake this ambitious project that involved the transformation of a 100,000-square-foot, five-story, existing office building into an art and science magnet elementary school in less than nine months. Bailey’s Elementary School for the Arts and Sciences was well beyond capacity with half of the 1,400 students housed in trailers. To alleviate overcrowding, Cooper Carry converted a vacant office building into a new school. Bailey’s now sits about a mile from the original school and serves 764 students. As the first mid-rise elementary school in Fairfax County, Bailey’s vertically designed classrooms are grouped into two-story learning communities that open onto common learning areas and an interconnecting stair. The project includes administration space on the ground floor and classrooms on floors two through five. The program also includes a hybrid

While office buildings may not be the most obvious solution to house an elementary school, the innovative project proved to be a cost effective and appealing approach.

In order to maintain the site’s beautiful, dramatic terrain, the existing, on-grade parking lots were converted into athletic venues for baseball, softball, football, tennis and track. The conversion resulted in a reduction of impervious surfaces on site, minimizing stormwater runoff and reducing the urban heat island effect. An additional assembly building constructed

THE NEW NORTH ATLANTA HIGH SCHOOL In another example of an adaptive reuse project, North Atlanta High School was designed to accommodate 2,350 students in what had previously been a 56-acre IBM corporate campus and and two high rise office buildings. North Atlanta High School is the first of its kind nationally–a large-scale example of a successful office-to-school conversion. Cooper Carry was engaged by the Atlanta public school system to help them transform the underutilized IBM campus into a vibrant and effective learning environment. The adaptive reuse design includes an 11-story concrete-framed office tower that spans over a scenic lake, an assembly building, and a 942-car parking deck. The office tower’s floor plate proportions and column spacing worked surprisingly well for classrooms, science labs, administration and the media center. The existing corporate dining space and

Left: New North Atlanta High School, Interior Hallway Right: Bailey Upper Elementary School, Library

adjacent to the tower includes large, high-volume spaces with special acoustic needs and accommodates a 600seat auditorium, a 150-seat black box theater, music rooms and a 2,100-seat competition gymnasium with practice gym. A ‘Main Street’ design approach was used to connect the two main buildings and parking facility. Ultimately, the project will obtain LEED Silver certification and has received an Award of Excellence from the Urban Land Institute in Atlanta. VERTICAL SCHOOLS Since existing office buildings are frequently at least several stories tall, adaptive reuse schools can be vertical in form. As demonstrated in the examples above, this ‘stacked’ building format can provide unique opportunities to create connections and learning communities. One additional benefit of this vertical layout is the increased physical activity students inherently gain. There are several studies that show that children aren’t getting enough daily exercise. With increased activity of climbing stairs

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kitchen were easily revamped to meet the needs of the high school. Each of the four grades (9-12) were able to comfortably occupy two floors of the structure. As a means to create encounter space and identity, the design team opened up floor plates to establish a large double level commons with a grand staircase for each grade. Since much of the student’s day is spent within their own grade level, grand staircases serve as a passive design feature to reduce elevator use. Conventional elevators were converted into state-of-the-art “destination elevators” to cut travel time in half, thus solving the problem of getting students to class on time.

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library/black box theatre that spans two floors, a series of exercise and movement rooms, a science lab, and TV and video production rooms. Classroom walls are painted with a special coating that allows the surface to function as a dry erase board. These writable walls allow more opportunities for formal and informal interactions throughout the school to support 21st century learning. With a fast-paced schedule, the design of the conversion commenced in December 2013 and was complete for students in fall 2014. The second phase of the project will address the site upgrades such as additional outdoor play areas and an enclosed field house.

With increased activity of climbing stairs to class, students tend to increase their focus and improve learning. It is possible that day-to-day activities within vertical schools, which include climbing up and down stairs to classrooms, will actually have a direct impact on learning outcomes for these schools.

to class, students tend to increase their focus and improve learning. It is possible that day-to-day activities within vertical schools, which include climbing up and down stairs to classrooms, will actually have a direct impact on learning outcomes for these schools. DESIGN OPPORTUNITIES AND CHALLENGES As a firm, Cooper Carry has had the opportunity to design numerous adaptive reuse projects. The adaptive reuse of non-traditional facilities requires an understanding of different construction types including structural steel, precast and cast-in-place concrete. Existing facilities need to be evaluated for opportunities and limitations including vertical circulation capacity and use, life safety and existing issues, column bay spacing, floor-to -floor heights, fire resistance ratings, and zoning

requirements. Designers thrive on the outside-the-box thinking and are essential to any adaptive reuse project. Sometimes the cost-savings can only be realized with a dynamic design team that is capable of making the quick and creative decisions needed to move the project along at a steady pace. Ultimately, this process involves a partnership between school districts and designers to discover hidden gems and transform underutilized facilities into 21st century learning environments. This article will also appear in an upcoming issue of CEFPI Educational Facility Planner.

Right: New North Atlanta High School, Lobby Spiral Staircase

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Activating Public Spaces:

A TACTICAL URBANISM CASE STUDY On any given Thursday evening in the city of Alexandria, Virginia, one tiny park, situated behind a post office and across the street from a residential tower and new French restaurant and bar, is bustling. You will not only find regular park-goers occupying picnic tables and taking turns at table tennis under the decoratively lit canopy, but on Thursday evenings, the D.C. bocce league comes with six or more teams (including one from Cooper Carry) for a few regularly scheduled games, bringing even more activity and laughter to the park and a bit more business to the restaurant across the street. This new half-acre park is officially called the Braddock Interim Open Space. The city acquired the property in 2010 as a first step toward creating a one-acre park on the same block. Until the one-acre park is achieved, the short-term interim park provides space for residents to relax, play and connect. Although the city purchased the property in 2010, at that time there was no additional funding for park planning or construction. Due to a lack of park funds, the city leased the property out to various tenants on a short-term basis. Once those leases expired, the city had

to make decisions on what to do with the property so that it didn’t become a vacant lot in the neighborhood. The post office on the same block is slated to move offsite, but this move and redevelopment will take time. So, in collaboration with the Braddock Implementation Advisory Group and with the generous donations of park furniture that came from several companies, the city established the Braddock Interim Open Space.

is all about making low-cost temporary changes to the built environment in hopes of improving neighborhoods and public gathering places. They are often small projects that strive for big goals: bringing people together, stimulating connections, increasing economic activity and reutilizing under-utilized spaces.

The city will be gauging the interest and use of the small recreational activities (ping pong, bocce, horseshoes) to determine whether there is enough interest in these to include in the eventual, permanent oneacre park, or otherwise provide in the city park system. Similarly, the materials are also being analyzed–from the LED string lights to the stone dust, loaner furniture, joggle boards and bocce surfacing–to determine their effectiveness, ease of maintenance and fit with the overall parks system and aesthetic. Finally, the plants were selected to test their urban hardiness.

Activating public space is one way that jurisdictions can build community, bring people together, improve safety and increase economic vitality through public and private investment. The implementation of small recreational facilities, such as bocce courts and ping-pong tables, is just one example of tactical urbanism. Cities and developers have been implementing amenities, such as shade makers, nighttime lighting, kiosks, festivals and events as a means to temporarily activate spaces. These might be located anywhere from parks to underutilized land such as vacant lots. This can allow decision makers to test out the viability and reduce the risk of investing in more permanent solutions.

This interim public space creation could arguably be a successful example of tactical urbanism. The new buzz word flying around urban and community planners

Public space activation required thoughtful design and implementations, as well as successful partnerships. This means the public entities, property

a Cooper Carry magazine | Š 2015 51 Tactical urbanism targets the public realm. The public realm includes all the places where buildings intersect with human activity and the spaces between buildings. The design of these spaces is critical. The unique combination of architectural backdrop, landscape experience, engineered roadways and space programming creates a complicated mix of pressures for designing an active, successful place. Understanding the final goals for a healthy public realm and inevitable budget limitations can help determine the best method for success. Through collaboration and creativity, tactical urbanism can be a powerful tool for economic and community development. Park-goers, including the Cooper Carry Bocce team, enjoy a game of Bocce Ball at the Braddock Interim Open Space in Alexandria, VA Top Left: Marco Pieri, RA Top Right: Yen Dinh and Richard Berrios Bottom Right: Brandon Lenk, AIA and John Goebel, AIA

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owners and operators, users, other stakeholders and designers must work together from start to finish with an understanding of the short and long term goals and constraints. The results create not only greats spaces, but places where people want to spend time.



Sean McLendon, AIA Principal “I am a practicing architect with over 25 years of experience in making buildings. Turning pottery shares many similarities with architecture in the conceptualization of form but the real payoff is in the making of a vessel. Like with any project, I begin with drawings and sketches. The drawing process brings ideas forward and helps to solidify intent before I sit at the wheel. It takes well over a year for a building form to be constructed by others; pottery offers a quicker turn. A vessel offers simple delight in its use; in other cases, a ceramic form can capture one’s imagination, so that is the journey and endeavor.”


Mourad Kicha Architectural Staff III “I grew up playing soccer, and I have been playing soccer from age five until this day. I think it’s the most energetic sport ever. It requires fluid play and takes more team effort than you would ever imagine. If one team member doesn’t try or doesn’t give 110%, your whole team loses. It is challenging and relieves stress. There is no ‘I’ in team and that was the first thing I learned during my soccer career. It feels great to score or for the team to win a game. What a boost to the self esteem!”

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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.

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Christopher Bivins, AIA Associate Principal “I started woodworking when I was in architecture school where we had a wood shop in the architecture building and the manager was a fine craftsman who taught a furniture design/build class. I kept it up as a hobby after school, taking and eventually helping teach evening classes at a local school before taking a full-time job as a woodworker, working in a small shop doing custom furniture. I ended up spending four years building furniture before deciding to get back into architecture, where I’ve often been able to use the knowledge I’ve gained to help design and detail millwork, paneling, and other items. I currently have a small shop in my basement where I make items for my house. The pinewood derby car I made last year out of maple and steel was the winning entry in the annual Cooper Carry Derby!”

MIXOLOGY John Goebel, AIA Project Architect

“I’ve been ‘playing bartender’ for about 15 years. I’ve never actually worked at a bar, but at parties you’ll usually find me with a cocktail shaker in hand. I love experimenting with different flavor combinations, and I often make my own infusions and syrups with herbs from my patio. I find the entire preparation process very relaxing–everything from squeezing fresh juice to adding the final garnish. There’s something very civilized and elegant about a well-made cocktail, and there’s nothing better than sharing that experience with my friends.”


Judy Simmons, PHR Associate Principal / Human Resources Director “I’ve been very closely involved with Noah’s Ark for about 14 years. They have around 1,500 animals and each one has a story about how they came to reside there. Most are heartbreaking. In addition to the permanent residents, they also rehab and release local wildlife and carry out dog and cat adoptions. One of the nice things about Noah’s Ark is their habitats are large and the animals are constantly being appropriately stimulated to avoid boredom and captivity behaviors. Allowing the animals to be ‘themselves’ and as natural as possible without human touch is part of the mission of the organization. But, the animals do have to be examined and fed, and habitats need to be cleaned, so getting accustomed to limited human contact is important. I have been fortunate to be a part of that process.”

“I really enjoy doing yoga as a way to relax. I’ve been practicing regularly over the last year, and I feel it makes a huge difference in my day-to-day at work. I also really like to challenge myself with new poses. Trying something new and difficult has been a great way to push myself and feel more energized and confident.”

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Chelsea Lindsey, AIA Staff Architect

Lee Ayers, AIA Senior Associate

“Glass blowing is a fluid art form. You have an idea in your head or a sketch on paper as to what you want a piece to look like. Then you have to figure out how to create that piece in glass. Once you gather the hot, molten glass, the process to create your piece goes very quickly. If you take too long to think about what you want it to look like or how to do it, your piece can shatter. Gravity is a constant reminder that you need to keep the piece moving.”


Will Goethe Architectural Staff I

“It all started when my dad cut his old clubs in half and gave them to me to whack at golf balls on the driving range. Years of shanks, slices and skulls later, I joined my high school team in hopes of playing on a collegiate level. That is until I discovered my passion for architecture. To this day, even though I’ve migrated from Georgia up to New York City, I still find my happy place at Chelsea Piers and summer golf trips to Jersey and Pennsylvania. I also never pass up the opportunity to fly back down South and play with Pops.”


get to Don’t for te them la u t a r g n co In on Linked

Cooper Carry would like to say CONGRATULATIONS to many of our employees.


Manny Dominguez

Bill Halter

Bob Just

Kim Rousseau

Andrea Schaub

Lesley Braxton

Brian Campa

Dots Colley

Judy Simmons

Andrea Smith

associate principals

Brent Amos

Katie Peterschmidt

Christopher Bivins

Kyle Reis

Mike Service

Pratt Farmer

David Thomson

Lauren Perry Ford

Rick Fredlund

Layton Golding

Gary Warner

Nate Williamson

Sherry Wilson

Mark Kill

Oscar Perez

Brian Parker

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get to Don’t for te them la u t a r g n co In on Linked

Cooper Carry would like to say CONGRATULATIONS to many of our employees.

senior associates

T. Jack Bagby

Steve Carlin

Matthew Carr

Chris Culver

Brandon Danke

David Goodman


Jason Albers

John Beres

Allison Bickers

Steve Busch

Robin Lackey

Brandon Lenk

Elizabeth Muscroft

Sophia Tarkhan

Jon Cakert

Krista Dumkrieger

Mike Linker

Judy Ferguson

Kathy Logan

Maria Greenawalt

Bill Garcia

Matt Guelcher

Douglas Webster

Audrey Hardesty

Markus Wilms

Jason King

Gweneth Kovar

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Congrats! A heartfelt “Thank You” to those celebrating an employment anniversary in the 2nd Quarter of 2015.

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


10 36 to

Roger Miller Principal 36 Years

David Kitchens Principal 31 Years

Ben Wauford Principal 30 Years

Steve Smith Principal 29 Years

Judy Ferguson Associate 29 Years

Brian Parker Associate Principal 17 Years

Christina Bailey Marketing Services Manager 15 Years

Nicolia Robinson Senior Associate 15 Years

Carol Alexander Studio Administrator 15 Years

Douglas Webster Senior Associate 14 Years

Michael Linker Senior Associate 11 Years

Kyle Reis Associate Principal 9 Years

Xantha Burghardt Database Administrator 8 Years

Lisa Bedingfield Controller 5 Years

Elizabeth Muscroft Associate 4 Years

Stephen Busch Associate 4 Years

Kathy Logan Senior Associate 4 Years


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2Q 2015 Sheila Rickles Facilities Manager & Executive Assistant 27 Years

Mark Jensen Principal 26 Years

David Thomson Associate Principal 20 Years

Rob Uhrin Principal 20 Years

Dots Colley Associate Principal 17 Years

Karen Trimbach Associate 9 Years

Peter Han Architectural Staff III 9 Years


49 to


Brian Campa Associate Principal 11 Years

Mike Daniell Senior IT Manager 10 Years



to years

Matt Guelcher Associate 4 Years

Allison Miles Staff Architect 4 Years

Jon Cakert Associate 3 Years

Jonathan Woodruff Systems Engineer I 3 Years

Congrats! A heartfelt “Thank You” to those celebrating an employment anniversary in the 2nd Quarter of 2015.



to years cont’d

Julie McDaniel Planner 3 Years

Audrey Hardesty Associate 3 Years

Torrey Law Staff Architect 3 Years

Chelsea Lindsey Staff Architect 3 Years

Clay Jackson Staff Architect 3 Years

Sophia Tarkhan Associate 1 Year

Matt Nickel Staff Architect 1 Year

Judy Simmons Associate Principal 1 Year

Adedotun Olugbenle Architect Student 1 Year

Jerry Victorian Project Architect 1 Year

Rob Farr Intern Architect 1 Year

Andrew Lakatosh Architectural Staff I 1 Year

Christine Gregory Intern Architect 1 Year

Tori August Intern Architect 1 Year

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2Q 2015 Lauren Fowler Intern Architect 2 Years

Jon Park Architectural Staff I 1 Year

Lee Sewell Landscape Architect 2 Years

Meg Robie Intern Landscape Designer

Marco Pieri Staff Architect 2 Years 2 Years

Hillary Roth Intern Architect 2 Years

Valerie Haase Interior Designer I 1 Year

Robyn Jackson Project Accountant 1 Year

Alanna Conner Intern Architect 1 Year

Stephanie Smid Intern Architect 1 Year

Melinda Daniels Project Accountant 1 Year

Maria Greenawalt Associate 1 Year

Welcome to employees beginning their career at C ooper Carry

Karen Popham Accounts Payable

Bill Abballe Techincal Services Manager

Patricia Brown Intern Architect

Sunggu Lee Project Manager

John Iaconis Architect Student

Hannah-Lea Buchman Interior Designer I

Emily Lysek Intern Architect

Ryan Haney Project Architect

Brad Mann Intern Architect

Jorge Abad Project Manager

Jenny Williams Project Architect

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at Cooper Carry

We hosted an in-house social to celebrate the Kentucky Derby complete with hats and 'horse' races.

We relaunc

hed our "R

Cooper Carry staff competed in the "Fight for Air Climb" which benefited the American Lung Association. The team took home the 'fastest time' title for the third year in a row.

easons Fo

r Optimism

" website


Cooper Carry was named one of Architectural Record's Top 50 Design Firms.

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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

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Cooper Carry's own Douglas Webster, RA hosted a Creative Thinking Exercise as part of our in-house design lecture series.

The NYC Public Design Commission recognized Cooper Carry's Staten Island Lighthouse Point project with an Excellence in Design Award.

Cooper Carry designers participated in a retrothemed costume contest.

Check out some of Cooper Carry’s ongoing projects.

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Aspire - Volume XI Contributors Brian Campa, AIA, LEED AP BD+C Associate Principal

Angelo Carusi, AIA, LEED AP, CDP, CRX Principal

Robert Edsall Intern Architect

Lauren Perry Ford, AIA, LEED AP BD+C Associate Principal

Lauren Fowler Intern Architect

Clay Jackson, RA, LEED AP BD+C Staff Architect

Gar Muse, AIA Principal

Abbey Oklak, AICP, LEED AP Planner

Stephanie Smid Intern Architect

Aspire - Volume XI Mentions Lee Ayers, AIA, LEED AP T. Jack Bagby, AIA, LEED AP Christopher Bivins, AIA, LEED AP Lesley Braxton, AIA, IIDA, LEED AP Kevin Cantley, AIA Jerome Cooper, FAIA, LEED AP Manny Dominguez, AIA, LEED AP John Goebel, AIA, LEED AP BD+C

Will Goethe Mourad Kicha, LEED AP BD+C Chelsea Lindsey, AIA, LEED AP BD+C Sean McLendon, AIA Bob Neal, AIA Judy Simmons, PHR, SHRM-CP Douglas Webster, RA Zack Wilson, RA

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aspire | volume eleven



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Aspire magazine Vol 11