A COOPER CARRY MAGAZINE
Intergraph Headquarters, Huntsville, Alabama 1
VOL U M E NINE 2014
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 our people who collaborate to make them become a reality.
Welcome to this, our ninth issue, of Aspire magazine. As we close out 2014, I expect that many of you are like me, you stop to reflect on the year. I can honestly say that 2014 has been incredibly exciting for Cooper Carry. We have seen many new projects begin, celebrated with clients as projects opened and stopped along the way to contribute time and energy to a worthwhile community event.
Editor. . . . . . . . . . . . . . . . .Pratt Farmer
As I read through this issue I was struck by the extraordinary talent we have in our three offices. In this issue you will see works of art from an Atlanta office art show. Lauren Fowler, a designer in our retail group, chaired the art competition and helped to organize the showing. Bobbi Sweeney, marketing coordinator, won First Place. Titled, WIRED, the entry was the alphabet made from wire. Bobbi created the letters as part of her undergraduate degree program at Georgia State University. Marco Pieri, an intern architect in our Washington, DC office writes about becoming an architect and how people react to titles in the profession. Abbey Oklak, one of our talented planners gives you a first hand look at how “crowd-funding” works in her article, “Cards Against Urbanity.” Abbey is part of a group called “DOTankDC” and its mission is to help activate public spaces. She likes to say that her group is a doer and not a thinker. The story will inspire you to push your own envelope.
Assistant Editor . . . . . Tanne Stephens Editorial assistant . . . . .Christina Bailey Design . . . . . . . . . . . . . . . Rick Snider Contributors . . . . . . . . . Stephen Busch Kevin Cantley Steve Carlin Jerry Cooper Amanda D’Luhy
Audrey Hardesty Mark Kill Gar Muse Abbey Oklak Brian Parker Marco Pieri Kim Rousseau Keith Simmel Richard Stonis Rob Uhrin Ben Wauford Douglas Webster Kelly Zimmer © Cooper Carry, inc. 2014 2
Our feature story in this issue is about the newly opened Intergraph corporate headquarters building. Cooper Carry provided building, interior, landscape and wayfinding design services for this $58 million project. It is a great example of several design studios coming together to collaborate on what will certainly be a hugely successful project. Lastly, we have begun to share with our readers various employees who love to sketch and draw. In this issue you will see several examples of work from one of our founders, Jerry Cooper. Many of you may have been fortunate enough to receive one of Jerry’s sketches over the years. You can certainly see his talent for capturing the essence of his subject matter through the art of drawing. In closing, all of us at Cooper Carry want you to know how much we appreciate all that you do in your various professions. Without you, we are confident the world would be a different place. As well, may you have a joyous and safe holiday season. Best, Gar Muse, AIA Principal
Intergraph Headquarters, Huntsville, Alabama 3
C O R P O R A T E
This Building Computes 4
In 1969, having helped Apollo 8 orbit the Moon, the founders of Intergraph left IBM to start a consulting company - M&S Computing. Their first contract was the U.S. Army Missile Command. Soon NASA asked them to design printed circuit boards, and in 1973, they landed their first commercial contract - mapping the city of Nashville. The rest, as they say, is history. Headquartered southwest of Huntsville, AL and near the US Space and Rocket Center, Intergraph is today a leading global provider of engineering and geospatial software that enables customers to visualize complex data. Like most software companies, Intergraph started relatively small and grew in people and space over a long period of time. In 2012 when designers from Cooper Carry’s Corporate Specialty Practice Group met with Intergraph’s leadership at their campus in Huntsville, the company was operating out of 20 different buildings on a sprawling 129-acre campus. Most of the buildings were circa 1970 and as such were becoming functionally obsolete. High windows allowing little daylight, inefficient lighting, tall “cubicle” workstations and lots of private offices limited team creativity and collaborative group discussions. Continued on page 10 6
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Cooper Carry was asked to transform Intergraphâ€™s existing workplace into an integrated work community by designing a state-of-the-art, $58 million facility.
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Ed Porter, Executive Vice President of Human Resources with Intergraph said, “While we were very successful as a company, our offices just didn’t reflect that nor did they adequately portray what we wanted our public persona to be.” Porter told the story of a potential employee flown in from the West Coast for an interview. He arrived on a Sunday evening, took a drive through the Intergraph campus and proceeded right back to the airport telling his contact at Intergraph that there was no way he could ever work in that environment. It was about this time that Intergraph elected to design and build a new modern, state-of-the-art building. Cooper Carry designers, led by architect Bill Halter, Director of Corporate and Office Design and interior designer Richard Stonis, Director Emeritus of Interiors, assembled a team to create a unique and innovative five-story, 250,000 square-foot facility which would provide collaborative workspace for nearly 1,100 employees. In addition, the new headquarters was envisioned to include a state-of-the-art data center, customer-friendly conference space, a food service area and lakeside terraces for both work and leisure. “For the first time in Intergraph’s history, we are bringing employees at this location together under one roof, which I’m confident will foster innovation and camaraderie,” said Intergraph CEO Ola Rollén at the ground-breaking ceremony in 2012. Having an existing lake on the site where the company wished to build its new building was an asset that doesn’t present itself with every design opportunity. The Cooper Carry team saw the lake and its shape as a perfect footprint for the building to embrace. “We essentially wrapped the building around the lake, affording the Intergraph employees incredible lake vistas,” said Halter. Because there are so few walls in the building, there are great exterior views from just about anywhere on any floor. Expansive windows with beautiful views can also create challenges for energy conservation. Due to its orientation on the lake, the building has varying degrees of exposure to the morning and afternoon sun. The designers incorporated aluminum sunlight filtration shutters in key areas which minimize abnormal sunlight penetration without blocking the views. Continued on page 12 10
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KNOWING YOUR CLIENT With the new consolidated headquarters building came an opportunity to create a new workplace strategy for Intergraph’s employees who were accustomed to being separated into small groups by expansive lawns and outdated buildings. “We recognized that for the very first time these employees would all be together under one roof and that might pose challenges for some,” said Brian Parker, project manager and a Senior Associate in the Cooper Carry Interiors Specialty Practice Group. The interiors team set about to conduct numerous group and one-on-one meetings in order to get a sense of the culture of Intergraph and to provide input to company officials as they defined that culture moving forward. “Change management requires that the team listen to the client and its employees. What we discovered in our intensive due diligence period not
only helped us to identify expectations, but to provide input to senior management as they began to message the employee group about pending changes,” said Audrey Hardesty, one of Cooper Carry’s interior designers. Moving is never easy. Multiple changes make it even more difficult. But just how does a company like Intergraph get from point A to point Z? Designers at Cooper Carry approached this challenge in a very formulaic manner bundled together in a step-by-step process. It all begins with a goal-setting meeting where the teams from both Cooper Carry and the client meet to review the project. Halter likes to call the first step the Project Manifesto. It’s a very broad overview and discussion wherein the client, with our input, establishes a budget, sets a timeline or schedule and lays out expectations. The outcome from this meeting serves as a set of guiding principles throughout the project.
In the next step, stakeholders begin to formulate a strategy for both interior and exterior design. It is this phase that sets the tone for the project going forward. This exercise can span several weeks during which the designers establish a workplace brand based in discovery and research by collecting data from multiple points within the company. The data is synthesized, reviewed against current issues and benchmarks, and ultimately, key drivers are identified to guide the design. Kim Rousseau, Director of Design for Cooper Carry’s interiors studio fashions this as a time to listen. “These sessions, whether group or one-on-one, always provide us a peek into the company’s soul,” said Rousseau. “It is here that we come to understand perception and weigh that against reality.” For instance, at Intergraph, the design team conducted a number of factfinding sessions. The participants were allowed complete Continued on page 14
expression of opinion and were encouraged to open up so that their true views of the company could be taken into consideration. Interior designers find this exchange to be extremely helpful as they begin to create a look and feel that can best represent the client and all of its employees. “It’s much more than picking out paint colors and desks,” said Rousseau. In fact, picking colors and desks is still months away in the Cooper Carry process. “We are most concerned about how employees work on a daily basis. It’s important for us to realize the flow and process of the daily routines in which employees can often become bogged down. The design and functionality of the building, both inside and out, has an enormous impact on the workplace,” said Halter. Members of the Cooper Carry team spent days observing Intergraph employees, even as granular as how an employee uses the copy machine or a centrally located printer. In fact, the design team worked closely with four manufacturers to create a sample work environment. The Intergraph staff was encouraged to take the spaces for a “test drive” and were asked to provide input after having done so. “What we learned from this process led us to select very specific furniture and fixtures that had been
tested and vetted by those who would ultimately use them,” explains Audrey Hardesty, a designer who worked on the project. Of particular interest in this process was for the designers to quickly gain an understanding of how employees work. Because Intergraph is in essence a software company, engineering teams work in “scrums” which are part of a flexible, holistic product development strategy where a development team works as a unit to reach a common goal. These “scrums” challenge assumptions of the traditional, sequential approach to product development and enable teams to self-organize by encouraging physical co-location or close online collaboration of all team members, as well as daily face-to-face communication among all team members and disciplines on the project. These scrum teams can remain intact for a day, week, month or even longer based upon the project requirements. This agile working methodology requires that the engineering staff and their workspace be mobile. As an example, those working in scrum teams on a specific project may work as a large group, in smaller sub-groups or independently. With this broad array of work space needs, both the interior designers and architects were challenged to create Continued on page 19
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an environment that was extremely flexible. “Going in we felt that Intergraph would embrace the open office concept because of the nature in which their employees often work,” said Stonis. THE RESULTS Organic curving walls, sound baffling clouds and bold colors all serve to create an atmosphere of creativity. “While the open office concept is not new, it has transformed over the years into something today that we feel can be very welcoming, even to the stalwart who still prefers a private place to carry on a conversation,” said Douglas Webster, a member of the design team. Smaller huddle and conference rooms scattered throughout the building play an important role in this open concept transition. They were designed to incorporate the latest technology which allows Intergraph employees to conduct video conference meetings anywhere in the world with as many people as is required. The smaller rooms can also serve as a quiet respite or for more focused workspace when needed. Individual workspace is vital to productivity, and the design team set about to create spaces that would foster individuality, promote creative thought and enhance the overall office space environment. Colorful spaces with unpredictable, yet comfortable furniture serve to set the right tone for energetic thought resolution in such a high-tech environment. Individual lockers adjacent to workspaces, strategically placed flat screens, and dual monitor work stations all serve to create an atmosphere which truly encourages interaction, intellectual exploration and results. Because Intergraph wanted public meeting space to not only stimulate the senses, but to also be functional with the latest technology, the design team placed the most important and largest conference rooms within close proximity of the main entry lobby. To take advantage of the light as well as the lake views and natural energy exacted from such a public location, the rooms are unique, yet similar in pattern and design. Each conference room, which is named for each region in the world that InterContinued on page 20 18
graph works, is filled with unique art, movable shades and adequate seating which all integrates with state-of-the-art technology, allowing those in Huntsville to videoconference with the far reaches of the globe. With over 1,100 employees in one building, on-site food service was of paramount importance. The company engaged a well-known food service purveyor to manage its food service operations. Intergraph employees have culinary delights for both breakfast and lunch five days a week. An added benefit is that the food service purveyor is capable of catering the many meetings which happen in various parts of the building every day. In addition to
more than ample seating in the light-filled atrium space, many employees find that the stepped concrete element affectionately labeled “the island” is a perfect place to eat, check email, read a book or collaborate with a colleague. With the benefit of food comes an area designed to promote employee rebooting. The “recreation” area is an 800 square-foot space replete with ping pong tables, foos ball, pool tables and an electronic gaming pit. Throughout the day employees are able to leave their workspace, walk down to the space and let off some steam. THE SPACES BETWEEN While interior spaces are vitally important, Cooper Carry
designers have long subscribed to the “connective architecture” philosophy that espouses the idea that the spaces and places between buildings are vital to the overall design and success of any building. In this instance, landscape architect, Stephen Busch, approached the project incrementally. “The site is 23 acres, has a beautiful lake and was brimming with opportunities to connect these landscape spaces with the overall architectural design,” said Busch. There are two main access points for Intergraph employees to enter the site. From the north, Allee Elm’s (Ulmus Parviflora ‘Allee’) flank the entry drive and lead one to the
front entry and parking. At the north end of the building the Elm trees become a true allée for pedestrians to walk through, relax on integrated benches and enjoy the rain gardens that take you to the main front door. The south entry has a different feel entirely. A widely-spaced line of Armstrong Red Maples (Acer Rubrum ‘Armstrong’), known for their upright columnar form and beautiful fall color, creates a more open feel and view to the building. The main entry to the building is punctuated by Imperial Honey Locust (Gleditsia triacanthos var. inermis ‘Impcole’), a graceful, thornless tree with bright green, fernlike foliage. The parking lot central island is where these three entry feature trees converge and coalesce. This great Continued on page 23
The spaces and places between buildings are vital to the overall design and success of any building. The 23-acre site has a beautiful lake and was brimming with opportunities to connect these landscape spaces with the overall architectural design.
central lawn found in the central parking area acts as an open space with topography sculpted so users face the building for large gatherings with the new headquarters as a spectacular backdrop. With more than 1,000 parking spaces the designers felt that in addition to mature trees and grass, there was a need to break up the expansive area, and they did so by creating earth sculptures between each row of the parking bays. “This helps to create a visual break between parking bays that we felt the parking lot needed,” said Busch. The rear terrace is the primary outdoor gathering space for the site. A small grove of Frontier Elm (Ulmus x ‘Frontier’) trees outlines the terrace and is punctuated on either end with a fountain and integrated seating on the north end and an outdoor cooking space to the south. A sinuous path leads from the terrace level with upper-level allée and water feature to an overlook with mid-level specimen White Oak (Quercus Alba) and a view down to the lake and “Garden Path.” 22
The “Garden Path” leads from the outdoor terrace to create a walking path loop around the lake and is designed to inspire visitors with a sense of inspiration and exploration. With the use of topography, as well as the wide sweeping curves of the meandering path, visitors are guided through a tapestry of ground covers, trees and water experiences. The dynamic array of annuals, perennials and other shrubs is punctuated by over 70 White Fringe Trees (Chionanthus virginicus), a native understory tree known for delicate small white spring flowers that ties the outdoor lakeside spaces together. This interrelated composition of all the garden elements found throughout the site defines its contemporary design expression to create a landscape for the Intergraph employees to engage in and enjoy. Intergraph opened its new headquarters building to great acclaim in October. Today, over 1,100 employees are enjoying a new state-of-the-art facility that has certainly raised the bar for high-tech companies not only in Huntsville, but across the South. 23
E N V I R O N M E N T A L
G R A P H I C S
INTERGRAPH By Steve Carlin
Creating a unique Environmental Graphic experience for the new Intergraph Headquarters was a challenge. The exterior signage reflects the Intergraph brand while the interior graphics work with and enhance the colorful interior design. The shape of the exterior signs reflects the shape and material of the building while using the brand colors of Intergraph. An added twist to the design occurred when we were asked to add the Hexagon logo to all exterior signage. The goal for the interior building signage was to be useful while unobtrusive in the unique interior design. We created a simple yet elegant room signage system that helped distinguish between the north and south ends of the building through the use of color. The large floor identification, restroom markers, and other specialty graphic installations help create fun splashes of color and excitement.
H O S P I T A L I T Y Marriott Marquis in Washington, D.C.
We also recently completed an Embassy Suites hotel in Springfield, Virginia. This hotel caters to the younger generation’s preference for variety by providing multiple public space options for travelers. The facility totals 189,650 square feet of hotel space, including a full restaurant with expo-kitchen concept and bar, an indoor pool, and fitness center. There are shared facilities for teams to meet as well as opportunities for solo travelers to connect and work outside their rooms. Approximately 5,700 square feet of meeting space is spread amongst formal meeting salons, a board room and flexible meeting spaces. Technology is a huge priority for next generation travelers. Connectivity to the internet and social media is considered by many to be a neces-
The Next Generation of Hospitality Design
sity. Hotel brands are responding to technological demands both through operational adjustments and a host of amenities. Hotel developers, owners and designers are finding that it is increasingly important to be one step ahead of the traveler preferences and demands. The process of designing and constructing a new ground-up hotel can often take three to five years, from start to completion. This can create challenges because technology is evolving at an even faster pace. What is new one year may become obsolete by the next. Guest rooms on some of our most recent projects are being designed with large internet-enabled screens. This allows guests to plug in their devices and see information in a large-screen format. Access to technology itself is becoming a
critical amenity for travelers. More and more people are making decisions about where to stay based on internet speed. Some next generation travelers would prefer to stay at more limited-service hotels over a full-service hotel if the former is able to provide faster internet connection. The new generation of travelers wants experiences that are cool, hip and comfortable. This often also means that the hotel’s location is important. This young, rising customer base is attracted to the urban environment—wanting authentic, exciting experiences in the heart of cities and downtowns. With this young, new customer base, hotel brands that have not typically been urban or center-city brands are looking to expand into those markets in hopes of growing their market share with the up-and-
Embassy Suites Hotel in Springfield, Virginia
By Rob Uhrin, AIA, Principal & Keith Simmel, AIA, LEED AP, Principal
They’re in their 20s, traveling for business and they’re not choosing a hotel based on loyalty points. The hotel industry is banking on this new group of travelers to boost its economic growth well into the future. Hotels are repackaging the brand experience to appeal to this new customer and they’re spending tremendous resources to get it right. This new demographic is not a uniform, homogenous group and they don’t necessarily have loyalty to any brand. In the past, people stuck with a single brand so they could build up their points, but that doesn’t drive this generation. They don’t fit into a box or 28
stereotype. This is the young twentysomething coming into the business world and it’s becoming increasingly important to tailor brands to appeal to their wants and needs. Almost every hotel brand is developing and transforming its flags to better respond to generational changes. Once those brands identify the needs of this new, young traveler, it is our job as designers to figure out how to bring that brand vision to life at a hotel site. Younger travelers are gravitating towards social spaces such as lobbies, restaurants and common areas. Room sizes are also shifting accordingly. Many hotel brands
are expanding their lobby offerings to allow travelers to have a variety of experiences. One example of this can be seen at the DC Marriott Marquis hotel, which we designed in collaboration with tvs design. This 1,204,131-square-foot hotel includes six food and beverage outlets including two restaurants, three bars and a coffee shop. The expansive lobby is divided into three different zones to provide guests with a variety of options. The exterior materials and the architectural character of the DC Marriott Marquis is compatible to the area and with other newer buildings in its DC neighborhood, while still reflecting Marriott brand attributes. 29
H O S P I T A L I T Y
Capitol Point Hyatt Place in Washington, D.C. coming. Hyatt Place is an example of a brand that is evolving to appeal to hip, younger travelers. Our recently completed Capitol Point Hyatt Place in Washington, D.C., is an example of a hotel expanding into urban markets. This 192-key limited-service hotel is located in the northern portion of the NOMA district, an up-and-coming vibrant mixed-used neighborhood located less than a mile from Union Station and within view of the Capitol Building in Washington, D.C. While it uses many of the prototypical Hyatt Place brand components, the hotel incorporates uniquely designed lobbies and guest rooms that reflect urban site conditions. The façade itself was custom designed, but the hotel maintains and showcases brand identifiers. The hotel provides close to 200 guest rooms, 1,2000 square feet of meeting space, a restaurant, fitness facility, and a pool on a site that is just more than 100,000 feet.
As brands look to build in more citycenters and downtowns, designers face the challenge of reorganizing major brand identifiers in a unique urban context. At Cooper Carry, we find these projects most invigorating and rewarding and look forward to each one and the unique design challenges they bring. We just finished designing the Hyatt Place/Hyatt House at Charleston Midtown which, similar
Capitol Point Hyatt Place 30
Hyatt Place/Hyatt House at Charleston Midtown to Capitol Point, is a hotel designed within a very specific urban fabric. Downtown Charleston has its own set of architectural guidelines and a stringent review process to ensure that new buildings fit within the existing architectural context. As architects, part of our task at The Hyatt Place/Hyatt House was to reinterpret the exterior and interior of the hotel to still include brand identifiers (such as wedge
shaped roof/facade) in a way that was recognizable but subtle enough to complement the surroundings. The design takes its cues from the surrounding scale and architectural expression of the existing streetscape, while also responding to the allowable zoning envelope in this part of the City. The resulting collage of building massing, scale and architectural expression will reinvigorate its neighborhood and will serve as a catalyst for future growth in the City. The Charleston dual-brand hotel is an anchor of a larger mixed-use development which is reflected in the design. The design reinforces the brands, the development context and the larger aesthetic of downtown Charleston. One unique aspect of the hotel is that it has a much larger conferencing component than is typical of limited-service hotels. This is because of the high total key count and Charleston’s position as a highly
desirable destination market that draws visitors from the Southeast and across the country. The ownership group responsible for the project chose to take advantage of the built-in tourism market and to create a special conference center for group meetings, weddings and other destination functions not typically associated with limited-service offerings. Many hotel brands are thinking about how to adapt their products to appeal to the new traveler and make their offerings relevant in a changing market. As the needs of travelers evolve, brands are creating fresh, invigorating interiors and more inviting exteriors. They are also providing unique and varied experiences to appeal to younger travelers. Cooper Carry’s projects tend not to be prototypes where a brand vision is simply replicated for the site. Many of our current projects involve customizing brand prototypes for urban sites and
mixed-use developments. We listen to the brand’s target audience and then determine how to deliver the best experience in the real world. In terms of appealing to the next generation of travelers, flexibility, technology, and diversity of options are key factors in the design. As architects, planners and designers who serve hotel developers and owners, we can never be satisfied with keeping the status quo. We believe in designing hotels that serve the needs of their users, enhance the communities in which they are built, and provide innovative and thoughtful solutions. The industry is constantly updating for the next wave of business and leisure travelers and to remain competitive, the design of hotel offerings must evolve. Reprinted from the Hotel Business Review with permission from www.hotelexecutive.com 31
H O S P I T A L I T Y
Sea Pines Plantation Golf Clubhouse Hilton Head, South Carolina Cooper Carry has completed two projects at Sea Pines Resort in South Carolina. The Plantation Golf Clubhouse is a multi-purpose facility serving two golf courses on Hilton Head Island in South Carolina. In addition to providing a 4,000 square-foot locker room, designed to meet the needs of the PGA TOUR, but available to the everyday player, the 37,916 square foot two-story building offers a pro shop, a 2,200 square foot banquet and event room, 84-seat grill and bar, and ample storage for 160 golf carts. A large covered porch, wrapping the entire back of the clubhouse provides 44 additional seats with views to the golf courses for patrons of the grill.
Sea Pines Plantation Golf Clubhouse
H O S P I T A L I T Y
Hilton Head, South Carolina
Architecture is never black or white,
it is a delicate balance of being both a specialist and a general practitioner.
The Intern Architect: A Misunderstood Title By Marco Pieri, Intern Architect
Introducing yourself as an architect is often accompanied with positive reactions such as: “That’s what I originally wanted to do,” “That must be great getting to see something you created actually be built,” or George Costanza’s infamous quote “You know I always wanted to pretend I was an architect.” Job titles, in any profession, are important because they reflect a level of experience and demand a certain level of respect. At Cooper Carry I am an “intern architect.” Occasionally I will encounter someone who mistakenly interprets my professional title to mean that I am still in school and working an “internship.” I then enjoy educating them about the rigors of ultimately becoming a licensed architect, and they are surprised that I have been out of school for a couple of years and well on my way to becoming a fully licensed professional. Many people, both within and outside of the building industry, do not realize that the title “Intern Architect” is comparable to a medical residency or a legal apprenticeship. The path to becoming an architect can be broken down into a three-step process: education, experience, and examination. The role of intern architect plays a major component in one’s development during the lengthy and tedious path towards licensure.
Education Education is one of the lengthier steps in the path towards licensure. The required degree is either a fiveyear professional Bachelor of Architecture or a two to three year post-graduate Master of Architecture. The two different paths of education share many common characteristics. They both have an intense weed-out process; they sometimes demand all-nighters in the studio for design projects; they require knowledge of architectural history and theory; and both programs incorporate structural, environmental, and technical construction courses into the curriculum. Introductory architecture courses are often designed to weed out students early on, but the major remains time intensive throughout college. In 2012 The Washington Post surveyed seniors by major, revealing that architecture majors study 23.7 hours per week, the highest of all majors surveyed. Architecture is a well-rounded, labor-intensive major, fulfilling the first step in the process to licensure.
Experience While the architecture profession is often led by older generations, in modern day offices a large percentage of employees of varied ages, carry the title of “Intern Architect.” There are various levels of intern architects, from students working over the summer to graduate professionals taking their Architect Registration Exams (AREs). While some interns may be limited in their amount of exposure to the different aspects of architecture, most work on and experience multiple projects and
various scopes of work in the profession. The intern role is critical because it allows the architect to convert his/ her theoretical knowledge from school to the business aspect of architecture. More senior intern architects often assume the role of assistant project manager. They are typically very competent and familiar with the prac-
tice. The IDP or Internship Development Program guidelines require interns to acquire a minimum of 5,600 work hours in different categories of work experience in the practice of architecture. This process often takes interns three to five years to complete, substantiating the fact that many intern architects are actually highly experienced and knowledgeable professionals.
Examination Intern architects may technically take the AREs at any time after graduation, but many wait until after they have acquired a certain level of experience before testing (typically two to four years). The ARE 4.0, broken into seven different categories/tests, is comprised of 545 multiple-choice / fillin-the-blank questions and 10 graphic vignettes. Interns are able to schedule AREs individually or all at once, but most spread their testing over anywhere from the course of nine months to a year and a half. Many interns complain about the difficulty, added stress, extra time, and the ambiguity of the testing experience—which, in my opinion, are all valid complaints. Test results often do not arrive for weeks, they are pass or fail, and they have no scoring summary or breakdown. Many interns get frustrated, because after studying for 40 -100 hours for each division, they often still leave the exams not knowing whether they will pass or fail. While the exams may be frustrating and are completely unpredictable in their content, they are appropriate and necessary for licensure. They test an intern’s ability to think critically about the best solution or judgment call rather than a simple right or wrong answer. Architecture is never black or white, but instead it is a delicate balance of being both a specialist and a general practitioner.
Sea Pines Beach Club
H O S P I T A L I T Y
Hilton Head, South Carolina
The Secret Weapon to Adding Value By Kelly Zimmer, Interior Designer I Since my early childhood, architecture and interior design have been two subjects that have always intrigued me. Every time I walk by a building or a house, I wonder what it looks like from within. The smallest details of a building can have a profound impact on a person’s experience of a place. When the architecture of a building is magnificent, it makes me want to explore it further. When the interiors of a space are done well, it can cause shoppers to buy more, employees to be more productive, and housing to be more marketable. In short, a well-planned interiors program will give your project a higher value. On several occasions, I have stepped into a building, a house, a restaurant or a store, only to be disappointed; the architecture looked so appealing from the outside, but the interior was completely detached or non-functional. On the other hand, there have been occasions where I have been pleasantly surprised. I have walked into a space that had unattractive architecture but had an amazing interior. What is stopping us from creating a space that offers the best of both worlds—great architecture and great interiors? In this article I will explore the role of the interior designer and discuss the value that they can bring to a design team.
For centuries, architects were responsible for designing the architectural interior of buildings. Once high-rise office buildings (skyscrapers) and corporate buildings started to take shape in the mid-1900s, the interior design profession became separated from architecture. Just as a doctor who is a general practitioner is not the most appropriate person to perform brain surgery, architects may not be the most appropriate professionals to design the interior of a building. Conversely, interior designers are not the most qualified professionals to design an exterior space. Over the years, the interior design field has become complex, requiring increased expertise and more specialized professional knowledge. This trend toward specialization continues, as evidenced by National Council for Interior Design Qualification (NCIDQ) certification. Just like architects must obtain a degree, work experience, and pass the Architect Registration Exam (ARE) to become licensed architects, interior designers also must obtain a formal education from an accredited school, gain work experience and pass the NCIDQ examination to become licensed interior designers. The NCIDQ board modeled the interior design exam after the similar exam that was created by The National Council of Architectural Registration Boards (NCARB) for architects. The NCIDQ licensing exam covers interior design’s impact on health, life safety and welfare.
The practice of interior design goes far beyond aesthetics. Yes, interior designers provide programming, space planning, construction, detailing, finish selection, as well as considerations of interior décor. And yes, interior designers aim to create spaces that are welcoming and beautiful. However, interior design professionals are also involved in building design, developing conceptual approaches, and creating solutions through construction documents. Including interior designers on the design team early in the project can help to ensure a better result. Interior designers can help ensure that all interior spaces work together, that each interior space has the exact square footage needed for its purpose, and that the interior design aligns with user needs and the overall architecture of the building. In the case of new construction, it is critical for the architect and client to engage interior designers while determining the project parameters. Interior designers can make valuable contributions to discussions on scope, expected outcome of the project, schedule and budget, consultant selection, contracts, the project type, and architectural style. After fully understanding the client’s needs and establishing the project parameters, the interior design team can begin to develop a program. This exercise is critical because it will ensure that the requirements adhere to the given budget and square footage. At this phase, the interior design team calculates egress and occupancy load, since it is a key factor in determining the minimal number of exits, restrooms, showers, water faucets, and many other details. Amongst other things, interior designers also identify the necessary square footage; the location and adjacency of spaces; and where special equipment and furniture must be placed. In-depth research and interviews are necessary to achieve good programming. Nobody wants to assume the risk of
building, renovating, or leasing a facility that ends up being too small or too large for their needs. After gaining an understanding of the project’s requirements, the design team begins more detailed space planning. Typically, the client’s principal objective is to use interior space as efficiently as possible, especially when older facilities are being modernized. For example, when designing or renovating an office building, it is essential that the layout be taken into consideration. Recent advances in technology are allowing companies to change in size, become more specialized, and have a more dynamic workflow. However, this new technology also requires spaces that can accommodate new computers, video-conferencing, multipurpose areas, and laboratory equipment. Consequently, more than ever, clients need flexible and adaptable interiors. In the case of new construction, a professional interior designer will help to determine the best building configuration and layout. In the case of renovation, an interior designer can help to determine the necessary changes. A well thought-out layout can allow buildings to be suitable for any tenant, whether it be a law firm or a medical practice. No matter how appealing the exterior architecture of a building, if the interior is not flexible, it is less likely that the building will be occupied. Interior designers also play an important role when it comes to space planning for multi-family projects and can help to maximize each square foot of rentable space. As populations increase, our buildings are becoming more vertical. We are facing increased population density; more people are living alone, more people are working from home, and family sizes are decreasing. Including an interior designer on your team from the beginning can be beneficial because they can maximize space and address critical details of the design. According to real estate professionals, 41
Coope r C a r ry, Ne w Yor k an apartment's layout is just as important as the proximity of good school systems and access to public transportation in defining its value (The New York Times). Apartments with odd corners, long corridors, or awkward room shapes are more difficult to lease. When interior designers lay out a plan, they take into consideration all the possible uses of space and furniture. The more options and usable space that are available to the potential tenant, the more likely they will be to rent the space. In addition to space planning, the interior design team participates in the development of the building’s schematic design. During this phase, floor plans, sections, elevations, and perspectives are generated and creative possibilities are explored. Preliminary finishes and furniture ideas are also developed during this phase with the goal of enhancing productivity, durability, and sustainability. It is important to note that the client’s branding, values, culture and mission are taken into consideration while designing a space, so it can be reflected in the final design. No choice is random. The designer aims to provide a creative and effective design that meets the client’s expectations and “wows” potential users. Once the design is fully developed, the design team refines the floor plans, elevations and details. Interior designers finalize the selection of furniture and equipment based not only on ergonomic principles but also on Americans with Disabilities Act (ADA) requirements. At this point, the selection of finishes such as wall color, flooring, ceiling, and upholstery is finalized. The interior design team also prepares a cost estimate and budget for construction and FF&E items. The interior designer’s job does not stop here; now they must bring their ideas and the design to life through the selection of the interior millwork and furniture. During the construction documents phase, the interior designers 42
prepare floor plans, reflected ceiling plans, elevations, sections, millwork drawings, construction details, the FF&E package, and the architectural specifications package. Indeed most of the interior designers’ time will be spent during this phase since it involves a high degree of detail. Through the construction document phase, the interior designers define the types of walls to be used, how materials are assembled, how the finishes should be installed, where the power outlets must be located, and where lighting is desired. They are also usually involved in lighting selection, where the furniture goes, and how custom millwork should be constructed. Since interior designers specialize in the interior environment, their involvement in this phase can greatly affect the final outcome. With most projects, architects and interior designers work closely together throughout this phase, since most states require the drawings to be signed by a registered architect or engineer to obtain a building permit. In conclusion, the role of interior design professionals extends far beyond just designing spaces that are unique, fun, and functional. While interior designers love the idea of creating and transforming spaces, the profession entails more than just selecting décor. As professionals, interior designers are trained and experienced in addressing a multitude of criteria: the space must reflect the client’s taste, branding, and business model; it must be appealing and functional for its users; it must meet code requirements; it must be sustainable; it must be inclusive to any user; and it must be efficient and cost effective. Designing is not just limited to developing fun ideas, it involves the translation of an idea into a space that meets all the requirements and complements the building’s architecture. When interior designers and architects work together from the onset of a project, they are able to increase the quality, value and timelessness of the building they design.
NY Office Relocates To First Building That Connected People To Place In October, Cooper Carry relocated with electricity. Interestingly, Leffrom the Flatiron District to Lower court was also the developer of Manhattan’s Financial District, the famous Brill Building in Times near Wall Street. “As we began Square. Cooper Carry is currently working on the redesign of that to project our growth and where building for clients Brickman and we, as a firm, wanted our New Allied Partners. York office to be located in the future, we set our sights on an “As our business grows, we bearea of the city that is energetic lieve that our downtown location and is really forward-looking. We will strategically place us at the envisioned ourselves in five years. primary source of creative energy We were drawn Downtown,” said in the city,” says Wauford. Ben Wauford, AIA, Cooper Carry’s Principal-in-Charge of the New York office. Carri Lyon of CushConsistent with our sustainability man Wakefield guided the search philosophy, Cooper Carry naturally sought LEED certification process which started with a for the tenant improvements. real estate brainstorming ses“When we first began to discuss sion and a few visits to assess LEED certification with our landvarious areas and building types. lord, brokers and contractor, no The focus quickly narrowed to The historic International Telephone and one thought it was reasonable. Downtown. “The retooling of Telegraph building at 75 Broad Street is the However, we persevered and are Downtown for the creative class new Cooper Carry office location. excited about the results. Hopeis a compelling narrative. I believe it will become one of the great New York stories,” Wauford fully our space will motivate and inform others about said. “We were a part of the Flatiron transition and now we sustainable fit outs.” want to be a part of the Downtown story. As architects and Currently on target to achieve LEED Platinum, the Cooper planners, transformation is what we do. Locating our new Carry New York office joins our Atlanta office in that catoffice Downtown aligns with our philosophy and inspires egory as well. The design effort included three of the five our mission as designers,” Wauford continued. design disciplines of the firm including architecture, inteThe historic International Telephone and Telegraph building rior design and environmental graphics. Interior designers, at 75 Broad Street is the new Cooper Carry office location. Kim Rousseau, NCDIQ; Brian Parker, AIA; and Dots Colley, Built in 1928 by Abraham Lefcourt as the Lefcourt ExAIA, as well as graphic designer Steve Carlin, SEGD. change Building, it was bought almost immediately by ITT collaborated on a design that brands the space as both which subsequently expanded the building to take over the Cooper Carry and New York City. Director of Interior Design entire block by 1930. The building would ultimately house Rousseau said “When a design firm creates a new home the first transatlantic cable “connecting” the United States for itself, the design community of product representatives and contractors really come together. It’s inspiring.” to Europe. Among its distinctive architectural style and features is the signature mosaic dome at the southwestern See a Google Street View entrance depicting commerce uniting the hemispheres 43
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Bailey’s Upper Elementary School for the Ar ts and Sciences Falls Church, Virginia Bailey’s Elementary School for the Arts and Sciences was well beyond capacity with half of their 1,400 students housed in trailers. To alleviate this overcrowding, Cooper Carry converted an existing 5-story office building into a new school. Bailey’s Upper Elementary School for the Arts and Sciences now sits about a mile from the original school and serves 764 of the Bailey’s students. As the first mid-rise elementary school in Fairfax County, the vertical design groups classrooms into twostory 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 library/black box theatre that spans two floors, a series of exercise and movement rooms, a science lab, and TV and video production rooms. The walls are painted with a special coating that allows the entire 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 possibly an enclosed field house.
Baileyâ€™s Upper Elementary School for the Ar ts and Sciences
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Belle Pre Apartments Alexandria, Virginia
Located just two blocks from the Braddock Road Metrorail Station, Belle Pre Plaza (formerly known as The Madison) combines 340 residential units with 25,000 square feet of local and national retail over two levels of underground parking. The residences offer one and two bedrooms, complemented by a roof deck, water feature, and private courtyard fire pit. Belle Pre Plaza comprises two buildings. The building to the north rises to seven stories, enclosing a private courtyard. The U-shaped south building, of five stories, defines a public courtyard. The façade will evoke a collection of buildings designed “over time” meant to capture the charm and history of Old Town Alexandria, while respecting the history of the warehouse district where the project is located. The development creates two new streets, a service alley and a vehicular one-way street that leads to an 8,000-square-foot public courtyard. 48
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Oxford College at Emory University Fleming Hall Oxford, Georgia
A new student Residence Hall known as East Village III, (Fleming Hall) continues the relocation of student residence halls toward the East side of the Campus consistent with the Master Plan. The new facility is a replacement for the outdated Branham Residence Hall constructed in 1967, which will be demolished to make room for a new science building on the Historic Quad. The new residence hall sits at the intersection of Haygood & West Hamill Streets, and is the third phase of new student housing at the East Village. The building forms an exterior courtyard facing the main campus that creates social gathering spaces for both active and passive recreation.
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The 51,745 square-foot three story â€œLâ€? shape building contains 106 traditional style rooms is in one, two and three bed configurations totaling 206 total beds plus ground floor staff apartment. To encourage interaction among residents, the students share bathroom facilities with 35 other residents within each wing. The building offers several social spaces at a variety of scales to further promote student interaction. Each floor has two study lounges and two laundry rooms, one in each wing. The first floor features a large lobby, living room, and lounge space. There is a Tech lounge and gym facility on the second floor overlooking the two level lobby and gathering space. The third floor has a large outdoor roof terrace with views to the Historic Quad, including direct access to an adjacent kitchen for social functions. In keeping with the Emory tradition of sustainable lifestyles, the building is pursuing LEED Silver Certification.
The Cost To Compete Mark Kill, AIA, LEED AP, CDT, Chief Operating Officer
The American Institute of Architects (AIA) is working to enact reforms to the federal design-build procurement process. A high-level summit with federal agencies to discuss solutions to the high cost of design-build competitions is pending. The AIA-backed designbuild legislation limits the number of second-stage competitors to five or fewer and is in the House-passed version of the bill’s Section 805. The Senate has not passed design-build legislation; furthermore, its Committee’s draft legislation did not include a design-build provision limiting second-stage shortlisted competitors. Dear Senator,
On behalf of Cooper Carry’s employees, we are writing to ask you to support Section 805 of the House-passed National Defense Authorization Act of 2015 and keep it in the final bill. This bipartisan provision will help more businesses take part in federal contracting while reducing taxpayers’ costs. Design-build is a type of design and construction process wherein architects, engineers, contractors and sub-contractors team to submit bids for building projects. Costs of competing for these contracts are extremely high. An architecture firm must provide detailed plans and schematics so that a contractor can establish an accurate price estimate. In some cases, firms perform up to 80 percent of their design services as part of the final stage of the competition. Data shows that architectural firms spend a median of $260,000 to participate in design-build competitions; some firms report that they have spent over $1 million on large federal projects to compete. In recent years, the average number of short-listed firms for federal design-build projects has grown. Professional best practice is to have between three and five firms on short-lists. Now, there are reports of as many as 10 or more firms on short-lists. When facing a choice of spending $250,000 with only a 10-percent chance of winning, many design firms like ours choose to avoid the process, depriving the federal government of design talent and reducing competition overall. Longer short-lists also drain resources from agency contracting officers who need to review finalists’ bids. Expansive design-build competitions have become a significant drain on limited resources for both competing firms and federal agencies. At a time when federal agencies are facing severe budget reductions, policymakers must ensure that taxpayers’ money is spent wisely. Also, at a time when the design profession and the construction industry are recovering from one of the worst economic crises in a generation, federal policies should not act as barriers to entrance into the federal marketplace.
The design-build provision existing in the House-passed bill would open up design-build competition to firms that find the current process too costly. Typically, to compete for design-build contracts, architects must perform up to 80 percent of their design services. As many as 10 or more firms can be shortlisted, meaning a lot of free work from architects and a lot of government time and money spent reviewing all in-depth bids during not only the first phase, but also the second and third phases of competition.
Section 805 requires agencies to short-list no more than five teams unless they receive approval from agency heads. This ensures that design-build competitions provide more opportunities for short-listed teams to win. The legislation will help architectural firms compete for federal contracts while ensuring that the government has access to appropriate design talent. Therefore, we urge you to keep section 805 in the final National Defense Authorization Act of 2015.
Sincerely, Cooper Carry
Mark G. Kill, AIA, LEED AP, CDT Chief Operating Officer
House members who are negotiating the final bill support keeping the design-build provision in it. Senators, however, are not yet fully on board. We therefore asked Senators on the Committee to keep Section 805 in the final bill. With the AIA’s assistance, we contacted Georgia, New York and Virginia Senators’ offices in support of it. Here is the letter we sent. We encourage anyone with strong opinions on this matter to let their voices be heard as well. Learn more about this issue by visiting the AIA website http://www.aia.org/advocacy/federal/AIAB103874 Sea Pines Plantation Golf Clubhouse, Hilton Head, South Carolina 54
The ART of Drawing with Jerry
Those of you in the building and design industry are likely to be familiar with the term “sketch up” as it refers to a software program that we use extensively today. It provides a level of detail often needed when designing a project. And those of you who have worked with or know Jerry Cooper, would agree that he was the “sketch up artist” long before the software was developed. In architecture school, students spend countless hours drawing
all sorts of subjects and objects. Students are taught the finer art of capturing what the eye sees and the brain interprets and then using the hand to recapture that image on paper. Architects love to draw. Some do more of it than others _ especially today. When asked about his talent, Cooper explains, “I look at my ability as a gift. I can study a building, park, or even an inanimate object and see the tiniest of details. My passion is
to take that scene, which is frozen in my mind, and then with a pencil or pen transform an empty page into a vibrant life-like representation of what my mind has interpreted.” Having been drawing now for many years, Cooper still finds that every time he begins to sketch his heart is overwhelmed with the passion to speak through his art. Some would say that hand sketching in the world of computers and software is a dying art; but not so with Jerry Cooper.
Cards Against Urbanity by Abbey Oklak, AICP, LEED AP, Planner
It all started just like any other weekday. A good friend of mine emailed and asked when I was free for happy hour. She had an idea, and she wanted to discuss it with me and some other friends. We arranged to meet at a rooftop bar in downtown DC two days later to take advantage of the fall weather and the drink specials. Fifty hours later, we were starting a Kickstarter. The idea was “Cards Against Urbanity” – a name play on Cards Against Humanity, the snarky, adult variation of Apples to Apples. The game is played to a dealer, and this alternating position picks a black card with a blank statement to start a round. The other players then pick a white card from their hand of seven to make either the funniest, rudest, or just plain weird statement. The dealer then picks their favorite combination, and the winner is the one with the most chosen answers when you decide you’ve played enough. I’ve played games of Cards Against Humanity for hours, or just minutes. It’s fun with three people or thirty, but almost always best with sarcastic individuals. 58
The group of people who I met for happy hour is the group I complete tactical urbanism projects with around DC – DoTankDC. We build pallet chairs and stools and donate them to events or leave them around neighborhoods. We’ve also partnered with a local low-income school to build planters for the students to grow their own herbs, and we created informational art installations around the annual transportation conference held in the District of Columbia. We’re a small group of six, all friends in the urban planning and architecture community who met through work and life. In 2013, we realized we were tired of all the talking people were doing about having an influence, and we decided we just wanted to start doing activities without naysayers. We became “DoTankDC” in December of that year to emphasize being active - we’re a DO tank not a THINK tank. Our mission is to help activate public spaces and places. But what makes this venture different from our typical outreach, is that we weren’t building or painting anything, we were using our mental capital to make fun of ourselves and others in our field. We worked
closely with the tech start-up Greater Places to develop the game. Greater Places is run by a friend of ours who is a tech genius, and they are developing a community planning resource similar to Pinterest and Houzz. Greater Places aims for their site to bring together urban planners, local governments, urban design businesses, and non-profit organizations, under one platform where all can share and team up on new ideas for city planning. Our partnership works well because Greater Places is about sharing howto information and ideas to improve communities, and we are about creating interventions in our local community to improve our built environment. Both are necessary, and we learn from Greater Places as much as the other way around. For Cards Against Urbanity, the whole idea was to capture the spirit of our friendships and be snarky about our interventions, city planning and urban life. We figured we could produce and sell 250 card sets to our friends, and that would be successful in our minds. We received permission from Cards Against Humanity and set up the Kickstarter. We held a
launch party in Arlington, Virginia, and invited friends and others to join us to help gather ideas for the cards. Many loyal readers of the urban blog Greater Greater Washington joined us. Three days later (non-ironically it was PARKing Day), we were fully funded and on two national news sources. 250 people had backed us who were city-lovers, hipsters, fans of Cards Against Humanity and, yes, some urban planners. Less than 5 percent of the purchasers were people we knew. Suddenly local and national urban planning and architecture blogs wanted to talk to us. Who were we? Who is DoTankDC and Greater Places? What was our goal? What did we want out of this? We had started this venture on the back of “a lets have fun and do something crazy because we can” idea. Suddenly we were funded, and people were still backing us. We had to reorganize our priorities (as Continued on next page 59
well as finalize the snarky cards) as suddenly blogs and writers wanted to know more than just a “why not” answer. As we looked at the backers, we realized we weren’t just speaking to our fellow practitioners; we had an opportunity to teach lay people about how cities function. We also realized that we were getting into the minutiae of urban planning in a way that probably couldn’t be appreciated from outside of our profession. We wanted to create something that more people could learn from and also appreciate. The resulting answer was to use this game as an educational tool, and we decided to create a “card-splainer” that breaks down the jargon to commonly understood terms for those outside the fields of architecture, urban design and planning. Honestly, the explanations were almost as much fun to write as the cards themselves, and several times during our creative meetings, we picked a card over another based solely on the hilarity of its explanation. The answer cards themselves range from your typical urban stereotypes – “NIMBYs” and “Hot Hipsters” – to pop culture references – “Kanye Skool of Arkitecture” and “Knope of the Week.” There’s also the typical sustainability references – “Greenwashing” and “bike lanes.” Don’t worry; there are some snarky cards for those of you with a wicked sense of humor – “Low headways” and my personal favorite “Lead Paint. YOLO.” The questions vary from referring to the city process of urban planning– “Our city just announced subsidies for ___” and “The secret to a successful public meeting is ___” – to more pop culture references – “I learned ____ from Sesame Street” and “Donald Trump’s latest erection involves ____ .” With 420 cards, there are items for every generation, snarky urban dwellers, and urban planners alike. You’ll just have to find a friend with a pack, or come to Cooper Carry’s DC office to see the final product.
Cards Against Urbanity has now actually enlarged DoTankDC’s mission. We now want to activate spaces and places and educate people about how cities work using our interventions as experiments. We want to take the momentum from the Kickstarter to begin to document our interventions and their outcomes. These written and recorded results can then be published on Greater Places for anyone and everyone to read and, hopefully, learn from. Upcoming projects for DoTankDC include occupying an un-used triangle park in the District; benches for Bocce leagues in Alexandria, Virginia; and labeling all roads as sharrows for bikes. We also want to figure out how to create content that illustrates all the cards from Cards Against Urbanity – either through photography, illustrations or video. In the end, Cards Against Urbanity received 384.4 percent of its funding goal when the Kickstarter closed. Of our 812 backers (and card recipients) only 10 percent were friends and people we knew. We were in three national publications, one international publication, and three local publications. We had numerous tweets and re-tweets from backers, followers and news sources. We even had one transportation firm reach out to us and include us in their monthly newsletter. Planners in Canada and Australia hounded us until we added international shipping. We’re still getting at least one email a day from people who missed the backer deadline but still want a pack of cards. Unfortunately, this will be our only printing, meaning those who missed out on ordering cards via our Kickstarter won’t be able to order a pack from us. But you never know what the future has in store; we may just make another game that also makes fun of urban life. Do you have any ideas? @DoTankDC is always open for suggestions.
BETHESDA METRO PLAZA, BETHESDA, MD Landscape Architecture, Clark Enterprises, Inc. CLIFF HOUSE, CAPE NEDDICK, ME Hospitality, Rockbridge Hospitality CONFIDENTIAL K-12 PROJECT, CONFIDENTIAL, GA K-12 Education, Confidential Client GEORGIA STATE UNIVERSITY, 55 PARK PLACE FACILITY PLANNING, ATLANTA, GA Interior Design, Georgia State University LAVOY HYATT PLACE - CONSULTING SERVICES, LYNDHURST, OH Hospitality, First Interstate Properties, Ltd. NOTRE DAME EMBASSY SUITES, SOUTH BEND, IN Hospitality, Kite Realty Group PHILADELPHIA AIRPORT HYATT PLACE, PHILADELPHIA, PA Hospitality, Elpizo R.I. Limited Partnership REGIONS - ACP 10, ATLANTA, GA Interior Design, Regions Financial Corporation
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Workplace Strategy: A Strategy for Success
Our Workplace Strategy services yield not only a thorough understanding of a company’s process and needs, but also its culture and the values it may informally hold dear.
By Kim Rousseau, NCIDQ, Director of Interior Design Providing Workplace Strategy services is one way we at Cooper Carry fulfill our mission of connecting people to place. The desires and expectations of employees have changed rapidly throughout the last decade, making it both vital and challenging to pinpoint what employees deem important in a workplace environment. Today’s business “buzz” focuses on cross-functionality, emotional intelligence, innovation, and networking. Addressing employee needs not only benefits employee recruitment, retention, and loyalty, but it can also improve efficiency and productivity within the workplace. Our Workplace Strategy services tap into our collective strengths at Cooper Carry: listening and intellect-based creativity. Our process involves collecting information, conducting research, implementing benchmarking, and synthesizing unique solutions. The first step is to establish overall goals that form a manifesto. We are diligent in tailoring our process for each new client, collecting the proper data, and eventually arriving at solutions that address each client’s unique goals. The time-intensive process involves interviews, focus groups, surveys, observations, and research. Our Workplace Strategy services yield not only a thorough understanding of a company’s process and needs, but also its culture and the values it may informally hold dear.
Workplace Strategy can become a tool for companies in a couple of different ways. In some cases, Workplace Strategy can serve as a discovery process. While working with one of our technology clients, we uncovered that the small renovation they initially thought they wanted was not reflective of their growth ambition. We are now working on a campus design that embodies specific elements of their culture and corresponds with their growth expectations. Workplace Strategy can also be used as a change agent. Several of our clients have used our services to promote new transformative ideas to their entire company. These leaders made sweeping changes to take people out of closed office spaces and into an open office plan; this transformation often accompanied other operational changes. The transitions went smoothly mainly due to the engagement of the employees, an important aspect of our Workplace Strategy services. The irony of Workplace Strategy as a service is in calling it a “strategy.” The word “strategy” often evokes a highly quantitative outcome and approach. The truth is that an effective Workplace Strategy involves a highly personal and reflective process that is as unique as the company culture and the employees that make up its workforce. In short, Workplace Strategy affords a company a great opportunity to know itself. And to know thyself is divine. 63
Cooper Carry is the architect for a new master plan and Phase One design for Park Center, a regional campus being developed by KDC in Dunwoody, Georgia. State Farm will lease office space in the development. Phase One consists of a 585,000 SF office building and parking structure with a direct connection to public transit. Amenities include a fitness center and street level retail to support both the user and surrounding community resulting in a new and vibrant live, work, play community. The project is pursuing LEED Silver Certification.
Cooper Carry Experiences Marked Growth in 2014, Indicating Strong Economy through 2015 Design firm grows as its business increases by 20 percent ATLANTA (Dec. 16, 2014) – A robust commercial real estate market in 2014 fueled substantial growth for internationally recognized design firm Cooper Carry. The firm, which is active in public and private sectors ranging from hospitality to research laboratories, expanded its design portfolio by an additional 122 new projects. The resurgence of the market also led to a 35 percent increase in the number of design professionals across its Atlanta, New York and Washington, D.C. offices to accommodate new projects across all of the firm’s 13 specialty practice groups. The New York office also recently relocated to a new studio in Lower Manhattan, one of the city’s burgeoning meccas attracting designers and other creatives. “2014 is the first year since the collapse began in 2007 that Cooper Carry has seen growth in each of the practice areas that we serve as well as in each of the geographic markets served by one of our offices,” said Cooper Carry President and CEO Kevin R. Cantley. “In addition to the expansion of the volume of our business, we have enjoyed the increase in demand for innovation, particularly in the design of the workplace for several corporations.”
The overall growth in the market is especially reflected in the hospitality sector. Cooper Carry’s hospitality practice was awarded 14 new hotel projects in 2014. The firm designed 10 hotels that were delivered this year, including Hyatt Place hotels in Washington, D.C. and Baltimore, and the Villa Christina Hyatt in Atlanta. The 2.4 million square feet delivered represents over 3,000 keys. Of significance was the opening of the 4,000th Marriott hotel, the 1,175-key Marriott Marquis in Washington, D.C., designed in collaboration with tvs design. With continued success in the multifamily market, several projects are under construction nationwide. Cooper Carry was awarded 11 residential projects totaling more than 1.6 million square feet in 2014. Construction began on Phase II of Emory Point in Atlanta, and several Post Properties projects throughout the Southeast were delivered. Activity in the design of mixed-use developments continues to expand as well, with projects like ONE Daytona breaking ground. Cooper Carry is the executive architect for the 1.1 millionsquare-foot project, which combines world-class shopping, fine dining, upscale residential and a hotel just steps from Daytona International Speedway in Daytona, Florida. The firm won 20 new mixed-use projects totaling 3.2 million square feet in 2014.
President and CEO Kevin R. Cantley The office market is experiencing growth in key markets with companies growing and expanding as the economy continues to improve. Texas developer KDC selected Cooper Carry to design a new office and mixed-use complex in Atlanta that will be anchored by State Farm. In October, Intergraph, a high tech company, opened its new $58 million headquarters in Huntsville, Alabama. Cooper Carry provided complete design services for the project. The firm completed interior design work on Intergraph’s Atlanta office as well. “We’ve recently read that 2014 growth has exceeded that which was predicted, and, published predictions point to an even stronger business expansion in 2015,” Cantley said. “Cooper Carry is planning for continued growth through the next year as the demand for creative design increases in the markets we are pleased to serve.” Sea Pines Beach Club, Hilton Head, South Carolina
Hyatt Atlanta Perimeter at Villa Christina
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Fine Arts By Pratt Farmer
One of the great things about working for a design firm is that you are surrounded by so many creative people. While architecture and interior design might be their passion, many Cooper Carry designers are talented artists as well. The Atlanta office of Cooper Carry sponsors an employee art show each year. This year the show was chaired by Lauren Fowler, an intern architect currently working in our Retail Specialty Practice Group. “When asked to coordinate the event, I didn’t give it a second thought,” said Fowler. “I knew that there would be an incredible interest by so many.” Open to anyone in the firm, entries included sculpture, oils, mixed media, pastels, woodworking and packaging
design. Bobbi Sweeney, marketing coordinator in Atlanta was awarded First Place for her typeface design. Aptly titled, WIRED, the entry was the alphabet made from wire. Along with the letters Bobbi also created a poster to promote the design. Second Place was won by Alexis Jones for her “Curved Chair.” Alexis’ woodworking and furniture design was featured in a previous issue of Aspire. Due to so many outstanding entries this year, Third Place went to the following people: Allison Miles with “Sunny Smiles” (Allison took home the prize based on a live drawing!); Bobbi Sweeney with “Five Vinters Packaging;” Vinni Yee with “99% Invisible;” Lauren Fowler with “Coco;” and Lauren Fowler with “Plant Life Cycle Drawings.”
A heartfelt “Thank You” to those celebrating an employment anniversary in the Third Quarter of 2014.
Corporate Legal Council 8 years
Chief Operating Officer 7 years
Director, Corporate Services 4 years
Office Manager 4 years
Director of Marketing Office Assistant 3 years 3 years
Beth Anne Redmond Scott Hawkins
Rick Fredlund Rich Cogburn
Project Manager 33 years
Principal 32 years
Principal 26 years
Accounting Manager & Deltek Manager 26 years
Principal 24 years
Director K-12 Education 14 years 72
Project Architect 19 years
Project Architect 10 years
Payroll Administrator Principal 29 years 26 years
Project Manager 19 years
Studio Administator 10 years
Principal 19 years
Project Manager 9 years
Project Manager 19 years
Andrea Schaub Project Manager 9 years
Intern Architect 3 years
Project Manager 17 years
Intern Architect 1 year
Planner 9 years
Intern Architect 3 years
Director, Planning and Landscape Architect 3 years
Marketing Coordinator 3 years
Receptionist 2 years
Project Accountant 1 year
“Welcome” to our “first round draft picks” beginning their careers at Cooper Carry.
Adam Meredith Project Manager
Adedotun Olugbenle Assad Abboud Architect Student
Clarence Brown Project Architect
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Architectural Staff III
Hee Jin Cho
Staff Architect II
Aspire - Volumn Nine Contributors Stephen Busch, Project Landscape Architect Steve Carlin, SEGD, LEED AP, Senior Graphic Designer Kevin Cantley, AIA, NCARB, Principal, President and CEO Jerry Cooper, FAIA, LEED AP, Principal, Chairman Audrey Hardesty, Staff Interior Designer Bill Halter, AIA, NCARB, LEED AP, Director of Corporate Services Mark Kill, AIA,NCARB,LEEDAP,CDT, Chief Operating Officer Gar Muse, AIA, NCARB, Principal, Secretary/Treasurer Abbey Oklak, AICP, LEED AP, Planner Brian Parker, AIA, LEED AP, Project Architect Kim Rousseau, NCIDQ, Director of Interior Design Keith Simmel, AIA, LEED AP, Principal Richard Stonis, Director Emeritus Interior Design Rob Uhrin, AIA, Principal Ben Wauford, AIA, NCARB, LEED AP, Principal Douglas Webster, Design Architect Kelly Zimmer, Interior Designer
Belle Pre Plaza, Alexandria, Virginia 74
ﾂｩCooper Carry Inc. 2014
Published on Jan 7, 2016