Innovative Design Quarterly 604 web

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

ISSUE 604 • 2015-16

Clubhouse for the 6 Nicklaus Painted Valley Golf Course Mountain High

Family Galleries, 18 Haub Tacoma Art Museum Western Expansion

28 Catholic Church of St. Monica Spiritual Uplift

1

MOUNTAIN HIGH Swaback Partners brings high architecture to the world of golf

OFFERING A WORLD OF...

端

Emergency Lighting & Fire Alarm Devices

Concealed Emergency Lighting

Concealed Fire Alarm

Concealed Fire Alarm

2

端

Receptacles & Switches

Hidden Receptacles/ Switches

Concealed Color & Pattern Matching Receptacles

www.conce

CONCEALED SOLUTIONS

端

Sprinklers

Mini Concealed Sprinklers Residential/Commercial

Mini Concealed Sprinklers Residential/Commercial

cealite.com 3

端

Exterior Emergency Lighting

Concealed Exterior Egress Lighting with Self -Contained Battery

Concealed Exterior Egress Lighting For Inverter or Generator

Concealed Exterior Egress Lighting For Inverter or Generator

Clubhouse for the 6 Nicklaus Painted Valley Golf Course Photos by Allen Kennedy

16 Design Workshop

Family Galleries, 18 Haub Tacoma Art Museum

Photos by Benjamin Benschneider, Kevin Scott & Kyle Johnson

26 Product Showcase 28 Catholic Church of St. Monica

Photos by John W. Davis, ASMP, AIAP, DVD Design Group, and Fisher Heck

38 Global Lighting News Making the switch

Innovative Design Quarterly Magazine, Issue Volume 604, is published quarterly by Gow Industries, Inc., PO Box 160, Elkton, SD 57026.

Editor: Camille LeFevre Postmaster: Send address changes to Innovative Design Quarterly Magazine, PO Box 160, Elkton, SD 57026 Subscription Inquiries: There is no charge for subscriptions to qualified requesters in the United States. All other annual domestic subscriptions will be charged $29 for standard delivery or $65 for air delivery. All subscriptions outside the U.S. are $65. For subscriptions, inquiries or address changes contact info@innovativedesignquarterly.com.

4

Copyright Š 2016 Innovative Design Quarterly Magazine. All rights reserved. Nothing in publication may be copied or reproduced without prior written permission of the publisher. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. Innovative Design Quarterly and Gow Industries Inc, assume no responsibilities for unsolicited manuscripts or photos. Printed in the USA.

TA B L E O F

CONTENTS Nicklaus Clubhouse Haub Family Galleries, Tacoma Art Museum

Catholic Church of St. Monica 5

Mountain High Nicklaus Clubhouse at the Painted Valley Golf Course

Swaback Partners • John E. Sather, Architect & Senior Partner Photos by Allen Kennedy

6

The world of golf has not, for the most part, been notable for its clubhouse architecture.

“Clubhouses are most often expressed in Georgian or classic terms architecturally,” says John E. Sather, architect and senior partner with Swaback Partners, Scottsdale, Arizona. “I refer to them as big white houses on a hill with bad food.”

Now, the golf courses—that’s another story. The Painted Valley Golf Course outside of Park City, Utah, which is part of the Promontory Club, was designed by Jack Nicklaus and has been critically acclaimed as one of the toughest courses in Utah. The course was also rated the third best new private course in 2008 by Golf Digest. Nearly 8,000 yards long, the course features views of Park City, and plays through both deep valleys and high meadows.

The course is an excellent example of golf courses as “land art,” Sather says. “I’ve always thought that whether you like or hate golf, or worry about the earth and putting too much water and chemicals on golf courses, the reality is that golf courses are visually stunning, sculpted pieces of land art. Then they get mucked up by clubhouses from the past.”

When Sather and his design team were asked to design a new Nicklaus Clubhouse for the Painted Valley Golf Course, they decided to tackle the architecture issue head on.

Previously, Sather had designed another clubhouse for the Promontory Club and did much of the original land planning for Promontory’s luxury community. So he knew his client would be receptive to a change.

“We had long, stimulating discussions about how to bring high architecture to the world of golf,” Sather says, “and not only high architecture, but also high food and high

7

fashion. We decided to bring all three together in a social gathering place that’s as much about life after golf as it is about golf.” In doing so, Sather and his team set a new benchmark for modern golf clubhouse architecture.

The 16,000-square-foot clubhouse boldly sits on its wind-swept site above the course, firmly anchored into the ground with concrete and cut-limestone buttresses that allow 16- and 18-foot cantilevers of rusted Cor-Ten to soar upward. “The buttress forms are a symbol of strength, in keeping with the Wasatch Mountains nearby,” Sather says, “while the cantilevered roof forms show the building is proceeding forward in the world of golf architecture.”

8

The clubhouse’s front entry features a Cor-Ten sculpture of cut forms that Sather designed, which were inspired by artist Alexander Calder’s mobiles. Clustered in an oval shape to create a meeting, gathering or lingering space, with floating steel clouds above in soft overlapping shapes, the forms create shade while the top is open to the sun and moon. The sculpture, Sather adds, “is a strong art statement up front, and uses shade and shadow as an architectural element.

It’s architecture as art.”

“

[The sculpture] is a strong art statement up front, and uses shade and shadow as an architectural element. It’s architecture as art.”

-John E. Sather, architect and senior partner at Swaback Partners

The Cor-Ten sculpture, located at the clubhouse’s front entrance, is an assemblage of cut forms that create light and shadow. The design was inspired by artist Alexander Calder’s mobiles.

9

The golf boutique, housed in the floating glass cube on the west side of the clubhouse, was designed to stimulate and communicate new styles in golf fashion.

The buttresses, veneered with local cut limestone, also ground the building’s extensive glazing, which cuts glare and mitigates the hot sun. The glazing, however, receives its strongest expression in a glass cube floating on the west side of the building. The cube houses the golf boutique. “We asked ourselves: ‘What would actually stimulate new fashion in golf?’”

Sather says. “The members here are fashionable, hip people. So we didn’t want a dated golf shop, but rather something equivalent to Madison Avenue, with that level of clothing, retail and merchandising.”

Rather than burying the shop inside the building, the strikingly modern glass cube lends the golf boutique a singular exterior expression, at once integrated into the architecture and yet with a sense of place uniquely its own. A unique mullion pattern, window tinting and interior lighting give the form “a certain playfulness” during the day and evenings, Sather says.

10

“

We didn’t want a dated golf shop, but rather something equivalent to Madison Avenue, with that level of clothing, retail and merchandising.”

-John E. Sather

The mullions reappear as structural supports for the sheet-glass wind guards fronting the balconies and in the ceiling pattern inside the clubhouse. In the clubhouse restaurant, The Peak, which features Asian-fusion cuisine, wood batten strips cover prerusted Cor-Ten in patterns similar to that of the cube,

11

In the clubhouse dining room, a fireplace of cold-rolled steel contrasts with the Cor-Ten as well as high-end surfaces like the onyx bar.

to “break down the noise in the room,” Sather says. Fireplaces of cold-rolled steel contrast with the Cor-Ten, as well as “perfect surfaces like the back-lit onyx bar,” Sather says.

“In the end, we used common materials in uncommon ways, to create high architecture on a budget,” Sather says. “The materials are customized, but they’re put together simple ways. The result is clean, sophisticated and rather daring.”

In the dining room, Sather and his team also seamlessly integrated the bar with traditional four-top dining, high tops, long communal tables and lounge seating by the fireplace. “We were

12

“

We were very involved in experience mapping with the client; what is this whole experience we’re about to enter into and how does it all come together? It was clear they wanted different parties all together in one space.”

-John E. Sather

very involved in experience mapping with the client; what is this whole experience we’re about to enter into and how does it all come together?” Sather says. “It was clear they wanted different parties all together in one space.”

In the living room, stone masses rise up to crop and frame the scenery while cutting glare.

“In snow country you deal with a lot of glare,” Sather explains, “and the clubhouse is used in the winter as a community gathering place. So we had to control the light in the winter, and balance and frame it like a shadow box. We also lifted the roof to celebrate distant views to the mountains, and to capture sun in late summer and winter and funnel it into the room.”

13

In collaboration with interior designer Donna Vallone of Vallone Design in Scottsdale, the team used royal blue and cream as contrast colors throughout the interior, “so we have the clouds, sky and mountains coming together,” Sather says. Outside the clubhouse, a xeriscaped landscape of low-maintenance and low-water sage and shrubs offers another contrast, this time with the manicured golf course.

“Park City is a place of fresh minds and new thinking, youthfulness and excitement,” Sather says. “There’s no reason golf architecture here need be old and tired. Or anywhere else, for that matter.” With his design of the Nicklaus Clubhouse, Sather set a new benchmark for golf clubhouse architecture that brings tired tropes into the 21st century.

“I describe the building as forward thinking and uplifting,” he says. “When you enter, it’s very pristine, with perfectly framed views. You feel your spirits rise. That’s what forward thinking architecture should do. We may have disrupted the golf world a bit with this clubhouse. But we were trying to break a lot of rules.” n – CLF

14

15

DESIGN

WORKSHOP Emergency Fixtures Reduced Project Costs

“

Code required emergency lighting?

Budget concerns? What is the best value for the client based on purchase, shipping and installation costs? The answer may surprise you…”

Code required emergency lighting? Budget concerns? What is the best value for the client based on purchase, shipping and installation costs? The answer may surprise you…we found that fewer of the higher light output concealed style fixtures are the answer! We’ve done the lighting calculations and the math, and here is the proof!

An amazing ratio of five times the number of off-the-shelf “bug eye” fixtures compared to one higher output concealed style are required to meet Code. All those “cheap” fixtures equate to excessive labor installation costs and become a budget-busting culprit! You can also save your client from the higher shipping costs, maintenance costs, and more frequent replacement costs by choosing the right product first.

Considering the project just in terms of initial product cost and installation will demonstrate the savings not to mention aesthetics, fixture longevity, and ease of testing. Why not meet Life Safety Code and reduce your project costs with the added benefit of a quality, UL listed, concealed emergency lighting fixture? The experts in Life Safety at Concealite Life Safety Products are ready to assist you with a comparative lighting layout using the highest light output concealed product on the market vs what you may normally specify. Contact your Lighting Layout Specialist at Concealite for prompt assistance. www.concealite.com

“

Why not meet Life Safety Code and reduce your project costs with the added benefit of a...concealed emergency lighting fixture?”

2 Concealite Fixtures

9 Market Fixtures

948 Lumens Output

810 Lumens Output

(Concealed)

(Exposed Lamps)

FIXTURE COMPARISON - Lumens Output To Achieve Code

2 Concealite 5000 Series Fixtures (35 Watt Lamps) + Labor & Installation Costs x 2 Fixtures = Project Cost Savings

16

9 Market Fixtures (Max. 5 Watt Lamps) + Labor & Installation Costs x 9 Fixtures = $$$$$$$$$

Hide Receptacles and Switches The DisCover Series FDP (Flush Device Plate) System was developed for Architects and Designers who want to hide all mounted devices such as receptacles, switches, phone, data and ethernet devices that blemish beautiful interiors. Concealite’s latest technology eliminates the need for receptacles to be visible and allows any standard single gang receptacle and wiring device to be recessed within a standard depth wall, all concealed behind a rotating door. The FDP is field finished to match interior wall color, texture or finish perfectly when in the closed position, resulting in a clean and unobstructed interior design.

FOR USE IN COMMERCIAL AND RESIDENTIAL APPLICATIONS SUCH AS: • Museums • Churches • Retail Store Front Display Areas (Visual Merchandising) • Hotels (Hallways, Lobbies, Common Areas) • Theaters • Clinics/Hospitals • Auto Dealership Display Floors • Conference, Presentation and Meeting Rooms • Court Rooms/Judicial Government Projects • Kitchens Bath/Dining/Living/Bed Rooms

Snap in Flush User Plate to be used when cord(s) in place. Field applied finish allows the plate to match decorative walls.

Door is flush to wall surface with hidden door frame

202 Elk Street, P.O. Box 160 • Elkton, SD 57026 (P) 605.542.4444 • (F) 605.542.3333 www.concealite.com

17

18

Western Expansion Haub Family Galleries, Tacoma Art Museum

Olson Kundig Architects • Tom Kundig, Principal Photos by Benjamin Benschneider, Kevin Scott & Kyle Johnson

The small port town on the Washington coast became known as the “City of Destiny” after President Abraham Lincoln signed legislation in 1864 chartering the Northern Pacific Railroad to connect the Midwest to the West Coast. Suddenly, Tacoma was both the rail line’s western terminus and a launch point for European exploration of the West.

Tacoma flourished, becoming a city rich in industry, transportation, history, and the arts and culture of Native Americans and Europeans.

In 1935, a volunteer group founded the Tacoma Art Museum. The museum quickly grew into a national model for regional, mid-size cultural institutions because of its diverse collection, which featured art and artists of the Northwest and greater West. Meanwhile, a couple of German origin— Erivan and Helga Haub—visited Tacoma on their honeymoon, moved to the city, established business and philanthropic ties, raised a family, and collected Northwest and Western art.

Several years ago, the Haub family gifted its formidable collection to the Tacoma Art Museum, which in 2003 moved into a new 50,000-square-foot building designed by Antoine Predock, principal of Antoine Predock Architect PC in Albuquerque, New Mexico. Olson Kundig Architects of Seattle worked with Predock on the museum. So when the museum held a competition for the design of a new entry plaza,

19

which Olson Kundig won, then expanded the project to include a new wing to house the Haub Family Collection, Olson Kundig had the insight necessary to fulfill the commission. The 16,000-square-foot project also happened to be principal Tom Kundig’s first museum.

In designing the addition, Kundig took his inspiration from a variety of sources. One was the city itself, which grew out of the industrial confluence of shipping, logging and railroading. The architect also drew from the rectangular, rugged forms of railroad boxcars, Native American long houses and barns in the rural Northwest. The museum site, which is on land once occupied by the

20

In addition to designing the sleek new Haug Family Galleries, Olson Kundig also created a new transparent and welcoming entrance canopy constructed of aluminum grating and stainless steel panels saved during demolition necessary for the expansion.

Puyallup tribe and is today in the Union Depot/Warehouse historic district at the intersection of a pedestrian mall, light rail line and several city streets, also influenced the design.

In subtle contrast to the stainless-steel clad museum designed by Predock, Kundig’s addition is a long, low form evoking the vernacular architecture of the West. Simple and modern, the form features floor-to-ceiling windows.

The horizontal addition is innovatively wrapped in bronze-colored Richlite.

Manufactured by the Tacoma-based Richlite Company, the sustainable material is comprised of recycled paper, organic fiber and phenolic resin. The

21

(Above) Kundig’s addition is clad is bronze-colored Richlite panels and features operable window shutters--also of Richlite--over the galleries’ floor-to-ceiling windows. (Below) To connect the addition with the existing museum Kundig and his team designed a striking new 30-foot-high entrance canopy.

Concealed & Vandal-Proof Fire Alarms and Emergency Lighting Systems

Now fire alarm and emergency lighting can blend in, and remain completely hidden until activated.

The door rotates 180 degrees upon activation, and automatically returns to closed when deactivated.

Comes in standard white powder coat finish, and can be customized to match interiors.

Factory applied color, pattern & texture matching!

Richlite’s “earthy color, provenance and material components connect to the city’s shipping, logging and railroading industries,” Kundig explains.

Kundig deployed the Richlite in two ways: as fixed panels on the addition’s exterior, and in a series of overlapping window shutters or screens that open and close via a giant hand wheel prominently located in the museum’s lobby. The design’s form, materiality and operable sun/shade mechanism, Kundig explains, reference “Tacoma’s railroad associations

22

???????????

The design’s form and materiality reference “Tacoma’s railroad associations via its boxcars, and the local Western tradition via its resemblance to fencing and barn slat ventilation. The intended impression is of industrialness as opposed to post-industrialness.

Intimateness as opposed to grandiosity.”

– Tom Kundig, architect & principal at Olson Kundig Architects

With the industrial hand wheel, museum staff can easily adjust the screens to control the amount of light and heat entering the galleries.

via its boxcars, and the local Western tradition via its resemblance to fencing and barn slat ventilation. The intended impression is of industrialness as opposed to post-industrialness.

Intimateness as opposed to grandiosity.”

With the hand wheel museum staff can easily adjust the screens, which are approximately 16 feet wide by 17 feet tall, to control the amount of light and heat entering the galleries, and to control the extent to which passersby can see inside. The industrial mechanism also

23

The addition includes 7,000 square feet of new galleries dedicated to the Haub Family Collection.

enhances the museum-going experience with an engaging feature through which the building and the museum’s staff can respond to the outdoor environment.

To connect the addition with the existing museum Kundig and his team designed a striking new 30-foothigh entrance canopy. The canopy, constructed of aluminum grating and stainless steel panels saved during demolition necessary for the expansion, also creates an outdoor plaza utilized as a public gathering space. Unlike the original entrance, “which people had real difficulty finding,” Kundig says, the new entry canopy establishes a strong visual presence for the museum along Pacific Avenue, Tacoma’s main thoroughfare.

The canopy is also “transparent, covered and welcoming” and “is illuminated at night and equipped for light projections,” Kundig adds. Inside the main entrance is an enlarged, light-filled lobby where Kundig says he “sought to make the wayfinding experience warmer and more intuitive. When the museum reopened post-expansion, one of the most satisfying observations I heard was that everything seems to breathe and flow more easily now—that it feels natural, like it was always there.”

In addition to 7,000 square feet of new galleries dedicated to the Haub Family Collection, the project incorporates 3,500 square feet of new back-of-house service and mechanical space. In addition to renovating the lobby and creating a new studio where the public is invited to make their own artworks, Kundig and his team completed 3,000 square feet of interior renovations in the museum bookstore, café and restrooms. To ensure the project’s sustainability, Kundig specified low-flow water fixtures, high efficiency mechanical and LED lighting systems, and the incorporation of reclaimed materials from the existing site.

Approximately 61 percent of the total construction budget went to Tacoma-area companies.

24

A 2008 recipient of a CooperHewitt National Design Award, and the subject of several architectural monographs—most recently Tom Kundig: Works published by Princeton Architectural Press—Kundig built his reputation on rugged yet elegant and welcoming residential designs, commercial work and a line of hardware.

In 2009, the American Institute of Architects celebrated Olson Kundig as its Firm of the Year in part due to Kundig’s innovative leadership.

With his first museum project, Kundig conquers yet another building topology with an addition and new entry that’s been lauded as “a quintessential Kundig building, reflecting the surrounding environment through the creative use of industrial elements, an earthy palette of materials, and mechanical features that allow the building to respond to its environment while helping to engage visitors.” n – CLF

We like to blend in.

Concealed and Customizable Fire Alarms & Emergency Lighting Now fire alarm and emergency lighting can blend in and remain completely hidden until activated.

The door rotates 180 degrees upon activation, and returns to closed when deactivated. Doors come in standard white powder coat finish and can be customized to match your interiors.

Call (605) 542-4444, or visit www.concealite.com for more information.

Concealed View

Active Views

www.concealite.com

25

PRODUCT

SHOWCASE Product Considerations

FIRE ALARMS 1 CONCEALED & EMERGENCY LIGHTING

Only when the FA Conceal-Alarm and F5000 Series emergency lighting systems are activated do the fixtures become visible, rotating 180 degrees to begin operating. The result is a clean, almost invisible, installation that does not conflict with your interior. Products can be installed in the wall or ceiling.

CONCEALITE

Concealite has blended form and function in a truly unique product. The company realized the needs of Architects and Designers who were looking to seamlessly integrate life safety fixtures that have always been considered an eyesore.

Concealite focused on designing a way to blend in these often termed “bug eye” and “wall wart” fixtures, so they remained hidden until needed. As a result, they have developed award-winning fixtures for concealing emergency lighting and fire alarms.

1

2 CUSTOMIZED FINISHES

Both the fire alarm and the emergency lighting products can be easily customized to blend into interiors. No minimum order for factory applied custom powder coat finishes.

3 CONCEALED EXTERIOR Hydro-Lite (HL) Series

EGRESS LIGHTING

These concealed outdoor/wet location rated units provide up to 200 watt light output that is 3 to 5 times brighter than all other products on the market. Hydro-Lite can be customized to blend in to the exterior of a building, and offers the only non-obtrusive solution for egress emergency lighting.

26

2

C O M PA N Y P R O F I L E CONCEALITE

Concealite founded in 1989, is a designer and manufacturer of Life Safety Equipment. By listening to the needs of architects and interior designers, the company has cleverly figured out various methods to seamlessly integrate life safety appliances. As a result, they have developed award-winning fixtures for concealing emergency lighting and fire alarms in walls or ceilings. The Conceal-Alarm Series for instance preserves your architectural and interior design integrity, while meeting all code requirements. The doors are also easily customizable to match interiors.

Contact 605.542.4444 or www.concealite.com

Concealite provides solid solutions in preserving commercial, retail, and large scale residential designs while meeting necessary life safety codes. Their products have made notable strides in the industry, and they continue to evolve their products with advances in technology.

CONCEALED EMERGENCY LIGHTING AND ALARMS

Architects and Designers no longer have to contend with walls and ceilings displaying a patchwork of red boxes or bulky protruding light boxes holding code required life safety devices.

Enter Concealite’s FA Conceal-Alarm series of products. They designed a fixture that hides devices behind a flush door that is easily installed in walls or ceilings. Appliances stay concealed until activated. Additionally, the doors are easily customizable to match interiors. Concealite will provide the products in decorative finishes such as paint, metal, paper, or wood laminate to help blend the door into new or existing finishes.

UNIQUE-TO-THE-MARKET EXTERIOR LIGHTING

Now high power exterior egress lighting is available in Concealite’s latest innovative product, the Hydro-Lite (HL) Series wet location fixture. These concealed high output outdoor lamp units provide up to 200 watt light output which is 3 to 5 times brighter than all other products on the market. Hydro-Lite systems are designed to blend in to the exterior of a building, and are the only non-obtrusive solution to the ever demanding code requirements for exterior egress emergency lighting.

NOTABLE INSTALLATIONS

Concealite’s high demand products have been installed all over the world and in such notable places as The Boston Museum of Art, The White House Visitor Center, Tiffany’s, Williams Sonoma, BMW Dealerships, Kate Spade, and Jimmy Choo. They also have product installations at the Bill Gates Learning and Foundation Center, Miami International Airport, Universal Studios, Disneyland and in many other historical and well known buildings and institutions across the country.

3

NEW INNOVATIONS

Concealite produces life safety fixtures which are inspired both by the design community’s needs and the availability of new technologies.

Concealite’s team of engineers strives to solve the issue of design intrusive appliances, while maintaining all code requirements. The result shows in their continued launch of groundbreaking products like their FA Conceal-Alarm series.

27

28

Spiritual Uplift The Catholic Church of St. Monica Fisher Heck Architects • James Heck, Senior Vice President and Principal Photos by John W. Davis, ASMP, AIAP, DVD Design Group, and Fisher Heck

29

Original narthex elevation

New narthex elevation with addition

In January 1959, Pope John XXIII ushered in a new year by announcing the creation of the Second Vatican Council (also known as Vatican II). Such a gathering of Roman Catholic religious leaders, assembled to review doctrinal issues, hadn’t been held in nearly 100 years. The outcome was 16 documents revising church practices centered on a theme of reconciliation— with other Christian denominations and non-Christian faiths—along with other new positions on education, the media and divine revelation.

Several years later, in 1966, a new 800-seat house of worship in the Diocese of Dallas, Texas, was completed: The Catholic Church of St. Monica. It was the first one constructed in the Diocese after Vatican II and designed as a church in the round, which was uncommon at the

30

time. The church had a modern, white rectangular exterior, and the circular sanctuary featured walls of spectacular floor-toceiling stained glass. Over time, however, the church’s dark-wood interior, lack of light and cramped auxiliary spaces led church leaders to desire some changes.

Among other concerns, church leaders wanted to increase the sanctuary platform’s usable space and provide wheelchair access; open up the choir area and install a new pipe organ; and improve lighting, energy efficiency and acoustics.

In keeping with current liturgical practices, leadership asked that the confessionals be replaced with reconciliation rooms, and the font placed in a more visible and mass-oriented location.

“The client asked us to renovate and breathe new life into the space,” says James Heck, senior vice president and principal of Fisher Heck Architects in San Antonio, Texas. “The Bishop required that the project stay within the physical limits of the existing building with the exception of the narthex, and that we incorporate familiar and appropriate elements from the original spaces into the new design.”

In other words, Fisher Heck (a firm specializing in religious architecture and historic preservation) was charged with renovating an iconic, historic and beloved place of worship while retaining a sense of the familiar. “It was so important for us to honor the church’s contemporary design and the feel of the space,” Heck says. “We didn’t want to force another style of architecture on the building.”

31

Inside the sanctuary, the renovation began with asbestos removal, which meant the space was gutted down to its concrete and steel structure and surrounding walls of stained glass and vertical mahogany strips. During demolition, most of the dark wood was removed, as well as the wood and steel enclosure that separated the choir from the congregation.

In the sanctuary’s ceiling, the circular stainedglass rose window was given new life when a skylight was constructed over the window, allowing natural daylight to filter through and illuminate the colorful glass (formerly lit with neon tubes). New light fixtures were installed above the stained-glass window for nighttime illumination.

32

“

It was so important for us to honor the church’s contemporary design and the feel of the space. We didn’t want to force another style of architecture on the building.” – James Heck, senior vice president and principal of Fisher Heck Architects

(Above) Renovated interior with skylight.

(Right) Original interior with dark wood and back-lit stained glass.

This oculus became the origin for the layout of the sanctuary. The ceiling “rays” emanating from the circular stained-glass window correspond with the aisle and pew configuration below. The pews, which seat 850, are in a semi-circular pattern. The new aisles align with the entrances and focus the

FUNDAMENTALS OF LIGHTING FOR OFFICE BUIL VIDEOCONFERENCING | RECOMMENDED PRACT PRACTICE FOR TUNNEL LIGHTING | LIGHTING FOR HOSPITALSANDHEALTHCAREFACILITIES|NOMENCLATUREANDDEFINITIONS Recently Published from the IES FOR ILLUMINATING ENGINEERING | PHOTOBIOLOGICAL SAFETY FOR LAMPS AND LAMP SYSTEMS—GENERAL REQUIREMENTS | RECOMMENDED Recommended Practice for the RECOMMENDED PRACTICE OF DAYLIGHTING | NECA/IESNA REC Economic Analysis of Lighting PRACTICE FOR INSTALLING EXTERIOR LIGHTING FIXTURES | NECA/IESNA RECOMMENDED PRACTICE FOR INSTALLING INDOOR COMMERCIAL LIGHTING SYSTEMS | NECA/IESNA RECOMMENDED PRACTICES To order: FOR FOR INSTALLING Z CALL| PHOTOBIOLOGICAL 212-248-5000 ext 112 INDUSTRIAL LIGHTING FOR | RECOMMENDED SYSTEMS FAX 212-248-5017 2

AND SAFETY FOR LAMPS AND LAMP SYSTEMS MEASUREMENT SYSTEMS List Price: WEB www.ies.org/store 8 $25.00 | RECOMMENDED PRA TECHNIQUES | PHOTOBIOLOGICAL SAFETY 8 EMAIL publications@ies.org MEAS IES Member Price: FOR LAMPS AND LAMP SYSTEMS-RISK GROUP CLASSIFICATION AND $17.50 Order EDUCATIONAL # LABELING | LIGHTING IN FOR FACILITIES | LIGHTING FOR RP-31-14 EXTERIOR ENVIRONMENTS | RECOMMENDED PRACTICE FOR LIGHTING INDUSTRIAL FACILITIES | DESIGN CRITERIA FOR LIGHTING INTERIOR LIVING SPACES | IESNA/NALMCO RECOMMENDED PRACTICE FOR PLANNED INDOOR LIGHTING MAINTENANCE RECOMMENDED PRACTICE FOR MARINE 33 LIGHTING | RECOMMENDED PRACTICE FOR LIGHTING MERCHANDISING

“

What was once a dark and uninviting sanctuary is now a light and airy worship space that honors the architectural style and history of the original building.”

–James Heck

parishioners’ attention on the altar as they enter. Heck and his team positioned the altar directly beneath the oculus and the stained-glass rose window.

The designers simplified the narrow rectangular altar, reached via several steps. They expanded the altar platform and decreased the altar’s overall size, while incorporating a new granite top. Behind and on either side of the altar, the church’s original dark-wood paneling was replaced with lighter oak paneling and painted sheetrock walls. The Ascension mosaic, a feature formerly obscured by the dark wood paneling, is now highlighted by oak paneled columns on both sides and new linear lighting from above.

The baptismal font, formerly tucked into the narthex, was relocated inside the nave.

The architects opened up the font’s trefoil shape by having a new bowl carved out of a single block of granite. A terrazzo floor was put down in the sanctuary. New acoustical enhancements were incorporated into the perimeter circular walls behind articulated hardwood and cloth covered panels.

Along with improved lighting and air-conditioning systems, technology enhancements included high-definition television monitors in the narthex for event announcements, and dropdown screens, projectors and (point tilt zoom) cameras inside the nave.

Around the perimeter of the nave, the architects devised an ingenious solution for the required concealed fire alarm devices.

“Our solution,” Heck says, “hides the [concealed fire alarm devices] in plain sight, directly above the Stations of the Cross.” Where there was a station without an emergency light, the designers had a sign fabricated that mimics the emergency light in every detail. Six of the 14 stations have concealed fire alarm devices above them.

34

(Above) The design team simplified the altar and expanded the platform.

Lighter wood throughout opens and brightens up the worship space.

(Right) The original worship space featured dark-paneled walls and a larger altar.

(Bottom opposite page) The designers innovated an ingenious solution for hiding concealed fire alarm devices in plain sight.

(Left) The original font was tucked away in the narthex. (Right) The redesigned baptismal font, now located inside the nave, has a bowl carved out of a single block of granite.

35

(Left) An original shrine. (Above left) The new shrines include components from the originals. (Above right) The church’s confessionals were replaced with new, large reconciliation rooms behind new stained glass walls.

Going, Going, Gone...

Receptacles, wall plates and switch plates can now blend into your interiors

COLOR, PATTERN & TEXTURE MATCHING NOW AVAILABLE!

COMMERCIAL • RESIDENTIAL No Minimum Order, No Minimum Quantity www.concealite.com • 605.542.4444

36

Fisher Heck’s renovation of St. Monica’s also included replacing the traditional confessionals with two new reconciliation rooms. Instead of the small booths, Heck explains, the larger rooms have a kneeler and screen partition that separates penitents from priests for privacy and anonymity, as well a pair of chairs for face to face and more open conversations. The reconciliation rooms are located behind new stained glass walls, which separate the rooms from the shrines.

In the shrines, existing statues sit on salvaged marble bases; new Italian glass mosaics shower them with light.

The church also has a new, more intimate chapel with glass depictions of St. Monica on one side and her son, St. Augustine, on the other. On either side of the narthex, the architects added space for an expanded vesting sacristy, new restrooms, and a new glass-walled parlor for brides before wedding ceremonies or families preparing for a funeral.

“We wanted parishioners, when they returned to their church, to feel a new vitality, to walk into a space that was fresh and uplifting, yet still familiar,” Heck says. “What was once a dark and uninviting sanctuary is now a light and airy worship space that honors the architectural style and history of the original building.”

The design of St. Monica garnered Fisher Heck a 2015 Liturgical-Interior Design Award from the Interfaith Forum on Religion, Art & Architecture (IFRAA), an international honor. n – CLF

37

GLOBAL

LIGHTING NEWS For Architects & Design Professionals Making the Switch

Concealed Occupancy Sensors

Technologies are advancing in every field and at a faster pace then ever. The field of Occupancy Sensor technologies is no exception.

It was only a few years ago that commercial and residential designs started to incorporate these eco-friendly gadgets. Once the ease of function and real energy savings were realized, this quickly led to the current required and mandated inclusion in a wide selection of projects.

Continuous advancements and improvements in these sensors would seem like a natural course of technological evolution, but what about a completely concealed sensor?

Invisible Above Ceiling Installation

In With The New Completely invisible with no ceiling penetration • Unobtrusive to interior design •

•

Detects motion via the Doppler Principle

Unique ability to monitor a determined target area • Eliminate false tripping

SPACESTATION SENSOR

•

ADJUSTABLE SIGNAL DISTRIBUTION AREA

•

Hidden Smart Sensing Technology

Vandal-resistant Less costly to retrofit into existing buildings • Applies towards LEED certification.

•

Available from concealite.com

Out With The Old • •

Protrudes from walls or ceilings No ability to hide or customize

Hard wired models costly retrofits Cannot monitor determined target area • No protection from vandalism • •

Exposed, Ugly & Subject to Vandalism

38

Exposed Occupancy Sensors

The SpaceStation offers just this, a completely concealed operation of occupancy sensors.

Occupancy sensors from other manufacturers offer only exposed and architecturally unattractive versions that are surface mounted.

Concealite’s SpaceStation can detect motion through many dense materials, so it can be installed completely out of sight behind any ceiling material (aside from metal).

SpaceStation Series 2000 detects motion via super high frequency electromagnetic waves and the Doppler Principle; automatically activating the room lighting when someone enters the room, then automatically deactivating the lighting when the room is no longer occupied.

The ingenious occupancy sensor also incorporates a unique Range Control Panel system that allows the installer to adjust the footprint of the monitoring area to reduce false tripping which is common on the earlier occupancy sensor designs. For more information visit www.concealite.com.

Invisible Sprinklers

The best sprinkler is the one you can’t see. With this simple truth in mind, we have dedicated special attention to making our flat concealed sprinklers virtually unnoticeable while maintaining optimal water dispersion, pressure, and flow rates.

Sprinklers finished to match your acoustic tile, wood, marble, and stone ceilings, making them one step closer to becoming truly “Invisible Sprinklers.”

“Custom finish is our standard” Economically finished to match ceiling color, pattern and texture.

Smallest Coverplate Available

Matching Ceiling Tile Finish Factory Applied to Coverplate

Custom finish is our standard!

No minimum quantity. No minimum order.

Request your Specifier Kit today! info@concealite.com

Subject: Concealed sprinkler specifier kit

605.542.4444

www.concealite.com

39

40 Pewaukee, WI Permit No. 3315

PRSRT • STD US POSTAGE PAID