UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT
ISSUE 1217 â€¢ 2017
6 Ascaya Clubhouse 16 Center for Italian Modern Art Orlando Health Heart Institute 28 Desert Contemporary
Swaback Partners designed an artful clubhouse for a luxury residential community in the Nevada desert
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6 Ascaya Clubhouse Photography by Velich Studio LLC
15 Design Workshop 16 Center for Italian Modern Art Photography by Walter Smalling Jr.
26 Product Showcase
28 Orlando Health Heart Institute Photography by Chad Byerly
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TA B L E O F
CONTENTS Ascaya Clubhouse
Center for Italian Modern Art
Orlando Health Heart Institute
Desert Contemporary Swaback Partners designs a sumptuous clubhouse for a luxury residential community in Nevada in which seamless indoor/outdoor spaces convey a sense of discovery
Swaback Partners John E. Sather, Architect & Senior Partner Photography by Velich Studio LLC, Shay Velich Photographer
The clubhouse’s porte cochere includes a butterfly roof with copper accents resting on top of massive stone pillars, which frame the skyline of the Las Vegas Strip against the mountain backdrop.
Ascaya, a luxury residential development in Henderson, Nevada, showcases architectdesigned homes created to reflect and advance an aesthetic known as “Desert Contemporary,” which means sun, shadow and the desert landscape inform the homes’ design. Spacious windows with large overhangs bring the desert’s austere beauty inside, while creating functional shaded spaces outside. The color palette and textures of the desert inform the homes’ materiality, with stone, wood, brushed steel and surfaced glass bringing rustic and refined textures into play. The development’s 313 sites are located 3,000 feet above the Las Vegas valley and next to the mountains of the McCullough Range. The homes, which are being designed by such boldface firms as Lake Flato and Richard Meier & Partners, are rich with such amenities as spas, exercise rooms and home theaters. But Ascaya is also a hillside community, which makes walking throughout the development difficult for some residents. And it’s a residential community without golf.
For those reasons, the centerpiece of life at Ascaya is a 23,000-square-foot, two-level clubhouse, designed “as a community gathering place where the residents can build, nurture and extend their relationships with their neighbors,” says John E. Sather, Architect and Senior Partner, Swaback Partners, Scottsdale, AZ. The design of the Ascaya Clubhouse, by Swaback Partners, “was inspired by the great desert-responsive architecture located in many places
The design of the Ascaya Clubhouse was inspired by the great desert-responsive architecture located in many places throughout the world, where shade and shadow become tools of design.” - John E. Sather, Architect & Senior Partner, Swaback Partners
throughout the world, where shade and shadow become tools of design,” Sather explained to Las Vegas Review-Journal. “Its reflection on the past is manifested in the way it creates shade and courtyards, just like great desert architecture has done for centuries in the deserts around the world,” he continued. At the same time, the design “looks to the future in its expression of bold cantilevers, precisely framed views, sustainability elements such as the orientation of the building and location of the windows.” In doing so, Sather argues, the architecture advances the cause of great desert architecture, by promoting forward-thinking, responsive, Desert Contemporary design. A sense of discovery is also infused in the artfully designed clubhouse, beginning with a unique entry and courtyard experience. The porte cochere includes a butterfly roof with copper accents resting on top of massive stone pillars, which frame the skyline of the Las Vegas Strip against the mountain backdrop. Residents then enter a gated portal flanked with steel columns of various heights, which compose a “wall” behind desert landscaping by Southwick Landscape Architects, Las Vegas. Overhead is a ceiling of shimmery copper panels and abstracted steel forms, which terminates in a wall of travertine stone.
At the entrance, to the left of the travertine wall, columns of travertine inset with sinuous laser-cut steel forms surround 10-foothigh doors with shade-providing copper roofs. “The materials were chosen for durability in the harsh desert sun,” Sather says. “The trellislike forms in the laser-cut steel were abstracted from the shapes of desert trees like Palo Verde, which cast a dappled light. Our intention with designing this entrance to the clubhouse was to draw residents into the building.” The dramatic entry sequence brings residents into a central, pavilion-like gathering room that frames views of the Las Vegas Strip. Ceiling-to-floor pocket doors open to a cantilevered terrace, creating a seamless connection between the indoor and outdoor spaces. Travertine walls and floors add opulence to the room. “By correctly orienting the building to capture the breezes, by shading the exterior with large overhangs, and introducing the feeling of coolness with the materials on the floors and walls, we’ve created a resort-quality space that works with, rather than against, the desert climate,” Sather says. Rigorous calculations ensure daylight, throughout the year, streams through the clerestory windows to bounce lightly off the floors and ceilings, and back up to the light shelves, to minimize the need for artificial light. “The central gathering space is similar to an open pavilion and blurs the line between indoors and outdoors,” says Sather, who worked on the interiors with designer Todd-Avery Lenahan, Principal, TAL Studio, Las Vegas. “During inclement weather, the doors can be closed and the inner room made more intimate and comfortable. Either way, the community space celebrates the desert and the magnificent views it affords.”
The dramatic entry opens into a central, pavilion-like gathering room with travertine walls and laser-cut steel accents.
At the entrance, travertine columns inset with laser-cut steel forms abstracted from the shapes of desert trees surround 10-foot-high doors with copper roofs.
The flexible design of the clubhouse’s main level provides residents space for business and pleasure. A 1,200-square-foot catering kitchen, designed by celebrity chef Wolfgang Puck, offers residents numerous dining and catering options. “Rather than imposing a restaurant on the clubhouse, we provided an expertly designed kitchen that’s highly flexible,” Sather says. “If the community wants to have cocktail parties, the clubhouse has lovely spaces for buffets. In the future, if they decide on a more formal restaurant, we can easily adapt and insert the features they want.” The clubhouse’s health and wellness amenities are on the lower level, which guests reach via a grand stairway. Integrated with the stairway is steel grillwork of abstracted shapes that shades the window, while also casting ever-shifting artistic patterns on the floor. On the lower level is a 3,000-square-foot fitness center complete with state-of-the-art workout equipment. Adjacent to the fitness center is a movement studio that offers classes (some virtual) in Pilates, yoga and other modalities. Just outside of the studio is a lawn for fitness classes, workshops and other activities. The lower level also has four massage rooms, where the design team played with the light levels. “It’s all about the experience,” Sather explains. “From the time guests arrive in the harsh desert sun, travel through the dappled light of the courtyard, descend the grand staircase, and enter the wet areas of the locker rooms, they’re shedding the stresses of the day and the light quality grows softer.” Pendant lamps and coffered ceilings embedded with LEDs allow light levels to be adjusted as necessary. The family-friendly design also includes a children’s pavilion, where young residents can play and create using a dry-erase board, chalk and wall-mounted cork boards. Outside, the clubhouse has an 8,000-square-foot, zero-edge swimming pool with three lap lanes. The outdoor areas also include a spa, six cabanas, two tennis courts (one of which can be used for pickleball), a basketball half-court and horseshoe pits.
The clubhouse’s health and wellness amenities—including workout, fitness and massage rooms (above)—are on the lower level, which residents reach via a stairway that blends the rustic and refined.
The clubhouse’s community amenities include an 8,000-square-foot, zero-edge swimming pool with three lap lanes.
The unique, concrete ballasted roof of the clubhouse integrates rock displaced during construction. Large retaining walls around the clubhouse also reuse rock from the site. “This way,” Sather says, “the roof of the clubhouse reflects the desert floor. It’s just one more way we made the design and materiality of the clubhouse responsive to place.” “Our focus,” he continues, “is the creation of place-based architecture. Our work brings communities together in various ways, and we’re constantly looking for uniqueness so we don’t take a single style of architecture or formula from one place to the next. Our buildings are also tools for living. They’re turned over to their communities, which decide how to use them. The Ascaya Clubhouse gathers residents of all ages together, to live life to the fullest.” n – CLF
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Domestic Sensibility Verona Carpenter Architects transforms a New York loft into an elegant research and exhibition center for “slow art”
Living with art, looking at it throughout the day and getting to know artwork intimately [is] an experience of looking and study known in the art world as ‘slow art’.” – Irina Verona, Founder and Partner, Verona Carpenter Architects
Center for Italian Modern Art
Verona Carpenter Architects Irina Verona, Founder and Partner Photography by Walter Smalling Jr.
Laura Mattioli grew up immersed in the art she enjoyed viewing on her father’s apartment walls; an apartment Gianni Mattioli—an Italian businessman and art collector, particularly of the work of the Italian Futurists—dedicated solely to the exhibition of his art collection. “My father had an apartment full of all the paintings of the collection close to his house,” Mattioli told Artnet News. “The apartment was only for the artworks. He opened it for free to the public and then went himself to explain to the people what modern art was; he did this for 15 years. And I think CIMA came from this experience.”
Subtle changes to the former loft enabled the design team to create open, airy exhibition spaces next to the kitchen that double as work areas for CIMA’s Fellows.
CIMA is the Center for Italian Modern Art, which the younger Mattioli founded in New York City in 2013. The art center, located in SoHo, occupies 4,000 square feet in a 19th-century, cast-iron structure designed by New York architect Griffith Thomas. Originally constructed for light industry, the building was converted to live/work studios in the late-20th century. In the early 2000s, the building was renovated again into apartments and later into condominium lofts. That’s when Mattioli bought the residence with an eye toward transforming the space into one reminiscent of her father’s art-filled apartment. “We designed the art center like a residential loft project; it has a kitchen, living room and bathrooms,” says architect Irina Verona, Founder and Partner, Verona Carpenter Architects, New York. “While she was growing up, Laura experienced a uniquely domestic relationship to art. Living with art, looking at it throughout the day and getting to know artwork intimately are all concepts about which she cares deeply. It’s an experience of looking and study known in the art world as ‘slow art’.” CIMA, a nonprofit exhibition and research center, was organized around the principle of “slow art” and encourages close looking. Housed in a spacious, light-filled and airy loft arrayed with Italian modernist furnishings, CIMA is an exhibition space presenting long-term shows on specific artists or groups of artists. The center mounts a new exhibition every year, which is typically dedicated to one or two Italian artists. The first one focused on Fortunato Depero, followed by Medardo Rosso, Giorgio Morandi, Giorgio De Chirico and Giulio Paolini, and most recently Alberto Savinio. The first exhibition drew extensively on Gianni Mattioli’s collection. In subsequent exhibitions, artwork has come in part on loan from other institutions. Because the art center is designed
In converting the loft to an art center, the design team retained and worked with existing columns (top), designed a kitchen for espresso making and event catering (middle), and repurposed living spaces as work areas (above).
Museum-grade lighting systems include recessed, flexible track lighting with LEDs for work hung on the walls and for two- and three-dimensional work on pedestals (above). A hallway was repurposed as a linear gallery space (below).
more like a residence than a typical gallery, public visits are limited to 15 to 20 people, to foster an intimate experience with the art. First and foremost, however, CIMA is dedicated to promoting public appreciation for and advancing the study of modern and contemporary Italian art in the United States and throughout the world. It’s renowned as a place for serious scholarship. Fellowships are awarded to art historians doing work on Italian modern art. The art history Fellows—who spend their days studying the art, and lunching with each other and the center’s staff in the kitchen—conduct the Saturday public tours, which begin with a complimentary espresso. The renovation primarily involved “upgrading the space to accommodate the display of art,” says Verona. Museum-grade lighting systems were integrated, including flexible track lighting with LEDs for work hung on the walls and for two- and three-dimensional work on pedestals. “We recessed the track so it disappears and is flush with the ceiling; all you see is the track head,” Verona explains. “It was very precisely done.”
More sophisticated mechanical systems were installed to control the temperature and humidity levels necessary to preserve and maintain art. Six air handlers were concealed and interspersed throughout the loft, to feed different areas. Because the loft is in an historic building, the existing wood double-hung windows along the front part of the main gallery couldn’t be replaced. Instead, the design team added a second layer of windows to control humidity, temperature and sound. The biggest challenges were columns bisecting the main living or gallery space, and working with the structure’s original exposed tin ceiling. “We needed to make the space more neutral for the display of art,” Verona says. The design team dropped the ceiling (that way, ductwork could also be inserted)
In the main gallery or former living room, the areas above fireplaces were plastered for the display of art. Modern furnishings by iconic designers are used throughout the center, which fosters a domestic relationship with viewing and studying art.
and removed walls away from columns to correct the space’s proportions. Otherwise, Verona says, “Our layout isn’t much different than that of the original loft. We largely worked within the limitations of the existing structure.” CIMA’s main gallery is in the living room on the north side of the loft. In this large, flexible space—which is also used for symposiums, meetings and presentations by the Fellows— three-dimensional sculptures on pedestals occupy the space along with art on the walls. Above the fireplace, the design team inserted a mantle of blackened steel and plastered the area above for the display of art. A brick wall retains “beautiful and well-preserved cuts in its surface,” Verona says, created when an elevator shaft was removed during earlier renovations.
The design team also created a long, blackened-steel bench across the north side of the gallery, which, in addition to providing seating for events, conceals the radiators. A brick wall in the master bedroom was retained to give the room, which is now an alcove gallery, “texture and a sense of scale,” Verona says. A brick wall in the enlarged master bath also brings a sense of history to the space. Smaller bedrooms were repurposed as offices. In the kitchen, a new layout, seating and equipment were incorporated to accommodate brainstorming sessions, informal gatherings and espresso preparation for public tours. Proportions were also tweaked in the hallway connecting the north and south portions of the loft to create a linear, transitional gallery. Throughout the loft, furnishings include pieces by such icons of modernism as Gio Ponti, Charles and Ray Eames, Hans Wegner and Florence Knoll. Floors were buffed and re-stained a lighter tone. CIMA’s elegant loft-like home creates a “domestic relationship with the art, which is important to the foundation and how it operates,” Verona says. “Not unlike the art salons of the 19th century, this private foundation enables the public to access art in a domestic, non-institutional setting, combining a private context with a public mission and aspiration.” n – CLF
Blackened steel was used as a mantel on the loftâ€™s brick fireplace (right); its color and texture are reflected in one of the bathroomâ€™s artful wallcoverings (left).
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Orlando Health Heart Institute
Baker Barrios Architects John Slavens, Principal + Healthcare Photography by Chad Byerly
COLLABORATIVE Baker Barrios Architects co-locates multiple heart health services in a new facility in downtown Orlando
On a dense urban site located on the campus of the Orlando Regional Medical Center in Orlando, Florida, Baker Barrios Architects (BBA), which has offices in Tampa and Orlando, confronted a formidable challenge. The firm also found solutions that exceeded client expectations. On a parcel bound on three sides by roads, BBA designed the 150,000-square-foot, five-story Orlando Health Heart Institute (OHHI), which economically consolidates comprehensive cardiovascular expertise in one flexible and multi-functional facility. OHHI not only innovatively combines a diverse array of formerly independent cardiovascular practices and services; the facility also provides each one with a sense of autonomy and identity. By consolidating these services under one roof, BBA was also able to provide greater patient convenience and familiarity with a single building, a more efficient design through sharing of patient lobbies and common spaces, and the consolidation of employee functions. The new outpatient facility co-locates, under one roof, MidFlorida Cardiology Specialists, Orlando Heart Center, Orlando Health Cardiovascular and Thoracic Surgery, the Arnold Palmer Congenital Heart Program, and vascular surgery imaging and
In the building, autonomous heart clinics share such common spaces as admission desks and waiting areas, with task lighting demarcating areas of service and floor-to-ceiling glass providing views to the outdoors.
rehabilitation practices. The institute also brings together doctors and clinical staff to provide advanced diagnostics, surgical and non-surgical treatments, education, cardiac rehabilitation and research. By centralizing cardiac care, heart patients experience greater access to cardiac experts, more coordinated and collaborative care, and faster results in one centralized downtown location. To maximize the building’s footprint on the infill site in the urban setting, the design team used durable, affordable precast-concrete panels in a sandstone color on the exterior, with aqua-toned fenestration. At the building’s entrance, dark-blue spandrel panels of highperformance glass curve across the building’s four upper levels, with aluminum solar shades providing protection from the southeast exposure. Precast panels bookend either side of the curved glass; behind the atrium, the building steps back to frame the dynamic curved form and create a sense of balance. Inside the front entrance a rotunda serves as the building’s lobby. Materials include dark, rich wood trim on walls and wainscoting around columns; a digital wayfinding system; and multi-color LED lighting systems within soffits that can be modified according to time of day or mood. Brazilian granite floors alternate with carpet tiles that can be easily replaced if damaged.
Materials used throughout the interior include rich wood trim on columns, desks and walls; fritted glass dividers; and carpet tile and Brazilian granite for floors (above and middle). Durable pre-case concrete and a curved glass curtain wall announce the building on its site (above).
The pediatric rooms are brightened with colorful floor treatments and bold wall graphics (above), while a warm, rich palette of materials was used in diagnostic, treatment and meeting rooms (right).
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The first level also houses centralized business offices, registration, patient education and classrooms, and an imaging center that includes CT and MRI equipment. In the diagnostic areas, dimmable recessed lighting was combined with standard fixtures. In programming the rest of the building, the design team carefully considered the various services and practices relocating here, as well as patient safety and accessibility. “For planning and site purposes, we went vertical with the building,” explains John Slavens, Principal + Healthcare, BBA. “But we were also addressing the needs of practices that had been independent and were now going to be co-located in one facility. The trick was putting them together in ways that made sense and worked symbiotically, while giving them a level of autonomy.” The design team connected the second level of the facility with a new parking garage, so less-ambulatory patients and parents with small children could easily access the cardiac rehabilitation practices and the pediatric clinic for congenital heart issues on that level. To enliven the time spent by young patients in the pediatric suite, BBA included colorful patterning on the floors to provide focal points and easy wayfinding; bold colors on the walls; and vinyl wall graphics as window coverings.
The heart institute is located on the second, third and fourth levels. The fifth floor is dedicated to orthopedics. Curved wall systems used throughout the building’s structure soften hard edges and eliminate long corridors typical in traditional clinics and healthcare facilities. Within the curved walls corridors open up with seating alcoves for families and patients to gather or rest. On each level, outside of the elevator banks, an oval, fish-shaped form hangs from the ceiling, representing the structural space where two curved wall systems on both sides of the building converge. The forms have perforated aluminum openings, behind which are multicolored LED lights. The oval is repeated beneath the ceiling form with carpet tiles. “This accent creates an identifiable image that patients can use to orient themselves when they step off the elevator,” Slavens explains. In order to fit the building on its site, an existing parking garage was demolished and replaced with a larger, more efficient structure. Vertical decorative elements on the exterior— lively silkscreened panels created by local artists and selected by the city—soften the appearance of the 2,200-space lot. By centralizing cardiac care in one dynamic location, heart patients experience greater access to cardiac experts, more coordinated and collaborative care, and faster results in one centralized downtown location. In co-locating multiple heart-health services and practices for Orlando Health, BBA designed sustainable, innovative architecture that transcends form and function. n – CLF
The new parking garage is festooned with colorful banners that soften the structure’s concrete exterior (left), while inside the heart center an oval fixture with colorful LED lights hangs in each elevator lobby to provide wayfinding and a sense of whimsy (above).
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Swaback Partners designed an artful clubhouse for a luxury residential community in the Nevada desert. Verona Carpenter Architects transform...
Published on Dec 1, 2017
Swaback Partners designed an artful clubhouse for a luxury residential community in the Nevada desert. Verona Carpenter Architects transform...