Innovative Design Quarterly Sept 2016

UNIQUE APPLICATIONS IN ARCHITECTURE & LIGHT

ISSUE 916 • 2016

|Central 6 CHK Boathouse Boathouse Jazz

16 Polo Equestrian Center

Horse Sense

28 lululemon Heat & Light

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Elliott + Associates Architects adds to its portfolio in Oklahoma City’s Boathouse District with sculptural structure for art, music and rowing

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CHK |Central Boathouse Photos by Scott McDonald, Gray City Studio

15 Design Workshop 16 Polo Equestrian Center

Photos by Rod Kazenske, Eric Morley, Jeff Gwynn & Dunn’s Aerial Photography

26 Product Showcase 28 lululemon

Photos by Justin DeMutiis Photography

Innovative Design Quarterly Magazine, Issue Volume 916, 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.

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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 CHK | Central Boathouse

Polo Equestrian Center

lululemon

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Boathouse Jazz

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Elliott + Associates Architects adds to its portfolio in Oklahoma City’s Boathouse District with a sculptural structure for art, music and rowing

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The vision behind the Boathouse District development always involved creating innovative facilities and programs that complement one another, working together to create a dynamic, world class environment unique to Oklahoma City.” - Mike Knopp

In the early morning, the boathouse appears to float on the water with its glass-clad “prow” pointing toward the river.

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CHK|Central Boathouse

Elliott + Associates Architects Rand Elliott, Architect & Principal Photos by Scott McDonald, Gray City Studios

Just for a moment, let’s think about the similarities between three seemingly disparate entities: rowing or crew (as in sculls propelled down a river), music (as in jazz) and art (as in visual art, such as painting). Rhythm may be the first commonality that comes to mind. As rowers power their oars through the water, with strength and in unison, they’re guided by a shared sense of timing as rhythm drives their strokes. In jazz, the musicians are similarly in sync as they perform the rhythms underlying a score or improvisation. Rhythm is also an integral component in many works of art, created as the artist’s body moves a brush or palette knife larded with paint across a canvas.

The creative repetition of brush strokes, oar strokes, the double strokes of drumsticks in a jazz drum roll: A sense of flow is also integral to rowing, jazz and painting. Flow, as pointed out by psychologist Mihály Csíkszentmihályi, is a concept widely referenced across a variety of creative fields as a state of being that occurs during intense moments of creativity or concentration; a deep focus on nothing but the activity in which one’s engaged. Now, imagine all of those qualities manifested in one elegant building designed to serve all three of those entities.

It exists. The CHK|Central Boathouse is not only home to the University of Central Oklahoma’s (UCO) women’s rowing team, it also includes the Jazz Lab—an outpost of UCO’s music program and a multi-purpose live music venue—and an art gallery. Designed by Elliott + Associates Architects in Oklahoma City, the 18,000-square-foot structure is just one in five boathouses—all somewhat similar, but designed for different purposes—the firm has created in the Boathouse District along the Oklahoma River in Oklahoma City.

“The vision behind the Boathouse District development always involved creating innovative facilities and programs that complement one another, working together to create a dynamic, world class environment unique to Oklahoma City,” Mike Knopp, executive

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On the side facing away from the river, the structure’s horizontal lines, white-painted steel panels and floor-to-ceiling glass create a distinctive entrance for art patrons and the University of Central Oklahoma’s women’s rowing team.

director of the Oklahoma City Boathouse Foundation, has said. “The CHK|Central Boathouse perfectly advances this vision by introducing the arts to the Boathouse District and helping solidify the Oklahoma River as a destination for the entire community.”

In addition to the CHK|Central Boathouse, Elliott + Associates’ other projects in the district include the Chesapeake and Devon boathouses, and the recently completed Riversport Rapids Whitewater Rafting and Kayaking Center. All are along a mile-long, straight stretch of river—so straight, in fact, that it’s an Olympic training site.

With each project in the district, says architect and principal Rand Elliott, “the structures are architecturally alike in that their forms are inspired by the rowing shells themselves with the sharp nose or prow, and their exterior materials—white-painted steel panels—are the same. But the similarities stop there. We determined early on that each boathouse would have a unique purpose and serve a different organization, and its design would begin with a specific concept.”

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UCO chose to combine the three entities in the boathouse, Elliott explains, as the university has a women’s rowing program, a music program that brings national and international musicians to Oklahoma, and a fine arts program. “UCO is 20 miles from downtown and this boathouse provides the university with a vital downtown presence,” he adds.

To convey that vitality, the architecture manifests the conceptual commonalities of the building’s three uses while speaking to the activities occurring there through siting, form, fenestration, materials and program. For instance, the two-level structure faces east and west with its “knife-edge glass nose pointed down to the river’s edge,” Elliott says.

At night, lines of gold LED lights wrap around and demarcate the building’s blue glass nose or prow like ripples on water, while emphasizing the structure’s shape: a rowing scull.

The blue glass was selected to mimic water and sky, while “the lighting innovation adds incredible energy to the river and the Boathouse District,” Elliott says. “As you see the light reflected in the water, you recognize this boathouse’s distinctive personality.”

To the east, the boathouse has a concrete platform or ramp within 75 feet of an inlet to provide the rowing sculls with easy access to the river. The ramp and the dock also serve as stages for outdoor performances, “allowing musicians to quite literally play on the water,” Elliott says. A dramatic triangular cut in the boathouse’s form—which mimics the inlet and is topped with a floating beam—frames downtown Oklahoma City and adds another distinctive element to the CHK|Central Boathouse’s form.

The horizontal lines on the exterior of the boathouse—stretching along the metal panels to join the gold LED lights at the building’s prow—resemble the strings of musical instruments, or the lines on music or staff paper. At specific points along those lines Elliott placed rectangular window cutouts to sit like notes on staff paper. Not only do the windows animate the interior with sunlight; on two sides of the building, where the glass was laminated with gold-colored film, the windows cast squares of gold light into the building that move throughout the day. “It’s powerful and joyous to watch these shards of gold light move across the floors, climb up the walls and dance across the ceiling,” Elliott says.

Inside the boathouse, a sense of music is immediately clear. Behind the reception desk is a wall of 392 taut wires or cables strung from floor to ceiling. The feature “represents stringed instruments and creates a water-like moiré pattern,” Elliott explains. “Right away, you see a simple yet elegant connection to one of the building’s purposes.”

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Inside the building’s glass prow is a performance hall with a concrete floor highly polished to resemble water.

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The boathouse’s east elevation parallels the river inlet, allowing the rowing shells to access the river via a concrete ramp. The ramp and dock also serve as stages for outdoor performances.

“Notes” created by laminating windows with gold-colored film bring squares of gold light inside the boathouse that move throughout the space during the day.

A long wide corridor serves as social and gathering space, and as the art gallery for rotating exhibitions by UCO students and local artists; slot windows down one gallery wall frame the rowing shells resting on racks in the storeroom. “We placed the art gallery and boat storage side by side to illustrate the connection between these two uses,” Elliott says.

Track lighting and blue atmospheric lighting illuminate the gallery, while the ever-changing gold “notes” add kinetic energy. In the boat storage space, early in the morning, one goldlaminated window brings sunlight into room, “adding to the rowers’ experience of the building,” Elliott says.

The corridor also leads to the glass-clad prow: a multi-purpose performance hall with the river as its backdrop. Underfoot are concrete floors, so highly polished they resemble water.

“The reflective qualities of the floor make it seem like the water is inside,” Elliott says. “All of these wonderful connections make the architecture rich and speak to an architectural portrait.”

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“

We determined early on that each boathouse would have a unique purpose and serve a different organization, and its design would begin with a specific concept.”

- Rand Elliott

A dramatic triangular cut in the boathouse’s form—which mimics the inlet and is topped with a floating beam—frames downtown Oklahoma City and adds another distinctive element to the CHK|Central Boathouse’s form. (Inset) Inside the lobby, a wall of 392 taut wires strung from floor to ceiling references stringed instruments.

The performance hall, which can also be used for parties, meetings or training sessions, is acoustically tunable via an undulating accordion-pleated sound trap on one wall, exterior glass shades and acoustical ceiling pocket shades floating below the 30-foot ceiling. “When the boathouse first opened, the stakeholders were invited to the musical ‘Jersey Boys’ from New York City, which knocked everyone out in this gorgeous intimate space,” Elliott says. The hall can also hold table-and-chair seating for 120 attendees and 329 people standing during a cocktail party.

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“

The reflective qualities of the floor make it seem like the water is inside. All of these wonderful connections make the architecture rich and speak to an architectural portrait.”

- Rand Elliott

(Left) Elliott placed the art gallery and boat storage spaces side by side to illustrate their connection: slot windows on one wall frame the rowing shells in the storeroom.

(Right) The building’s main corridor leads to the glass-clad prow overlooking the river, which houses a multi-purpose performance hall.

The boathouse’s upstairs includes offices and a workout room with 20 rowing machines.

“It’s a very economical project that’s supposed to be spare, in order to resemble a simple rowing shell,” Elliott says. “But how do you uplift the spirit when working with a simple structure on a tight budget? Create surprises that create an experience. That’s what separates mere buildings from architecture.”

Elliott goes on to recall that when Dr. Don Betz, president of UCO visited the boathouse one day, “one of the gold shards was moving across the middle of the performance hall. I asked him to stand behind it and took his photo. It was a magical moment.” As for Dr. Betz, the project has a discernible “Wow” factor. The new boathouse is “really a new source of pride for UCO,” he says. “We’ve fused the sport of rowing with music and art. There’s nothing like it anywhere else.” n – CLF

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Horse Sense

Putting the safety of polo ponies and their trainers first, CMB Architecture designs an exquisite polo facility for work and play

Rod Kazenske had designed several small to mid-size equestrian centers when he received a curious call from a former client.

A polo patron and polo player who competes internationally, the client had worked with Kazenske, partner and architect with CMB Architecture, Denver, Colorado, on a 12.5-acre equestrian center in Colorado. Since then, the client had been working on a new equestrian center in Florida.

“He called because he realized what they were designing for him was not going to meet his requirements and needs,” Kazenske says. “They were not designing for the horses or the needs of their caretakers. Instead, they were primarily focused on the project’s aesthetics, and not really giving any attention to the facility’s program or operations.” The client asked Kazenske to join him in Florida and take a look at the project, “at that point, simply as a consultant,” says Kazenske.

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Polo Equestrian Center CMB Architecture Rod Kazenske, Architect & Partner Photos by Rod Kazenske, Eric Morley, Jeff Gwynn & Dunn’s Aerial Photography

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The majority of the site is dedicated to pastures, paddocks and four polo fields, but in addition to the 130-stall, 87,000-square-foot barn around a central courtyard, Kazenske designed three structures on the property: a maintenance facility; grooms’ quarters; and a viewing pavilion between two of the polo fields.

When the architect arrived in Palm Beach County and saw the lush 158-acre site, he fell in love with its potential. “Of course the project’s appearance and aesthetic are important to the owner,” he says. “But no one had really grasped the scope of the project; all of the moving parts essential to functionality, efficient operation, and maintaining the health, safety, and welfare of the horses and their handlers.”

Kazenske posed several creative solutions to some of the project’s most vexing problems.

Soon, both the client and Kazenske realized the architect should take on the design of the equestrian center himself. “Essentially, the owner or client is my patron, but I’m working for his horses,” Kazenske says.

Kazenske’s first step was to hone in on the needs of the equestrian activity occurring at the center: in this case, polo. “Polo barns function and operate much differently than, say, a dressage barn, or a facility for western riders or hunter jumpers,” he explains. “The disciplines have distinct routines, needs and personalities.”

Polo teams, for instance, “front a lot of horses. I call a polo barn a working barn,” he continues. “There might be 25 to 30 employees—caretakers, grooms and other staff dedicated to the care of these horses. The horses themselves are high-performance athletes,

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When Kazenske arrived in Palm Beach County and saw the lush 158-acre site, he fell in love with its potential. and are ridden by the world’s upper-echelon polo players. The horses have a strict regimen, and their food, water, exercise and grooming are very closely monitored.”

As a result, a polo-focused equestrian center has many moving parts, replete with extensive auxiliary lighting, and fire-suppression, cleaning, and health and life-safety systems. All of this Kazenske took into account throughout the design of the 130-stall, 87,000-squarefoot barn. The majority of the site is dedicated to pastures, paddocks and four polo fields, but in addition to the barn Kazenske designed three structures on the property: a maintenance facility; grooms’ quarters; and a viewing pavilion between two of the polo fields.

In the barn, “safety is paramount,” Kazenske says.

“We designed not only from the horse’s perspective of safety, but also in order to keep the workers safe.” Twice a day, each groom takes as many as six horses out at a time for exercise: riding one, and holding the reins of

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three on one side and two on the other. So the barn’s aisles are 24 feet wide to accommodate these groups. The wide aisles also provide plenty of space for other horses and grooms to pass when the horses are tied outside their stalls while the caretakers muck out the animals’ living quarters.

“Horses are large, strong animals—and the truth is, they don’t always get along,” Kazenske explains. “Unfortunately, when accidents happen, it’s often due to people being in the way or not being able to get out of the way. Providing the appropriate amount of space for horses and caretakers to move in and work is a key factor in providing a safe environment.”

The stalls are also located around a central open courtyard, with some stalls on the exterior and others on the interior, to ensure plentiful airflow throughout the building.

In addition, the barn has 278 clerestory windows—one-third of which are electronically operable—for ventilation and natural daylight. “Horses put out a tremendous amount of heat, which rises up and out of the clerestory windows,” Kazenske says. “To facilitate that air flow though natural convection, all of the ceilings are sloped over the stalls.”

The barn was also designed in accordance with local fire- and rescue-department safety codes for animal housing, as well as commercial facility standards. In addition to lightning

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“

Horses put out a tremendous amount of heat, which rises up and out of the clerestory windows. To facilitate that air flow though natural convection, all of the ceilings are sloped over the stalls.” – Rod Kazenske

protection, the barn has extensive fire suppression systems: sprinklers in the stalls and in the ceiling’s scissor trusses; fire extinguishers recessed into the walls (so as not to knock into the horses); and intumescent coatings on any combustible wood surfaces that, if hit by flames, foam up to inhibit the spread of fire.

Even though the barn incorporates large timber trusses, none are structural. “It’s all ‘Hollywood’,” Kazenske says. Because of the structural requirements of a building in a hurricane region, the barn is primarily constructed of CMU (concrete masonry unit or block), with a concrete structural shell around the perimeter, and structural steel or poured concrete columns. The timber trusses give the structure its rustic aesthetic.

The barn has extensive fire suppression systems: sprinklers in the stalls and in the ceiling’s scissor trusses; fire extinguishers recessed into the walls (so as not to knock into the horses); and intumescent coatings on any combustible wood surfaces that, if hit by flames, foam up to inhibit the spread of fire.

In the two attached wings of the barn, Kazenske designed well-appointed quarters for the players and the owner. The North Wing has a three-bedroom apartment for visiting polo players on the second floor, and a full gym with physical therapy room and locker room on

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the first floor. The South Wing, designed for the owner, includes a lounge with wood-burning fireplace, an office and a private locker room. “This area is really the owner’s sanctuary, where he can entertain after a game, curl up with his wife in front of the fire, or open up the doors and enjoy the breeze,” Kazenske says.

The second floor of the South Wing also includes an Asado Lounge, a large gathering area. “Polo players and grooms are very communal,” he says. “They love to hang out, work and enjoy meals together.” The lounge is fully equipped with a commercial kitchen, wet bar and (of course) an asado grill. Furnished with communal dining tables and cozy seating, the space was designed for players to wind down after a great day of polo, or enjoy an ongoing match from the balcony overlooking the adjacent polo field.

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(Opposite page) In one wing of the barn Kazenske designed a lounge for the owner and his wife, which includes a wood-burning fireplace and views to the polo fields. (Top) In another wing of the barn, Kazenske designed the Asado Lounge for the polo players and grooms to gather and make meals together. (Bottom) The viewing pavilion includes a brick patio with curved mahogany wet bar, and steps down with terraced seating to the polo field.

Within walking distance from the barn is the viewing pavilion. Its terraced steps, which are covered in synthetic turf to avoid staining clothing, provide spectators with a cool and inviting area for viewing matches on either side. Draped in plantings and trees, the earthcovered pavilion (constructed using concrete block and concrete) is essentially two structural walls and a roof, with a tunnel below that encloses the rest rooms.

On top of the pavilion, Kazenske designed a 600-square-foot patio with brick floor and a two-sided, curved, mahogany wet bar offering views to both fields. Kazenske’s

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design for the cantilevered shades—the retractable assembly protects polo spectators from the hot Florida sun—incorporates custom-designed steel beams, “off-the-shelf “ sailboat components from a local marine store and sunresistant canvas.

The pavilion, which rises from the polo fields like a South American temple, is a comfortable vantage point from which guests and the owner can enjoy matches and each other’s company during competitions and charity events.

Similarly, the barn is a state-of-the-art facility in which the working horses and their caretakers spend their days between sporting events.

“The client is extraordinarily pleased that we accomplished his goals,” Kazenske says. Moreover, “one of the polo players has said this is one of the best facilities he has ever seen—in the world—for boarding horses and playing polo.”

By keeping the design focus on the safety and wellbeing of the horses and the staff, without sacrificing the appeal of an aesthetically pleasing facility, Kazenske accomplished the client’s and his own personal goals. The architect has also decided, as he takes on a similar project, that “I love working for horses!”

“I truly enjoy opportunities to design equestrian architecture for my clients,” he adds, “by not only providing a beautiful place for horses to board and my clients to enjoy, but also by creating a safe and healthy environment in which the horses can live.” n – CLF

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The viewing pavilion, which sits between the polo fields like a South American temple, has retractable, cantilevered shades that incorporate custom-designed steel beams, “off-the-shelf “ sailboat components from a local marine store and sun-resistant canvas.

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Heat & Light For BKA Architects and Peregrine, lightning sparks inspiration for lululemon’s new Tampa store

lululemon

BKA Architects & Peregrine Andy Estabrooks, Architect & Associate in Charge of Specialty Retail at BKA Architects Photos by Justin DeMutiis Photography

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Mention the city of Tampa, which is nestled on Tampa Bay along Florida’s Gulf Coast, and any number of “known for’s” may come to mind, depending on your proclivities: sun and sand, beaches and boating; Busch Gardens (the African-themed amusement park); the historic Ybor City neighborhood (developed by Cuban and Spanish cigar-factory workers at the turn of the 20th century); or even death metal (that’s right, many of the music genre’s pioneers and stars are based in and around Tampa).

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To create the lightning-inspired storefront, the team routed laser-cut acrylic panels onto the wall with clear acrylic “studs” behind. Tracks of LED lights behind the plastic create the flicker effects and the glow.

But dig deeper. One of the most striking aspects of Tampa exists regardless of aesthetic, cultural or entertainment preferences: The city’s dramatic summer lightning. Afternoon thunderstorms, usually generated when breezes off the Gulf and Atlantic intermingle, occur so regularly in summer that the Tampa Bay area has been called the “Lightning Capital of North America.” The city’s hockey team, in fact, is the Tampa Bay Lightning.

So when lululemon—the yoga-inspired athletic apparel company for women and men, based in Vancouver, Canada—decided to create a store in Tampa’s International Plaza, the search was on for inspiration in designing a singular storefront.

“As we expand globally, we continue to make a concerted effort to connect locally to all of our guests,” explains Emily Robin, lululemon’s manager of store design. “We’ve built our brand on authentic connections with our communities, and our business model is shaped around the idea of supporting and giving back to each community.”

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“

While touring the store last fall, we felt like we were on a dock made of beautiful weathered white wood...like we were sipping a cocktail on a stormy day on a patio in Tampa.”

– Emily Robin

Inside the 3,500-square-foot store, the designers used whitewash effects on the walls to create a distinctive aesthetic, while incorporating lululemon’s kit of parts essential for consistency in merchandising.

“Our stores are different at each location,” adds Karen Dobrowolski, lululemon store designer. “We want to give back to each community where we have a store location by understanding each area’s fitness and culture trends. We do research on specific workout activities and local festivals, arts and sporting events. From that information we create an image board that helps us come up with a design.”

The information Dobrowolski and her team received? “The Tampa area is known for crazy thunderstorms,” she says, with a sports team named for the climatic event, as well. “We thought that’s so cool. So we incorporated inspiration from the weather and the sports team into something beautiful and visually arresting for our storefront.”

Throughout the day and evening, shoppers at the mall find their attention drawn to lululemon’s upper-level storefront, where jagged squiggles of blue lighting flash up, down and across the storm-cloud-like façade. “It’s exciting and unexpected in International Plaza—and for our guests,” Dobrowolski says. “Everyone knows we’re here.”

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To creating the striking storefront, lululemon teamed with BKA Architects in Brockton, MA, and Peregrine, a Vancouver-based team of designers and fabricators specializing in

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The lighting package included track lighting, floor fixtures, and larger round lights to showcase the product and brighten up the space.

unique storefronts. “We’ve been partners with lululemon for more than 10 years,” says Andy Estabrooks, architect and associate in charge of specialty retail at BKA Architects.

“We came on board when the company expanded into the United States,” he explains.

“We design about 30 stores a year with lululemon, which is a great partner. We know well how critical lululemon’s storefronts are. The storefront is where the unique statement occurs.”

Estabrooks and his team traveled to Vancouver to meet with lululemon’s store-design team, Peregrine, and the general and sub contractors, construction manager and lighting designers.

“We found a way to illuminate the storefront by using layers of polycarbonate,” Estabrooks says. The team created layers of laser-cut acrylic panels—some clear, others translucent to form the lightning strikes—and bolted them into the construction wall with clear acrylic “studs.”

Tracks of LED lights behind the plastic create the flicker effects and the glow.

“We needed to figure out how to put the storefront together with a material that’s highend and beautiful, and with a lighting component,” says Robin. “BKA is so supportive of our concepts, and because every storefront is unique and case by case, we rely on them to help us find solutions and define the details. We give them concepts and they help us bring it to reality.”

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BKA is so supportive of our concepts, and because every storefront is unique and case by case, we rely on them to help us find solutions, define the details and bring the concept to reality.” – Emily Robin

Inside the 3,500-square-foot store, the designers “made sure that the materials and design concept reflected on the exterior make their way into the interior,” Robin says. While lululemon deploys a kit of parts in every store, which is essential for consistency in merchandising, each interior is also unique to its community. So in addition to installing a standard lighting package—with track lighting, floor fixtures, and larger round lights to showcase the product and brighten up the space—Robin says, “we incorporate touches that guests may not notice, but are selected to create a total experience for the community the store is serving.”

In the Tampa lululemon store, “We kept the interior design simple,” says Dobrowolski. “We didn’t want too many materials making the store feel busy.” Marble tile in the entry provides a nice transition from the mall’s floor to the store’s light oak floor, display tables, display cases and dressing room doors. Walls of weathered and whitewashed wood, grey-blue accent walls, white tile and decorative Lumens pendants with swirling rippled glass add to the store’s seaside aesthetic.

“Our challenge was to interpret Tampa’s beautiful storms and skies in the design of this store,” Robin says. “We took something honest about the community, and translated it in an elegant and beautiful way. While touring the store last fall, we felt like we were on a dock made of beautiful weathered white wood… like we were sipping a cocktail on a stormy day on a patio in Tampa.” n – CLF (Opposite page) Walls of weathered and whitewashed wood, grey-blue accent walls, white tile and decorative Lumens pendants with swirling rippled glass add to the store’s seaside aesthetic.

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