1
Volume 2 2000 - 2019
Omni Architects
our search for Architecture
Copyright Š 2019 Omni Associates, Ltd; dba Omni Architects. www.omniarchitects.com All rights reserved. No part of this publication may be reproduced in any manner whatsoever without permission in writing from Omni Architects. Editorial Assistance: Gregory Luhan, Ph.D., AIA. Design: Omni Architects. Design Coordinator: Lauren Delventhal. 4
Dedicated to the many clients that have been the inspiration for our work, with our thanks for their patience, support, loyalty, and trust in what we do.
5
6
Contents Foreword 8 Introduction 12 Our Ongoing Search to Define Architecture
16
Architecture as Process
18
Architecture as Outcome
22
Architecture as Execution
24
Our Work: 2000 - 2019 Acknowledgments
29 317
Clients 318 Awards 323 List of Personnel
332
7
Foreword Omni Architects | Precise Formulations of an Engaged Pursuit This publication presents over four decades of architecture developed in and around the Commonwealth of Kentucky. The intent of this monograph is less about documenting the projects for the sake of documenting the projects, but rather to offer a glimpse into a practice calibrated by significant buildings that emerged from specific research-driven concepts and unique client demands. The monograph, therefore, is an opportunity to give voice to the Omni Architects practice while providing insights into the firm’s inner workings and conveying projects as contextualized moments in time. Omni Architects is the most recognized architectural practice in the State of Kentucky. AIA-Kentucky has awarded Omni twentyeight Design Excellence Awards and two Distinguished Firm awards. Omni’s work spans over four decades and includes more than 500 projects. The result of this sustained effort is not bound to a specific style, though it is decidedly Modern. Omni’s work is of both its time and place. The transformational capacity of Omni to influence design is evident. The Northern Kentucky University (NKU) Student Union (project #0311) earned a spot in the Top 10 “Most Influential Buildings in Kentucky” plus the accolade as 8
the “Best University Project in Kentucky,” while their University of Kentucky Health Services Building (project #0510) also placed in the Top 50. The projects and awards validate their design. Most monographs present a chronological compendium of work. While this book project shares the same chronological format, as a researcher who is outside of the firm, yet who is knowledgeable about their work, I saw the immense value of understanding Omni through a critical longitudinal section of their work. The goal of this publication project, therefore, is to provide invaluable insights into the impact of each project as part of a comprehensive and integrated methodology implemented by the firm. As Michael Jacobs states, “this monograph demonstrates a search and eventual emergence of a voice that defines the beliefs and aspirations of an architect’s ability to create better physical environments.1” As demonstrated by the projects included in this publication, location does not define Omni’s ethos, but rather, it inspires it to have more significant implications Within the constellation of practices that dot the Kentucky landscape, Omni Architects embodies a practice that presents an impassioned ability to raise expectations
for the profession and the client alike. Their explorations raise the bar for architectural designs across the Commonwealth that resonate with the rural, urban, and academic communities they serve. While the body of work primarily resides within Kentucky, juries comprised of nationally recognized designers applaud Omni’s work for its innovative architectural solutions that exceed the normative status quo, and the widely accepted design conditions found across the Commonwealth. Each project responds to different contextual influences and pragmatic concerns that they deftly and iteratively develop with their clients. For Omni, architecture is an engaged dialogue between the architect, the client, and the program as manifest through construction typology and material expression. Timeless and Current The terms - timeless and current - reflect the firm’s work. Their projects represent a diverse range of scales, typology, and settings that Omni translates into vibrant forms, proportions, and spatial compositions. Their projects present a crafted architectural response informed by light and plasticity of forms characterized by an interplay of light and material, using both in provocative and interactive ways. Each project features spatial and surface-based manipulations that provide an altruistic visual effect – to enhance people’s lives through building design – and often, Omni’s buildings use familiar materials in unique and creative ways. Method of Working In his seminal book, The Reflective Practitioner, social scientist, Donald Schon states “professionals become aware of their implicit knowledge base and learn from their experience.2” Omni Architects is a reflective practice that demonstrates the level of thoughtfulness that goes into each project. Their process-driven methodology aligns data-driven decision-making that takes
the client and the team on a design journey that is transparent. Their years of experience enable them to see each project with new eyes and to produce new and innovative outcomes that are not derivative or repetitive but instead explore and expand boundaries. Their approach receives critical acclaim from architects and clients alike. These shared values and goals form a feedback loop that enables Omni to successfully work across scales and typologies that have a strong and enduring community impact. Omni has a pioneering spirit that simultaneously elevates the cultural literacy of the client and the Commonwealth. The monograph, produced in two volumes, presents the visceral realities of the practice while striving to assess the value and the contribution of each individual project and its impact on the collective body of work. Omni takes a semi-intellectual stance to expand knowledge within the field of architecture by fusing research with creative thought to better understand the nature of the given project. The lateral alignment of the project to the practice serves as the basis of their formative theoretical underpinnings. Omni’s work does not occur in isolation, but rather through collaboration with their clients. Each project leverages research to present a broad background of layered meaning and purpose. The selected projects serve as illustrations that address how a user’s needs align with the firm’s greater architectural aspirations. These images also present a critical way of thinking about design and the people for whom Omni designs their projects. Positive Office Culture Omni Architects is a purpose-driven firm that presents an inclusive and collaborative approach to the business development and management ethos of the firm. Omni recognized early on that people are the heart and soul of their firm. They often leverage resources to develop the intellectual 9
and theoretical attributes of their staff simultaneously. Their diverse approach serves as a framework that elevates the firm’s culture as a professional ecosystem that encourages mentoring and learning. The partners of the firm have a longstanding commitment to finding and developing talent and then aspire to find their voice. In a formative manner, Omni is prototyping the next generation of architectural leaders and potentially grooming partners who, in turn, share their architectural vision and leadership culture. In short, their ambitious business model molds the business around talent. Moving Forward Since 1997, Omni’s work shifted from individual designs led by the firm’s partners to more collaborative projects under the direction of Michel Jacobs, FAIA and Eric Zabilka, AIA. Projects such as the Northern
Kentucky University (NKU) Science Center (project #9704) – which was the largest and most complex project undertaken by Omni at that time – served to energize the growing lethargy of college campuses in the Commonwealth. The progressive agenda put forth by that project is most evident in the NKU Student Union (project #0311) and the University of Kentucky (UKY) Student Center (project #1404). Omni continues to diligently work on transferring the firm’s accrued theory-building skills to the next generation of architects. Their embedded practice continues to expand through generations of iterative knowledge and work situated in context. The following pages illustrate Omni’s award-winning contributions to architecture, their thoughtful and cogent design solutions, and ultimately, Omni Architects’ positive impact on the Kentucky vernacular.
Gregory A. Luhan, Ph.D., AIA The John Russell Groves Endowed Professor of Architecture University of Kentucky Research Professor, College of Design, School of Architecture
Notes 1. 2.
10
Luhan, G.A. (2018 October, 17). Personal Interview with Michael Jacobs [Michael Jacobs, FAIA, Architect]. Schön, D. (1983). The reflective practitioner: How professionals think in action. New York: Basic Books.
11
Introduction This monograph is not a manifesto or a scholarly tome, but is reflective of our thoughts about the challenges that face architecture today. By compiling this collection of projects, we contribute to asking that more significant question of, “What is Architecture?” Perhaps we can capture for ourselves what it means to use sketches, ideas, models, details, and fragments of our work to elevate the discussion beyond mere building and advance the quality of architecture.
horizontal vistas in my waking moments and all-encompassing vertical nighttime views that extend to the universe beyond. When I find myself preoccupied with the mundane daily tasks of practice at hand, I gaze out into the still of the night, absorb the vastness of space in which we all live, view the rotational spectacle within the infinite cosmos, and watch the planets rise in the eastern sky. A modern house can provide this opportunity to look out - and even beyond – which has Addressing these questions leads to contributed in part to my belief in the modern metaphysical views of the cosmos, a deeper project we call architecture. understanding of the relatively minute fraction Architecture strives to ask, answer, and of time we occupy on earth, and the impact respond to the difficult questions. Which that design has on the built environment. gets us to the existential point of, why should Therefore, it is no surprise that as architects, our minuscule efforts/actions to make a we are occasionally overwhelmed and difference through a few architectural projects question our role as architects and our (such as those represented in this monograph) realized outcomes - which leads to additional matter when there are billions of people with inquiries: “Does it matter what we do as a multitude of more pressing concerns in this architects,” and “Will this work endure?” world? Can architecture make a difference? I consider these issues and reflect on how Does it matter? Is it too late given the depth these answers might directly connect to and breadth of the built environment? Can we my life in a modern house. For the last ten make better, more environmentally responsible years, I’ve lived in a house that resides on and inspired places; that in some small way, a high ridge and overlooks a remarkable enhance the lives of the people who use terrain. From our bedroom, through a 10’ H them? We think the answer is a resounding X 24’ W expanse of glass, I see fascinating “yes!” However, architects often struggle to 12
articulate their necessity and relevance while searching to make compelling places that matter. This publication is not intended to be a full compendium of our work, but instead serves as a series of moments in time that illustrate our attempt to counter these larger and more significant questions of poignancy.
cribbing current trends or being a national thought leader, although one might look at this work and disagree. We do, however, aspire to be committed to and linked into the long history of modernism, understanding context, and place, building upon precedent and working with our clients, not despite our One might view these existential readings clients. as fatalistic. However, that position might Modernism in architecture is not a style. result in a false reading. Architecture, by its Recently, I read that there will always be very nature is – and always should be – an “modernism.” It is also not about being retro. optimistic act. Seeking relevance is what we Modernism continuously evolves. I support do as architects. that way of thinking, as this is what change It matters to us that we illustrate the process promises and what innovation supports: a within this larger endeavor while supporting belief system that is incremental. We here at the aspirational side of our design and Omni explore a Modernism-based premise architectural principles. How do our through the lens of three components: Service, contributions here at Omni make a difference? Design, and Execution. Any good firm can How can this publication, spanning 43 years deliver two out of three of these objectives, of selected works, tell a story about one but we aspire to excel at all three. Kentucky firm’s efforts to excel?
As we reflect, we see that many individuals have come and gone from Omni over the years. We have included each of their names in this volume as a tribute to their contributions. We applaud those who have discovered something here and have chosen to move on - and in some cases even started their own firms - with their perspective on what it means to be an architect. Many others have stayed to see this project through. We dedicate this book to all of them; they have all contributed to the DNA that makes us the firm we are today. They have in the past, or are currently contributing their skills and ideas to this effort we have undertaken. We are also a much younger firm philosophically as a result, with the next generation of architects seeking to find their voice. The project we call Omni Architects is not distillable into simple categorization, or through the limited pages found in this monograph. It has not been about developing a signature or recognizable style. We see our efforts as works-in-progress that continually improve and evolve. It is also not about
The majority of architects work with some type of constraints ranging from a client’s accelerated schedule, to a prescribed program or a limited budget; not to mention the logistical challenges of a given site or building/performance codes. Omni Architects practices under this scenario; however, it is under these parameters of working within limitations and constraints that architecture emerges, prospers, and thrives. Along our journey, there have been significant recognitions of the work developed by our firm. These include nationally peer-reviewed jury acknowledgments, AIA Design Awards for Excellence, and comments of gratitude from the clients or users who hired us. As previously mentioned, our profession and the discipline continually shift toward younger generations. At Omni, we embrace this shift as it has been and continues to be an integral part of our heritage; from our past to our far-reaching future. As the next step in our legacy presents itself, what can we offer to our employees as an instructive and intuitive framework?
13
We contend that this series of monographbased publications could serve an advisory role; a way of answering the question of, “What is Architecture for us now?” as well as a “how-to” primer for incorporating their life choices and career aspirations to develop a better world through design while here. We need to learn more about what they value, challenge them, and continue Omni’s legacy of incorporating each person’s contributions and their creative imagination into successful projects.
works of our imagination, which can also be a testament to the human capacity for creativity. We hope a few of these projects survive. Volumes One and Two of this monograph represent Omni’s long-term objective – to demonstrate the mutually meaningful goals of creating places that bring pleasure to those who use them, and advocate that these places are compelling physical environments.
This publication provides the reader a window into our thought process to better understand One thing architects do achieve is to leave what we do at Omni and how we approach behind some evidence of our existence in the design; both are asking and answering the built environment as a representation of the question, “What is Architecture?” aspirations of earlier generations. They are
Michael William Jacobs, FAIA President, Omni Architects
14
15
Our ongoing search to define Architecture as Process as Outcome as Execution
16
A Monograph asks the question: What is Architecture? The architectural projects illustrated on the following pages can pose queries, which respond to at least three interconnected sets of questions. First, “What constitutes a program?” Second, “What constitutes architecture?” And third, “How do ideas exert influence, elicit conviction and expand beyond the project?” We are interested in how this form of discourse can reflect on a broad range of concerns that circumscribe architecture as a field of knowledge relevant to current topics of conversation. The projects in this monograph fall into a broad definition of what constitutes architectural knowledge. Necessarily, Omni Architects uses an inclusive approach that defines architecture through independent thought, research, and experience. Similar to that of many national practices, the knowledge acquired within the strict limitations of these architectural projects represents an inclusive and comprehensive evaluative assessment of that effort. Through understanding and an active involvement with architectural issues (content, meaning, relevance) coupled with the recognition of cultural issues of our time (a
mature grasp of social systems) can overcome some of the shortcomings of a design project (point of view, politics, style, and of course “the hidden agenda”). We are all a part of our milieu -- the time in which we live. Architecture has a long accumulation of knowledge that continuously reflects modern discovery. Over the last four decades, as seen through the lens of these projects, Omni also responded to paradigm shifts that have shaken the epistemological underpinnings of several architectural models of knowledge. With every project, we have the responsibility to assume the role of an optimistic asserter (to identify ourselves and our epoch). True change in architecture only occurs when culture itself changes. We try to fuse the best of our experiences with our desires for the human condition. This work and the culture of our office becomes the content for our discussions and serves to express our higher aspirations for what architectural projects can do to improve our human existence.
17
Architecture as Process Architectural creativity is the result of an investigative process in which the imagination exists in the world. Our firm aspires to be a laboratory for the creative development of architectural ideas. One of the stated goals of the Omni process centers on exploring various channels of creativity (both tangible and intangible) through the backdrop of these comprehensive projects. By displacing the focus from one inquiry into another, subject illumination emerges in new ways, thereby allowing the creative and analytical process to elicit cohesiveness. “Bergson saw intuition not as an appeal to the ineffable, a participation in a feeling or a lived identification, but as a true method. This method sets out, firstly, to determine the conditions of problems, that is to say, to expose false problems of wrongly posed questions, and to discover the variables under which a given problem must be stated as such. The means used by intuition are, on the one hand, a cutting up or a division of reality in a given domain, according to lines of different natures and, on the other hand, an intersection of lines which are taken from various domains and which converge. It is this complex linear operation, consisting in a cutting up according to articulations and an intersecting according to convergence’s, which leads to the proper posing of a problem, in such a way that the solution itself depends on it.” -- Gilles Deleuze 18
The program is a springboard for invention and transformation. However, the quantitative program that we develop with our clients is only a starting point. Omni uses the program to develop research-driven questions to search for innovation and creativity. The integration of research helps to determine the way their program operates and to discover a way of unfolding it. This iterative process examines the complex and shifting relations between architectural thought, self-searching, and meaning; where the qualitative program becomes essential. It is about a critical alignment of the client’s wants, needs, and desires that facilitates an opportunity for our clients to articulate their goals and aspirations for the project. Sometimes, the program is completely open for us to refine within the limitations of the client’s stated purpose. The program is not a static document that precedes design; it is a living document. As the projects included in this publication reveal, the size of our projects varies greatly. However, every project has its roots in solving the program, identifying problematic conditions, quantitative components, relationships, qualitative goals, activities, and functions creatively. Our best projects range from regionalist approaches
19
to highly complex solutions that consider idea of time: the acceleration of movement. the program not as a series of elements, but Space would no longer be conceived as the succession of rooms or uses, but viewed in rather as a sequence of experiences. temporal compression.
“Programme: The slow realization that the excitement of a scheme is not in its outrageous “In reporting on architecture and design, we have components, but is the most modest programme.” found that notable advancements often result from -- Rem Koolhaas systematic inquiry: a study of visual perception might produce a new wayfinding system, or an analysis While solving a set of programmatic goals of the human body may lead to an innovative task is undoubtedly important, the underlying chair. But we also realize that design is essentially questions here ask, “What is mere problem an intuitive, not a methodical process. So where does applied research – a formal investigation to solving?” versus “What is Architecture?” The find a solution to a specific problem – fit in?” issues are at once both rhetorical (serving to -- Laurie Manfra
situate current trajectories within our field), and theoretical (opening complex and challenging Omni’s design approach centers on discussions on architectural purpose). understanding the full potential and role of On every project, we ask the question ‘What collaboration in architectural practice today is circulation?’ Is it just a corridor or atrium while striving to explore the relationship that connects rooms? The architectural idea between meaning (content) and making (form) could be to occupy the circulation and through both research and production. The not just the space of the room; to make collaborative nature of the analysis component circulation inhabitable and no longer inhabit develops as a more sustained method of the programmed rooms (only that which working; a process that enables each project is stationary). It can be a reflection on the to arrive at a more fully considered solution 20
and cohesive architectural proposition that resolves ideas in detail (issues of meaning, program, site, sustainability, constructability, building technologies, and most importantly execution). “Abstraction, at its best is never arbitrary. It flows from thoughtful readings of program and place. It doesn’t ignore conventions, it amplifies them. It distills a building’s surroundings--light and air, texture, geology, and history--to their essence. It dissects a building’s purpose and reassembles it with clarity and efficiency. Abstraction yields architecture of its place, even at the ends of the earth.” -- R.L.Findley
21
Architecture as Outcome Architecture continues to distance itself from the dominance of novelty as a primary design strategy. At Omni Architects, we constantly examine the nature of “making” and “detailing” as an exploratory form of resistance to the conventional repetition of typology and self-referential projects. This dichotomy explicitly separates knowledge (postulation) and action (practice) from speculation. Quite often, these analytical investigations also lead to constructive internal debate within the office. We found that the interrelationship between conjecture and practice also leads to coherency. Alberto Pérez-Gómez explores this dichotomous relationship and references the essential roles of architecture. PérezGómez’s phrase, fabric et raciocinatione (simply alluding to its making and reasoning) suggests that this is the crucial knowledge that the architect must possess in order to guide his work. There is a human need to reconcile empiricism (the view that experience is the only source of knowledge) with epistemology (the division of philosophy that investigates the nature of knowledge) into a model that reaffirms the value of the creative individual.
22
23
Architecture as Execution Why do we advocate for integrated building practices? Architecture is about structure (grids, order/disorder, and repetition); the best structures do not separate their materials from their form. The role of the building envelope or enclosure is to improve performance. The role of the architect is to investigate the relationship between primary, secondary, and tertiary structural components enabling the building envelope to achieve its performative goals. At Omni, we study the relationship between the inside and the outside to reveal relevant patterns, expose rotation related to building orientation and placement, and develop a layered hierarchy for solar control. Sometimes the envelope becomes an occupied zone of space that expresses the structure. Building Information Modeling (BIM) and clash detection software enables Omni to simulate options that examine how mechanical, electrical, and plumbing systems thread their way through our projects in an efficient way, thus assisting in building organization. In 1984 Omni worked with Bill Lam (one of the nation’s first systems integrators) on the Combs Cancer Research Center (Volume 1, Project 8402). Together, we explored design methods using a charrette model to configure the labs. This methodology enabled every team member (not just the architects) to contribute and 24
inform the final solution. The iterative effort resulted in twenty-six lab concepts labeled from A to Z. When the team arrived at option Z, we had a fully integrated system that solved interior daylighting, provided sun control with light shelves, provided borrowed light into the corridors, sustained extensive exterior views for its users all while optimizing structural beams to support the requirements for mechanical and artificial lighting routes cogently, while providing an architectural solution imbued with spatial experiences and collaboration zones. “Outside and inside form a dialectic of division, the obvious geometry of which blinds us as soon as we bring it into play in metaphorical domains. It has the sharpness of the dialectics of yes and no, which decides everything. Unless one is careful, it is made into a basis of images that governs all thoughts of positive and negative.” ---Gaston Bachelard
The direction of this early research, as illustrated with some of our projects in Volume One, gained significance to us over time and continues as a formal exploration of qualities for “systems-based” forms that use articulated components. It is both an additive and subtractive process; a blurring of the boundaries of form into a representation of a comprehensive whole. Architecture is about the
25
articulation of space and form (configuration, composition, surface, enclosure, and edge). It fosters lightness, framing, composition, and layering. “The introduction of climatic installations governs the extension and renovation of the project. These machines organize the new interior arrangement, turning the place into a breathing machine.” --Ben van Berkel/Caroline Bos “Skeleton: All the pieces intact. Reassembled so the surface configuration is implied by the substructure. Or is it? A question of the relationship of support to surface to meaning. Outside to inside. How are they associated? Outside observed on the inside, inside observed on the outside? Rules for the expression of support to surface? Hierarchy of support parts? A helmet of sorts.” --Eric Owen Moss
26
Metropolis magazine once included a school survey on academic research in the design fields and its role in North American education. The Metropolis survey covered over nineteen possible areas of architectural research. Both faculty and practicing designers placed material research and sustainability at the top of the list. The survey also revealed that materials-based research is still somewhat limited in many of the nation’s architecture schools, however, material research continues to be a pedagogical focus of our practice. What is the role of new material research, applied regional materials, and sustainability in our investigations? We endeavor to stay abreast of new fabrication opportunities at building scales related to emerging technologies such as off-site fabrication, CNC milling to create new forms, laser cutting optimization that minimizes waste, and robotic application advances that reduce costs. Some of our more current projects incorporate current fabrication techniques,
expand our building materials research, and advance our building envelope systems as essential components of the design. At times we have been first adopters. However, at the same time, we strive to limit the risks concerning a building’s integrity by being mindful of the maintenance and operational costs and understanding the cradle-to-grave life expectancy of those emergent systems and materials found on our projects. “What impresses me is the precise and sensuous way in which materials can be used. I believe materials can assume a poetic quality in the context of an architectural object, although only if the architect is able to generate a meaningful situation for them, since materials in themselves are not poetic.” --Peter Zumthor
Many new materials have inherent properties (such as transparency, translucency, sound attenuation, that can transform a design solution through active processes such as layering, laminating, boring, and splitting
among others), which may privilege the material’s application. We augment our search by researching products and physical samples, and having frequent in-house and client lunch-and-learn sessions with vendors. Only then do we consider opportunities for design transformation that may be inherent in those materials and systems that could later inform our design approach. “Planning the wrong way around, starting with a detail or a material, which becomes a parameter for the development of the larger project, makes more sense than beginning with the formation of a concept. Instead of trying to impose a simplistic standard pattern on a unpredictable and constantly changing world, we identify meaningful parameter within contemporary conditions”. ---Ben van Berkel
27
What is Architecture? Architecture is connected to our ability to express our culture. Architecture is about understanding our epoch. Architecture is about the everyday. Architecture is articulation. Architecture is about synthesis of pragmatic and creative modes. Architecture is a process. Architecture is about making (techniques and kinematics). Architecture about the spontaneous and the deliberate. Architecture is about travel and observation. Architecture is about the conceptual (meaning, content, cogency, reason, aesthetics, signifiers). Architecture is an unsentimental exercise in authenticity. Architecture is understanding precedent and paradigm; the icons, movements, approaches. Architecture is made by hand and underpinned with meaning (created, not discovered). Architecture is about imagination (vision, chance, invention, editing the subconscious). Architecture is about the known (the tangible). Architecture is about the unknown (the intangible, the unconscious, intuitive, and existential). “Architecture is about objective idealism.� Architecture is about the material and the immaterial. Architecture is about asking questions - the tough questions (a polemical advocate). Architecture is not about style. Architecture is about finding the gaps and reveling in them. If architecture is to have resonance, it is about what endures even when it is gone beyond memory, what remains, what is left, is the light. And so it is the uneasy status of architecture. We begin by asking questions. If architecture is all this (and more), where do we begin? What clues do we have to understand these complex interrelationships? Have we over-estimated what architecture is, or can do?
Architecture is... 28
Our Work: 2000 - 2019
29
0007 VA Consolidate Pharmacy Lexington, Kentucky 2000
Organizational Approach: Grafting | Contrast Challenge: The existing six-story VA Medical Center located on Cooper Drive comprised large floor plans configured within a rectangular volume. The existing building, clad in red brick with punched window openings, was similar to other medical centers constructed in the 1970s throughout the country. When the VA needed to expand their existing pharmacy in 2007, they realized that the new addition would need to be a one-story element located adjacent to the front drop-off canopy. Rather than assuming that the addition would extrude outward in the same masonry language, the VA Chief asked us to re-think the image that the VAMC conveys to the public. Outcome: The resulting form of the addition curves to signal the primary entry. The pharmacy offices are located in this radiused skin, which features a continuous band of structurally glazed windows. Rather than utilizing brick as the primary material of the exterior envelope, the addition’s cladding is lightweight silver metallic panels grounded on a brick base. Vertical PPG channel-glass, incorporated into the break room provide daylight while maintaining visual privacy from the street. The more technical aspects of automated prescription storage, inventory, retrieval, and tracking reside inboard within the existing footprint. Upon completion, the VA discerned that this contrasting approach could serve as an effective strategy for subsequent (and since executed) additions.
30
31
32
33
34
Architecture is... about simplicity — the essentials; lightness, and the spare; presence through absence.
35
0012 University of Kentucky Center for Rural Health Hazard, Kentucky 2000
Thematic Elements: Connecting the Dots Analogous to a melody in a musical composition, thematic elements can bind a building’s disparate components into a coherent whole, expressing different themes in many ways – from an identifiable personal “style” to a structural engineering virtuosity, to more subtle representations like a consistent approach to detailing that generate recognizable and appreciated topics. The goal for the UK Center for Rural Health building focused on addressing the unique and ever-expanding issues related to healthcare in rural Eastern Kentucky. These issues include chronic shortages of healthcare professionals; the poor health status of many rural Kentuckians driven by poverty, lifestyle, and limited access to healthcare; and the economic impact of health services on the local economy. Locating the Center in the heart of the Appalachian coalfields, one of the most impoverished rural areas of the country, symbolizes the University of Kentucky’s commitment to address these issues seriously and comprehensively. The building is sited on a reclaimed stripmine coal site resulting in a strategy that takes advantage of the long vistas, visual axes, and other contextual strengths of this mountainous setting, while minimizing the number of columns located on deep caissons. The architectural response, characterized as a modern vernacular, occurs as cantilevers and recesses on the upper floors.
36
37
38
The building’s highly transparent envelope facilitates its sense of openness and serves as an opportunity to connect the interior to the exterior by hinting at the vibrant activity within as an educational and health-focused Center for Excellence. The building skin, with its attached balconies, presents a new, porous envelope that permits light to dissolve into the interior spaces while enabling the student activities to be on view. 39
40
41
42
43
0100 Apartment Building Feasibility Study Lexington Transit Authority Site Unbuilt Project Lexington, Kentucky 2001
A Collective Form This project explores a range of design possibilities for transforming the Lexington Transit Authority site into a vibrant mixed-use living environment. A critical component of the proposed solution examines methods for translating the site’s prescriptive geometry and its existing structural frame into a transparent skin that envelopes a service and circulation core. The proposed design solution features a series of internally illuminated balconies that reveal a translucent façade at night. By evoking such a distinctive architectural identity, the project successfully integrates a complex web of materiality of existing conditions that surround the site and uses them to rethink material usage while organizing both the proposed programmatic elements and the building’s structure. The site design mediates conditions found toward the north including the Transit Center and the area overlooking Vine Street, as well as the Aylesford Neighborhood and the University of Kentucky located to the South. The study investigates the relationship between pace and circulation (fast traffic, bus transfer, and walking pedestrians) and the program activities of housing, office, and retail.
44
45
46
A Sense of Place Traditional architecture responds to specific locations and links to conditions of human experience. By investigating what exists, architects can discover the site’s genius loci (the distinctive atmosphere or particular character of a place) and produce speculations on what the spirit of this place could and should be. The proposed scheme develops a sense of place from a set of local conditions where the activities of living (dwelling, shopping, and working) revealed new potentials for the site while attempting to transcend simple “homogeneous” strategies in favor of more “heterogeneous” diversifications (differentiation). Often society impresses upon architects that contemporary architecture does not fit into a sense of place. This sentiment is harsh criticism. Architecture with a permeable membrane sends a message to the general public and future generations that architecture is not a language of contrast but rather, understood as a complement to what already exists in adjacent sites. The design concept for this project references multiple layers of the city that produce recognizable forms infused with living traditions and distinctive, re-identified spaces. The project attempts to link the neighborhood to the southern edge of the site and to activate a currently unrealized “place” with retail markets and other venues. This solution extends the continuity of the street with additional zones for activities. 47
Projects such as this can have a tremendous physical impact on the city while also positively affecting the city’s perception of itself. This stance was not a risky architectural proposal, but rather a transformative design approach. The project attempts to revitalize the city as a vibrant place for people to live and work, and asks the city to act as a partner-for-change to stimulate residential development. This project does not attempt to produce a “retro� modern building but rather, shares the elements of local building languages, which through scale, proportion, and material integration also reinforce the character and the connection to downtown Lexington.
48
49
50
51
0208 EKU Fitness and Wellness Center Richmond, Kentucky 2002
Mediation: Opacity | Transparency | Translucency The Eastern Kentucky University Fitness and Wellness Center is Omni Architects’ first student life project designed in the early 21st century. This project reflects a direct response to higher education institutions’ focus on improving student success through student unions and recreation centers. The EKU Fitness and Wellness Center includes a translucent, panelized envelope that diffuses light along the trajectory of the interior running track. Located at the end zone of the football field, the building’s form illuminates the athletic side of the campus at night. The combination of opaque and translucent materials balances both the heaviness of the building mass as it anchors the structure to the ground and the lightness of the structural assembly as it lifts upwards toward the second level. A central skylight offers a secondary source of natural light infiltration into the core. A two-story space incorporates a staircase and climbing wall for access while affording views of the fitness activities from one floor to the next.
Architecture ... can be assembled of elements as a series of experiences. 52
53
54
55
56
57
58
59
0311 Northern Kentucky University - Student Union Highland Heights, Kentucky 2003
Layering: Inhabiting the In-Between Whereas people experience ordinary buildings from only two positions — in or out — extraordinary buildings offer a variety of positions: in, somewhat in, mostly in, somewhat out, mostly out, and out. Engagement occurs when the building provides spaces that accommodate the almost infinite range of human encounters and expectations. Recognizing that the future of education is no longer bound to the classroom alone and that the most profound educational experiences can also happen outside the classroom, the university targeted their student life facilities as a transformational learning opportunity. The mission of this building was to create opportunities to enrich the student experience and to retain and engage students through on-campus extracurricular learning, educational opportunities, volunteer student service, and social activities – all within spaces that could also function appropriately for hosting leadership programs and blended student service functions.
60
61
Shift | Perception | Overlap Blue + Yellow = Green
The late 1960s NKU campus plan was organized around an Italian hill town model. Fifty years later, the values, culture, history, and aspirations of the university evolved. The client wanted to situate its new student union along the seemingly built-out upper, central plaza so that it could serve as a hub for student life. Omni conducted intensive workshops, polling, and charrettes to fully engage the student population in the design process and inform the project. This inclusive approach sent a farreaching message to visitors, that this facility would have an outward projection that was representative of its faculty, staff, students, and visitors to NKU.
62
63
64
65
66
67
68
69
A key strategy for the design was the incorporation of an elevated circulation path that serves as more than just a corridor; it includes significant and essential shared programmatic elements. A three-story atrium visually connects each floor, allowing its occupants to engage in the building’s many activities through either direct participation or by observation from balconies and lounge spaces arranged throughout. The atrium runs along the entire north face of the building, parallel to the main pedestrian path, and terminates at the primary building entrance. 70
71
72
73
0510 UK University Health Service Lexington, Kentucky 2005
Transparency: Revealing the Activity The desire to know, to see, to understand what takes place in the built environment is part of a fundamental curiosity that drives the human spirit. A transparent building responds to this curiosity by making the internal activities accessible to all, while also demanding a level of mutual accountability. Having long before outgrown their adjacent location, the University Health Service (UHS) embarked on a major new initiative to expand its healthcare services to meet the needs of both students and employees. These services include Primary Care, Gynecology, Nursing & Employee Health, Mental Health, and Patient Education & Prevention. The UHS is sited among and adjacent to four other medical clinic buildings. The site posed several significant problems including its triangular shape, small size, limited service access, and underground campus utilities. Given the complex nature of the program, the design solution promotes an infill approach with a compact, vertical design that optimizes the triangular nature of the site and relies on both public transportation and existing off-site parking structures to relieve campus density.
74
75
The UHS’s form derives from establishing a parallel frontal urban elevation along a city street while offsetting a series of volumes that read as separate solid elements comprised of differing heights, that float over an elevated, glazed entrance-level base along the adjacent multi-story buildings. These offsets provide “pocket parks� that serve as exterior amenities. The street elevation includes a projecting cantilevered glazed element that echoes the loggias of the adjacent context with a freestanding plinth that mediates the naturally sloping site. The brick courtyard volumes of the new UHS building contain stair and core elements, while the elevated and projecting glass facade serve as a lightweight cladding applied to a flush steel chassis. 76
University Health Services DataBase: lateralanalysis
11/20/2009 16:14:54
77
78
The building’s primary entry is accessed from the main campus street and opens into a central atrium. Additional entry points connect to existing buildings and formed a series of programmed courtyards located off of entrances, meeting rooms, and a cafÊ. The central atrium connects the new structure to the existing building where support functions such as diagnostic radiology and laboratory testing are situated. The UHS interior space design reduces student anxiety by providing aesthetically appealing and spacious waiting/reception areas with atria. These spaces optimize natural daylighting and views and incorporate both natural and neutral materials to enhance spatial versatility and timeless characteristics. The three-dimensional stair-stepped forms maintain natural light and views from the existing buildings into landscaped courtyards. The project support spaces include Reception, Check-In, Billing, Triage, Pharmacy, Vaccination, Administrative Offices, Staff Offices, and Exam Rooms. The offices and exam rooms allow for changes in use over time as the UHS clinical needs adjust.
79
The building expresses several visual and experiential concepts. Offices placed on the building’s perimeter provide access to natural light while locating the short duration, non-windowed exam and procedure rooms well within the facility’s core. Color-coding of the perimeter bulkheads represents the programmatic diversity of its users. The collage-like effect in the fenestration is more about the articulation and differentiation of usage than composition. The building façades achieves this goal throughout the evening by expressing the work patterns of the doctors, practitioners, and administrators – ebbs and flows of daily activity – through motion-activated lighting integration. The visual goal for the interior was to reveal how the afternoon light changed, reflected changes in the weather, and connected to place all while eschewing wasteful lighting strategies in favor of a more sustainable, ethereal presence within the university. 80
81
82
In celebration of AIA Kentucky’s 50th anniversary in 2013, AIA Kentucky and Kentucky Educational Television (KET) joined forces to celebrate the impact of architects in Kentucky and recognize the influence of significant architecture on the way Kentuckians live, work, and play. Through an Online event called Architecture 50:50, Kentuckians nominated significant memorable and functional buildings of all sizes and styles. A majority of the onehundred-seventy nominated buildings were historic buildings such as Pope Villa designed by Benjamin Latrobe. Respondents cast 13,000 votes and recognized the UHS Health Service Building as one of the Top 50 Most Influential Buildings in Kentucky. This recognition parallels other significant modern works by nationally renowned architects including Frank Lloyd Wright, Mies Van der Rohe, Daniel Libeskind, and E. Fay Jones. 83
84
85
0515|1310 EKU Science Building Richmond, Kentucky 2013
Previously scattered in buildings across campus, the project creates a unified home for the Science Department that conveys its renewed collective identity. Through a series of collaborative work sessions with various user groups, a building design emerged that responds to the robust academic program as well as the challenging site. The resultant building features a multi-story atrium located at the intersection of two main wings, which were rotated 105 degrees relative to one another to accommodate site elevation changes. While one wing lies on the existing campus grid, the other lies perpendicular to the site’s slope, thus reducing earthwork and allowing space for an outdoor plaza at the front entry. The building communicates the forwardthinking nature of science in both design and material selection. The design includes dozens of sustainable design features that allow the structure to serve as a teaching tool, including a monitored wetland area, excavated rock outcroppings, covered outdoor classrooms, and indoor signage that highlights sustainable design features.
86
87
88
89
The laboratories and classrooms respond to current pedagogies with flexible zones that accommodate emergent teaching and learning models. The public spaces throughout the building encourage interaction and collaboration with movable furniture, convenient marker boards, a cafĂŠ, and recessed, wall-mounted corridor benches. All teaching spaces and corridors provide windows with large expanses of glass that allow natural light to permeate the building. The Science Department credits the new building for a significant decrease in absenteeism and dramatic improvements in student achievement, faculty collaboration, and instructor evaluations. 90
91
92
93
94
95
96
97
0609 Lexington Public Library, Northside Branch Lexington, Kentucky 2006
Line | Plane | Volume The Northside Branch Library serves the culturally rich and diverse demographics of its neighborhood. Less traditional concepts were explored that included replacing a central and stationary circulation desk with RFID self-check kiosks, and multiple mobile help spots. Collaboration zones that are quiet, and some that are even noisy, provide interaction spaces for people who may not otherwise have that opportunity. Amenities such as a café, fabrication lab, teen room, tutorial rooms, radio broadcast studio, and legacy video recording studio represent the expanded and less conventional mission of a more advanced and prototypical library of the future. The polyhedral architectural form derives from regulating lines — while seemingly minimal when observed in its single-floor rectangular plan — expresses in section the merger of these programmatic goals with the provision of promoting more engaging experiences. Compositional façade elements erode this “box” resulting in brick planar surfaces located within a larger glass and metal panel armature. These material elements are located thus as the intentional result of interior volumetric programmatic objectives.
98
99
Special care went into energy modeling to optimize the building orientation and envelope into a simple rectangular form along an east-west axis. The integration of both natural and artificial lighting controls and a daylight harvesting system have been adjusted to meet user comfort and maximize energy savings. Careful planning of glass exposure and the use of 60% fritted glazing and sunscreens optimize views while reducing heat gain. A geothermal ground source heat pump HVAC system and many other sustainable features were implemented to increase overall performance.
100
101
102
Architecture is... about the articulation of space and form— configuration, surface, enclosure, and edge.
103
0610 Center for Advanced Manufacturing Gateway Community and Technical College Florence, Kentucky 2006
Dynamic Interaction: Challenging the Predictable | A New Prototype Emerges We all have a set of preconceived expectations based on previous experience. When we encounter a new building, we apply these expectations to the new space, simultaneously demanding that the building conform to our predictions, and loathing the building when it does not. Delight occurs when the building is unpredictable, yet still understandable. The focal point of this building is the Integrated Manufacturing Center (IMC). Here, students learn in a team-oriented environment that offers troubleshooting techniques and utilizes both simulators and full-scale industry tools for Mechatronics (a miniature assembly line), Computer Integrated Manufacturing, Robotics, and Production.
104
105
Early 3D printed model
106
107
Boone Campus Phase 2
REVISIONS DATE 1 2 3 4 5 6 7 8 9
Southeast Perspective
Gateway Community College, Florence, KY RECORD DATE DRAWN BY
MS
PERSPECTIVE #3
DRAWING NO
COMMONWEALTH OF KENTUCKY
A-10.3
CHECKED BY
FINANCE AND ADMINISTRATION CABINET DIVISION OF ENGINEERING DEPARTMENT FOR FACILITIES MANAGEMENT
MWJ
FRANKFORT, KENTUCKY
A & E FILE NO
0610.00
REVIEWED DIV. OF ENGR. 212 North Upper Street Lexington, Kentucky 40507-1001 p 859.252.6664 f 859.253.2358 www.omniarchitects.com
ENGR. FILE NO
DATE
1/2007
470-C0EG-NC07-00
AGENCY AUTHORIZED AGENT
DATE APPROVED FOR PROGRAM CONCEPT ONLY
DIVISION OF ENGINEERING
DATE APPROVED FOR PROGRAM CONCEPT ONLY
108
LIGHT MONITOR BEYOND
CONFERENCE BALCONY BRICK WALL BEYOND
EXTERIOR STAIR
HVAC SERVICE YARD
PEDESTRIAN LOGGIA
SERVICE YARD BEYOND
COLUMN
EAST ELEVATION
EAST ENTRANCE ATRIUM 01 5 10 15
25
109
110
The GCTC project necessitated the overlap of four disparate program elements and the offset of two atria, separated in both plan and section to organize the basic building blocks of the program. This organization produced interaction zones that oriented the overlapping spaces and established opportunities for chance encounters between faculty, staff, and students. This scheme layers the programmatic elements to enhance the sensory experiences of the external business world that lay just beyond the context (as viewed from the balcony) while connecting the internal academic world of “making� within the building. The design uses a large glass wall to achieve visual transparency and connection between the IMC and the building. The longitudinal section best represents the layering of spaces as it cascades down the gently rolling hillside. 111
112
The architectural solution utilizes regional brick masonry as a ground plinth, a slender metallic form on the upper floors, and a cantilevered balcony that offers views and connections to the surrounding hills. This expressive modernist language promotes the connection between building design and the advanced technologies housed within the building. NBC Nightly News with Tom Brokaw featured the project on March 1, 2011, in a segment entitled: “America at the Crossroads”. This segment delved into an emerging national trend, where workers simultaneously retrain and retool to learn the skills necessary to succeed in today’s high-tech manufacturing industry. NBC highlighted the partnership between GCTC and MAG Industries of Cincinnati, Ohio, which provides workers with on-the-job training and classroom instruction through an apprenticeship program. Brokaw and an NBC production crew visited the center at Gateway’s Boone Campus in December of 2010 to film the building and conduct interviews with Gateway students, President/CEO Ed Hughes, and Professor Anthony Clarke, the Chair of the Manufacturing and Trades Technology Division. 113
0700 JX2 House Bourbon County, Kentucky 2007
Operative Moves: Lift | Shift | Notch | Views The JX2 house is a modern architectural solution; a simple tube-shaped form that actively engages the natural contours of a gently sloping and rolling site at one of the highest points in the Bluegrass Region. The house positions itself on the ridge to recognize the undulating boundary between the natural landscape and the artificial built environment. The house’s location on the site both separates and unifies the interior and exterior spaces and experience. The architectural basics outlined in the origin of the house present concepts that empower a simple form in three ways. First, to construct a project within a specified budget. Second, to optimize the design to facilitate construction by local subcontractors with a minimum amount of architect supervision. Third, and most important, to maintain the architectural essence of why the clients wanted to invest in a lifestyle transition. The concept iteratively develops as a series of complex folded manipulations that eventually morph into a spatial configuration infused with the critical re-thinking of the necessities of living and how to organize them spatially. The house is less about making a complex shape with volumetric spaces in the landscape, but is more about realizing strategic methods for bringing the site’s spatial framework into the house on a daily basis and making the most out of its cubic volume. Left: Book Cover by Damir Sinovcic
114
115
116
The design considers the entire arrival sequence from the rural pike through the landscape (visually) to the front door. The simple rectilinear form, while derivative of both past and current modernist precedents, redefines an organizational structure through an interrelationship of structure, space, and material. The lower level of the house accommodates a compact space for a garage, a mechanical room, and climatecontrolled storage. A second level doublecantilevered rectangular form elevates the living spaces five feet above the sloping topography. The manufactured components optimize the building’s framing to maintain the 10-foot high space’s visual fluidity from end to end while accomplishing internal privacy with two 8-foot high pods that contain all of the functional considerations. A thin glass wall divides the space and serves as a privacy screen. The spatial configuration provides deference to the variety of short and long views, climate, horizon, and a range of daytime through nighttime experiences. Larger openings maximize the long views. Full 10-foot high Low-E insulated glazing extends for 32-foot-wide expanses on the north and south living/dining/kitchen space. Similarly, recessed 10-foot-high by 24-foot-wide windows in the two bedrooms located on the opposite and shorter east and west sides, both reduce heat gain and provide covered exterior decks. 117
The architectural envelope plays a significant role in the breakdown of the volume. A steel beam chassis supports the eight-foot and two-foot cantilevers that bookend the main floor and delivers deep deck projections over the cast concrete-walled plinth. This somewhat anonymous, yet extroverted and punctuated exterior skin uses a zinc sinecurve siding. This profile selection permitted the fabricator to minimize shop fabrication time and allowed for direct shipment from the manufacturer to the site. The horizontal and vertical orientation of the zinc siding allows for a creative yet straightforward solution that enables “collage-like� patterning with subtle differences in how the shadows read compositionally. Small horizontal openings punctuate the skin allowing simple, micro behaviors to occur in the rotations of zinc siding about the window ventilators. Six-foot square glass vision panels, optimized for affordability, avoid obstructions in seated or standing views. The design includes operable windows located both high and low in the wall to promote seasonal fresh air ventilation. The level datum of the cast concrete base reinforces the sloped grading while the steel cable railings minimize the enclosed containment of the decks.
118
119
120
The house focuses on the views. If there is a thread in all of our work, it’s about people and their experiences. When we unplug, we truly connect.
The interior spaces are by no means a minimalist purity, but rather, utilize a simple revealed museum wall base and reveal door detailing featuring black painted oak sliding rails and pocket doors. The use of chartreuse paint on the pods offsets the otherwise all-white interior walls and adds punch to the quiet architectural concept. 121
122
Architecture is... about the poetics of everyday life.
123
0710/1407 BCTC Center for Advanced Manufacturing
Meaning + Making
Georgetown, Kentucky 2007 | 2014
In Scott County, Kentucky, the community of Georgetown has experienced a manufacturing boom spurred by the Toyota Manufacturing Plant. As a result, the automotive industry in this region created a demand for a highly-skilled workforce. In response to this need, the Advanced Manufacturing Center serves as a new model and prototype for workforce training in the Commonwealth and elsewhere in the nation. The broad challenge for this project, given a lack of significant precedent for this new building typology, was to design a facility that regionally positioned the Kentucky Community and Technical College System at the forefront of innovation.
This project was designed in 2007 and went on hold until 2014 due to the Great Recession.
124
In addition to addressing aspirational goals – teaching pedagogy that supports a shift in teaching methods, and facilities that support advanced manufacturing and closely emulate the workforce setting – the building’s identity also illustrates the commitment that the Commonwealth places on promoting workforce development for the next generation of students and employees. The design concept achieves this goal by providing an overlap between a high-bay space that emulates a plant floor required for hands-on training, and an academic wing requiring more enclosed rooms such as classrooms, administrative areas, and testing services. To orient these two distinct space-types, a two-story atrium inserted between these areas mediates these functions with collaboration/group study areas, opportunities for quiet study, and interaction zones for chance encounters between faculty and students.
125
By connecting these two large program elements with an atrium, activities on the plant floor can be observed from second floor windows, allowing visitors (potential students, corporate partners, and community members) to understand the format of this new educational model: Students are enrolled in classes of a 3-hour duration, where a lecture component precedes hands-on training on simulators or full-size tools, which is followed by team problem-solving tasks. These skills, typically referred to as trouble-shooting, required the Integrated Manufacturing Center to be a single, flexible open space. The design also enables acoustical tuning to support classroom discussions, and provides integrated power and data distribution to accommodate the expected change in the curriculum without further remodeling. The other occupied rooms within the facility use a continuous band of shaded glazing to daylight the spaces and take advantage of the rural view of the rolling terrain unique to the Bluegrass region of Kentucky. First designed in 2007, the renderings on this page represent our phase of technology at that time.
126
Classrooms
Electricity 1
Motor Control 1
Maintenance
Fluid Power
Finish + Fabrication
Welding
CAD/CAM
Electricity 2
Classrooms
Electricity 1
Motor Control 2
Motor Control 2
Motor Control 1
Maintenance
Fluid Power
Welding
Finish + Fabrication
CAD/CAM
Electricity 2
Machine Tool
Control
Trouble shooting
Construction Electric
Alternative Energy
Machine Tool
Control
Computer Lab
PLC 1
PLC 2
Robotics
Trouble shooting
Construction Electric
Alternative Energy
1407 BLUEGRASS COMMUNITY & TECHNICAL COLLEGE, ADVANCED MANUFACTURING CENTER GEORGETOWN - First Floor Plan AMC Program
Circulation
Computer Lab
PLC 1
Supporting Program
PLC 2
Robotics
1407 BLUEGRASS COMMUNITY & TECHNICAL COLLEGE, ADVANCED MANUFACTURING CENTER GEORGETOWN - First Floor Plan AMC Program
Circulation
Supporting Program
127
128
Architecture is... an optimistic act.
129
130
131
132
133
134
135
0800 Süd Chemie Research Building Unbuilt Project
Organizational Diagram: Single Surface | Cantilever
Louisville, Kentucky 2008
The German-owned global company, Süd Chemie (now Clariant), a leader in the development and manufacturing of emission control catalysts, considered expanding their Louisville facilities with a new research facility featuring high-bay research labs.
Architecture is... about simplicity — the essentials; lightness, and the spare; presence through absence. 136
The orientation of this design solution extends the pattern organization of the urban grid along South 12th Street into the site. The investigation of form considers the floor, wall, and roof as a single element. By wrapping these surfaces in one loop, the structural distinctions bounded within these folds cease differentiation. Visually this compositional strategy has the effect of running in the long direction while enabling a cantilever to extend outward in the short direction. The cantilevered exploration, first developed on Omni’s 0610 Gateway Project (sans the balcony surface), required a rethinking of structure. The Süd Chemie advances the 0610 investigations by combining the cantilever with a concealed structural diagrid comprising intersecting steel members to form the building’s fluid wrapper. The genius is not about surfaces per se, but is about how we perceive a spatial understanding with surfaces.
137
Architecture is... interested in broad inspiration. It is the belief that anything can be done.
138
139
Per Capita Gross Domestic Product Dow Jones Industrial Average
The Great Recession December 2007 - June 2009
1014 Commonwealth Emergency Operations Center Frankfort, Kentucky 2010
Dense Pack: Opening | Enclosure | Hardened As part of an initiative to remove a chemical weapons stockpile in Central Kentucky, Omni designed a hardened facility to replace and expand the state’s Emergency Operations Center (EOC). The original EOC, designed at the height of the Cold War to withstand the impact of a nuclear blast, exemplified the late 1960s-era brutalism style. The Kentucky Heritage Council designated it a historic property, but despite its historical designation, the facility had crowded conditions and obsolete systems that mandated an expanded and up-to-date facility as a connected addition. The design team achieved several competing goals and design criteria, including: the mandate that the new facility’s design be sympathetic yet distinct from the existing building adhering to the Secretary of Interior’s guidelines for historic properties; and incorporating a more humane working environment to provide natural daylighting and views. The resulting CEOC facility includes additional workspace and increases preparedness and safety as well as providing team-offices, meeting rooms, a technology-rich command center, redundant infrastructure, and state of the art data and communications systems.
142
143
144
145
146
147
148
Omni researched and implemented several design options to achieve these goals, such as materials that both complement and differentiate the new facility from the existing facility, while achieving building performance and sustainability goals. The project integrates a specialized fritted ballistic glazing system that meets the Department of Defense (DoD) requirements but also provides critical access to natural daylight and extended views. The design solution also includes standoff site walls and a hardened and redundant envelope that meets the DoD’s criteria for impact and blast resistance. The new facility is capable of resisting an EF-4 tornado. 149
150
151
1105 University of Louisville Student Recreation Center
Approach: Stack | Overlap
Louisville, Kentucky 2011
The project stems from the University of Louisville’s commitment to expanding options for student life experiences. The design is the result of a collaboration between Omni Architects and CannonDesign. The design concept begins with the desire to express the running track on both the interior and exterior. To accomplish this and fit the building within the site limits, the design stacks two 3-court basketball gyms vertically. The design also encourages socialization by providing spaces that are visually open to one another and by volumetrically overlapping various activity zones, both horizontally and vertically. The vast expanse of north-facing glazing provides dramatic sunset views of downtown Louisville. In addition to traditional basketball and volleyball, the Multi-Activity Court accommodates activities like indoor soccer and roller/field hockey and includes reconfigurable multi-purpose fitness spaces that meet current trends in group exercise such as dance, yoga, martial arts, and spinning. The project is the first building on UofL’s Belknap Campus to utilize a geothermal well field for heating and cooling, and roof mounted solar collectors.
152
153
154
155
156
157
158
159
160
161
1112 City Center Development (aka CentrePointe) Guest Architect | Site E Unbuilt Project Lexington, Kentucky 2011
Dichotomy: Split Form | Split Personalities On Studio Gang Architects: An architect gathers her firm, looks at this vacant, downtown block in the Bluegrass Region, and wonders at its potential. What are the speculations and opportunities for reoccupation? How can we infuse its history with place making? How does one find authenticity today? The City Center Development project presents an opportunity to offer mixed-use development alternatives for a city block in the heart of downtown Lexington. The site, rich in history, removed built fabric and abandoned monolithic proposals, and an artificial depiction of the Bluegrass topography, seeking to make relevant the obviousness of this place. The discoveries lead to more discoveries, particularly with this odd collection of historic buildings located adjacent to the site on West Main Street. It does evoke the question: how did these individualized projects come to pass, and who were the architects who designed them? At a specific moment, it becomes clear again that cities comprise individual buildings and that each presents a unique narrative related to the time and place of its creation. Pages 163-167 Image Credit Studio Gang Architects Pages 168-169 Image Credit Omni Architects
162
163
As architects, we should strive to reflect the time in which we live through precedent and innovation. Jeanne Gang decides to invite other local architects to expand the possibility of regaining an authenticity for this block. The project is about many things, but it is also about breaking down the block again. However, this time, it is not conceived as some overlain parti, but rather, as a way of regaining something lost, something that was of the present, and something that would endure. We find ourselves intertwined with six firms — how will they coalesce, mix and match, explore, and innovate until they find authenticity again somewhere on Main Street? 164
The potential project presented Omni with an opportunity to reflect on how we were currently practicing as a firm and examine how we wanted to practice as a firm in the future. We looked at this project as an opportunity for each firm to speculate, and to posit an idea, an approach, or a process. We had a false start; we had some dead-ends; but, we had some fresh ideas. It was not just about the skin, or the envelope, or the materials, but the ideas behind these choices. We explored themes within the parameters of the program. The groundwork shown by Studio Gang demonstrated the value of “revealing� through discovery, the power of iteration, and the complexity of integrating both analog and digital making methods as tools for overlapping meaning and making. We started with notebook entries. Suddenly, and quite unfortunately, the developer found this approach much too challenging, and put a stop on the entire enterprise. 165
166
167
Occasionally, we start with this, but we don’t end with this.
168
Architecture is... about finding the extraordinary in the ordinary.
169
1114 Rupp Arena Arts & Entertainment District Master Plan Lexington, Kentucky 2011
Omni Architects served as the local architect to architect Gary Bates and his Oslo, Norway firm Space Group for the RAAED Master Plan, conducted and prepared for the City of Lexington in 2011-2012. As a member of the design team, Omni participated in all in-house design charrettes and public meetings. The challenge was to determine the financial and design viability for either the replacement or renovation of the city-owned Rupp Arena and the Lexington Convention Center, located on 46 acres. Space Group approached the Master Planning process within a broader framework for understanding what elements would be needed to not only make this parcel work, but would also allow downtown Lexington to emerge with the recognition of being a great American city. This initiated a community-wide reflection on the transformational possibilities of downtown Lexington. Hundreds of citizens and civic leaders participated in open public forums, workshops, and committee meetings. This remarkable process-driven exercise resulted in overwhelming support from our community for the final Master Plan document.
Image Credit Pages 170, 176-179: Space Group Image Credit Page 175: Omni Architects 170
171
Top Right: Town hall meeting. Bottom Right: Public comments
The Master Planning process began with extensive team research on the site’s history, its context, the modalities of transportation, the role of the creative arts, possibilities for affiliated tourist and convention activities, and the integrative role of the Town Branch Commons water element. This collective research served as a strategic outline to leverage and support the highest aspirations of the Lexington, Kentucky brand. The long-term strategy was broad-based and focused on attracting additional residents, talent, businesses, students, and visitors to downtown. Working with British firm AKT Engineers, an innovative structural concept developed that proposed to renovate and expand Rupp Arena, while giving the antiquated design a fresh appeal. Not only did the Master Plan address a cost-effective renovation instead of a replacement for Rupp Arena, but it also proposed a staged solution for replacing the Convention Center while maintaining the use of the existing facility during construction. The Master Plan further instilled inspiring peripheral solutions to the entire RAAED district including a mixed-use development for the 17-acre High Street parking lot and established a narrative and blueprint for Lexington to sustainably increase in size over the next decade. 172
Top left: Gary Bates (center left) and his team members from Space Group meet with Peyman Jahed (far right), structural engineer from BFMJ Engineers.
173
The key features of the Master Plan included the community-wide realization that all of downtown is within an acceptable walking distance to Rupp Arena and that this facility could serve as the gravitational center of an expanded downtown. The Master Plan identified an under-utilized area to the west of Rupp Arena along the surface creek known as the Town Branch Commons. If one mirrored the existing downtown footprint onto the former Distillery District, one could begin to see the potential of doubling the size of Lexington over the next century while maintaining its center and historic character. This fundamental realization also led to a proposal to re-surface the Town Branch Commons, a waterway previously buried to the east of Rupp in storm sewers for most of the last century, and connected it to the west. The Master Plan went further to develop a concept referred to as the “weave.� This concept supported the branding of a distinguishable RAAED district that is alive and vibrant with a range of both daytime and evening activities. City density, traffic flow, parking, and alternative modes of transportation were all incorporated into the comprehensive master-planning concept under the umbrella topic of mobility. The final Master Plan documentation included chapters on the creation of developing more characteristic streets, encouraging a continuous flow of public spaces, advocating a shift from single-use to multi-use spaces, enhancing topography, bringing nature back to the city, encouraging sports within the downtown, and adding new innovative public space typologies. 174
175
176
PRE/POST-GAME ENTRY! ALTERNATIVE VIEWING AREA
GATHERING SPACE
CULTURE, EDUCATION POTENTIAL DEVELOPMENT CORNER
PRE/POST-GAME
PERFORMANCE
DEVELOPMENT SITE
ALLEE
PRE/POST-GAME
UNIVERSITY CORNER
SMALL BUSINESS (RETAIL, RESTAURANT, OFFICE) EDUCATION CULTURE UNIVERSITY CIVIC AREA
UNIVERSITY OF KENTUCKY
178
179
1119 NKU Campus Recreation Center Richmond, Kentucky 2011
Form Transformation: Wrapper | Light | Chevrons Initially constructed in 1984, the original recreation center design was a windowless, precast concrete panel box responding to the 1970s neo-Brutalism style prevalent at the time across the campus. The project maintained the formal language of the campus context and thus, was constructed of cast-in-place concrete, curtainwall, and metal panels. However, the existing campus recreation center had become obsolete when compared to today’s standard for campus fitness and wellness facilities. Recognizing the critical role that campus recreation centers play in the recruitment of faculty and students, the design collaboration between Omni Architects and CannonDesign resulted in a renovation and expansion that achieved the client’s goals for light-filled, airy, inviting, transparent, active and energetic spaces. The addition removed all of the precast concrete panels on the gymnasium and softened the orthogonal form with an addition composed of a curved curtainwall of vertical glazing and insulated metal panels to envelope the existing structure and increase visibility and views. The framing and panel color was a contextual response to the colors found on the adjoining building that was to remain unchanged.
180
181
182
183
Chevrons on Multi Radii Curves In place of using vertical columns around the new perimeter, Omni proposed to the structural engineers at BFMJ a continuous, chevron-shaped structural frame to pick up the structural loading. This complex geometry with its multiple radii curves formed the inner façade of the building. The unique angles required exact transverse mounting locations for the rotational base plates so that the frame could be both repetitive and affordable. The transverse drawing served as a guide for the surveyor and fabricator to comply with the exact angle of rotation for each fin-plate that received chevrons. As a result, all of the chevrons are 20’ wide and at the same angle, with rotation achieved at the pin connections. At the top, the prefabricated HSS-beams provide rotation with a full, open kink in the mid-span and supported by the chevron at two ends.
184
185
At the inner, windowless core of the existing building, the design placed clerestory skylights to bring additional natural daylighting into the interior spaces. The renovation removed many of the interior walls to create transparency between the fitness spaces, indoor track, basketball courts, cardio, fitness, weight training, natatorium, Multi-Activity Court (MAC), racquetball, and fitness studios. The project was the first building on campus to utilize a geothermal system. In comparison to the existing steam and chilled water system, the geothermal system vastly improved its energy efficiency. The project received a LEED Gold certification in May, 2016. 186
187
188
Architecture is... about the body. It is about the fusion of the body in space.
189
1205 University of Kentucky School of Art & Visual Studies
Spatial Formation: Atrium as Extraction + Program
Lexington, Kentucky 2012
This building is a crucial component in the ongoing conversion of Lexington’s former Reynold’s industrial district into a vibrant transitional zone between the University campus and the downtown core. The university purchased this building to serve as the new home of its School of Arts and Visual Studies specifically because of its ideal location as a gateway to campus, and because of its connectivity to a wide variety of community services and destinations. The former tobacco processing facility had experienced many alterations since its original construction in 1899 with a penultimate conversion to loft-style apartments in 2004. The Bolivar building has two wings: a fourstory east wing built in 1899 and a twostory west wing built in 1916. The historical buildings feature load-bearing brick walls, heavy timber floors, wood roof decking, and structural steel roof trusses. The Art & Visual Studies program required instructional faculty and student studios, administrative offices, digital media labs, and multiple galleries.
190
191
192
The conceptual strategy for planning the building and its design reflects the overlapping nature of the two historic structures and unifies them into a single building with a central atrium that activates both structures with circulation, student lounges, jury and critique spaces, and a public gallery space. 193
194
195
THE “ART MACHINE”
ONE ELEVATOR HERE WITH BOTH FRONT AND REAR DOORS COULD SERVE ALL LEVELS OF THE BUILDING
196
NEW SKYLIGHTS
197
198
199
200
The design, guided by the desire to showcase art in the community, initiated a dialogue on the importance of art in our society. New gallery spaces located at street level provide maximum accessibility and visibility while pre-function spaces surrounding the galleries enable the university to graciously and conveniently participate in events such as LexArt’s Gallery Hop, exhibit openings, and other community art events. A thriving entertainment district now surrounds the building, creating numerous cultural opportunities for users and visitors.
201
202
203
204
205
1300 Town Branch Commons Competition Lexington Downtown Development Authority 2nd Place Competition Entry Lexington, Kentucky 2013
Omni was involved in a downtown master plan entitled the Rupp Arena Arts & Entertainment District completed in 2012, which recommended a separate project for the implementation of the Town Branch Commons (TBC) project, a two-mile linear park and trail weaving through downtown Lexington. Mayor Jim Gray initiated an international design competition for which Omni teamed with INSIDE | OUTSIDE and its founder and lead designer, Petra Blaisse. INSIDE | OUTSIDE is an internationally recognized Landscape Architecture firm with a studio in Amsterdam, Netherlands. The original TBC creek, long ago diverted into underground storm piping, follows Lexington’s Vine Street. Our concept proposal re-surfaced the creek and provided a yearround water source that utilized the existing storm water piping system, supplemented by rainwater harvesting tanks that were fed by existing roofs and pavement along the urban corridor. We envisioned the trail as a self-sustaining waterway, with pockets of varying programs and both active and passive zones of engagement. The competition jury ultimately selected Kate Orff of SCAPE Landscape Architecture DPC from New York City. Phase 1 of this significant project officially broke ground in July, 2018. Image Credit Pages 207-209: Inside/Outside
206
207
208
209
1302 Council of State Governments Lexington, Kentucky 2013
The Council of State Governments (CSG) is a non-profit organization that provides policy support, research, and a forum for leaders from all three branches of state government to share ideas and information. Members from all fifty states and six United States territories utilize the services of the CSG. The CSG headquarters building, built by the Commonwealth of Kentucky specifically for the CSG in 1969, was in dire need of a comprehensive interior renovation and significant exterior repairs to make the building more inviting and energy efficient. The goal for the renovation was to create spaces that support independent work as well as collaboration, in a modern workplace appropriate for their national status. Situated on a frequently traveled thoroughfare amidst the bucolic horse farms of Central Kentucky, the CSG building figures prominently on the landscape due to its placement, elevation, and distinctive design. The building’s original architect conceived the building as a modern glass box enveloped by a more classical, colonnaded brick shell and placed on an elevated plinth. A poorly considered second building added in 1994 is attached to the rear of the original building.
210
211
2
WOMENS
EXECUTIVE DIRECTOR/ CEO
EXECUTIVE DIRECTOR/ CEO
EMPLOYEE LOUNGE/ COFFEE SHOP MENS
GUEST OFFICE GUEST OFFICE
GRANTS MANAGER
EXECUTIVE ASSISTANT
EXECUTIVE ASSISTANT
JANITOR STORAGE
T
COMM. CLOSET
WORK ROOM
C
FILES
R
STORAGE
HR GENERALIST
SENIOR LEGAL ASSISTANT ACCOUNTANT
LEGAL ASSISTANT
PAYROLL MANAGER
LEGAL COUNSEL LEGAL COUNSEL
STAFF ACCOUNTANT / CFO ASSISTANT HUMAN RESOURCES DIRECTOR
SMALL CONFERENCE ROOM
STAFF ACC./ ACC. RECEIVABLE PUBLICATIONS
STAFF ACCOUNTANT / AR COORDINATOR
SMALL CONFERENCE ROOM
L
LOBBY RECEPTION AND WAITING
SENIOR DEPUTY EXECUTIVE DIRECTOR / COO
SENIOR DEPUTY EXECUTIVE CHIEF FINANCIAL DIRECTOR / COO OFFICER GRANTS ASST.
FIRST FLOOR PLAN 10
0
STAFF ACCOUNTANT / AP COORDINATOR
02
40
20
10 0
40 20
The design challenges were: 1. To fundamentally change how CSG functions by creating a workplace that meets the needs of a multi-generational workforce, that supports extensive collaboration between people and groups, that has the facilities to support various symposia, and appropriately communicates the importance of CSG’s national headquarters. 2. To restore the integrity of the building’s exterior envelope, catch up on deferred maintenance, and to completely replace all of the building’s mechanical, electrical, and plumbing systems. 3. To demonstrate how sustainable design strategies can be used to enhance the working environment while also reducing the cost of operations and maintenance.
212
There had been few alterations to the headquarters building since its original construction and by 2013 it was in deplorable condition, both inside and out. The office workspace configuration, designed for workflows and functions that no longer exist, was obsolete by today’s standards for a productive, elevating, multi-generational workplace. The interior featured private, enclosed offices with tattered curtains and heavy window blinds along the perimeter – a combination that blocked natural light and expansive views to the exterior for occupants in the building’s core. Outside, the dark glazing on the structural steel curtainwall leaked continuously and was inefficient; water had collected behind the brick, causing extensive damage to the structure; and all of the building’s environmental systems were past end-of-life. The renovation enhances the exterior and modernizes the interior transforming it into an open, welcoming, and vibrant environment. Perimeter offices and workspaces were reconstructed with glazed, demountable partitions to achieve transparency, and all support spaces were relocated to the center of the building. The reconfigured interior takes advantage of the surrounding vistas and allows daylight to spill freely into the building’s core. The program features a mix of private offices, freestanding workstations, and collaboration zones distributed throughout the complex. The design also called for the installation of a thermally broken aluminum curtainwall with high-efficiency, Low-E clear glazing over the original steel frame to achieve transparency and energy efficiency on the exterior. After working extensively with each of the operational groups within CSG, our design solution incorporates several key concepts. First is the organization of the programmatic components on the three floors in the building. All of the executives, who have the most interaction with visitors to the headquarters, are located on the entrance 213
2
1
B
TRANSVERSE SECTION
2
1
B
LONGITUDINAL SECTION
214
level for maximum visibility and ease of access. The second floor is occupied by staff who provide administrative support, conduct research, and generate content for traditional and digital media in more open and informal workstations. The basement level, which lacks natural light, is occupied by large meeting rooms, production studios, an employee workout facility, and other non-support functions that do not require continuous use. In the second key concept, we placed all of the storage rooms, file rooms, and other support spaces in a bar that runs down the center of the first and second floor plates, which are surrounded by windows. This design scheme creates a racetrack circulation pattern that encourages movement and interaction, and it allowed us to maximize the use of the perimeter glazing for glass-enclosed offices and open workstations. The original building lacked an identifiable main entrance, so we added an airlock entry for visibility and energy efficiency, and used the original open stair to define a twostory atrium anchored by the main reception desk. We also created a working cafĂŠ on the first floor that serves as the central gathering and interaction zone for everyone in the building.
215
The key to making all of this a success was eliminating the poorly performing steel curtainwall. However, budget constraints prohibited the inclusion of this solution in the project scope. Our strategy to overcome the budget was a simple one: remove all of the original glazing and seals, clean and paint the steel mullions that remained, and overlay a new high-performance, insulated aluminum curtainwall, using the original steel mullions for lateral support. This strategy minimized the amount of demolition needed to replace the glazing system, and it allowed us to completely transform the building’s appearance and performance at minimal cost. The reduced size of the new air conditioning system largely offset the cost of the new curtainwall. We selected materials, finishes, colors, and graphics that place the headquarters building in its central Kentucky context and embody the mission CSG serves. The floor tile and wall panels in the main atrium reference the stone colors and textures so often used for governmental buildings, and flags, seals, plaques, and other symbols of governmental authority are prominently displayed. Horizontal, ebonized wood bands echo the four-board horse fences that surround the CSG site, and we used the folding maple ceiling panel as a wayfinding device to guide visitors to the executive offices. Vibrant colors used throughout create a high-energy working environment, and the transparent office partitions allow views to the incredible Bluegrass landscape from everywhere on the first and second floors.
216
217
218
219
1403 Berea College Square Shops Berea, Kentucky 2014
Berea College, a historic liberal arts college located in the foothills of the Appalachian Mountains, wanted to create a showcase and consolidate its crafts program, visitor center, and bookstore. The renovation and merger of three adjacent storefronts provided an ideal venue for these compatible programs to synergistically coexist. The three buildings were located within a retail complex that included many historic structures, which were occupied by dining, retail, a historic hotel/restaurant, and an assortment of arts and crafts galleries - including the college’s student crafts demonstration and retail space. The challenge was in creating a modern, welcoming space that enhanced the college’s presence within the community while acknowledging the historical aspect of the structures. In addition to being visually engaging, the space needed to be serviceable to withstand the production process of crafts, which included the making of jewelry, baskets, brooms, and pottery. The guiding force in the design of the renovation centered on the cutting of large openings into the existing interior loadbearing masonry walls that separate the storefronts, the new foundations and columns, and the overhead lintels. The renovation embraced both old and new by providing sleek, modern fixtures in a neutral color palette, movable displays, floating ceiling panels, and efficient lighting systems. These contemporary elements provide a striking contrast to the raw aesthetic of the natural wood floors and the original exposed brick and steel structure. The new space has contributed significantly to an increase in tourism and awareness of the college’s crafts program.
220
221
222
CERAMICS JEWELRY
DEMONSTRATIONS
CERAMIC STOR
STOR
OFFICE
STOR
WORK ROOM
STOR
DATA
MAIN STREET SIDEWALK
INFORMATION
LIVING ROOM
ADJACENT BUILDING
MECH/ ELEC
OFFICE
W
M
JAN
SPIRIT WEAR
OFFICE
10 0
STOR
40 20
223
224
225
226
227
228
229
1404 University of Kentucky Gatton Student Center Lexington, Kentucky 2014
230
Generative Process: Assemblage | Transitions | Blurred Boundaries One’s initial take when viewing the floor plan of the UK Student Center might suggest the spaces are a collection of incomprehensible pieces. As the narrative unfolds, one begins to see that the project includes two historic buildings, site variables such as an underground creek, a botanical garden, and external influences such as existing campus buildings. The resulting design is an example of an architectural design process that examined the relationships between old and old, old and new, and new to new. We approached this exploration much like an assemblage – a work of architecture comprising existing and unrelated objects that fit together a series of discrete program elements such as a cinema, a black-box theater, a large multi-purpose ballroom, food service platforms, student organizations, bookstore, visitor center, student service areas, and support functions.
231
The existing student center comprised a 1938 Student Union designed by Campus Architect Ernst Johnson, who studied at Yale with Eero Saarinen. The influence of both Eero and Eliel Saarinen is visible in Johnson’s Student Union project. Another adjacent building, the Alumni Gymnasium, constructed in 1923, previously served as the home to the early UK Wildcats basketball teams coached by Adolf Rupp. After a careful analysis, we decided to retain the two historic structures and remove the more problematic additions to the Student Union building that compromised the center’s effectiveness to serve as a campus hub. The two remaining freestanding buildings now connect with a small atrium on the west side.
232
The design provides cogency through discrete, formal elements brought together with social-encounter spaces. We asked ourselves the question: Are corridors just circulation that connect a series of rooms? Alternatively, can usage inhabit the corridor? In response, the design team developed a social stair located at the major organizational hub to accommodate group gathering while allowing for radiating corridors to pinwheel and join the remaining elements together. The perimeter, left intentionally porous, remains accessible via three significant axes – a north/south axis from Dr. Martin Luther King Jr. Boulevard to Patterson Plaza; an east/west axis that opens up into the historic front lawn of the Student Union and to the large green lawn of the Memorial Coliseum Walk; the Visitor
Center entrance; and the Botanical Garden entrance that threads under the elevated decks. The cross-section through the site is interesting in that it is located on a minor tributary to the Town Branch Commons (TBC) Creek (see Project 1300) that runs enclosed under the existing 1938 Student Union. The design maintains the TBC tunnel, and it now resides under the new Student Center addition. The location of the site’s low-point enabled the service components to set below grade and along a back-ofhouse corridor that allows the lower level public spaces to face out into the garden. This sectional shift accentuates the flows into and out of these primary axes on multiple levels.
Architecture is... about sensory perception and recognition of physical elements; experiencing space sequentially in time —circulation, approach, entry, movement, and values; spatial relationships can be independent, framed, adjacent, linked, interlocking, or within.
233
234
Architecture is... not as easy as it looks.
235
236
237
238
239
240
241
242
243
244
245
246
247
1410 BCTC Newtown Campus Science Education Center Lexington, Kentucky 2014
Differentiation: Exaggerating the Contrast | A Strategy of Processes Bluegrass Community and Technical College had outgrown its existing campus adjacent to the University of Kentucky’s Commonwealth Stadium. As they began to gradually relocate their entire campus to a new campus on Newtown Pike, the Science Education Center was introduced as Phase 2, the second new building constructed at this location. This project focused on the importance of science education for science majors and non-majors alike. Discussions about the institutional mission provided direction at a critical time in the life of the college. The relocation offered BCTC, for the first time since its inception, the opportunity to reaffirm its critical role in advancing education within our community. Building upon our extensive development of lab planning models since the mid-1980s, these labs address not only what is taught but how faculty want to teach in the future. Acknowledging that lecturing is not the only way that students learn and that hands-on team projects are more prevalent suggested that labs be reconfigured from traditional forward-facing configurations to technologyenabled active learning layouts.
248
249
250
The program also called for places of learning to occur outside of the labs and classrooms. A two-story entrance core was configured for both indoor and outdoor study zones and includes opportunities for exhibition space for science demonstrations. This Phase 2 building utilized design features similar but differentiated from the Phase 1 classroom building. This project was not meant to be a renouncement of the new campus architectural language. Rather, while massing and proportional changes are gradual, the new building adds more animated movements. The cantilevered faculty offices, for example, still provide weather-protected areas similar to the Phase 1 building, but without bringing the colonnade into the foreground. The pedestrian bridge element mediates the grade change by allowing passage through the building itself, rather than skirting the building. This evolutionary logic and the tactics found between these first two buildings will allow each future building to remain topical and free to experiment. 251
252
253
Architecture is... about technology — the first machine age, the electronic age.
254
255
256
257
258
259
1413 MCTC Postsecondary Center for Excellence in Advanced Manufacturing Morehead, Kentucky 2017
Located in Eastern Kentucky, the new Postsecondary Center for Excellence In Advanced Manufacturing incorporates a stand-alone Integrated Manufacturing Center (IMC) that is designed similarly to the studio/lab teaching model known as Technology Enabled Active Learning (TEAL). This model is being adopted within the higher education system and is found at renowned institutions such as the Massachusetts Institute of Technology. Omni Architects had previously designed classrooms to accommodate this model at the New Science Building at Eastern Kentucky University (project 0515/1310). Using this teaching model, the duration of each course is planned to incorporate hands-on learning, merging three distinct learning methods: lecture, teamwork, and tutorial experiences, which requires a very different space than community and technical college bays of the past.
260
The classes begin with the instructor’s lesson material presented lecture-style, utilizing audio/visual materials on large format monitors and white boards. Information presented on these devices can be captured as study material for later use. The second part of the class is centered on small group collaborative exercises and the use of trainers and simulators. In the third segment, the instructor provides one-on-one feedback on the lesson content.
261
262
POSTSECONDARY CENTER FOR EXCELLENCE IN ADVANCED MANUFACTURING | FIRST FLOOR PLAN
POSTSECONDARY CENTER FOR EXCELLENCE IN ADVANCED MANUFACTURING | SECOND FLOOR PLAN
IMC/Shared tools
Lab Lecture Circulation Trainers Office
263
264
Because most of the coursework is available in advance, much of the material is familiar to students when they enter the classroom. Time is structured to allow students to return to the trainers to complete individual course assignments to demonstrate proficiency. At MCTC, this approach results in specialized classrooms with adjacent faculty offices and support spaces. The Advanced Manufacturing courses in this facility include robotics, virtual welding, electricity, mechanical drives, PLCs, fluid power, industrial maintenance, and machine tool. A leased facility located adjacent to this structure will house high-bay diesel, welding, and automotive programs. 265
266
267
1613 Deylen Apartment Proposal North Upper Street Unbuilt Project
Poet and novelist Giancarlo Tramutoli once referred to an apartment as a small box placed in a bigger box, located in a packed place called a block. Is housing merely a shelter from the elements?
Lexington, Kentucky 2016
Omni designed this speculative project with a scalable and modular framework within the limits of a block, but also with the ambition to better serve and further promote ideas of community, and remain mindful of the multiple issues of dwelling from a generalized form-aggregation, all the way down to the level of architectural detailing. Biological DNA is often compared to a set of architectural blueprints. Like a recipe, the DNA contains all of the components for the successful translation of data, yet ideally without endless repetition. With this project, we propose an architectural DNA that contains the directions needed for the development of flexible and adaptable configurations of apartment units. This replication recipe applies to a diverse range of sizes — studio, one-bedroom, two-bedroom — and income levels with an emphasis on affordable and value-added housing that takes into consideration the essential components of human needs such as places for sleeping, eating, hygiene, work, storage, as well as entertainment, relaxation, and social interaction.
268
269
Architecture is... about seeing our world in a different way.
270
271
272
273
1615 St. Albert the Great Parish Life Center Louisville, Kentucky 2016
Lessons from a Potemkin village In 1998 St. Albert Parish retained Omni to design a new church, add a library and classroom wing to an existing school, and renovate the original church into parish administrative offices (Refer to Project 9810 St. Albert the Great Church illustrated in Volume 1). In 2016, St. Albert Parish again invited Omni to work with the parish and to consolidate two different stand-alone back-lot buildings with a new addition. The existing buildings presented uniquely different building languages and forms: a gymnasium constructed of metal building and CMU components and a pre-school built with residential wood frame and brick construction. The new building would ultimately consolidates the three buildings into a single Parish Center. This unifying approach forges an opportunity to leverage the existing architectural language from our first three projects with this new project, to maintain the integrity and continuity on their campus. While the solution is small in scale, it serves as a foil to the existing buildings. An expressive perforated metal exterior canopy signifies entrance while the brick planters ground the base. The applied overhead metal panels and sunscreens on the glazing work together to reduce heat gain. On the interior, the entry incorporates a stair perch with the second-floor youth lounge, provides an entrance that mediates a bench-occupied circulation corridor to each of these program elements, and incorporates a much-needed multi-purpose zone.
274
275
This was one of the first projects on which Omni implemented virtual reality (VR) goggles to help the client visualize the final design.
276
Architecture is... about living. It is about life, dreaming, relationships, and passage.
277
1624 High Street Development Lexington Real Estate Company Unbuilt Project Lexington, Kentucky 2016
Super Block: Seeking Heterogeneity In 2011, Omni began working on the Rupp Arena Arts & Entertainment District Master Plan (Refer to Project 1114 RAAED). By 2016, the Lexington Convention Center (LCC) was ready to seek P-3 proposals for converting their 17-acre parking lot into a mixed-use development. Working with a myriad of local interests, Omni formulated and submitted the resultant master plan and proposal for this site. This project serves as a form of speculation on a large-scale intervention within downtown Lexington and proposes to offer an investigative approach to design solutions that are more engaging than those commonly found in the multi-family housing market, and addresses the critical shortage of affordable housing in this country and Lexington. The great recession significantly reduced the number of available architects, and importantly the number of skilled construction workers (the workforce has not fully rebounded to address housing needs), resulting in over-priced housing. Across the country, urban neighborhoods are growing as fast as their suburban counterparts -- but not yet here in Lexington. It is essential to learn from other prosperous cities with urban housing projects and develop mixed-use applications that are close to jobs and retail. The demographic for this project represents a
278
279
280
broad spectrum of both income and lifestyles, and ranges from Millennials to Generation X to recently retired Baby Boomers. With the emergence of autonomous vehicles, will there be a driverless age? If so, it will undoubtedly impact housing, repurposing of large parking lots, and a building’s relationship to the street. These questions allow us to explore issues that address what affordability means, the incorporation of amenities, the nature of mixed use, and the scale of our project within the site boundaries and city. The scale of these assets does matter, especially those related to the value of individualized mass customization and its impact on conventional construction techniques and prefabricated strategies. Another concern for the design team relates to avoiding the endless repetition of housing units that comprised the bulk of the programmed areas. While leveraging
our delivery method for differentiation and iteration results in a broader range of phased configurations (also considered a form of mass customization), we partnered with the owner of a minor league ballpark to provide a more heterogeneous site, similar to the downtown blocks surrounding Chicago’s Wrigley Field. Several factors influenced the design such as site, solar orientation, access to daylighting and views, and program amenities for each housing group. The development of this variable-unit complex included other non-housing concepts that promoted and supported an engaging live, work, and socialization atmosphere. Location-Location-Location: The actual location — the cost of real estate drives this notion of marketing its location — where one lives within a downtown may not be as significant in the future. Or, alternatively, will it? 281
282
PHASE 1 BUILDING 3.2
PHASE 1A: HOUSING, RETAIL & OFFICE PHASE 1B: BALL PARK & PARKING
BUILDING 3.1
3 BUILDING 2.1
PHASE 2 PHASE 2A: HOUSING BUILDING 2.2
3
2C
PHASE 2B: HOUSING BUILDING 2.1
BUILDING 3.3
1B
2B
2C
1 2
PHASE 2C: HOUSING BUILDING(S) 2.3
3
3 4
BUILDINGS 2.3 (FOUR)
PHASE 3:
5 6
HOUSING & RETAIL
7
2C
8
PHASE 4:
HOTEL OR OFFICE TOWER
2
1
3
2
3
4
5
6
7
BUILDING 3.4
8
BUILDING 1.B-1
2C
BUILDING 2.2
2C
2A
1A-1
4
1A-2
GARAGE
GARAGE
2C
BUILDING 1
BUILDING 2
283
284
285
1714 Catholic Newman Center In Progress Lexington, Kentucky 2017
286
Operative Process: Alternating Shifts in Plan | Opening New Doors The Catholic Newman Center has been situated at the perimeter of the University of Kentucky campus for close to 50 years. As the campus experienced exponential growth, the Newman Center realized the need to expand their offerings to the students who visit the center to study, worship, and build camaraderie with other students. This project - in design at the time of publication - offers places for student life that are not currently available at the existing facility. The expansion includes two-story spaces that visually connect the various programs: casual interaction, quiet study, meeting, student services, and teamwork. Visual access into every area expresses the sense of openness and access to all visitors. Over one-half of the program areas are nonenclosed spaces. A large window to the street further serves as a signal to passersby that the center is open to everyone, day and night. Creativity is about connecting obvious things.
287
288
289
1717 Jefferson Community & Technical College (JCTC) Advanced Manufacturing & Information Technology Center In Progress Louisville, Kentucky 2017
Operative Form Generator: Balancing | Push + Pull Built upon Omni’s past research in developing Advanced Manufacturing Center prototypes at Southeast, Gateway, Bluegrass, and Maysville Community and Technical Colleges, these industrial park models adapt and transform to meet the needs of JCTC in a more urban campus setting. The Advanced Manufacturing & Information Technology Center sits within the SoBro (South of Broadway) district, a major downtown revitalization program that also incorporates other urban campuses such as Spalding University and its Egan Leadership Center (9161 in Volume 1), just a few blocks away. Both sites are ripe for workforce development. Currently, under construction at the time of publication, this two-story building incorporates a high-bay area with ten open labs that overlook First Street. The curriculum includes degree, diploma, and certificate programs in the fields of computerized manufacturing and machining, machine tool, industrial maintenance, electrical technology, programmable logic control, information technology, and industrial maintenance technology. The open-bay concept models a plant-floor paradigm that emulates workplace settings found in most regional manufacturing facilities. The expanse of double-height glazed curtainwall features ceramic frit and vertical sunscreens along First Street to provide the transparency to showcase the educational activities within while leveraging daylighting and views outward and minimizing glare.
290
291
292
3 30' - 0"
5
30' - 0"
6
30' - 0"
7
30' - 0"
8
30' - 0"
9
30' - 0"
10
30' - 0"
30' - 0"
11 30' - 0"
6
7
8
9
HC
HC
10
WORK TABLE
BREAK PRESS
HKG
DRILL PRESS
18
17
16
15
14
13
MOTHERS
JAN.
STOR. STUDENT COMMONS
CLASSROOM
H.I.M.
ROBOT
ENGINE LATHE
* PLC I & II H.I.M.
ROBOT
ROBOT
UP
LOBBY
TV
LIGHTS
* PUMPS
T-1 T-1
TRAIN
TRAIN
AFRAME
FUTURE EXPANSION ZONE
AFRAME
FUTURE EXPANSION ZONE
AFRAME
TRAIN
TRAIN
* ELEC I & II (AC/DC)
T-1
TRAIN TRAIN TRAIN
TRAIN
MCH STRUC TRNR
TRAIN TRAIN TRAIN
* INDUSTRIAL ELECTRONICS (SOLID STATE)
MOTOR CONTROL I & II
PUMP TRAINER
TV
PARTS BIN
TV
SHELF.
BENCH
01 5
FIRST FLOOR PLAN (SAMPLE CONFIGURATION)
10
20
FIRST STREET (ONE-WAY THIS BLOCK)
30
PERMIABLE PAVERS
5' TREE PLANTER
INFILTRATION GARDENS (BASIN) MSD INCENTIVE FUND WITHIN ECO-DISTRICT STORM WATER MGMT
OLD LOUISVILLE HISTORIC CONCRETE MIX SIDEWALKS 5' W
43950 GSF
RIGHT OF WAY
16" = 1'
TRAIN
MCH STRUC TRNR
A
AFRAME
TRAIN
CNC
MCH STRUC TRNR
CNC
MCH STRUC TRNR
CNC
MCH STRUC TRNR
MCH STRUC TRNR
35' - 0"
CONTROLLED ACCESS
VESTIBULE
TRAIN
CNC
TRAIN
VERTICAL MILL
MCH STRUC TRNR
VERTICAL MILL
MCH STRUC TRNR
VERTICAL MILL
ROTATING EQUIPMENT (ELECTRONIC DRIVES)
T-1
VERTICAL MILL
MAINT. INDUSTRIAL EQUIP.
T-1
VERTICAL MILL
T-1
VERTICAL MILL
MACHINE I
T-1
PORTABLE VACUUM
SINKER EDM
FLUID POWER I & II
SERVICE AISLE
DRILL
VERTICAL MILL
TRAIN
DRILL DRILL
VERTICAL MILL
T-1
10' - 0"
BENCH / TOOLBOX
DRILL
WIRE EDM
RE-PLANT TREES AS REQUIRED
COMMONWEALTH OF KENTUCKY
H.I.M.
ROBOT TRAINING
MACHINE II ENGINE LATHE
CLASSROOM
TROUBLESHOOTING
H.I.M.
ENGINE LATHE
ENGINE LATHE
ROBOT
ENGINE LATHE
ENGINE LATHE
TV
TV
A.V. CART
BENCH / TOOLBOX
SURFACE GRINDER
SURFACE GRINDER
SURFACE GRINDER
SURFACE GRINDER
ENGINE LATHE
SURFACE GRINDER
BENCH / TOOLBOX
ENGINE LATHE
CLASSROOM
CLASSROOM
CLASSROOM
PEDESTAL GRINDER
TWO-WAY TRAFFIC
DROP-OFF ZONE
COMM.
ROBOT
OPTICAL IMPARATOR
30' - 0"
CAD / MEASURING
SURFACE GRINDER
PORTABLE VACUUM LASER ETCHER
B
VESTIBULE
ELEC./ MECH ROOM
VIDEO DISPLAY
ELEV.
D
C
BUILDING STORAGE
RECEIVING
IDF
12
EXIT ONLY
35' - 0"
5 I-6
P-7
P M RA
STATISTICS
5
G
8 SERVER RACKS
35' - 0"
HIGH BAY ROOF (OVER WELDING) MICROSOFT NETWORKING LAB
7
30' - 0"
MOCK SERVER ROOM
REC/ ADMIN. ASST.
COMPUTER MAINTENANCE LAB
VENDING RAILING
35' - 0"
RAILING
35' - 0"
10' - 0"
OPEN TO BELOW OVER IMC
OPEN TO BELOW OVER ATRIUM
A
SECOND FLOOR PLAN 19450 GSF
01 5
10
20
30
SCIENCE LAB TEAL
OPEN STUDY HALL
FACULTY FACULTY OFFICE OFFICE
WORK/ COPY
10' - 0"
WAITING
DN
OPEN TO BELOW (OVER MACHINE TOOL)
10 30' - 0"
FACULTY OFFICE
TEAL
ELEV.
B
9
30' - 0"
MECH. ROOM
DATA CENTER CLASSROOM
SERVER RACKS
STUDENT LOUNGE
ROOF TERRACE
D
C
8
30' - 0"
DEVELOPMENT COMPUTER LAB 30' - 0"
E
30' - 0"
CIT SERVER ROOM
SERVER RACKS
F
6
30' - 0"
11 30' - 0"
J. ANDREW WHITE PROPERY
NOT FOR CONSTRUCTION
A-1.1 Revision:
71% * net lettable area (NLA) was measured 3 4 from wall center-line 112 22 30' - 0" 30' - 0" 21 69,352 GSF $30M PROJECT
FACULTY OFFICE
MENS
39,162 GSF 17,634 GSF T.B.D. 56,796 GSF
BUILDING EFFICIENCY: 1 SPACES: ALLEY PARKING P-6 PARKING SPACES: 30' - 0" P-7 PARKING SPACES: REFERENCE L&F STUDY:
WOMENS
FIRST FLOOR: SECOND FLOOR: PENTHOUSE: TOTAL:
ROUTER RACK
P-6
COLLEGE STREET
E
10' - 0"
F
TOOL CAB.
REC
11
JACOB STREET
TOOL ROOM
DISPLAY
WELDING LAY-DOWN
METAL TABLE
HORIZONTAL BAND SAW
TOOL CAB. TOOL CAB.
MEN
ROD SHELF
35' - 0"
WELDING SUITE
VERTICAL BAND SAW
CUTTING TABLE W/HOOD
TRODE
CAB.
WOMEN
COOL TANK
METAL SHEAR MIG
1 WELDING MATERIAL STORAGE ELEC-
212 North Upper Street Lexington, Kentucky 40507-1001 p 859.252.6664 www.omniarchitects.com
5
COMM.
BREAK ROOM
BALCONY
212 North Upper Street Lexington, Kentucky 40507-1001 p 859.252.6664 www.omniarchitects.com
4
08/01/17
3
Job Number: 1717
2
OND FLOOR PLAN
1
BLASTER
CTC ADVANCED MANUFACTURING & INFORMATION TECHNOLOGY CENTER
GRINDER
GRINDING SAND
07/31/17
COOLING TOWER
OUTDOOR LOADING AREA
G
Job Number: 1717
WAYSIDE MISSION PROPERY
TRANS
FLOOR PLANS
ALLEY
DUMPSTERS
SEMI TURNING RADIUS SEMI TURNING RADIUS
Louisville, Kentucky JCTC ADVANCED MANUFACTURING & INFORMATION TECHNOLOGY CENTER
Revision:
30' - 0"
4
This Drawing and the Design shown thereon are the property of Omni Architects. The reproduction, copying or other use of this Drawing or Design without the written consent of Omni Architects is prohibited.
2
This Drawing and the Design shown thereon are the property of Omni Architects. The reproduction, copying or other use of this Drawing or Design without the written consent of Omni Architects is prohibited.
Louisville, Kentucky APARTMENTS
1
293
294
295
3D printed model 296
The partial second floor includes a technology-enhanced active learning (TEAL) classroom and a student collaboration zone that cantilever over and into the high-bay training area, like volumes that shift out of their form. These two pushes + pulls are drawer-like spaces that give occupants an opportunity to view and follow the activities on the plant floor below.
297
298
299
1718 UK Chemistry Physics Renovation Under Construction Lexington, Kentucky 2017
Every activity that occurs within the ChemistryPhysics Building is critical to advancing UK’s position as a premier research institution, and the complex, demanding laboratory capabilities of the Chem-Phys Building don’t exist elsewhere on campus. As a result, the fundamental renovation of the entire building has to be phased one floor at a time so that the rest of the building could remain operational. The current project is the first phase of what will be a multi-phase, multi-year reconstruction of the building. Omni Architects’ scope included a detailed facility analysis, production of a new digital Building Information Model for the entire building, program development for all four floors, and master planning for all phases of renovation. In addition, the design work for the first phase established the standard for all future phases of the renovation. The master plan reorganizes the building by function and department, with all of the teaching and public areas on the first floor, advanced research laboratories for both Chemistry and Physics & Astronomy on the second and third floors, and special-purpose research laboratories and building support functions located on the ground floor. During the first phase, the third floor was completely gutted and fit-out with Chemistry research laboratories, faculty offices, work stations for graduate students and postdoctoral researchers, and associated support spaces. The design focuses on future flexibility, all-new engineering systems, and maximum transparency throughout the interior. Because the lower floors needed to remain operational during the third floor renovation, the existing central chase that
300
301
contained ductwork and piping serving the lower floors needed to remain in place. This became the organizational feature for the entire floor, and all of the new research labs are clustered in the center of the floor plate on either side of the central chase to maximize air distribution efficiency. This shifted the racetrack corridor closer to the exterior perimeter of the floor, allowing all of the offices and workstations to be located along the exterior walls for optimal daylighting and views. The design and configuration of the offices and workstations was adapted to accommodate today’s multi-generational workforce through a variety of collaboration zones, unassigned work areas, and huddle rooms. Two work cafes turned the traditional break rooms into vibrant work zones that support interaction and collaborative, multidisciplinary research. The first phase also included a complete redesign of the building’s exterior, including a replacement of the entire curtainwall enclosure, construction of new entrances, egress stairs, a service elevator, a loading dock, expanded penthouse, and other building support functions. The redesign of the exterior started with three goals: 1. Respect Modernism. The building has enormous floor plates with long horizontal lines on the elevations, a continuous curtainwall covering virtually the entire building, and simple, blocky forms. Our goal for each of the new design elements on the building’s exterior was to work within the existing design language, updating the overall appearance, but in a way that respected the true Modernism in the original design as much as possible. The new building skin relies on aluminum curtainwall for most of the enclosure, as did the original, but with greater transparency and much higher performance. The brick was changed to a red color to blend with the surrounding campus context, and 302
metal panels matching the curtainwall were used for the roof edges, selected shading devices, and wall surfaces at entrances. 2. Improve the main entrances facing Rose Street. As originally designed, the building is a simple four-story rectangle with a one-story form added to the Rose Street face to enclose the three large auditoria. Both of the main entrances facing Rose Street were located at the inside corners where the one-story form intersected with the larger rectangle. This made the entrances hard to find, and the one-story form that dominated what is arguably the “front� of the building, was elevated above the sidewalk and completely unapproachable. Our solution was to invert this pattern,
moving the two main entrances out past the face of the one-story form so they were much more approachable, and increase their height to reduce the visual impact of the large auditoria. The main entrance on the southeast corner extends the full height of the four-story rectangle for better visibility on Rose Street, greatly increasing the presence of the south elevation, and making a gesture towards the Jacobs Science Building to the south. 3. Better integrate building support functions. The building was not originally designed to have a loading dock or service elevator, which had been a frustration since the building was first occupied. In addition, code changes affecting the airflow — required 303
to maintain a safe laboratory — resulted in numerous, exposed air-handling units on the roof because the original equipment penthouse was quite small. Our solution was to greatly expand the penthouse, enclosing the equipment to reduce visual clutter while improving performance and ease of maintenance for the entire HVAC system. New high-velocity exhaust stacks eliminated the “birthday candle” stacks that had been an unwanted signature feature of the building for decades. The new vertical forms created by the egress stair tower and service elevator, along with the new one-story loading dock, used the same design language as the replacement building skin, integrating them into the overall composition. Perhaps the greatest challenge was keeping the building fully operational during demolition and construction. This meant each design move actually consisted of three separate exercises: • Designing a way to vacate the area being modified, which often included modifications to other areas of the building to accommodate the displaced researchers and students. • Designing the renovation to integrate the new work with the rest of the existing building, which would remain untouched until a future phase. • Designing the renovation to integrate the new work with the long-term vision described in the master plan, without making any significant changes to the work already completed in previous renovation phases. The Omni team had to develop a design concept that could be accomplished in an occupied building, that would work with the rest of the un-renovated building in the short term, and that also would work once the rest of the building is renovated.
304
When the renovations are ultimately completed, UK will have a completely new building that has been designed to meet the demanding research needs of its users for generations to come.
305
306
307
1902 Bullitt County Public Library Main Branch Work in Progress Shepherdsville, Kentucky 2019
Within Site: Stratification | Interlacing Most of Omni’s projects begin with a way of thinking about architecture; the early seeds of design are sometimes not represented. This graphic account (in progress as this publication goes to press) illustrates four concepts for Bullitt County Public Library’s new main branch, utilizing a process we learned from Guillermo Jullian de la Fuente, and illustrated in the book “Idea as Model”. It can be an inspirational approach that combines collage, montage, and assemblage to explore possible solutions. To find a compelling idea behind the project, we were inspired by the owner’s charge to design a place of experience, discovery, and fulfillment to all that enter. The four concepts share a common attitude, understanding that the relationship between site and building will be essential to the success of the project. The Knobs of Bullitt County are a physical feature of distinction. With a limited view shed beyond the building perimeter, it will be important to find ways to bring the outside world into the inside for the casual seating areas. This goal is being explored simultaneously in plan and section as horizontal and vertical visual experiences. The concepts also share the rigor of a rectangular structural frame and form explorations that allow for a perforated perimeter. The rotational grid becomes the catalyst for developing the relationships between program areas within this envelope.
308
309
CONCEPT 1 Transparency and Surface
310
CONCEPT 2 Open and Enclosed Spaces
311
CONCEPT 3 Crossing Between Architecture and the Text
312
CONCEPT 4 Interlacement of Inside and Outside
317
318
Acknowledgments
Photo Credits: Michael Jacobs Deborah Cutts Mark Mancyzk Walt Roycraft Dan Sylvestri Eric Zabilka A special thank you to Frank Dรถring.
319
Clients
Architecture is about clients, not despite clients.
None of these works would have been possible without the support of, the trust of, and collaboration with our clients. One can talk about the client as an essential member of the design process, but we endeavor to practice this stance as a core belief. We work with our clients in many different ways. Some clients prefer to work with us with a very hands-on approach, while others advocate for working with a wider range of stakeholders or constituents. We value the contributions of everyone and have found whatever approach they choose does not dilute the power of the architecture. So much of our work derives from repeat clients, and we attribute this success to forming great working relationships. We hope to form new relationships and continue to advocate on behalf of them, and those who use these buildings. The mark of an excellent architectural practice reflects good listening and hearing skills and responds to what is said. The customer is usually right. 320
Airdrie Stud Farm Albert B. Chandler Medical Center American Mutual Insurance Corporation Anchor Baptist Health Appalachian Regional Healthcare Army Corps of Engineers, Louisville Ashland Plaza Hotel, LLC Audio Authority Corporation Bank One Baptist Village of Northern Kentucky Barnes & Noble Bellarmine College Berea College Berea Independent Schools Big Sandy Area Development District Big Sink Farm Bluegrass Airport Bluegrass Community and Technical College Bluegrass Theatres Boone National Guard Center Bourbon County Schools Boyd County Schools Buckley & Company Insurance Budget Rent-a-Car Campbellsville University Cathedral Domain Catholic Archdiocese of Louisville Catholic Diocese of Lexington Catholic Newman Center Holy Parish at the University of Kentucky Centenary United Methodist Church Central Bank and Trust Company Central Baptist Hospital Centre College Chase Bank Christian Benevolent Outreach Citizens National Bank & Trust Clay, Joseph CMTA Engineers Columbia Hospital Georgetown Commonwealth of Kentucky Community Action Council Council of State Governments Crestwood Baptist Church D.P. Partners David Hocker & Associates Department of Veterans Affairs Dixie Warehouse and Cartage Company Duncan Machinery Movers, Inc. Dunes Marketing Group
Eagle’s National Insurance Corporation Eagle’s Nest Country Club Eastern Kentucky University Eastside Christian Church Energy Coal Corporation Ephraim McDowell Cancer Center Episcopal Church of the Resurrection Episcopal Diocese of Lexington Eye Consultants of Kentucky, PSC FAS Construction Management Fayette County Public Schools FedEx Fifth Third Bank First & Farmers National Bank First African Kanisa Apartments First Alliance Church First Federal Savings & Loan Association First Security National Bank French Bauer Ice Cream, Inc. Garrard Co. Fiscal Church Gateway Community and Technical College General Telephone of Kentucky General Telephone of the Southeast Georgetown College Graves, Joe Griffin Gate Development Company Grissom Medical Corporation GTE South Habitat for Humanity Hagyard Davidson McGee Hampton Inn Hargett Corporation Hazard Community College Health Management Associates, Inc. Homewood Suites Housing Authorities in over 80 Communities IBM Inkerd-Blakley Toyota International Clinical Laboratories International Spike Interspace Limited Island Creek Coal Company Jefferson Community and Technical College Jessamine County Schools Jewish Hospital Jim Host & Associates Jones Lang La Salle Kentucky Basketball Academy Kentucky Community and Technical College 321
Kentucky Department of Education Kentucky Department of Finance Kentucky Department of Justice Kentucky Department of Military Affairs Kentucky Department of Parks Kentucky Department of Transpiration Kentucky Housing Corporation Kentucky Medical Services Foundation Kentucky National Guard Kentucky School for the Deaf Kentucky State University Knott County Rehabilitation Center Kroger Company KY Department of Education L.T. Ruth Coal Company Lake Cumberland District Health Department Lanes End Farm Lee County Constant Care, Inc. Lees College Levas’ Restaurant Lexington Christian Academy Lexington Fire Department Lexington Housing Authority Lexington Public Library Lexington Real Estate Company Lexington Tennis Center Lexington-Fayette Urban County Government Lexmark International, Inc. Madisonville Community College Markey Foundation Marriott Corporation Mayo Vocational School Maysville Community and Technical College McDonald’s Restaurants Menifee County Schools Morehead Savings & Loan Morehead State University Mountain Comprehensive Healthcare Mt Sterling Housing Authority Mt. Sterling Country Club Murray State University Murty Farm Mutual Federal Savings and Loan Assn. N. Hardin Medical Assn. National Mines Northern Kentucky Baptist Association Northern Kentucky University Octagon Development Co. Owensboro Community College Pennington/Omni Partnership 322
Philips/Terry Development Co. Pineville Community Hospital Porter Memorial Church Prestonburg Housing Authority Pride Properties, LLC Prudential Life Insurance Company Public Service Commission Quality International Radnor Corporation Reach, Inc. Rexnord Manufacturing Company Richmond Area Arts Center Samaritan Hospital School Boards Throughout Kentucky Scott County Schools Shaker Village of Pleasant Hill Shelby Manor Health Center Shriners Hospital for Crippled Children Sisters of Charity Nazareth Sleepy Head House Somerset Community and Technical College Southcreek Company Southeast Christian Church Southeast Community College Southern Railway Company Southland Christian Church Southwynd, LLC Spaulding University Springs Motel St Albert the Great Church St Claire Medical Center St Gabriel the Archangel Church St Mark Catholic Church St Raphael’s Episcopal Church State Farm Insurance Co. Sud Chemie Taylor County Health Center Taylor County Hospital Terry Enterprises The Academic Edge/Woodbridge Academy The Galbreath Company The National Development Council The Phares Company Thompson Homes, Inc. Todd County Housing Authority Towne Properties, Inc. Toyota Motor Corporation Transylvania Printing Company Transylvania University
Trinity Hill United Methodist Church U.S. Department of HUD U.S. Government University of Kentucky University of Louisville Untied American Bank Ursuline Sisters of Louisville US Bank US Postal Service VA Medical Center Village West Webb Companies Webber Farm, Inc. Winchester Housing Authority Wondering Woods YMCA of Lexington
323
Awards, Lectures, Exhibitions, Publications 2018 Presentation BIM Case Study: UK Student Center Eric Zabilka, Erin Ruhl, Chad Gallas Commonwealth of Kentucky Division of Engineering & Contract Administration Frankfort, KY 2018
Sustainability Presentation Michael Jacobs University of Kentucky President’s Sustainability Advisory Committee UK Student Center Lexington, KY
2017
Commerce Lexington Small Business of the Year Award and Legacy Award
2017
Merit Award AIA Kentucky Northern Kentucky University– Campus Recreation Center Highland Heights, KY
2017
Outstanding Sports Facility Award National Intramural Sports Association (NIRSA) Northern Kentucky University– Campus Recreation Center Highland Heights, KY
2017 Presentation Workforce Training Facilities Design Michael Jacobs National Supply Chain Symposium Boca Raton, FL 2015
Honor Award AIA Kentucky University of Kentucky – School of Art & Visual Studies Lexington, KY
2015
Merit Award AIA Kentucky University of Louisville – Student Recreation Center Louisville, KY
2013
Kentucky’s Favorite Architecture, Top Ten KET/AIA Kentucky – Kentucky Architecture 50:50 Northern Kentucky University – Student Union Highland Heights, KY
2013
Kentucky’s Favorite Architecture, Top Fifty KET/AIA Kentucky – Kentucky Architecture 50:50 University of Kentucky – University Health Services Lexington, KY
2012
Honor Award AIA Kentucky X2 House Lexington, KY 325
326
2010
Merit Award AIA Kentucky Gateway Community and Technical College – Center for Advanced Manufacturing Florence, KY
2009
Merit Award AIA Kentucky Northern Kentucky University – Student Union Highland Heights, KY
2009
Teacher of the Year UK College of Design Certificate of Excellence - Michael Jacobs, AIA, CID, LEED AP
2009
Leadership In Energy & Environmental Design / House Bill 2 UK Physical Plant Division Continuing Education Seminar, April 14, 2009 Michael Jacobs / Eric Zabilka / Jody Boelhauf
2008
Firm of the Year Award AIA Kentucky
2008
Honor Award AIA Kentucky University Health Service – Student Health Facility University of Kentucky
2008
Merit Award AIA Kentucky Veterans Administration Pharmacy Expansion Lexington, KY
2008
The Brick Honor Award Kentuckiana Masonry Institute Lexington Public Library Northside Branch Lexington, KY
2008
Competition Jurors Solar Decathlon - April 14, 2008 Michael Jacobs / Eric Zabilka University of Kentucky College of Design
2008
Build Kentucky Award Associated General Contractors of Kentucky Campbellsville University Ransdell Chapel
2007
The “M” Honor Award Kentuckiana Masonry Institute Campbellsville University Ransdell Chapel
2007
Publication Small Times Magazine - May/June 2007 Top 10 MicroNano Center in Commercialization University of Louisville Belknap Research Building
2007
Lecture & Panelist Big Blue Goes Green: A Sustainable Showcase October 17, 2007 Michael Jacobs: Sustainable Building Design University of Kentucky
2007
Lecture Space, Place & Life Chautuqua Lecture Series October 11, 2007 Eric Zabilka; Architecture Matters Eastern Kentucky University
2007
Tour & Presentation 56th Annual SRAPPA Conference - October 6, 2007 Michael Jacobs; NKU Science Center & Student Union Northern Kentucky University
2007
Lecture Earthdays in the Cumberlands - April 23, 2007 Eric Zabilka, EKU Science Center Eastern Kentucky University
2007
Publication Metal Architecture February 2007 Issue University of Kentucky Center for Rural Health
2006
Merit Award AIA Kentucky Natural Science Center, Northern Kentucky University
2006
Honor Award AIA Kentucky Center for Rural Health, University of Kentucky
2005
Design Award of Merit Kentuckiana Masonry Institute University of Louisville Belknap Research Building
2005
Build Kentucky Award Associated General Contractors of Kentucky University of Louisville Belknap Research Building
2005
Facility Tour Central Kentucky Chapter of the AIA University of Louisville Belknap Research Building
2005
Design Awards for Excellence/5th Place Industrial Perforators Association University of Kentucky Center for Rural Health November 7, 2005 www.iperf.org
2005
Louisville Guide Gregory Luhan, Dennis Domer, David Mohney, Editors St Albert The Great Church & School St Gabriel Church & School Eastside Christian Church Spalding University Egan Leadership Center
2004
Design Award of Merit Kentuckiana Masonry Institute University of Kentucky Center for Rural Health
2004
Design Award of Merit Kentuckiana Masonry Institute Eastern Kentucky University Health Education Center
2004
Build Kentucky Award Associated General Contractors of Kentucky Eastern Kentucky University Health Education Center
327
2003
Merit Award Kentucky Society of Architects KCTCS Southeast Postsecondary Education Facility
2003
Special Projects Award of Honor Kentuckiana Masonry Institute KCTCS Southeast Postsecondary Education Facility
2002
Merit Award Kentuckiana Masonry Institute St. Albert the Great Catholic Church
2002
2002
Citation Kentucky Society of Architects UK CMC Women’s Cancer Facility
2002
Citation Kentucky Society of Architects St. Gabriel The Archangel School
2001
Merit Award Kentuckiana Masonry Institute St. Gabriel The Archangel School
2001
Build Kentucky Award Associated General Contractors of Kentucky UK CMC Women’s Cancer Facility
2001
Exhibition Downtown Design Center Lexington, Kentucky August 8 - September 20, 2001 Drawn By Hand/Conceived in the Mind. Drawings and Models 1976-2001
2001
Exhibition AIA National Headquarters Washington, D.C. February 2001 Sisters of Charity of Nazareth Eastside Christian Church
2001
Awards Juror Tennessee Society of Architects Michael W. Jacobs, AIA
2000
M - Honor Award Kentuckiana Masonry Institute St. Mark Church
2000
Lecture Art & Architecture Forum October 24,2000 St. Albert the Great Church
2000 328
Publications/Architect’s Choice for Excellence Award Architecture magazine, Vol. 91, Number 12 Computer/Software (VectorWorks) Lexington Transit Center
Award of Merit Kentucky Society of Architects Eastside Christian Church
2000 2000 2000
Publications DCD Design Cost Data - October 2000 Edition Eastside Christian Church Publications/ Merit Award Metal Architecture Awards Program - August 2000 Edition Eastside Christian Church Lecture/Presentation IFMA AFC Facilities Planners Conference International Facility Management Association May 7, 2000 Northern Kentucky University
1999
Award of Merit Kentucky Society of Architects Sisters of Charity of Nazareth
1999
Awards Juror Indiana Society of Architects Michael W. Jacobs, AIA
1999
Publications Architecture For The Gods Michael J. Crosbie, Ed. Images Publishing Centenary United Methodist Church
1998
Award of Merit Kentuckiana Masonry Institute Eagle Creek Branch Library
1997
Merit Award National Association of Housing and Redevelopment Officials Lexington Housing Authority Central Office
1996
Jury Chairman East Tennessee Masonry Awards Program Michael Jacobs, AIA
1995
M - Honor Award Kentuckiana Masonry Institute St. Gabriel the Archangel Church
1995
Merit Award Kentuckiana Masonry Institute Egan Leadership Center, Spalding University
1995
Merit Award Kentuckiana Masonry Institute Western Elementary School
1995
Citation Award Kentucky Society of Architects St. Gabriel the Archangel Church
1994
Honor Award Kentucky Society of Architects Centenary United Methodist Church
1994
Publications April 1994Progressive Architecture Centenary United Methodist Church 329
330
1994
Merit Award Kentucky Chapter - American Society Landscape Architects Florence Nature Center
1992
M - Honor Award Kentuckiana Masonry Institute Centenary United Methodist Church
1992
Special Recognition Design Award Kentucky Chapter - American Society Landscape Architects Egan Leadership Center, Spalding University
1992
Publications Progressive Architecture (August) UK Magnetic Resonance Imaging and Spectroscopy Center St. Claire Cancer Treatment Center
1992
C. Julian Oberwarth Service Award Kentucky Society of Architects Samuel H. Halley III, AIA
1991
AIA/NSBA Exhibition: San Francisco, CA National School Board Association/American Institute of Architects Northern Elementary School
1991
National Citation National School Board Association/American Institute of Architects Northern Elementary School
1991
Honor Award Kentucky Society of Architects Lexington Dry Goods Building
1991
Merit Award Kentucky Chapter - American Society Landscape Architects Environmental Learning Center, Western Elementary School
1991
Silver Medal of Distinction/Lecture Tau Sigma Delta Michael Jacobs, AIA
1990
Merit Award Kentucky Chapter - American Society Landscape Architects Centenary United Methodist Church
1990
Publications Laboratory Planning and Design Magazine UK Combs Cancer Research Facility
1989
Award of Recognition Kentuckiana Masonry Institute Lexington Fayette Urban County Government Public Works Facility
1989
Merit Award Kentucky Chapter - American Society Landscape Architects St. Hubert’s Burial Garden
1989
Honor Award Kentucky Society of Architects Lexington Fayette Urban County Government Public Works Facility
1989
Honor Award Kentucky Society of Architects St. Claire Cancer Treatment Center
1989
Honor Award Kentucky Society of Architects Owensboro Community College
1989
Facility Tour Eastern Kentucky Chapter of the AIA Lexington Dry Goods Building November 29, 1988
1988
Award of Recognition Kentuckiana Masonry Institute Bourbon Central Elementary School
1988
Distinguished Service Award UK College of Architecture Michael W. Jacobs AIA
1987
Distinguished Firm Award Kentucky Society of Architects
1987
Joseph P. Graves Memorial Lecture Horse Farms of the Bluegrass Transylvania University Michael W. Jacobs, AIA
1987
Honor Award Kentucky Society of Architects Episcopal Church of the Resurrection
1987
M - Honor Award Kentuckiana Masonry Institute Episcopal Church of the Resurrection
1987
Outstanding Service To The Profession Award Kentucky Chapter - American Society Landscape Architects Samuel H. Halley III, AIA
1986
Distinguished Service Award Kentucky Society of Architects Samuel H. Halley III, AIA
1985
Special Recognition Kentucky Chapter - American Society Landscape Architects University of Kentucky Sculpture Garden
1984
Publications The Kentucky Governor’s Mansion – A Restoration William Seale, Author Harmony House Publishers Governor’s Mansion
1983
Citation Award Kentucky Society of Architects Governor’s Mansion
1983
Lecture Kentucky Heritage Council Kentucky Images Conference Michael W. Jacobs, AIA
1982
Distinguished Service Award UK College of Architecture Samuel H. Halley III, AIA 331
332
1981
Honor Award Kentucky Society of Architects McLoney & Associates Office
1981
Honor Award Kentucky Society of Architects TSPS Remote Traffic Office / GTE
1979
Honor Award Kentucky Society of Architects J. S. Emrath Memorial Library
1979
Lecture Kentucky Energy Cabinet Solar Energy Conference GTE TSPS Facility Michael W. Jacobs, AIA
1978
Design Award Kentucky Housing Corporation Prall Place Apartments
1977
Kincaid Award Lexington Downtown Development Commission Levas’ Restaurant
1977
Honor Certificate Lexington Downtown Development Commission The Court Square Plaza
333
McLoney Omni Architects
1975
1976
1977
1978
1979
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE INTERIOR DESIGN
Sam Halley David McIntosh
Sam Halley David McIntosh Joe Williams Doug McLoney Thom Lund Barry Donaldson Nancy Merris Michael Jacobs Sharon Elkin
Sam Halley David McIntosh Joe Williams Thom Lund Barry Donaldson Nancy Merris Michael Jacobs Sharon Elkin
Sam Halley David McIntosh Joe Williams Thom Lund Barry Donaldson Nancy Merris Michael Jacobs Laura Bowers Kerry Rainey Garry Hisel Ramond Lawson
Sam Halley David McIntosh Joe Williams Thom Lund Barry Donaldson Nancy Merris Michael Jacobs Laura Bowers Kerry Rainey Robin Donhoff Robert Taylor Brian Sawyer Joe Crouch Steve Burrus Bennie Fuson Marty Friedman Joan Williams
Sam Halley David McIntosh Joe Williams Barry Donaldson Nancy Merris Michael Jacobs Kerry Rainey Brian Sawyer Joe Crouch Steve Burrus Marty Friedman Joan Williams Joe McGee Bob Donnelly Sandra Sisk Sharon Elkin
Sam Halley David McIntosh Joe Williams Barry Donaldson Nancy Merris Michael Jacobs Kerry Rainey Brian Sawyer Joe Crouch Steve Burrus Marty Friedman Joan Williams Joe McGee Bob Donnelly Sandra Sisk Sharon Elkin Ken Greene Mary C. Wagoner Molly Burlew
431 W. Fourth St.
239 N. Broadway
1980
1981
MERGER McLoney & Assoc. Doug McLoney Al Warner Charles Sandusky Joe Lewis Charles Jolly Ben Young Royce Bourne Nick Feldman Rex Cecil Virginia Clark David Shafferman David McAdams Mark Trimble Brian Tirpak John Walton John Lee Morgan McIlwain Larry Schwering John Whitney Ed Bilby Amy Goad Merle Green Sandra Shackelford Nancye Sims Marsha Rice Margie Rogers
334
1982
1983
1984
1985
1986
1987
1988
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH CIVIL ENGR
Sam Halley David McIntosh Joe Williams Barry Donaldson Nancy Merris Michael Jacobs Doug McLoney Al Warner Charles Sandusky Virginia Clark Joe Lewis Ben Young Charles Jolly Royce Bourne Nick Feldman Rex Cecil Kerry Rainey Brian Sawyer Joe Crouch Steve Burrus Marty Friedman David Shafferman Mark Trimble John Walton John Lee Ed Bilby Amy Goad Ken Greene Merle Green Mary C. Wagoner Marsha Rice Margie Rogers Morgan McIlwain Larry Schwering Lee Ann Mercer Joe Turley Jeff Kolpek Angela Murphy Mike Karuzas
Sam Halley David McIntosh Joe Williams Nancy Merris Michael Jacobs Doug McLoney Al Warner Charles Sandusky Virginia Clark Joe Lewis Ben Young Charles Jolly Royce Bourne Rex Cecil Marty Friedman Mark Trimble John Walton Merle Green Ken Greene Molly Burlew Margie Rogers Morgan McIlwain Larry Schwering Joe Turley Jeff Kolpek Angela Murphy Mike Karuzas Nancy Lipsey S. Bessecker Susan Sanslow Patrica McCool John Whitney George Downs G. Lee Wild
Sam Halley Joe Williams Nancy Lashbrook Michael Jacobs Doug McLoney Al Warner Charles Sandusky Virginia Clark Ben Young Charles Jolly Royce Bourne Marty Friedman John Walton Merle Green Ken Greene Molly Burlew Margie Rogers Morgan McIlwain Larry Schwering Joe Turley Jeff Kolpek Mike Karuzas Nancy Lipsey John Whitney Lee Wild Susan Sanslow Lee Ann Mercer George Downs Judy Krupa Angela Hollearn John Robertson Susan Martin Debbie Gullett Mary Fitch Nancy Amon Bob Gillig Pat Poe Dixon
Sam Halley Joe Williams Nancy Lashbrook Michael Jacobs Al Warner Charles Sandusky Ben Young Marty Friedman John Walton Ken Greene Margie Rogers Morgan McIlwain Larry Schwering Joe Turley Mike Karuzas Nancy Lipsey John Whitney Lee Wild Susan Sanslow Lee Ann Mercer Judy Krupa Angela Hollearn Mary Fitch Bob Gillig John Robertson Susan Martin Nancy Amon Scott Guyon Mark Arnold Amy Nobel Kim Tarbox
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young John Walton Ken Greene Margie Rogers Morgan McIlwain Larry Schwering Joe Turley Mike Karuzas John Whitney Lee Wild Susan Sanslow Lee Ann Mercer Bob Gillig Susan Martin Nancy Amon Mark Arnold Scott Guyon Elaine Taylor Glen Buckner Steve Greenwell Sheri Watkowski Greg White
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Ken Greene Margie Rogers Morgan McIlwain Joe Turley Mike Karuzas John Whitney Susan Sanslow Lee Ann Mercer Susan Martin Mark Arnold Elaine Taylor Steve Greenwell Glen Buckner Sheri Watkowski Greg White Mark Kim Fuller Cindy Ashcraft Carla Shuman Shella Davenport
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Ken Greene Margie Rogers Joe Turley Mike Karuzas John Whitney Susan Martin Mark Arnold Elaine Taylor Steve Greenwell Greg White Mark Seiver Kim Fuller Shella Davenport Suzie Fryman Karen Foose Jane Hudson Allen Davis Ashlee Owen Dave Humlong Derek Brooks R. L. Stanley David White Bill Williams Donna Justice
Southcreek Park
335
1990
1991
1992
1993
1994
1995
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH
ARCHITECTURE INTERIOR DESIGN LANDSCAPE ARCH
ARCHITECTURE INTERIOR DESIGN
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Ken Greene Joe Turley Mike Karuzas John Whitney Mark Arnold Elaine Taylor Steve Greenwell Greg White Mark Seiver Shella Davenport Suzie Fryman Karen Foose Jane Hudson Allen Davis Dave Humlong Derek Brooks R. L. Stanley David White Bill Williams Donna Justice Bob Fish Tracy Garrison Karen Russcher Michelle Lambson Ray Lancaster Greg Miller Laura Black
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Ken Greene Joe Turley Mike Karuzas John Whitney Mark Arnold Elaine Taylor Steve Greenwell Greg White Mark Seiver Shella D Razman Suzie Fryman Jane Hudson Allen Davis Dave Humlong Derek Brooks R. L. Stanley David White Bill Williams Donna Justice Bob Fish Tracy Garrison Karen Russcher Ray Lancaster Greg Miller Laura Black Graham Rohl Dan Jones Beth Ybarra David Ford Trevor Williams Karen Scott Mary Jilka Chip McCully Barry Slone Kari O’Conner Anthony Smith Elizabeth Culbertson
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Ken Greene Joe Turley Mike Karuzas John Whitney Mark Arnold Steve Greenwell Greg White Mark Seiver Shella Rozman Suzie Fryman Jane Hudson Dave Humlong Derek Brooks R.L. Stanley Bill Williams Donna Justice Bob Fish Greg Miller Laura Black Graham Rohl Dan Jones Beth Ybarra Karen Scott David Ford Trevor Williams Karen Scott Mary Jilka Chip McCully Barry Slone Kari O’Conner Lisa Congleton Cindy Bowen Greg Thacker Brenda Lindon Leah Moore Brantley Adams Janice Gustaferro Ian Cheistwer Jimmy Piper Terry Leone Reva Feldman Karen Mosley Lynn Wiseman
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Ken Greene Joe Turley Mike Karuzas John Whitney Mark Arnold Steve Greenwell Greg White Suzie Fryman Dave Humlong Derek Brooks Bill Williams Donna Justice Greg Miller Graham Rohl Trevor Williams Karen Scott Mary Jilka Chip McCully Barry Slone Kari O’Conner Cindy Bowen Brenda Lindon Leah Moore Brantley Adams Janice Gustaferro Ian Cheistwer Jimmy Piper Terry Leone Reva Feldman Dick Patrick Suzanne Davis
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Ben Young Joe Turley Mike Karuzas John Whitney Mark Arnold Steve Greenwell Greg White Suzie Fryman Dave Humlong Derek Brooks Bill Williams Donna Justice Greg Miller Karen Scott Mary Jilka Barry Slone Kari O’Conner Cindy Bowen Jimmy Piper Reva Feldman Dick Patrick Greg Fitzsimons Dan Erlandson
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Joe Turley Mike Karuzas John Whitney Mark Arnold Steve Greenwell Greg White Suzie Fryman Dave Humlong Karen Scott Mary Jilka Barry Slone Jimmy Piper Reva Feldman Dick Patrick Greg Fitzsimons Dan Erlandson Kelly Pierson Jamie Draper Suzanne Raider Kerry Dixon Jonathan Ware Matthew Brooks Chris Dierig Carol Denny
Sam Halley Joe Williams Michael Jacobs Al Warner Charles Sandusky Joe Turley John Whitney Steve Greenwell Greg White Suzie Fryman Karen Scott Barry Slone Jimmy Piper Reva Feldman Dick Patrick Greg Fitzsimons Dan Erlandson Jamie Draper Suzanne Raider Kerry Dixon Jonathan Ware Matt Brooks Chris Dierig Carol Denny Claudia Reynolds Kari O’Conner Martha Hutchinson Sharon England Eric Zabilka
1989
212 N. Upper St.
336
1996
1997
1998
1999
2000
2001
2002
ARCHITECTURE INTERIOR DESIGN
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
Sam Halley Joe Williams Michael Jacobs Al Warner John Whitney Steve Greenwell Greg White Suzie Fryman Reva Feldman Jamie Draper Suzanne Raider Jonathan Ware Matt Brooks Claudia Reynolds Sharon England Eric Zabilka Van Meter Pettit Melody Grant Dan Rollins William Stratton Shannon O’Neill Don Adams Derek Brooks
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Jonathan Ware Eric Zabilka Van Meter Pettit Melody Grant William Stratton Shannon O’Neill Don Adams Derek Brooks Marla Dale Marty Summers Ed Muscarella Teresa Hargett Tracy Miller
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka Van Meter Pettit Melody Grant William Stratton Shannon O’Neill Don Adams Derek Brooks Marty Summers Teresa Hargett Tracy Miller Mike Becherer Sarah Heller Dung Nguyen Peggy Oberg Jeff Bennett Gabe Jones
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka Van Meter Pettit Melody Grant William Stratton Don Adams Derek Brooks Teresa Hargett Mike Becherer Sarah Heller Dung Nguyen Peggy Oberg Jeff Bennett Gabe Jones Tanya Greer Mary Hicks
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka William Stratton Don Adams Derek Brooks Teresa Hargett Mike Becherer Sarah Heller Dung Nguyen Peggy Oberg Jeff Bennett Mary Hicks Carmen Ruth
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka William Stratton Don Adams Derek Brooks Teresa Hargett Mike Becherer Sarah Heller Dung Nguyen Jeff Bennett Mary Hicks Carmen Ruth Gene McDonald Kimberli Bragg Bryan Goodwin
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka Don Adams Derek Brooks Mike Becherer Dung Nguyen Jeff Bennett Carmen Ruth Gene McDonald Kimberli Bragg Jon Rollins Cindi Applegate
337
338
2003
2004
2005
2006
2007
2008
2009
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka Don Adams Derek Brooks Mike Becherer Dung Nguyen Jeff Bennett Carmen Ruth Cindi Applegate
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Jamie Draper Suzanne Raider Eric Zabilka Don Adams Derek Brooks Mike Becherer Dung Nguyen Jeff Bennett Carmen Ruth Cindi Applegate Carl Mudd Tracy Wright Marcia Lopes Gretchen Wheatley Catherine Marquardt
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Suzanne Raider Eric Zabilka Don Adams Derek Brooks Dung Nguyen Jeff Bennett Carmen Ruth Carl Mudd Tracy Wright Catherine Marquardt Gretchen Wheatley
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Suzanne Raider Eric Zabilka Don Adams Derek Brooks Dung Nguyen Jeff Bennett Carmen Ruth Carl Mudd Tracy Wright Catherine Marquardt Gretchen Wheatley Jon Cheatham Jody Boelhauf Natalie Fast Matt Storie
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Suzanne Raider Eric Zabilka Don Adams Derek Brooks Jeff Bennett Carmen Ruth Carl Mudd Tracy Wright Catherine Marquardt Tom Dorning Jon Cheatham Jody Boelhauf Natalie Fast Matt Storie Matthew Brooks Catharine Lowery Ellie Brown Carlea Kovats
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Carmen Ruth Carl Mudd Tracy Wright Tom Dorning Jon Cheatham Jody Boelhauf Matthew Brooks Ellie Brown Carlea Kovats Elizabeth Shissler Rochelle Owsley Kimberly Millerd
Sam Halley Joe Williams Michael Jacobs Al Warner Greg White Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Carmen Ruth Carl Mudd Tracy Wright Tom Dorning Jody Boelhauf Elizabeth Shissler Kimberly Millerd Lindsay Cline
Omni
A R C H I T E C T S
2010
2011
2012
2013
2014
2015
2016
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
Sam Halley Joe Williams Michael Jacobs Al Warner Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Carmen Ruth Tracy Wright Jody Boelhauf Kimberly Millerd Lindsay Cline Katrina Masters Chad Gallas
Sam Halley Michael Jacobs Al Warner Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Tracy Wright Jody Boelhauf Kimberly Millerd Lindsay Cline Thomas Katrina Masters Chad Gallas Morgan Brown Kellin Vellenoweth Valerie Morrow Michael Jernejcic Ross Graham Michael Breault
Sam Halley Michael Jacobs Al Warner Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Katrina Masters Chad Gallas Morgan Brown Kellin Vellenoweth Valerie Morrow Michael Jernejcic Ross Graham Deborah Cutts Jay Copley Emily English
Sam Halley Michael Jacobs Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Morgan Brown Kellin Vellenoweth Michael Jernejcic Deborah Cutts Jay Copley Anne Knight Lisa Nelson Mike Schenkenfelder
Sam Halley Michael Jacobs Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Kellin Vellenoweth Michael Jernejcic Deborah Cutts Jay Copley Lisa Nelson Mike Schenkenfelder Nathan Tanner Wayne Cowan Erin Ruhl David Stout
Sam Halley Michael Jacobs Suzanne Raider Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Kellin Vellenoweth Michael Jernejcic Deborah Cutts Jay Copley Lisa Nelson Nathan Tanner Wayne Cowan Erin Ruhl David Stout Teddi Hibberd Mike Metheny Kelly Keys
Michael Jacobs Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Kellin Vellenoweth Michael Jernejcic Deborah Cutts Nathan Tanner Wayne Cowan Erin Ruhl David Stout Teddi Hibberd Mike Metheny Kelly Keys Mark Manczyk Shawna Hall Lisa Walker Christa Mueller
339
340
2017
2018
2019
ARCHITECTURE
ARCHITECTURE
ARCHITECTURE
Michael Jacobs Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Kellin Vellenoweth Deborah Cutts Nathan Tanner Wayne Cowan Erin Ruhl David Stout Teddi Hibberd Mark Manczyk Shawna Hall Lisa Walker Christa Mueller Amy Arnold Eric Shockey Shelby Hilliard Libby Lamb
Michael Jacobs Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Deborah Cutts Nathan Tanner Erin Ruhl David Stout Teddi Hibberd Mark Manczyk Lisa Walker Christa Mueller Amy Arnold Shelby Brinker Libby Lamb Sarah Blanchard Lauren Delventhal
Michael Jacobs Eric Zabilka Don Adams Jeff Bennett Jody Boelhauf Chad Gallas Deborah Cutts Nathan Tanner Erin Ruhl David Stout Teddi Hibberd Mark Manczyk Lisa Walker Christa Mueller Amy Arnold Shelby Brinker Libby Lamb Sarah Blanchard Lauren Delventhal Eric Williams Addison Hughes Nick Abend Ryan Moore
341
342
E S T
1 9 7 5
D O N A D A M S
A M Y A R N O L D
J E F F B E N N E T T
S A R A H B L A N C H A R D
J O D Y B O E L H A U F
S H E L B Y B R I N K E R D E B O R A H C U T T S C H A D G A L L A S T E D D I H I B B E R D
A D D I S O N H U G H E S
M I C H A E L J A C O B S
M A R K M A N C Z Y K
R Y A N M O O R E
C H R I S T A M U E L L E R
E R I N R U H L
D A V I D S T O U T
N A T H A N T A N N E R E R I C
L E X I N G T O N
Z A B I L K A
K E N T U C K Y