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Innovative

Interiors midwest

Timeless To Trendsetting Commercial Interiors By Leading Architects And Designers


Innovative Interiors is an impressive collection of the best commercial interiors produced by the area’s leading architects and interior designers. It is the latest series of world class coffee-table books being published by Panache Partners. Innovative Interiors pays tribute to the power of well-designed spaces and showcases a wide array of impressive interiors and the creativity executed across the region. Large photographs and renderings will be accompanied by professionally written editorial explaining the intricacies of each commercial interior’s many creative and technical components. Innovative Interiorsis published as both a coffee-table book and as an eBook for the broadest circulation ever made available for the high-end Panache Partners collections. To demonstrate your firm’s diversity in project scope and aesthetic, you are welcome to be represented in multiple chapters by opting for multiple layouts. In the eBook, photo animation, embedded videos, links to your website and high definition 360 photography of your best installations work in concert to enhance the viewing experience. In addition, the eBook can be shared on major social networks or through email links with a single click of the mouse. Distributed in all major book stores and leading online booksellers, such as Amazon, as well as through App stores for smart devices, Innovative Interiors is an invaluable resource for corporate executives, small business owners, civic leaders, and other decision makers as well as other trade experts and interested consumers seeking locally based experts in fine commercial design.


CONTENTS Office or Industrial Spaces Corporate Headquarters Small Business Locations Stylish Production Facilities Chic Warehouses Hospitality Venues Restaurants Night Clubs and Lounges Hotels and Resorts Entertainment Complexes Retail Spaces Chain Retail Establishments Malls and Shopping Centers Specialty Shops and Boutiques Healthcare Facilities Medical and Dental Offices Hospitals Surgery Centers Laboratories Civic and Institutional Buildings Government Libraries Museums Lower Schools Universities Recreational Facilities Renovations and Preservations Rehabbed Spaces Historic Structures Urban Infill Projects


Office & Industrial spaces


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Skidmore, Owings & Merrill LLP (SOM) Skidmore Owings & Merrill LLP (SOM) is the preeminent firm for all things skyscraper. From the Willis Tower in Chicago— commonly known as the Sears Tower—to the new formation of One World Trade Center in New York, the company has mastered verticality throughout the last 75 years. Reaching the top, however, has never been SOM’s only forte. It also continually succeeds in providing inspired, elegant interiors capable of aesthetically representing both the philosophy of the firm and their buildings’ tenants. Two projects that show the firm’s eclecticism are Kirkland & Ellis LLP, the global headquarters of the renowned law firm, and Burj Khalifa, the tallest building on Earth. While Kirkland & Ellis LLP’s success lies in its sleek multifunctional themes, Burj Khalifa’s interiors represent an amalgamation of culture and business, tradition and modernity, art and life. Both projects have won global accolades and further cemented SOM as a design leader.

Above: Spencer Finch created the site-specific, ceiling-mounted sculptural installation entitled Cloud (H2O) that hangs above Kirkland & Ellis LLP’s reception desk. Facing Page: A riverfront terrace provides a remarkable location for events. An enigmatic sculpture by Richard Hunt beckons visitors and employees onto the terrace and across the rock garden lining the windows. Photographs by SOM and Tom Rossiter


For Kirkland & Ellis LLP, SOM’s interior design director Jaime Velez and his team have created a flexible lobby that is capable of acting as a chic reception area by day and an impressive gathering space at night, offering expansive views of the Chicago skyline. The adjacent conference room’s walls are moveable so the room can take on whatever size and shape is required. When night falls, the reception desk can serve as a food and beverage station for corporate events. The glass exterior walls, which can also serve as doors, open out into a minimalistic rock garden, allowing the prized terrace to seamlessly flow into the lobby. Historically, Kirkland & Ellis had given its employees an allowance to personally decorate their offices. When considering options for the new global headquarters, however, it was decided that the fluidity of the building should be carried out, to some degree, in the offices as well. This would not only demonstrate the firm’s consistency but it would also be more financially feasible. In order to concoct fluidity but also account for individuality, SOM created a database of hundreds of possible furnishing choices for each office, all subscribing to a pre-determined material palette. Employees now have the ability to plan their entire office online and then order it to their exact specifications.

Right: Custom offices cater to the individuality of each tenant. All workspaces have consistent access to natural light and, wherever possible, the design emphasizes city vistas. Facing Page: Joel Perlman created the sculpture Picasso Head from cast bronze, while Emmet Kerrigan is behind Chicago Bascule, a largescale wood assemblage made of varnished wood, steel, and enamel. Photographs by SOM and Tom Rossiter


Burj Khalifa is a symbol of power and prestige in Dubai and a modern triumph of architecture and design. If a single-page article were written about every person who worked on the building, the compilation would total over 18,000 pages. Among the thousands, Burj Khalifa’s enchanting interiors spring primarily from the mind of SOM’s Nada Andric, who worked tirelessly with her team to personally select and oversee every single aspect of the building’s interiors. Throughout the building, SOM represents the international unity that existed when constructing the structure through a restrained and carefully edited design, while also subtly emphasizing the local culture

are small and intimate, each defined by an experience of high design. At the very top of Burj Khalifa, the 154th floor features a unique sitting room that contains many simple cultural symbols including a wood carving, a precious traditional box and several bronze plates. On the coffee table, an open book with Arabic writing shows respect to the region’s Islamic heritage. In the soaring residential lobby, the fluid ceiling shapes are an abstract interpretation of the stately and elegant local dress

throughout the lush interiors.

worn by men, with the softness interpreted in the Venetian

The interiors of Burj Khalifa’s highest floors, levels 152-154,

reminiscent of Arabic script, while the Brazilian Rosewood,

have celestial influences inspired by a stationary spacecraft. Connected within an atrium, each of the three floors is

stucco walls. The silver travertine flooring features patterning with the intrinsic beauty of its natural graining, conveys comfort, shelter, and modern opulence.

designed for a specific function: level 152 holds a reception area, a boardroom is located on level 153, and level 154 hosts a sitting room used for small gatherings. A minimal palette of luxurious materials was used for the suite, including pearlescent panels, black granite floors, stainless steel, and glass. Since the tower tapers as it rises, the top three floors

Above: The triangular patterning of the ceiling is a nod to the spherical and triangular geometry inherent in Burj Khalifa’s architecture. The smallgathering room features several art elements. Facing Page: The high ceilings mirror the curvature of the building as well as an abstract interpretation of the dignified dress worn by local men. Photographs by SOM and Nick Merrick of Hedrich Blessing


Nearly 1,000 pieces of art were specially commissioned for the building, but it’s not unreasonable to also deem Burj Khalifa’s 152nd-154th floors true works of art. Symbolic Middle Eastern fountains are located on the bottom of the tri-level events suite. The fountains consist of stainless steel sheets with back-lit water jets, referencing the significance of fountains in Arabic culture. They are engineered to anticipate the movement effect inherent in a building of such remarkable height. The serene sound of the running water can be heard on all three stories. The definitive design element for the executive suites is the three-story staircase, suspended from the 154th floor ceiling using 10-meter-high stainless steel rods, placed 100 millimeters apart, each of which provides 1,000 pounds of pre-tension force. Individual granite treads form the curvature, while springs in the floor of level 152 ensure balance and accommodate for the building’s movement. The staircase wraps around the atrium area, giving an unmatched view of the fountains, the individual rooms, and the great city of Dubai.

Right: A three-story staircase, suspended from the ceiling frame at the 154th floor, serves as the organizing element of the high-profile event space atop the tallest building in the world. Facing Page Top: Symbolic Middle Eastern fountains are located on the bottom of the tri-level events suite. Facing Page Bottom: The spiraling staircase embraces the conference room, which is adorned with fine art that the client specifically commissioned for the Burj Khalifa. Photographs by SOM and Nick Merrick of Hedrich Blessing


Hospitality spaces


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Retail spaces


valerio dewalt train associates Garmin International Flagship Store www. buildordie.com

Here is a game. What image is conjured with “agile”? Perhaps a loosely knotted nautical rope. What about “hip”? Maybe a pair of young Italians sharing a Vespa. “Organic”? Maybe smooth, moss-covered stones. While many words invoke very specific images, such as bagel, the abstract, subjective design game is about hitting the nerves, gut reaction. For Joe Valerio of Valerio Dewalt Train Associates, architectural spaces have high potential for beguiling suggestion. Offering such architectural mesmerism is Garmin International Flagship Store on Chicago’s Magnificent Mile. Garmin designs consumer GPS systems, and for the flagship retail shop, they chose Michigan Avenue for its glamour and great pedestrian traffic and chose Valerio Dewalt Train Associates for its moxie. Garmin had never developed its own retail space; so the first challenge was to come up with a design concept that captured and communicated the Garmin brand. Garmin needed a people place, and while engineers and aesthetics often have a prickly relationship, Joe and his team found their clients remarkably adventurous in design. ABOVE: Super clear, low-iron glass windows invite passersby into the Garmin flagship store on Chicago’s Magnificent Mile. Photograph by Steve Hall, Hedrich Blessing Photography FACING PAGE: While the undulating walls suggest the mysteries of the world, Garmin’s GPS devices are displayed on custom casework: The power of technology navigates the world’s ambiguities. Photograph by Steve Hall, Hedrich Blessing Photography


In contrast to the sensual wooden walls, the Garmin devices are arrayed on precisely machined custom displays. The displays represent the technical achievement of the products that are used to navigate the mysterious world. Creating compelling and imaginative spaces like Garmin Flagship Store is the essence of a Valerio Dewalt Train design. These GPS systems are relatively tiny devices—small enough to fit in the palm of your hand. To contain them Garmin needed a big idea, and Joe’s sculptural wall was it. Could these walls represent the hull of a ship, a canyon, waves or fenders? The world is full of mystery, and these devices make this puzzling planet comprehensible. Go ahead and touch the walls; perplexity is the beginning of knowledge.

ABOVE: The second floor of the Garmin store showcases Garmin’s aviation and outdoor-related products. Photograph by Steve Hall, Hedrich Blessing Photography FACING PAGE: The signature wood walls are made of Afromosia veneers bent over ribbed frames. The two-story walls unify both levels of the 15,000-squarefoot store. Photograph by Steve Hall, Hedrich Blessing Photography


healthcare facilities


h+l architecture The Children’s Hospital www. hlarch.com

Founded in 1908, The Children’s Hospital has been consistently considered one of the 10 best children’s hospitals in the country, and expectations for this new facility were accordingly high. Primary among the project goals was designing a “most healing” hospital, a facility that would offer the best medical care from a scientific and technical standpoint, as well as world-class care from an emotional, psychological and environmental standpoint. The result is a facility unlike any other. From the moment they enter the building, patients and their families are welcomed into an environment that is bright and sunlit, quiet, nurturing, colorful and comfortable.

ABOVE: A combination of centralized and decentralized nurses’ stations have been designed to reduce noise and traffic levels in hallways. Rubber-backed flooring and acoustical tiles also help absorb noise. Photograph by Eckert and Eckert FACING PAGE: At its main entrance, The Children’s Hospital is clearly heading in new directions. Photograph by Eckert and Eckert


The heart of the building, the four-story Boettcher Atrium, captures the whimsy and spirit of the hospital via a terrazzo floor that incorporates butterflies, snowflakes, birds, fish and a variety of familiar shapes into a maze that runs across the entire space. The walls above glass panels depict images like snowflakes that, upon closer inspection, are composed of animals, skaters and baseball players. Well-known Colorado photographer John Fielder’s images of rustic Indian paintbrush, marsh marigolds, purple columbines, rocks with lichen and colorful aspen leaves brighten vinyl tiles in the flooring of Children’s new cafeteria. Additionally, trees dusted with fresh snow, mountain meadow scenes and aspen trees are etched into glass partitions throughout the hospital, adding to the spirit that is Colorado.

ABOVE LEFT: A gelato bar is just one of the many hospital amenities. Others include a chapel, a daycare center and a teen center with a movie theater and a basketball hoop. ABOVE RIGHT: The design team considered how light, touch and sound would impact the experiences of patients, as illustrated by this art glass detail. FACING PAGE: The Boettcher Atrium serves as the hospital’s public living room. Seven 20-by-30-foot glass-wall panels, designed by artist Larry Kirkland, are inspired by characteristics of the region and appeal to all ages. Photographs by Eckert and Eckert


With few exceptions the patient rooms have been designed to host just one child, and in the spirit of family-centered care, each room has sleeping accommodations for family members, plus adequate storage, a desk and data ports so families can comfortably stay with children. Care has also been taken to ensure that the “home” for babies, the Neonatal Intensive Care Unit, is softly lit and quiet, reflecting the latest medical research that demonstrates low light levels, a quiet atmosphere and privacy. There is also a special place for teenage patients. A 3,000-square-foot, teen-only “hot spot” features a movie theater, pool table, basketball arcade, computers, music/ reading room, a kitchenette and a private telephone booth. Additionally, spaces where children can play are located throughout the hospital, and a creative play area, available for siblings, offers respite for parents. Multiple amenities are also provided for hospital staff, including lounges, staff showers, exercise facilities, inside bicycle storage, conference spaces and a beautiful staff-only terrace.

ABOVE: The Boettcher Atrium serves as the hospital’s public living room. Seven 20-by-30-foot glass-wall panels, designed by artist Larry Kirkland, are inspired by characteristics of the region and appeal to all ages. Photographs by Eckert and Eckert FACING PAGE: Patient rooms host just one child. Each room has sleeping accommodations for two family members, a desk and data ports so families can comfortably stay with children. Photograph by Eckert and Eckert


civic & Institutional buildings


rees associates George Allen Sr. Courthouse www.rees.com

Texas has a long history of constructing architecturally significant county courthouses. The recently expanded and renovated George Allen Sr. Courthouse, originally built in the mid-1960s, has now joined the ranks of these proud structures. Few architects are fortunate enough to be commissioned to design a major public building in the heart of one of the most prominent cities in America. The architects and designers of REES were afforded this rare opportunity and made the best of it. Meticulous research, planning, design and thoughtful attention to detail led to the spectacular re-emergence of the George Allen Sr. Courthouse and its rightful place in the heart of Dallas. This building effectively consolidates Dallas County Civil Court departments and functions into a previously nondescript half-century-old building—transforming the structure into a monument of stability and civic pride for one of America’s foremost cities. This was accomplished while juggling extreme site limitations and a modest construction budget.

ABOVE: The grand lobby is both welcoming and secure. Photograph by Craig D. Blackmon, FAIA FACING PAGE: FACING PAGE: The 182,000-square-foot addition was blended into the existing 430,000-square-foot structure, which now houses all of Dallas County’s civil courts. Photograph by Craig D. Blackmon, FAIA


Robert Boyle, AIA, led the REES architectural team from project conception to completion. To ensure the building’s timelessness, the architectural team went to great lengths to match the existing marble used on the exterior of the original building. This unique white marble was traced to a Vermont quarry that had been closed for decades. The quarry, now owned by a stone processing company located in Pietrasanta, Italy, agreed to reopen and provide enough marble to complete the new court tower. The marble was quarried in Vermont, cut and prepared in Italy, and shipped to Dallas for the George Allen Sr. Courthouse—the result is a perfect match. The building’s vertical expansion and horizontal renovation enabled the designers to increase critically needed staff work areas while simultaneously reducing visitor congestion in the existing court corridors. To maximize elevator efficiency, courts with the highest visitor volumes were relocated to lower floor levels. Escalators also serve these high-volume floors, further enhancing vertical movement of visitors using the building.

ABOVE: Natural light eases lingering apprehensions as people await their time in court. Photograph by Craig D. Blackmon, FAIA FACING PAGE TOP: Like its 16 virtually identical counterparts, this courtroom has durable beech wood surfaces and soft, off-white walls. The witness stand can be positioned on either side of the judge or directly across from the jury. Photograph by Craig D. Blackmon, FAIA FACING PAGE BOTTOM: The ceremonial courtroom is the largest of 18 yet maintains the same superb acoustics and sight lines. Photograph by Craig D. Blackmon, FAIA


renovation & preservation spaces


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