2. My Fellow AlA Utah members,
As my year as your President draws to a close, I’d like to take this opportunity to thank all of you who have
been active participants in our Chapter’s activities and events in 2015. It’s been a fantastic year! You may recall
that our theme for 2015 was Leadership and Engagement. I asked all of you, in my first letter as President, to
consider attending just one more event in 2015 than you had in the past. A lot of you did, and I hope that you
saw the benefits that come with your increased participation. I know for a fact that the Chapter benefited
greatly from the efforts of many volunteers this year, some longtime and others new!
This year has been exciting! We saw the best attended Legislative Day at the State Capitol, our most successful
AIA Scholarship Golf Tournament to date, enjoyed the awesome 3rd Anniversary party for the WIA (Women In
Architecture), and attended a fantastic State Conference planned by President-Elect Bruce Fallon, AIA, and his energetic Committee. We
tried out a fun new format for the Member Celebration and Awards evening. If you weren’t there, you missed out! Congratulations again
to our new Members, our new Licensees, our new Fellows, and the Honor and Awards winners. Our Northern and Central Sections, and
many of our Committees, (YAF, Urban Design, and the Committee on Design and the Environment), have planned and hosted a number of
exciting learning opportunities and events throughout the year. Our Public Relations Committee has continued to produce the fabulous
Reflexions newsletter, a publication that we all look forward to receiving each quarter. And we crafted a new Strategic Plan for our Chapter
that will guide our services and programs for the next 3 years.
We have also been able to take advantage of some great partnerships with allied organizations, like the Utah Center for Architecture, the
University of Utah School of Architecture + Planning, AIAS, SMPS, the Building Enclosure Council, CEFPI (now A4LE), and the ACE Mentor
Program, to provide lectures, learning & mentoring opportunities, and educational tours & seminars.
On a Regional level, it was my privilege to represent us at the AIA Western Mountain Region Practice+Design Conference in Keystone
in mid October. Our friends in Colorado did a terrific job with the conference, a three day event filled with exceptional speakers and
enriching networking opportunities. The region elected a new Secretary, Katie Wilson, AIA, from Wyoming, an energetic young architect
and a Jason Pettigrew Scholarship recipient. We also elected Arizonan Patrick Panetta, AIA, as our new Regional Director/Representative. I
know they will both do a great job as our regional leaders. Finally, I invited everyone to Utah next September 22-24. It’s our turn to host the
Western Mountain Region Conference, and we will be holding our Annual State Conference in conjunction. Please mark your calendars
and plan to participate – there were over 500 attendees in Keystone, and it was a blast!
One last thing I ask of all of you - please continue and extend your engagement with AIA Utah. Start 2016 with plans to attend some of the
programs and events that AIA Utah members and our friends organize and craft. Consider becoming more involved with a Committee. I
promise that the skills and knowledge you will gain as a result, and more importantly the relationships you will make with your colleagues
are well worth the time you will spend!
Thank you all for your efforts, engagement, and leadership!
Jeanne Jackson, FAIA
2015 AIA President
jjackson@vcbo.com
801.575.8800
PRESIDENT’S MESSAGE
3. PAGE
3
TABLE OF CONTENTS
AIA UTAH LEADERSHIP
CREDITS
PRODUCED BY:
AIA Utah - Public Relations Committee
P.R. COMMITTEE CHAIR:
Tang Yang, AIA / GSBS Architects
P.R. COMMITTEE MEMBERS:
Heather A. Wilson / AIA Utah Executive Director
Travis Sheppard, AIA / GSBS Architects
Ashley Babbitt / University of Utah Liaison
Robert Pinon, AIA / MHTN
Bruce T. Fallon, AIA / WPA Architecture
Steven Hilton , AIA / Think Architecture
Jeff Bolinger, AAIA / GSBS Architects
Keri Hammond, FSMPS, CPSM/ Marketlink
Megan Kennedy / Think Architecture
Amber Craighill / BHB Engineers
Benny van der Wal / Light Keeper
DESIGNED BY:
Megan Kennedy
SPONSORED BY:
AIA Utah, Certified Reprographics, Allied Members
AIA UTAH BOARD OF DIRECTORS
President: Jeanne Jackson, FAIA
President-Elect: Bruce Fallon, AIA
Secretary: Jarod Maw, AIA
Treasurer: Robert Pinon, AIA
Director: Jim Lohse, AIA
Director: Whitney Ward, AIA
Director: Peggy McDonough-Jan, AIA
Director: Kathy Wheadon, Assoc. AIA
Associate Director: Dijana Alickovic, Assoc. AIA
NORTHERN UTAH SECTION
President: Jarod Larson, AIA
President-Elect: Bob Petroff, AIA
Secretary-Treasurer: Aaron Day, AIA
CENTRAL UTAH SECTION
President: Michael Raymond, AIA
President-Elect: John Lineback, AIA
Secretary-Treasurer: Deborah Jensen, Assoc. AIA
SOUTHERN UTAH SECTION
President: Todd Benson, AIA
President-Elect: Ben Rogers, AIA
Secretary-Treasurer: Justin Stein, AIA
COMMITTEE CHAIRS
Utah Urban Design Committee
Soren D. Simonsen, AIA
Committee on Design and the Environment
Whitney Ward, AIA and Jeff S. Juip, AIA
Member Services Committee
Mimi Locher, AIA and Michael A. Dolan, AIA
Government Affairs Committee
R.K. Stewart, FAIA
Young Architects Forum
Erin Carraher, Assoc. AIA
Fellowship and Honors Committee
Peggy McDonough-Jan, AIA
Public Relations Committee
Tang Yang, AIA
AIA UTAH EXECUTIVE DIRECTOR
Heather A. Wilson
hwilson@aiautah.org
facebook.com/aiautah
PRESIDENT’S MESSAGE 2
UPCOMING EVENTS 4
2016 BOARD OF DIRECTORS 5
UTAH ARCHITECT PROFILE 8
DESIGN AWARDS 2015 10
HONOR AWARDS 17
REMEMBERING BLISS 18
GIVING BACK 19
ALLIED MEMBERS 21
AIA UTAH CONFERENCE 23
FRANK LLOYD WRIGHT’S
STROMQUIST HOUSE 26
YAF 28
WOMEN IN ARCHITECTURE 29
INDUSTRY INSIDER 30
TECHNICAL CORNER 32
TRAVEL CORNER 34
268 South State Street, Suite 190
Salt Lake City, Utah 84111
801.532.1727
4. FEBRUARY
LOCATION: UTAH STATE CAPITOL BOARD
ROOM
TIME: 7:30 AM - 10:00 AM
AIA UTAH LEGISLATIVE DAY
23-25
FEBRUARY
LOCATION: DETROIT, MICHIGAN
AIA NATIONAL GRASSROOTS
PAGE
4
19-21
MAY
LOCATION: PHILADELPHIA, PA
AIA NATIONAL CONFERENCE
MARK YOUR
CALENDARS
3
UPCOMING
EVENTS
UNIVERSITY OF UTAH SCHOOL OF
ARCHITECTURE SPRING 2016 LECTURE
SERIES
The Spring 2016 University of Utah School
of Architecture Lecture Series presents
three guest lectures from the professional
community. Continuing Education Units
will be available at all three lectures,
provided through AIA Utah. All lectures
will take place at the University
of Utah College of Architecture +
Planning 375 S. 1530 East, Rm. 127
at 4 PM.
JANUARY 27
The Martin Brixen Memorial Lecture -
Michael Maltzan, Founder & Principal of
Michael Maltzan Architecture
FEBRUARY 26
SOA Faculty Lecture - Anne Mooney,
Associate Professor & Principal Architect of
Sparano+Mooney Architecture
MARCH 2
Lecture - Emilie Welty, Architect & Tulane
City Center Design /Build Manager
JULY
LOCATION: WASHINGTON DC
AIA NATIONAL LEADERSHIP CONFERENCE
13-15
SEPTEMBER
LOCATION: SALT LAKE CITY, UT
AIA WESTERN MOUNTAIN REGION
CONFERENCE
22-24
5. JOHN BRANSON, AIA: DIRECTOR AT LARGE
In 26 years of practice as an architect at GSBS Architects, I have had the opportunity to experience the profession from many different
perspectives. As an intern, trying to absorb the things school didn’t teach. As a project manager, organizing the work of a team and dealing
with clients. And as a member of the board of directors of GSBS, dealing with everything from challenging fee climates to the recruitment
and development of employees. Throughout this time, I have seen how the AIA can provide support to individuals at all points in their
careers. As a member of the AIA board, I will be a proponent for the profession in the community, and will work to ensure that AIA Utah
provides the best possible resources to support its members. I am honored to serve as a director of AIA Utah.
JOE SMITH, AIA: DIRECTOR AT LARGE
Joe is a family man who loves the outdoors, architecture and design. Born in Brazil, he lived
in Mexico, California and Connecticut prior to landing in Utah with his family in 1989. He
attended the University of Utah receiving a Bachelor’s and Master’s degree in Architecture.
He’s passionate about many things; design, family and sports and brings that competitive,
driven spirit to all he does. Joe is a licensed architect and the lead design principal and co-
owner of Method Studio, Inc., an award-winning architectural, planning and design firm in
Salt Lake City. Joe founded the company in 2007 with his partners Kelly Morgan and Becky
Hawkins. Together they have built a thriving practice of 47 professionals with a focus on
great customer service, hard work, and the idea that design matters. Joe achieved LEED
accreditation in 2006 and is a member of the American Institute of Architects. He has
had the opportunity to design, manage, and lead a number of notable projects both
locally and regionally while practicing over the last 17 years. His work encompasses
higher education, performing arts, mixed-use, multi-family and student housing, civic,
institutional, and corporate projects. Joe has been a juror at the University of Utah
Graduate School Of Architecture, participating in the critiquing of numerous student
masters projects. When Joe isn’t working you can find him coaching his kids in volleyball,
on outings with the boy scouts or simply spending time with family.
PAGE
5
2016 BOARD
OF DIRECTORS
6. JEFF BOLINGER, AAIA: ASSOCIATE DIRECTOR
Jeff was born and raised in SE Idaho and first came to Salt Lake City to study architecture. He received a Bachelor of Science in Architecture
from the University of Utah and a Master of Architecture degree from the University of Oregon before coming back to Salt Lake City. Jeff
has been working with GSBS Architects ever since.
Jeff has had an opportunity to be involved in the Utah architecture community as a mentor to U of U students, as a member of the AIA Utah
Young Architects Forum, and most recently as a member of the AIA Utah PR Committee. He is excited about this new opportunity to serve
in the coming years.
VISION
HELPING ARCHITECTS
TO ACHIEVE THEIR
801.486.3883 | www.reaveley.com801.486.3883 | www.reaveley.comUtah Valley University Academic Classroom Building - Orem, UTUtah Valley University Academic Classroom Building - Orem, UT
PAGE
6
2016 BOARD
OF DIRECTORS
7. SCOTT LATER, AIA: SECRETARY
Scott brings a passion for architecture and a strong desire to give back to a community that has supported him over the years. After
earning his undergraduate English degree from Brigham Young University Scott moved his family out to Ohio to pursue his master of
architecture from Miami University. Upon completion Scott worked for 7 years at EDA Architects as a Senior Associate before joining MHTN
architects in 2013. For the past 2 years Scott has worked as a project architect focusing on K-12 buildings. He is an active member of
CEFPI (Council of Educational Facility Planners International) and for the past couple of years has participated in Layton High Schools CTE
mentoring program. His strong organizational and communication skills make him an ideal candidate for AIA secretary. Scott and his wife
Cindy live in South Jordan with their son and daughter.
PAGE
7
PEGGY MCDONOUGH-JAN, AIA: PRESIDENT-ELECT
Peggy McDonough-Jan AIA, currently serves AIA Utah as a Board Member. For the last 5 years, and most recently as Chair, she has been part
of new initiatives on the Awards and Honors Committee that have resulted in an increase in AIA Utah Fellowship recipients. As AIA Utah
President-Elect, Peggy will bring her dedication representing and increasing AIA Utah’s membership, along with her 28-year perspective as
a practitioner locally, regionally, and nationally. As President of MHTN Architects since 2010, Ms. McDonough Jan is a native of Utah, with
an accredited degree in Architecture from the University of Notre Dame, and is the 1989 recipient of the NIAE Paris Prize in Architecture.
As Adjunct Faculty at the University of Utah CA+P since 1995, Peggy is dedicated to the advocacy of excellent architectural education,
including the AIAS Mentor Program, and continues to serve with her professional colleagues on the Advisory Board for the U of U CA+P.
2016 BOARD
OF DIRECTORS
UPDATES
• Jeanne Jackson, FAIA will continue to
serve on the Board as the Immediate
Past President.
• Robert Pinon, AIA, will continue as
treasurer through 2016.
• Kathy Wheadon, AIA, Whitney Ward,
AIA and Jim Lohse, AIA will continue
on in Director positions through
2016.
8. PAGE
8
PLACE OF BIRTH BIRTH DATE
Holladay, Utah b. June 27, 1924
d. September 19, 2011
EDUCATION
Art & Engineering Major, University of Utah, 1942
BA in Architecture, University of California at Berkley, 1951
LICENSURE CAREER
1954 Dean L. Gustavson Associates Architects/Planners, 1953
Gustavson Companies, 1977
INTERESTING HIGHLIGHTS
In this edition, we highlight the career of Dean L. Gustavson, FAIA, one of the most
prominent Utah architects of the second half of the 20th century. Mr. Gustavson
established his firm in 1953 and within a few years received significant awards for design.
He served in AIA Utah leadership capacities, influenced the shape of Salt Lake City as chair
of the Development Plan Committee for the Second Century Plan, led the State of Utah
Architectural Licensing Board, and in 1969-70 impacted licensing nationwide as President
of NCARB. In 1970, Mr. Gustavson became a Fellow of The American Institute of Architects.
This profile was compiled from archival sources and written by Chelsey Zamir, the
graduate student researcher hired by the American West Center on behalf of UCFA.
In case you’re wondering, Utah Architects Project committee members raised questions
about the influence of John Sugden, who worked for Dean L. Gustavson until 1958. We are
committed to basing profiles on documented evidence and will add information or revise
profiles as new information is uncovered.
SUPPORT THE UTAH ARCHITECTS PROJECT
Your financial support is critical to keep this project going. Any amount will help. You can
donate online at www.utahcfa.org, or by send a check designated for the Utah Architects
Project to the Utah Center for Architecture, 268 S State St., Suite 190, Salt Lake City, UT
84111. Thank you.
UTAH
ARCHITECT
PROFILE
DEAN L. GUSTAVSON, FAIA
1
2
9. CERTIFICATIONS AND AWARDS
• National Council of Architectural Registration Board (NCARB) certified.
• Received an Honor Award for Design from the Western Mountain Region of the
American Institute of Architects (AIA WMR) in 1956 for the Green River High School in
Green River, Utah.
• Received an Architectural Record Award of Excellence in House Design in 1960 for the
Dean L. Gustavson Residence in Holladay, Utah.
• Received an Honorable Mention for Design from the Western Mountain Region of the
AIA in 1961 for the Joseph F. Merrill Engineering Center at the University of Utah.
• Received recognition in“Who’s Who in the West,”in 1963-1968 and again in 1970.
• Received a Merit Award for Design from AIA Utah in 1966 for the Western Savings
Building in Portland, Oregon.
• Received a Merit Award for Design from AIA Utah in 1966 for the First Security Bank,
Cottonwood Branch, in Salt Lake City.
• Received recognition in“Who’s Who in Commerce and Industry,”in 1966-1968.
• Received a Merit Award for Design from AIA Utah in 1967 for the Fort Douglas
Country Club in Salt Lake City.
• Received the Merit Award for Design from AIA WMR in 1968 for the First Security
Bank, Cottonwood Branch, in Salt Lake City,.
• Elevated to Fellowship in The American Institute of Architects (FAIA) in 1970.
• The Skyline High School in Salt Lake City, Utah was selected for exhibit in 1961 by the
American Association of School Administrators.
• The Skyline High School in Salt Lake City, Utah was also selected for exhibit in 1961 by
the UNESCO Exhibit in London, England.
PAGE
9
SIGNIFICANT BUILT WORKS
[2] 1955
Green River High School
Green River, Utah
[3] 1957
The Gustavson Residence
Holladay, Utah
[5] 1960
Joseph F. Merrill Engineering Building
University of Utah, Salt Lake City, Utah
[4] 1962
Skyline High School
Holladay, Utah
[1] 1963
Western Savings and Loan
Portland, Oregon
1982
Tabiona High School
Tabiona, Utah
UTAH
ARCHITECT
PROFILE
4
3
5
10. PAGE
10
DESIGN
AWARDS
2015
PUBLIK COFFEE ROASTERS
Award: Honor
Architect: Lloyd Architects
Project Address: 975 S West Temple, Salt Lake City, UT 84101
Publik Coffee Roasters is an adaptive re-use project of an existing warehouse building
located at 975 S West Temple in Salt Lake City. The design program reconfigures existing
spaces, reclaims onsite materials, reuses salvaged finishes, and creates community spaces
for gathering in the Central Ninth District.
Client Missy Greis had a vision to reinvent a new life for an existing building with a coffee
roaster and a genuine community gathering placed called Publik.
The building has two sides and several lives: The West wing was a 1920’s masonry
warehouse for a mining company, and the East wing was a 1959 precast concrete printing
press building for Wheelwright Printing and then Jensen Reprographics. The process
of discovering the existing building and determining how to best reveal key elements
for the operational coffee roasting needs while creating community gathering was the
central concept as the design team made decisions for Publik.
The design intent guided the team toward a list of priorities: first, highlighting elements
that had existed in the building, then secondly, repurposing elements or objects that
had existed in another place or locale, and then finally developing elements that could
be constructed to connect those components and ideas into a greater whole. We would
make design decisions with the same guiding principals of sustainability, local-first, and
community.
The main space of Publik centers on one large communal volume created by the removal
of the concrete precast plank upper floor, passively cooled with the aid of a 14’blade
fan and day-lit though the north facing restored steel windows. Coffee roasting and
production are facilitated by a Dietrich Roaster, a locally manufactured, energy efficient
infra-red roaster and after burner. The roastery bay and the conference rooms are
demarcated from the communal space by a racing stripe of Hugger Orange, from the
famed 69’Camaro, which extends to the exterior of the building.
Photos By: Mark Weinberg
11. MIDVALE SENIOR CENTER
MAIN LOBBY WITH WALNUT WOOD STAIR TO UPPER STORY IN FOREGROUND AND RECEPTION BEYOND
MIDVALE SENIOR CENTER
VIEW OF LOBBY SHOWING STEEL FRAMED STRUCTURE, COPPER AND WOOD PANELLING INSPIRED BY INDUSTRIA
BOXCARS
MIDVALE SENIOR CENTER
COFFEE BANQUETTE
PAGE
11
DESIGN
AWARDS
2015
MIDVALE SENIOR CENTER
Award: Honor
Architect: EDA Architects
Project Address: 7550 Main Street, Midvale,
UT 84047
Owned and operated by Salt Lake County
Aging and Adult Services, the Midvale
Senior Center is an approximately 20,560
square foot building, located at 7550 South
Main Street in Midvale, Utah. With an
emphasis on social engagement, lifelong
learning and personal wellness, the Midvale
Senior Center hosts a range of activities,
including dining, socializing, entertainment,
fitness programs, arts production and
exhibition, computer training, classes,
and various counseling services related
to aging. The site anchors the north end
of Midvale’s historic Main Street and
creates the south edge of an emerging
civic center that includes a new city hall
and a future branch library. Designed to
promote active aging, the Center provides
a paradigm shift in the design of senior
centers, incorporating both programmatic
and branding elements to better attract
the rapidly expanding population of baby
boom seniors. The project was constructed
for $4.78 million ($232/s.f.) The building
projected to be Gold LEED-certified.
As part of an effort to overcome the
negative connotations of traditional senior
centers, the Midvale Senior Center utilizes
spa and hospitality design approaches and
incorporates more personal fitness and
group exercise spaces than any other center
in Salt Lake County’s 19-facility system.
To enhance intergenerational engagement,
the Center also includes an innovative
café format (including a full commercial
kitchen) that provides lunch to seniors
as well as coffee, beverages, pastries and
sandwiches to the general public during
the day. Designed for adults who are 60
years and older, the Senior Center impacts
the lives of“the young and the old, the frail
and the active, the retired and the working”.
In response to the diverse needs and
preferences of this user group, the Center is
a highly flexible and multifunctional facility
designed to meet the evolving market
demands of aging adults.
Recognizing the risks and needs common
to this user group, the center is designed to
provide intuitive way finding as well as user
orientation and sense of security through
transparency and spatial connectedness.
The interior design employs high contrast
colors and material textures to help
delineate surface edges, particularly at
steps, between floors and walls, and at
doorways. Attention has been given to the
building acoustics including reverberation
times and background noise levels in the
larger spaces and between rooms. Since
natural daylight deprivation is a serious
health concern for seniors, the Center
incorporates extensive sky and side lighting
systems, strategically designed to reduce
glare and unwanted solar heat gain.
Photos By: Paul Richer
12. A connection to the natural landscape was of paramount importance
to the design of the Cliff Lodge.
ed Atrium welcomes guests with comfortable places to
ew.
DESIGN
AWARDS
2015
THE CLIFF LODGE AT SNOWBIRD
Award: 25 Year Award
Architect: FFKR Architects
Project Address: 9320 Cliff Lodge Snowbird, UT 84092
The Cliff Lodge is a prominent building at the base of Snowbird Resort. To balance its strong physical presence, the right materials needed
to be used to lessen the building’s visual impact and help give it the sense of belonging among the trees, mountains, and snow. The
finished result offers a building that towers above the trees and sits firmly amid the Wasatch Mountains, while hardly being noticeable to
downhill skiers because it blends well with its surroundings.
The materials used were primarily concrete, glass, and wood. The color and texture of the materials relate to the natural surroundings of
Snowbird in a strong, yet subtle way.
The Cliff Lodge was designed in strict conformance to the guidelines of the Snowbird Master Plan (ca. 1971) and the stringent
requirements set forth by Salt Lake County Planning Commission with regard to water quality, flood control, avalanches, traffic, and
building scale. The project consists of a 543-room mountain resort hotel, 11-story atrium connecting the 162 rooms of the remodeled Cliff
Lodge (ca. 1972) and the 381 rooms of the expansion tower.
The project also includes four restaurants, three lounges, retail, day care facilities, a destination health spa with a rooftop swimming pool,
and a 600-seat banquet-style ballroom with break-out conference rooms and facilities. The 14-story concrete structure uses a natural gas-
fired co-generation facility consisting of three 650-kilowatt generators. Vehicles are parked adjacent to the site in a 182-car covered parking
structure. The final phases of Cliff Lodge were complete in 1987 at a cost of $74 million.
Photos By: Gordon PeeryPAGE
12
1
13. DESIGN
AWARDS
2015
ODYSSEY ELEMENTARY SCHOOL
Award: Merit
Architect: VCBO Architecture
Project Address: 2050 South 1955 West, Woods Cross City, UT 84087
Odyssey Elementary, a Net Zero facility, is an educationally
innovative school built around the theme“Bodies in Motion: The
Animal Kingdom”, which promotes the importance of healthy, active
lifestyles. Odyssey is a combination of inventive and brilliantly
executed spaces where attention to detail and the character of the
spaces were paramount. There are four learning wings at Odyssey
– groups of classrooms called“habitats”– represented by four
colors: red, orange, blue and green. Each habitat corresponds to
one of the thematic motions of the school: Run, Jump, Swim and
Fly, and includes eight classrooms, a central collaboration area,
and teacher prep and storage areas. With a student capacity of
900, the organization of students into habitats reduces anonymity
and encourages collaboration. Classrooms were designed with a
16-foot-wide roll-up glass door, allowing them to combine with the
collaboration space or other classrooms. All of these design choices
facilitate the educational pedagogy of the school district and allow
flexibility for the teachers. The dining area of the school was also
innovative in that it is no longer a separate space cut off from the
rest of the school, but rather it is integrated into a Commons for the
school.
It has transformed the dining area from a space used once a day to
a space that is used for collaboration and teaching throughout the
day.
One of the most significant goals for Odyssey was to create a
place where children want to go, fostering a lifelong love of
learning. Odyssey also encourages movement, helping to combat
the childhood obesity that is plaguing our country. Through the
theme, which is integrated into all facets of the building, the design
team tackled both of those challenges. Additionally, each piece of
furniture was selected based on its ability to be easily reconfigured
throughout by the students, allowing more movement during the
day, as well as an increase in student engagement.
Student capacity: 900
Grades served: K-6
Construction Cost Data, building only: $13,021,600
Construction Cost Data, building + site: $15,891,000
Square Footage: 84,760 sf
Photos By: Scot Zimmerman
PAGE
13
14. DESIGN
AWARDS
2015
UTAH VALLEY UNIVERSITY NEW CLASSROOM
BUILDING
Award: Merit
Architect: Method Studio / CRSA Architecture
Project Address: Utah Valley University 800 W University Pkwy,
Orem, UT 84058
UVU President Holland challenged the design team to create
a fresh architectural vision for the new $42 million classroom
building, but still tie it into present campus aesthetic. The design
team reviewed the established campus standards in formulating
a palette of materials and design expression built on existing
campus buildings. The team explored interpretation of the campus’
modernist design aesthetic, respected the original design standard
and new elements of campus while creating its own unique
identity. The campus’original building standard and the consistent
use of exterior materials including concrete, masonry, metal panel,
and glass organized around a standard module of a 30 foot grid,
was respected and further refined to illustrate a contemporary
interpretation. This illustrated the campus’goal: being grounded
in institutional history while establishing a visionary approach to
academic education and collaboration.
As the designers and UVU officials wanted the Classroom Building
to complement the rest of the campus and enhance the beauty
of the Utah Valley, the palette of the landscape provided the
inspiration for the design of the southern façade. In addition, the
building built on the success of the Library Quad, which is framed
by the Liberal Arts Building and its link to the Library on the
south and the Library to the east. The transition of the concourse
system to level two at the perimeter of the quad supports a lively
pedestrian presence in this campus green space.
The 245,000 SF New Classroom Building is programmed and
designed to meet the needs of the school’s burgeoning population
and foster an accessible, close-knit atmosphere for learning. The
building breaks new territory for UVU by providing
flexible space outside the classroom that removes barriers
to learning.
The design is generous in its public seating, group collaboration,
and gathering space and has become a hub of student activity.
Added food service venues encourage students to stay, study and
take advantage of building an on-campus community.
The spacious building features a 1,000-seat auditorium that can be
divided into three smaller classrooms with the use of an acoustically
isolating folding wall system. A multipurpose room that looks out
over scenic Utah Valley is also set up to be divided into smaller
areas. The design positions faculty offices close to classrooms. A
two-story atrium connects the 265-foot-long horizontal office
bar and the five-story academic classroom block. The building
accommodates 288 faculty offices in close proximity to classrooms
and group study rooms.
Classroom size was a considerable focus of the building’s design.
The typical campus classroom accommodates 30 to 40 students.
The new classroom building has 34 classrooms in three sizes –
75 seats, 150 seats and 330 seats. Classroom design is focused
on creating space for collaboration, small group discussion and
configured to provide the ability for students to see each other as
well as projection screens and the faculty member during class.
Small-scale, digitally intensive class-labs are configured around five-
person seating arrangements to allow access to digital resources,
live display of working materials and peer review of developing
work.
The building also houses the central plant that services the
classroom building itself, the adjacent library, and will serve
anticipated new buildings. Incorporating the plant into the
footprint of the classroom building eliminated the need for a
separate building for the mechanical system. The heating and
cooling system has an energy-efficient pump system that makes
use of two 5-foot deep wells.
The classroom building fosters an open and airy atmosphere
with the strategic use of glass and light. Skylights are positioned
throughout the building bringing in natural light and retaining
Every opportunity to utilize natural light and maintain/enhance
PAGE
14
16. DESIGN
AWARDS
2015
THREE + THREE UNCOMMON
Award: Merit
Architect: Prescott Muir Architects
Project Address: 279 East 300 South, Salt Lake City, UT 84111
The design is a core and shell adaptive reuse of an old car barn structure that has been
vacant for years but used most recently as an antique store. The building was to be
repurposed with a commitment to reinforcing the walkability of the building on the
emerging 300 south corridor with its reconfigured street-scape commitment to bike lanes
and sidewalk esplanade. The goal was to capture and express the historic artifact character
of the building lending authenticity to the neighborhood. The design approach is more
about discrete subtraction than extraneous addition. The new building signage designed
by the architect exemplifies this approach in editing the layers of existing signage into a
new branding for the building. Similarly the existing canopy was repurposed to provide
new signage.
While existing steel frame industrial windows at the back and side of the building were
refurbished, new windows were inserted with custom minimal steel window sashes
to reflect the exiting industrial window character. The load-bearing masonry walls and
bow string truss roof were seismically reinforced adding safety and extended life to the
building. Existing lead based paint and asbestos was abated. If the building appears as a
found object with the undecernable hand of the architect, then the project was deemed a
success.
A portion of the roof at the 300 South Street frontage was removed to allow for a dining
patio and more inviting street edge. Though the architect and building owner had control
of exterior signage, core and shell and redesign of patio, the tenant interior improvements
were designed by others.
Photos By: Scott Peterson
PAGE
16
17. CELESTIA CARSON, AIA: 2015 AIA UTAH YOUNG ARCHITECT
Celestia was awarded for her design acumen and dedication to service. Celestia has
been active as a designer and community leader since receiving her license and remains
steadfast in her philosophy that collaboration, integrity, patience, and inclusion are
key components of architectural practice. She has opened up avenues for women in
architecture in Salt Lake City and has established herself as a valued and respected
member of the Utah architectural community.
ROBERT A. YOUNG, HONORARY AIA UTAH
Robert has been granted honorary AIA Utah status for his development of programming
and educational resources for students and professionals to support a full understanding
of sustainability, building performance, and stewardship of the built environment. Robert’s
passions for the built and natural environment are evidenced in his writing, teaching,
public service, and volunteerism, proving his value to the profession. We are pleased
to confirm his contribution by counting him as a member of AIA Utah, with all related
benefits and recognition.
HONOR
AWARDS
HONORS AND AWARDS
Each year, AIA Utah hosts a robust design
excellence program where we honor
members’long-standing volunteer
commitments to AIA and the community
at large - as well as well-designed spaces
that impact the state of Utah and beyond.
Design Awards are given to both built
and unbuilt projects completed by AIA
Utah members and their firms. Chapter
honors such as the Lifetime Achievement
Award, Bronze Medal, Young Architect
award and others recognize the valuable
contributions that result when members
engage the community and show that
good design makes a difference in
everyday life.
PAGE
17
18. REMEBERING BLISS
By: Trent Smith, Adjunct Faculty, University of Utah School of
Architecture
Anna Bliss, Honorary AIA Utah, created a world of color, light, and
intersections of disciplines that will continue to influence the
Wasatch Front, and beyond, for generations to come. And, with
her art assistants she shared her own world of travel, creativity,
and discipline that I was fortunate enough to be a part of for the
last 6 years. I met Anna and her husband Bob in April of 2009,
when I stepped into their world to interview for the artist assistant
position. Anna and I shared a meal that Bob had prepared at the
studio, talked very little about duties of the work but on where I
had traveled, what project I was working on, and if I liked Yo-Yo Ma
the cellist. The meal was deliberate and beautiful, and I began to
realize that every aspect of the studio I was in and the woman I was
talking to was much the same. I fell in love with Anna and Bob, and
am still humbled by the casual yet deliberate life they’ve created,
and curated, for the last 50 years in Utah. They have shown me the
power of being direct in thought and speech, being passionate
about design and friendships, and laughing often.
Anna worked in the tradition of screen printing, painting, drawing,
and later in the digital programming and patterning arts to create
the varied and layered works she often called fun and exciting to
make. I agreed wholeheartedly. There was a rhythm to the work,
especially in the making, between design on the computer and
then the analog painting and printing, and cleaning, in the studio.
Ben Butler, who had introduced me to Anna to succeed his role
as he graduated and shifted to part-time, was and is a wonderful
mentor to the uniqueness of the creation of her art. We all worked
together on Saturdays screen printing, while I worked with Anna
through the week either painting or working digitally. It was an
incredible opportunity to step into her world and be a part of it, a
world set at a different cadence than my own at the time, and Anna
quickly became much, much more than an employer, but a teacher,
a lively conversant, and a most respected friend.
The last three years led to my own search for a successor,‘who had
a particular quality to them’as Ben once told me I had, and the shift
from assistant to family friend and often dinner guest, as I realized
to which many assistants had transitioned. As I journeyed with
the Bliss family through Anna’s decline in mobility and eventually
health, I was incredibly humbled by the enormous family they
have created both locally and internationally of people with shared
passion of life’s potential for design, experience, friendship, and
laughter.
In her own words: About my work
Anna Campbell Bliss, 9/2011
“Art and architecture are the oldest form of collaboration in the
visual arts but the most difficult area to realize in the 20th century.
As participants we no longer communicate by a common visual
language for sharing creative ideas. Today a multitude of different
voices speak unintelligibly. Being both artist and architect, the need
for communication has been a major concern in my research and
the art I have created.
In site specific works the architectural context and patterns of
movement within the space are important considerations. Rather
than overwhelming the viewer, I prefer engagement and constant
discovery.
Although my work draws on a wide range of interest, it can best
be described as exploring the area between art and architecture
in a variety of media, most recently with the help of the computer.
Early work focused on color and light, their influence in architecture,
and their capacity for sensory experience, and they continue
to be important today. Interest in the Art/Science/Technology
connection developed at MIT with Gyorgy Kepes and continues
to provide a broad base for my work. Enrichment has come from
other disciplines, historical and archeological studies, computer
experimentation, and travel. The computer is a useful tool, but
I maintain close contact with the process of creating art. Tactile
qualities and human needs are very important to me.”
Discoverers Mural - Salt Lake City Airport Anna Bliss and Trent Smith working in studio
PAGE
18
REMEMBERING
BLISS
19. AJC Architects
ajc’s pro-bono (or charitable work) is provided through no or low cost planning, programming and design services for clients such as:
• The Curtis Center for Special Needs Youth and Adults
• The 4th Street Clinic – Healthcare for the homeless
• Utah AIDS Foundation – Healthcare alternatives for AIDS patients.
• Utah Pet Adoption Center
• The Topaz Museum in Delta, Utah which commemorates interned Japanese-American Citizens during WWII.
• Reduced fees on some residential work
GIVING BACK
By: Robert Pinion, MHTN and Amber Craighill, BHB Engineers
Architects design, draw and slowly watch our creation unravel on a site once blank or
previously committed. As we recap our accomplishments, efforts that are most rewarding
are usually the ones that engage community and give back. Pro-bono work for non-profits,
giving 1% (www.onepercentfortheplanet.org) or joining hands with local organizations
can offer an opportunity to give back. This new Reflexion series highlights the various ways
local architecture firms have given back to the community. If your firm would like to be
featured, please contact Amber Craighill (amber.craighill@bhbengineers.com).
PAGE
19
GIVING
BACK
20. BABCOCK DESIGN GROUP
The Road Home – Homelessness is a complex issue with numerous levels of need. It can
happen to anyone from any walk of life at any time. The Road Home provides emergency
shelter and a variety of services and programs to help individuals and families get back
into our community. With the growing need to help people in this situation, we feel it is a
privilege to help out in the small way that we do by donating clothing and money.
Utah Food Bank – Nothing could be more trying that not to have enough resources to put
food on the table for your family. The Food Bank has been fighting hunger since 1904. One
in six Utahans are at risk of missing a meal today and more alarming is that one in five Utah
kids are unsure where their next meal is coming from. Giving our time, money and food to
help this great organization is something we feel very strong about.
The Ronald McDonald House offers families a place to sleep, eat and relax while their child
receives medical treatment at local hospitals. Babcock Design prepares meals throughout
the year for the families staying at the Ronald McDonald House.“It’s an excellent way to
have a direct, personal, and positive effect on the lives of people who are dealing with
some very trying and emotional situations”, said Dave Anderson, architect and organizer of
the Babcock dinners.
VCBO ARCHITECTURE
Design Week 2014
As part of Design Week 2014, VCBO Architecture hosted a family focused community event that included a pancake breakfast at our office.
Attendees went on a tech savvy scavenger hunt that led them to different buildings designed by VCBO throughout SLC. They also created
individual shapes that were used to form a large art installation.
EECTA - 2015 Box City
This year several VCBO architects and designers participated in the EECTA Program (Educating Elementary Children Through Architecture).
They worked with different local elementary schools over the course of 12 weeks, teaching students about all things architecture and
design. The end result was the inspiring“Box City”display at the SLC Downtown Public Library. VCBO Designer, Brandon Ro, remarked,
“My favorite part about the EECTA program is having the opportunity to inspire young minds, see them engage in the creative process of
design, and to foster awareness of the impact that the built environment has on our everyday lives.”
Women in Architecture Design Competition
Several VCBO Architects participated in this year’s Women in Architecture Design Challenge in which they designed a booth at the
Downtown SLC Farmers’Market. This also provided an opportunity to serve refugees selling food who participated in the Spice Kitchen
Incubator program. The goal was to encourage young architects to create a positive impact on SLC’s cultural landscape and interpret
cultural richness into design.
PAGE
20
GIVING
BACK
22. AIA Utah greatly appreciates our allied members whose support and investment
allows AIA Utah the opportunity to continue to serve its members and the AIA Utah
community at large with a host of benefits and programs. Contact Heather Wilson
at (801) 359.0358 if you are interested in becoming an AIA Utah Allied Member.
PAGE
22
ALLIED MEMBERS
TO OURThankyou
23. PAGE
23
WHAT INSPIRES MY ARCHITECTURE?
By: Bruce T. Fallon, AIA, LEED AP
That’s the question I asked myself after listening to the opening keynote speaker for the
AIA Utah Annual Conference held at the Utah Valley Convention Center in Provo. John
Carney, FAIA’s lecture on“Context, Culture, Landscape: Inspired by Place”started a great
day of learning with inspiring architecture and a thoughtful presentation on the work of
his firm - Carney Logan Burke Architects (www.clbarchitects.com). The work displayed
and the methodology for the development of their designs was inspiring to me. Carney’s
presentation has caused me to reach back into my architectural roots to re-consider the
work I’m involved with and how my work can be more inspiring as it relates to context,
culture and landscape. It reminded me of a quote I keep at my desk by Thomas Manss, a
German graphic designer:“To create memorable design, you have to start with an idea
that is worth remembering.”The work we viewed and their thought process has certainly
created memorable design.
The day continued with a variety of learning opportunities developed and organized by
a great committee! During each of the four sessions, participants had the opportunity to
attend one of three different classes or take a building tour. Using the theme of“Lead |
Engage | Transform: The Value of the Everyday Architect,”the conference committee hoped
to inspire all in attendance to find something they could learn that was of value to them, to
their practices, and to the work they undertake within their communities.
Just as our profession takes people with a variety of skills to be successful, the conference
invited a large cross section of learners. As a result, a variety of continuing educational
opportunities was provided. Classes included technical topics such as:
• “How BIM Fails?”
• “Designing Sustainably with a Hesitant Client”and
• “Affordable Energy Modeling for Small Projects”
For more seasoned architects or firm principals, presentations included:
• “Risks & Liabilities in Construction Administration”
• “Strategies in Firm Transition”and
• “Secrets of the Rainmaker: How Small Firms Succeed & Grow.”
Other topics included:
• “What Can My Firm Achieve with Social Media?”
• “Portland’s Pearl District – From Rags to Riches to Rags to Riches, Again,”and
• “Developer Behind the Curtain: Taking a Project from Concept to Reality.”
AIA UTAH
CONFERENCE
24. Hopefully there was something for everyone!
For those interested in a building tour, the conference provided three different buildings
for exploration. Great tours were given of:
• 63 Center Street - a new urban living opportunity in Provo featured a six-story, mixed
use development.
• Cascade Gardens Apartments - a new senior, affordable housing facility nearing
completion.
• The newest addition to the Nu Skin campus in downtown Provo, their Innovation
Center - This 168,000 square foot research and office facility, has made a huge impact
on the downtown environment in Provo, and provided a beautiful and inspiring
architectural treat for those who took advantage of the tour.
During the lunch break, a tradeshow provided opportunities for the attendees to learn the
latest in products, and interact with vendors such as product suppliers as well as our great
engineers in the Utah market. Our annual member meeting presented the 2016 slate of
candidates for AIA Utah office; discussed the financial status of the chapter; and discussed
the Memorandum of Understanding between AIA Utah and AIA National.
This conference was successful because of the great efforts of the conference planning
committee, consisting of Celestia Carson (VCBO Architecture), Dennis Cecchini, (MHTN),
Gerrit Timmerman (Curtis Miner Architecture), Jarod Maw (Nutraceutical Corporation), Joe
Smith (Method Studio), Joshua Stewart (LDS Church), Julee Attig (Reaveley Engineers) Paul
Riddle (Creative West), and Tom Jensen (Wadman Corporation). In addition, the conference
really couldn’t go forward without the tireless efforts of Executive Director, Heather Wilson,
and AIA Utah staff member, Emily Fairbanks. We thank these individuals for all they did.
The conference greatly benefited from our sponsors:
• Platinum Sponsor - Wadman Corporation
• Gold Sponsors: Alder Sales, Amcor / Oldcastle, Harristone, Merrillstone,
ReaveleyEngineers, Van Boerum and Frank Associates, and Bowen Studios.
• Silver Sponsors: Envision Engineering, Focus Engineering, MGB+A, Unlimited Designs,
Inc., and Wright Engineers.
• Breakfast Sponsor: Spectrum Engineers
• Break Sponsors: BHB Engineers and The Mowhawk Group
• Tour Sponsors: Henriksen/Butler Design Group and Steel Encounters.
• Lanyard Sponsor: Jones Waldo Holbrook & McDonogh
• Member Meeting Sponsor: Big-D
• Print Sponsor: CES+R
PAGE
24
AIA UTAH
CONFERENCE
26. FRANK LLOYD WRIGHT’S STROMQUIST HOUSE: Mona Lisha Waiting to be Found
By: George Stromquist
Imagine that you are part of a young married couple of modest means, with two small children, living in Bountiful, Utah. Now imagine
writing to the most famous architect in the world, and asking him to design a house for you. Think about that. Could you do it? Would you
do it? That’s what my parents did. My parents were Jane and Donald Stromquist, and the architect was Frank Lloyd Wright.
Surprisingly, Wright agreed to design a house for them. When they met him at Taliesin, in Spring Green, Wisconsin, he greeted them by
saying,“why, you’re just a couple of kids.” Wright asked for extensive documentation of the site, including aerial photographs, topographic
maps, views of the site, views from the site, and samples of the dirt, rocks, and vegetation.
The first design was too expensive, estimated at $60,000 in 1959. Now imagine asking this world famous architect to try again. That’s what
Jane and Donald did. They were fearless in all their pursuits, and had a passion for art and beauty. The best incentive you could give them
to achieve something was to tell them it couldn’t be done. Wright went back to work.
wThey moved into the house in 1961. Winters were brutal yet beautiful. Snow turns the house and property into a stunning wonderland.
Snow melt forms an ice column the size of a tree trunk that extends from the lowest point of the roof to the ground. On one occasion,
Donald was preparing to leave on a business trip. He worried that Jane and the children could be stranded by the heavy snowfall. The next
sound he heard was a Caterpillar D-9, methodically plowing a path up the dirt road to the house. Their nearest neighbor was not a house
but a gravel quarry. The owner had also been concerned about the young family, and sent his largest bulldozer to dig them out.
Sadly, they only had a few years to enjoy the house. Donald was transferred to Pittsburgh in 1966 by US Steel. They were heartbroken, and
he tried to find another job, but to no avail. The house was purchased by his employer and stood empty for years. Being forced to move
and leave their wonderful house chafed at the couple. They began making plans to return.
Two years later, having started a new career back in Utah, Jane and Donald went back to the house, only to find their beautiful cottage had
been vandalized and left in what could be charitably described as disrepair. The next owner only furthered the destruction. He bought the
land for his horses, not realizing anything about the house itself. He used the living room as a smithy, bending horse shoes in the fire place
as the horses waited to be shod. Other times the horses were hobbled at the front door. The frame at the front door bears the marks where
horses gnawed on the wood.
Fixing the home seemed impossible. Fortunately, another couple, who possessed the same spirit as my parents, purchased the home,
undaunted by the terrible condition. George Frandsen and David Carlquist pursued the project with the care and determination the house
deserved. They said that the house was like the Mona Lisa coming to Bountiful and waiting to be discovered. Jane and Donald met George
and David in 1995 when they were invited to speak at an open house. George and David later told my parents that they would come to
them first if they were to ever sell the house.
PAGE
26
FRANK LLOYD
WRIGHT’S
STROMQUIST
HOUSE
27. Jane and Donald bought back the house in 1998. They pursued several additional projects
to make the house just right for them. They fixed the fireplace flues, which had never
drawn properly. This involved a stone mason climbing up the flues, working in a space
no bigger than two feet square for several weeks. The largest project involved a garage/
outbuilding that had been built by the horse enthusiast. It looked like a bad copy of a
highway maintenance shed, and became the first structure that you would see as you
came up the driveway. They turned to Burtch Beall, their architect for many years, and one
of Frank Lloyd Wright’s apprentices. Burtch had helped them restore an Eastlake Victorian
house in the lower Avenues of Salt Lake, but that’s another story entirely. They asked
Burtch to redo the garage, which he did with his usual skill and aplomb. He took cues from
the original house and tool shed, and transformed the eyesore into a beautiful addition to
the property. The giant brown gable was replaced with a cantilevered roof and clerestory
windows.
Unfortunately, Jane passed away before they could move back in. Donald lived in the
house for several years. Currently, the house is owned by the three children. They hope to
continue enjoying the house, and preserving it as part of Jane and Donald’s legacy.
Photos By: George Stromquist and William Stromquist
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PAGE
27
FRANK LLOYD
WRIGHT’S
STROMQUIST
HOUSE
28. BEAUX ARTS BALL
By: Jeff Bolinger, AAIA, GSBS Architects
The Salt Lake City 2015 Beaux Arts Ball was held on October 17th at The Front climbing
gym, which served as a great backdrop for the evening, themed“The Art of the Fold.”
The evening included music, dancing, two great aerialist performances, and many great
costumes.
A special thanks to Tomorrow’s House Mid-Century Modern Furniture, who donated
use of the lounge furniture, and to Brandon Cruz Photography, who donated all of the
photography. In addition, please find a list of event sponsors below:
PRESENTING SPONSOR:
Adobe
SUSTAINING SPONSORS:
EDA Architects
Tomorrow’s House Mid-Century Modern Furniture
The Front Climbing Club
AIA Utah
3form
Rend3r Branding
SUPPORTING SPONSORS:
Captial Lumber
Eldorado Stone/Dutch Quality Stone
Lloyd Architects
MNTH Architects
Brandon Cruz Photography
Urban Pioneer Foods
Vision Graphics/SBR Technologies
Photo Collective Studios
IN-KIND SPONSORS:
BHB Structural
City Home Collective
O.P. Rockwell Cocktail Lounge & Music Hall
Beehive Distilling
Epic Brewing
Vida Tequila
Photos By: Brandon Cruz Photography
PAGE
28
YOUNG
ARCHITECTS
FORUM
www.yaf.aiautah.org
29. BOOTH PROJECT UPDATE
By: WIA Board - Celestia Carson, AIA
At the beginning of the year Women In Architecture SLC, in collaboration with the IRC
(International Rescue Committee), launched their first design/build competition: a
food booth to be used by Spice Kitchen Incubator at the Salt Lake City Farmer’s Market.
Numerous entrants submitted but it was the clean and striking design by Team Bedouin
Booth that won the project. Over the following months the team of four women, Kristi
Faught, Ashley Iordanov, Xiomara and Anya Barmina, developed their design by engaging
with the users, honed the construction budget and collaborated with fabricators. The
result is a beautifully crafted, yet simple tensile structure.
This past summer the booth was launched at the Granary festival where it housed the
incredible cuisine of Luma. Originally from Iraq, Luma came to Salt Lake City with her
husband and four children as refugees. Though she only arrived three years ago, she has
already started her own food business, AlMalwiya, a catering company specializing in Iraqi
cuisine. AlMalwiya is the name of a famous and beautiful spiral shaped mosque in Iraq
which inspires Luma’s menu and presentation of biryani rice, meat, vegetables, kebabs
and dolmas. While Luma is in the initial stages of business ownership, she works with the
support of the Spice Kitchen Incubator, the IRC entrepreneurs support program.
To the credit of Team Bedouin Booth, the booth’s design was quite simple yet the details
provided Luma great functional attributes. The ample front table provided space to
display AlMalwiya samples and sale items. The metal menu board, which was decorated
especially for the event, displayed AlMalwiya’s various offerings alongside information
about Spice Kitchen Incubator’s program. At the Granary festival visitors would visit Luma’s
booth perhaps initially drawn by the colorful and unique architecture and then would stay
because of the tantalizing smell of Almalwiya’s kebab plate.
WIA SLC would like to thank all of those generous donations that contributed to the
success of the booth: Hank Louis, GSBS Architects, Method Studio, Prescott Muir Architects
and many other individuals who donated through crowd funding initiatives. WIA SLC is
thrilled at the collaboration with the IRC and look forward to our next community building
design competition in 2016.
Photos By: TWIG Media Lab
PAGE
29
WOMEN
IN
ARCHITECTURE
30. ENERGY IS A DESIGN PROBLEM
By: Matt Garlick, LEED AP BD+C, Building
Energy Efficiency Engineer at TBC
As the construction industry adapts to a
changing world, our responsibility to be
stewards of limited resources is increasing.
In our efforts to do more with less, energy
efficiency is becoming a driving factor in
the way we design and construct buildings.
The whole building energy model is a tool
that has the ability to empower building
designers to achieve their sustainability
goals.
Though energy models are commonplace
in the industry, they are usually not
leveraged to their fullest extent. Typically
created to comply with a utility rebate
program or certification requirement
like LEED, they often fall into the
documentation role on projects with large
budgets. Instead, they should be used for
energy optimization on all types of projects.
Design is an inherently iterative process.
Multiple types of systems—from walls to
heating—are considered for each project
and selected based on aesthetics or
capacities. Leveraging an energy model
early and often in the design process allows
engineers and architects to add energy to
the attributes of each system they select.
These systems culminate in the unique way
each building uses energy—to the benefit
or detriment of the environment—and
the owner’s checkbook. When an energy
model is used to evaluate how each
system works within one interconnected
building system, designers are empowered
to make decisions about efficiency that
result in saving building owners money
and increased comfort and health for
occupants.
We require buildings to do much more than
just heat, cool and illuminate us. This often
requires complex and energy-intensive
solutions from architects and engineers.
Because every project has a budget it
has to stay within, not every building will
adopt the most cutting-edge strategies and
technology to reduce energy consumption.
With that constraint, the question becomes
how can we get the most efficient building
possible for the money we have to work
with?
Energy modeling becomes a tool to
prioritize and quantify potential efficiency
measures. From glass types, wall-insulation
levels and building orientation to HVAC
systems, lighting power and control
strategies, energy models are able to
provide feedback to designers on how each
option will affect energy use. This doesn’t
mean hiring an energy modeling specialist
for every job is the best option. Simple tools
such as Sefaira and eQUEST are available
that allow non-technical people access to
high-level comparative results with only
minutes of setup and simulation. Using
these tools, every project can benefit from
energy modeling regardless of scope or fee.
Sustainability doesn’t have to be the pursuit
of wealthy philanthropists who only care
about the environment.PAGE
30
INDUSTRY
INSIDER
(1.0 AIA/CES/HSW LU)
31. Energy efficiency often pays real dividends to those who invest. When energy savings and
estimated costs are analyzed, a return on investment (ROI) can be calculated. Spending
money on better performing buildings has the potential to earn owners dividends at a
rate they’ll find nowhere else in the market. These investments can often pay out for as
long as the building stands. Given the certainty of rising energy costs, investing in energy
efficiency is a solid bet.
Recently, I was part of a design team for a large office building whose owner had high
sustainability standards. Their goal was to design a building that had utility costs 40% less
than what code required. To reach this lofty goal they considered every energy reduction
strategy available. Since the project was in a hot climate, minimizing solar loads was
the first path to reducing energy use. We created several custom glass files to match the
glazing systems the architect was considering and incorporated them into the energy
model. Discussing the energy savings results alongside the incremental costs, the design
team selected a glass with an aggressively low solar heat gain coefficient and conservative
U value.
A similar process was done to evaluate the specific equipment and controls for the
chilled water system. Again, the energy model’s iterative results gave the designers the
information they needed to select the right system that fit their budget and performance
goals. As the design progressed, we provided several more studies for evaluating specific
systems as well as several iterations of the model to reflect the most current designs.
In the end, the project achieved 42% energy cost savings and met their performance goal.
In addition, the building owners got an office that will use 3,000,000 kWh less every year
and save them over $271,000 annually in utility costs. These efficiency upgrades resulted
in a 12% ROI and will pay themselves off in under 10 years. These savings can persist for
another 50 years if the building is well maintained.
Energy is an interdisciplinary design problem. Architects can no longer afford to pass off
efficiency to engineers to incorporate into their systems. Engineers can no longer afford
to be satisfied with simply meeting loads and setpoints. Building owners can’t afford to
ignore rising energy costs and a changing environment. Those who give our society’s
dreams and aspirations physical form need to rise to the challenges that define our time
and use the best tools available to create buildings that promote healthy, sustainable
lifestyles and communities.
PAGE
31
INDUSTRY
INSIDER
(1.0 AIA/CES/HSW LU)
TAKE THE QUIZ ONLINE AND EARN 1 HSW
http://www.aiautah.org/#!reflexion/cibi
32. TIPS TO CREATE GREAT
ARCHITECTURAL
PHOTOGRAPHS
By: Benny van der Wal, Light Keeper
Today’s Digital Single-Lens Reflex, DLSR,
cameras are capable of producing very
high-quality images and have mostly
replaced traditional 4x5 film cameras
for architectural photography. DSLR’s
are easier to use and transport, and they
come with a wide variety of optic options
and accessories. While digital tools have
dramatically changed the photographic
workflow, many principles of photography
remain the same. Careful planning,
execution and post-production editing are
still critical components to create successful
architectural photographs that present a
cohesive and compelling story.
Start by doing research and get prepared.
Great light is a must have, so monitor the
weather and plan ahead to take advantage
of days with interesting conditions. The
best light oftentimes is right after a storm,
during early mornings and late evenings.
Try to schedule the shoot when the sunlight
illuminates the building front.
You want to create a variety of image types
that work together to convey a complete
understanding of the building, even if
the viewer has never been there. Every
image should show something unique,
so selecting vantage points is a primary
concern. Capture a mix of both exterior
and interior views, wide-angle shots and
close-ups.
Most important is the establishing shot that
depicts the entire building exterior with
an emphasis on the building entrance. A
sense of scale and dimension is achieved
by including two sides of the building. To
ensure that the building is the main subject
of the image, leave equal spacing left and
right, top and bottom around the structure.
Verify that the structure is level and in focus.
A correctly skewed and rotated building will
not appear to tilt or lean back. The image
will have parallel vertical and horizontal
lines throughout.
For some visual variety, it’s a good idea
to create exterior photographs from a
few different perspectives. Sometimes it’s
appropriate to include wide overviews of
the surrounding environment to illustrate
the context of how the building is situated.
Also consider including exterior detail shots
to highlight specific elements such as the
front entrance, signage, pool, balconies,
unique materials and other ornate
elements.
Twilight occurs a few minutes before
sunrise and after sunset, and this is a
highly desirable time to create exterior
architectural photographs. The dramatic
light with engaging colors is usually the
most interesting with a dark but not black
sky. Turn on all lights inside and outside and
open all blinds and drapes to help draw
attention to buildings.
Interior photographs differ from space
to space. For commercial buildings, you
generally want to capture the lobby,
commercial retail spaces, common areas
and office spaces.
Conestoga Ranch
Sunrise Hilton
Residential Kitchen
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33. Residential interior shots should include the kitchen, living room,
bedrooms and oftentimes bathrooms. You want to present a scene
that is free from mistakes so make sure to start with a clean space.
Evaluate decorations and accessories to determine if something
should be removed. In some cases, props may be added. For
example, many kitchen spaces look better with fresh flowers
and fruit.
Just like with exterior photographs, it’s critical to capture straight
perspectives with parallel lines for interior photographs. Tilting the
camera up or down results in strange perspectives and crooked
angles, which undermines the architectural design and construction
efforts. Position the camera perpendicular to the wall. Keep it
straight and raise or lower it appropriately.
One of the most important tools for architectural photography is a
sturdy tripod. Tripods are essential to create long exposures during
twilight as well as for HDR and composite images. Tripods slow
down the shooting process but that gives you time to compose
the shots and ensure the best compositions. Look around all edges
of the frame. Is something interfering? Do you have something
interesting in the foreground and background?
Create three-dimensional depth and make a space feel larger by
featuring multiple rooms in the same image. A view from one
room to the next room provides a good understanding of spatial
relationships. Similarly, showing a connection between inside and
outside is oftentimes a desired effect. However, this can be difficult
to achieve since the outside light usually is much brighter than the
light inside. To solve the problem, add artificial light, create an HDR
or make a composite with multiple images.
Once you have captured the images, you need editing software to
make the pictures look sharper, brighter and more colorful. Post
production tasks range from minimal enhancement to complex
composites. The most common image adjustments include fine-
tuning contrast, brightness, color balance, sharpness and correcting
the perspective.
The real challenge is to create images that evoke emotion and
persuade the viewer to want more. Embrace creativity and
experiment with new tools and techniques.
Photography is a process without certainty of outcome and many
great shots are the results of happy accidents.
DO’s
1. Schedule shoots based on natural light and weather patterns.
2. Take advantage of elevated locations, like a nearby hillside or an
adjacent building.
3. Use a tripod!
4. Shoot in RAW and white balance for the dominant light source.
5. Shoot at f8-f22 with ISO 100-400.
6. Bracket exposures to ensure best capture and for editing
options.
7. Keep the camera straight with a level horizon.
8. Capture unique design features and architectural details.
9. Compose images with large margins to accommodate different
aspect ratios.
10. Add light to brighten the scene, highlight key elements and
bring materials to life.
DON’T’s
1. Don’t shoot during midday hours.
2. Don’t photograph the building front when it is in shadow.
3. Don’t shoot in heavy precipitation.
4. Don’t include light poles, trees and other obstructions.
5. Don’t shoot into the sun. Block the sun to prevent flare.
6. Don’t shoot too close. Move further away and zoom in.
7. Don’t feature too much foreground and/or too much sky.
8. Don’t capture your reflection in mirrors and windows or be
prepared to edit yourself out.
9. Don’t over-skew or over-rotate.
10. Don’t over saturate.
TAKE THE QUIZ ONLINE AND EARN 1 HSW
http://www.aiautah.org/#!reflexion/cibi
Downtown Salt Lake City
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EUROPE: FROM SHANNON TO SHAMBLES
By: Tracy Neale, Marketing Coordinator for GSBS Architects
This summer my husband and I visited three countries in three
weeks: Ireland, Scotland and England. I found two commonalities.
First, the people were among the kindest and most helpful I’ve
encountered; second, they have such respect for their history and
monuments and use them with the same ease as new construction.
I have so many stories I could share but I’ve chosen to focus on
Shannon and Adare Ireland; Edinburgh, Scotland and York, England.
Our first stop was Shannon, Ireland. We were booked into a golf
resort called Dromoland Castle. This was an actual castle that had
been remodeled in the 1960’s as a luxury hotel. Its origin was as the
ancestral home of the Dromoland O’Brien’s, whose heritage goes
back to the only High King of Ireland. The oldest section of the
castle dates back to the 1000’s and had been added onto over the
centuries, the latest in the 1800’s. To imagine centuries of Kings and
Queens walking the same corridors and passing through the same
grand doors as we were was quite thrilling.
Shortly after checking in we set out for the Cliffs of Moher – about
an hour’s drive from the hotel. The roads were narrow and twisty
through the greenest countryside I’ve ever seen. Suddenly, BOOM!
We pulled off the road into a driveway and got out to find not one
but two blown tires on the passenger side. We were blocking the
street access of a lovely farmhouse and beginning to freak out.
Tooling down the driveway came a van and the man behind the
wheel got out to check on us. This was when we discovered just
how kind and helpful the people of Ireland are. Mr. O’Brien – no
joke – had us pull into the drive to allow cars to come and go since
this was a working farm. Then, he made a couple of calls to get us
help and even convinced us that we should continue on to the cliffs
when the car was fixed. We met the owners of the farm as they
came and went and each offered us help. While waiting for the
tire changing service we had a chance to take a deep breath and
really look around. Across the road was a dilapidated barn covered
in vines and grasses. We were surrounded by low hills dotted with
farmhouses, barns and lots of cattle. The road was lined with a dry
stack stone wall and hedge rows for as far as we could see. And the
farmhouse whose driveway we were on was up a hill covered with
flower gardens and one old white horse who kept staring at us as he
ate. Behind the farmhouse rose the ruins of a tower and a wall. The
man with the tire service van arrived and changed out both tires
and we were back on our way to the Cliffs of Moher – and they were
worth the drive.
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On our way from Shannon to Killarney
the locals warned us of a potential traffic
bottleneck in the town of Adare. They all
said if the traffic was bad we should stop
and walk around because it was a lovely
village to stop in. They were right. The
entrance to the village is across an ancient
stone bridge and past the ruins of a fortress
built in the 1200’s. A stop in the tourist
office led us to a scenic walk around the
center of the village, along the river and
past two of the three religious buildings
original to this village and into the center
of town. The first edifice was a beautiful
church in a field next to the river, currently
home to the Roman Catholic Church but
originally built in the 13th Century as a
Trinitarian Monastery. It had a cloister with
no entrance but with a well-kept garden in
the center. Not far from this church was
another now home to the Protestants and a
Protestant elementary school. This one was
built in the 14th Century as an Augustinian
Priory. We were able to walk around
and explore this one. The exterior of the
buildings was a wonderful mix of stone that
showed the evolution of building tools by
how the stonework changed from rough
cut and dry stacked to smoothly hewn and
mortared. We were told there was a third
religion represented in this village – the old
Franciscan Friary - was currently in ruins
and incorporated into the links of the local
Golf Club. In the center of town were the
old thatched houses so common to this
part of Ireland. Nothing has really changed
about these homes other than modern
updates and new thatch. They are now
home to cafes, shops and one fortune teller.
Our next stop was Edinburgh and this
city is filled with stunning architecture,
a working castle and monuments to the
historical figures important to its history.
Around every corner is another stunning
architectural view - beautiful stone
buildings with turrets and bays that were
now being used as apartments and office
buildings, the National Gallery housed in
a building designed in the 1800’s in the
Classic style. It looks like a Greek building
in the heart of Edinburgh. Along the Royal
mile there are tiny mews hiding beer
gardens, small shops and even a writer’s
museum. One of my favorite finds was
an old church on the Royal Mile called
the Royal Mile Market. Inside the church
under the beautiful stained glass windows
was a coffee shop and craft market selling
everything from handmade soaps and
jewelry to vintage records and cd’s. To
some visitors, Edinburgh may look a little
scruffy, but I think that’s because it’s been
lived in for such a long time.
York displayed one of the best assimilations
of the old with the new. This city is one
of the oldest examples of a walled city.
The ancient Roman wall dates to 71AD
and surrounds the old city. Invasion
after invasion knocked down most of the
original wall but much of the later wall,
built in the 12th Century by the Danes,
remains. The coolest part is being able to
walk along the wall from Bar to Bar (gate
to gate). Just imagine how many millions
of people have walked these walls from
the soldiers defending the city to today’s
tourists gawking at the amazing views. One
of my favorite finds along the wall was a
pocket park built into one of the curves.
There were raised beds painted royal blue
and filled with flowers and a bench to sit
and enjoy. No signs, no explanation, just a
lovely new place created from the old.
These are just a few of the stories from
my trip to Ireland, Scotland and England.
From the laid back countryside of Ireland
to the hustle and bustle of Edinburgh there
was such a respect for what they have and
where they came from. They are proud
of their past and use their architecture to
thrive in this newest century just as they
have for generations. Watching people
using farms, castles, churches and other
buildings built before our country even
existed was a joy to see.
Photos By: Tracy Neale, Marketing
Coordinator for GSBS Architects
