Competition Kimball Art Center 1

Brooks + Scarpa Architecture
4611 W. Slauson Ave.

Los Angeles, CA 90043
December 21, 2011
Mr. Matt Mullin
Kimball Art Center, Board of Directors
638 Park Avenue
Park City, Utah 84060
Dear Mr. Mullin:
Thank you for another opportunity to submit our design proposal and qualifications for the Kimball Art Center. It is with great enthusiasm that we present out work and we
thank you in advance for your time and diligence in its review. Please allow me to take a moment to summarize our teams strengths:
Overall Design Excellence: Brooks + Scarpa has been heralded as one the preeminent design firms in the nation, and has received 16 national AIA awards, including the
AIA Architecture Firm Award in 2010 from both the California council and the National council. In addition our Landscape Architect, Coen + Partners, is a nationally
recognized, renowned landscape architecture practice, with over 25 design awards. They received a Progressive Architecture citation in 2003.
Experience Working with Art and Artists: Brooks + Scarpa is currently working on a new museum in St. Louis and has a museum under construction in Los Angeles. The
CAM (Contemporary Art Museum) Raleigh project recently opened after a year long renovation and addition project under our direction. Our team has worked on
numerous museums of various scales throughout the U.S. and Canada.
Sustainable Design Ability: Brooks + Scarpa has been recognized worldwide for its sustainable design innovation. We have received four Top Ten Green awards from
the AIA Committee on the Environments (COTE); this year alone 2 of our projects received awards out of the 10 given. Integral Group, our MEP engineer, is the first
MEP firm in the U.S. to achieve 8 LEED Platinum buildings. Their speciality is the design of simple, elegant, cost-effective systems for high performance buildings.
Renovation and Adaptive Re-use Experience: Brooks + Scarpa has designed several million square feet of creative space, including student art studios, galleries and
offices, within existing structures. Our firm has garnered numerous awards for creative space design, including several National AIA Interiors awards and the 2008
Interior Magazine Lifetime Achievement Award. In the past two years, we have completed two adaptive re-use projects and have another under construction.
Facade Innovation: Brooks + Scarpa and Buro Happold have collaborated to design a creative and efficient building skin. Buro Happold prides itself on their
collaborative efforts in order to find the optimum solution. Their goal is to achieve a cost-effective, viable design that provides top performance at the lowest risk.
On behalf of myself and my firm, I would like to again state our sincere interest building a relationship with the Kimball Art Center. I look forward to discussing this project with
you further. Please feel free to contact me at (310) 828-0226 x701 and scarpa@brooksscarpa.com or Emily Hodgdon at (310) 828-0226 x703 or hodgdon@brooksscarpa.com.
Sincerely,
ly,
Lawrence SScarpa, FAIA

Principal, Brooks + Scarpa Architecture, Inc.
table of contents
1 Narratives & Diagrams.......................................................... 5
Design Concept
Design Methodology and Team Collaboration
Structural Engineering & Facade
Energy
Phasing
2 The Kimball Cloud................................................................ 21
Site Plans/ Model Photos
Renderings
Sections
Plans
3 Presentation Boards (Qty. 6) ............................................ 41
4 Fee Structure and Design Schedule .............................. 49
5 Team Introduction ............................................................... 53
6 Previous Project Experience.............................................. 57
7 Resumes .................................................................................115
1. Narratives and Diagrams

Design Concept
Design Methodology and Team Collaboration
Structural Engineering & Facade
Energy
Phasing
1: Narratives and Diagrams
DESIGN CONCEPT NARRATIVE

With over 9000 skiable acres and 64 buildings on the National Register of Historic
Places, Park City has drawn millions of people from around the world to live, visit and
play among its unique natural beauty and blend of old and new. One of the most
incredible and mesmerizing natural features is the seemingly endless deep blue sky.
Despite the time of year or weather conditions, the sky always seems to quickly return
to its infinite and hypnotic clarity, with rarely a cloud in the sky. It provokes a kind of
indelible wonder; a dreamlike state of mind that engages the viewer, heightens their
sense of awareness, and brings a sense of vitality to the place. The design concept
for the new Kimball Art Center addition and renovation is to perceptually bring the
uniqueness of the Park City sky directly into the space of the city, allowing the user to
forge a deeper and more meaningful understanding of the fundamental, yet delicate
relationships that exist between themselves, the natural world, its vital resources, and
our collective cultures. The Kimball Cloud delivers a new experience and expands art
into the broader Park City community, creating a new social space for the 21st century.
The buildings faade creates a visual icon, a glowing beacon that can be seen
and experienced from a distance and immediately adjacent. The upper floors are
composed of a conventional glazing system that is covered by a rain screen made
from a translucent honeycomb material. This translucent, faceted skin is not only
aesthetic, but also plays a role in the buildings thermal performance. Below this
envelope, the new ground level faade is constructed of very transparent glass and
opens directly to the street, while delicately connecting and weaving into the heavy
mass of the existing historic Kimball building. Spatially, the lower floor is absorbed
into the adjacent existing building and the city, while the upper floors overhang the
more transparent level below. The new cloud building appears to levitate above the
site, while the historic structure feels solid and grounded to the earth. This illusion
enhances the buildings, giving them a collective strength that neither building could
possess individually.
Kimball Art Center - Stage II
Interior spaces delicately knit together passive and active uses, allowing the
community to view and/or participate in the artistic experience. Rather than simply
displaying art for view, the new design reveals to the community the very process
by which art is created. Every feature of the building is multivalent and rich with
meaningperforming several roles for functional, formal and experiential effect.
1 EXISTING
Historic building
ACROSS
Maximize site utilization
2 EXTEND
UP
Expand usable space on footprint
3 EXTEND
Add public space at street corner

4 CARVE
and parking under new addition
Link existing and new

5 CONNECT
buildings with rooftop deck
Maximize usable space within new building

6 SLICE
Augment floor plates to suit program,

7 CONTRACT
environmental factors, and urban context
Clad new building in

8 WRAP
light, ethereal skin
At the corner of Main Street and Heber Ave, the creation of a large exterior court links
directly to the 20-foot high smithing, welding and glass studios that would use this
court daily as their outdoor workspace. The faade between the exterior court and
studio is visually clear, opening the Art Center to public view. Large sliding panel
doors open and connect the exterior and interior together, so artist and students can
use the court seamlessly from inside to out. This court, located midway between the
existing Kimball ground floor and basement levels, is connected directly to the street,
and allows most of the working studio spaces to be visually linked to the street corner.
These spaces flow from the court deep into the building linking the new structure
with the existing building. In this configuration, the existing basement is opened up
and connected to Main Street along with the existing Kimball ground floor and the
new structure. Creating this split-level design at the street level on Main Street and
Heber Avenue, serves several other important purposes: it allows for great flexibility,
affording the Art Center the ability to easily divide and use the ground level for a
variety of purposes and functions, both large and small, while still remaining visually
open and not feeling like separated smaller rooms.
The heart of the Art Center, the process by which art is made, is connected to the street
corner. Passerby can see deep into the building, viewing people working throughout
several studio spaces, the main exhibition space and the many other spaces that are
visually linked together. Rather than simply displaying art to the community, the
process itself is on display.
Kimball Art Center- Stage II
DESIGN METHODOLOGY, TEAM COLLABORATION AND PROPOSED

ENGAGEMENT OF THE KAC WITHIN THE GREATER URBAN CONTEXT
NARRATIVE
Our team consists of innovative, creative professionals who continually push the
envelope within their respective fields. We understand the boundary between
architecture, structural design, building systems and urbanism is blurred as we move
into the future; it is because of this blurring that we are able to effectively collaborate
and create a whole that is greater than the sum of its parts. The structural system
emerges from the intent to create a flexible interior layout, enclosed by a translucent
envelope. The energy strategy is inherent in this double-skin faade, which creates air
movement and reduces energy usage. All aspects of the building work in tandem and
complement each other.
SUN STUDY
EXTERIOR SPACES
DAYLIGHTING
All public courtyards and plazas
receive year-round sunlight
10 AM
2PM
4PM
There are three entries to the re-imagined Art Center. The existing entry location
remains in approximately the same place and is connected to a new entry on Heber
Ave., closer to Main Street. At the split level along Main Street is the secondary entry.
Located near the current (and new) parking lot, this entry provides staff and students
direct access to the lower (existing basement) and split-levels. It also provides direct
access to the large elevator to the upper floors and delivery of art. At this location,
between the elevator and Administrative offices, a concealed roll-down, open security
gate is located. This entry allows controlled access to the upper floors of the building
when the Art Center is closed, providing three floors of flexible around-the-clock space
usage, if and when desired.
SUMMER
10 AM
WINTER
2PM
4PM
The new plaza mirrors the existing open space on the adjacent corner, and creates
a negative entry point to the city. This hardscape urban plaza contrasts with the
landscaped plaza across the street.
Above the split-level ground floor are three additional floors and a roof top deck. A
grand stair and oversized elevator that can also be used to move large art objects
Roof decks
receive sunlight throughout the day
Street-level
public plaza
connects seamlessly to the ground levels. The second floor houses the Adult and
Childrens Studios which open to a large deck on the south side of the building,
overlooking the main court below. There is a non-load-bearing partition between the
two spaces that allows each space to expand or shrink as necessary or to program it
as a single larger space. This level also has a large public roof deck over the existing
building for use as expanded studio space. It is also envisioned that this deck would
be used to show movies at night projected onto the adjacent building faade.
The third floor is dedicated entirely to the small exhibit space. It has a 20-foot high
ceiling and flexible non-bearing demountable partitions for a variety of exhibits. This
floor could also be used for private events while the Art Center is open or closed.
8AM
4PM
10AM
2PM
N
12PM
The fourth and uppermost floor is the lease space for a restaurant with commanding
views overlooking the city and into the surrounding areas. To the best of our
knowledge this would become the only restaurant in the downtown area with such
a panoramic view. The restaurant would also have access to the roof terrace above.
This floor would be used to house the Kimball Administrative Offices until Phase Two
construction is completed.
Finally, above the restaurant the building culminates with a public roof terrace with
commanding views above the city. This space can be used for a variety of public
and private events while the Art Center is open or closed. Since the restaurant (and
kitchen) are in such close proximity, the terrace can be easily used by the restaurant
and other private catered events providing additional revenue to the Art Center.
Other than the darkest portions of the existing basement, the entire Art Center has
been designed to have a great deal of built-in flexibility, which will allow the spaces to
be used in a variety of configurations as the Art Center evolves and continues to grow.
STRUCTURAL NARRATIVE
8 THK STRUCTURAL
CORE WALLS
12 THK SLAB
STEEL EDGE BEAM
12 -14 THK SLAB
12 THK SLAB
24 DIA. CONC
COLUMN, TYP.
10
The strategy developed for the structural system emerges from the architectural intent
to develop a flexible interior layout shrouded in a cloud-like veil. To achieve this intent,
a straightforward concrete flat-slab structure resulting in a flat under soffit is used
to frame the primary new building areas. Structural spans are limited to thirty-feet in
any direction using 12-inch deep structural void slabs: void slabs reduce the dead load
of the building structure, improving slab deflections and reducing foundation loads.
Round 24-inch concrete columns transfer gravity loads to the foundations. Secondary
framing in structural steel is used to pick-up the glass and translucent panel enclosure
and also assist in transitioning the enclosure geometry. A concrete shear core and fin
wall are strategically configured in layout to complete the lateral force resisting system.
This simplified approach to the building structure greatly reduces overall project
complexity and enables a systematic approach to the complex perimeter enclosure.
The building enclosure consists of a glass curtain wall with exterior translucent panels
configured in an accordion configuration. The system is stick built using vertically
aligned aluminium cassettes. Where necessary for lateral support, the curtain wall
is supported by the secondary structural steel at points of geometric transition and
long-span. The amorphic shape of the building form results in doubly curved surfaces.
The floor to floor spans have been rationalized to within bending limits for glass to
allow the glass to be cold bent to produce necessary surface curvature. Ceramic
fritting on the outer glass light is used to cover up slab edge details at the floor levels.
Horizontal knife plates (props) extend through the curtain wall joints of the glazed
curtain wall to pick up the horizontal steel support framing for the translucent panels.
The expose structural steel is galvanized for long-term durability.
The system based logic for the structure and enclosure systems provides for a
simplified construction sequence. The primary structure reinforced concrete
resides entirely within a single trade to avoid conflicting overlaps. The secondary steel
of the enclosure and the main stair are geometrically complex and therefore benefit
by bound-up scoping of a single steel package for a specialist steel fabricator. Bidding
this scope gives the package size it is significant enough in volume to encourage
competitive bidding and to bring qualified architectural steel contractors into the
mix. The difference between typical structural steel contractors and architectural
steel contractors can and is most often extreme in their abilities to detail and execute
the work. In the case of this project, the concrete structure is left exposed and it
is expressed as part of the architecture. This not only saves money by allowing
the omission of architectural finishes but it also produces a much more durable
architecture. The construction sequence can be reduced and executed in sequential
order: primary reinforced concrete structure, secondary and architectural structural
steel (main stair) and double layer building enclosure system. This assures separation
of work activities and greatly enhances construction coordination, tolerance control
and detailing. The end result is a better built building.
11
12 DIA. CONC
COLUMN TYP.
12 THK SLAB
12 THK SLAB
SEE ARCHITECTS DRAWINGS
FOR PLAN OF CORE, TYP.
8 THK STRUCTURAL
CORE WALLS
8 THK STRUCTURAL
CORE WALLS
24 DIA. CONC
COLUMN, TYP.
EDGE BEAM
24 DIA. CONC
COLUMN, TYP.
14 THK SLAB
LEVEL 1
LEVEL 3
24 DIA. CONC
COLUMN, TYP.
8 THK STRUCTURAL
CORE WALLS
8 THK STRUCTURAL
CORE WALLS
EDGE BEAM
LEVEL 2
12 THK SLAB
EDGE BEAM
12 THK SLAB
ROOF
Structural Plans
12
TION
Deflection
13
SKIN LOGICS
Roof deck
El. +56'
PLEATED SURFACE
TEXTURED SKIN INCREASES
VISUAL TACTILITY AND OVERALL
PERCIEVED DEPTH OF SURFACE
DOUBLE SURFACE
USE INTERNAL CAVITY AS
ADDITIONAL THERMAL LAYER
TRANSFORMATIONS
SPLAY
Radiant cooled and heated slabs.

Chilled and hot water from ground
source heat pumps.
BEND
Restaurant
El. +44'
1
SHIFT
4
STACK
PLEATED TUBES
INCREASE STRUCTURAL RIGIDITY
AS SELF-SUPPORTING SYSTEM
STRIATE
Relief air windows and displacement

vents are controlled thru bms for
daytime temperature control and
nightime purge
SPLIT
LARGE VIEW
Chilled air from evaporative cool tower

Passively falls thru chase and is
delivered to space from displacement
grilles; same chase provides fan
powered warm air vent
In winter
6
A
Exhibition
El. +24'
Skin Logics
14
Facade Strategy
Section
1
2
3
4
5
6
7
8
Folded polypropylene honeycomb panel

Internal polypropylene rigid spacer
Fixed glazing unit (low-e double pane IGU)
operable glazing unit
Galvanized secondary knife-edge support
Air cavity for thermal pre-heat and recapture
Mechanical chase
Embedded radiant cooling and heating
Slab edge detail rendering

Nts
Facade Detail
Plan
Facade Examples
Built examples
Facade Detail
Axon
15
ENERGY NARRATIVE
WARMER AIR RISES THRU STAIR
In order to reduce energy consumption in the new Kimball Art Center we utilize well
known bioclimatic design strategies in a new, innovative fashion. Our concept utilizes
a unique double-skin facade to provide two important energy reduction strategies -create air movement to reduce fan energy and natural warming of air to reduce heating
energy. Our expectation is that these innovations and others will allow the building
to use less than 50% of the annual energy of a similar facility designed to meet the
national ASHRAE 90.1 energy code.
PASSIVE DOWNDRAUGHT COOLING
RADIANT HEATING AND COOLING
16
Passive Heating
In the new structure, the interstitial space between the unique exterior honeycomb
skin and the high performance glazing that forms the actual thermal envelope of those
spaces, is perfectly suited to provide passive heating of air that moves through that
cavity. This is called the greenhouse effect as heat from the suns energy is trapped in
the interstitial space. We capture that pre-heated air in the winter months and distribute
it through the building as necessary to provide heat where needed. This technique also
allows the interstitial space to create a warm blanket around the building providing
natural insulating effect. When this heating source is inadequate to maintain comfort
conditions in the building, such as at night, radiant heating in the floor of the each
space and in the ventilation systems will supplement.
Passive Cooling
Because the suns energy will create a greenhouse effect in the interstitial space of the
new structure as mentioned above, that heat needs to be removed during summer
months to avoid overheating of the interior. The warming air in the interstitial space is
naturally buoyant and will rise causing a negative pressure that can be used to move air
passively through adjacent openings into the interstitial space. In our concept we use
this to the energy benefit of the building by allowing this phenomenon to draw cold
air from the cool tower down through a shaft and into each of the spaces in the new
structure. The cool tower is a simple, ages-old technique for naturally cooling air in dry
climates like Park Citys. By strategically placing evaporative pads, saturated with
clean water, at the air intakes on top of the tower, the incoming air temperature
drops to a temperature useful for cooling even on the hottest days in Park City.
The added energy benefit of this strategy is that this cool air moves through the
spaces in the new structure then into the interstitial space, thereby cooling it and
eliminating the aforementioned overheating caused by greenhouse effect. We will
also utilize the passive air movement in the interstitial space to induce natural air
flow in much of the repurposed existing building. When these techniques arent
adequate to provide the necessary cooling for the facility, additional cooling
will be provided by chilling floors of the building with the same system used for
supplemental heating.
FAN
HEAT
PUMP
solar tubes
RADIANT HEAT AND SNOW MELT
GEO-EXCHANGE
PIPING BELOW
PARKING LOT
Mechanical Heating and Cooling

In order to provide the necessary supplemental heating and cooling in the facility
when our passive systems arent adequate to maintain thermal comfort, we will
utilize a small ground-source heat pump system that can provide both hot and
chilled water to the air moving equipment and the radiant slabs in the building.
A minimal below grade piping system under the parking lot will provide a heat
source in the winter and heat sink in the summer that makes this system one of
the most energy efficient heating and cooling systems available today. In our
concept this system is much smaller and cost effective than would be typically
found in a building of this type due to the innovative, low cost passive design
strategies for heating and cooling described above.
17
PHASING NARRATIVE
PHASE II
PHASE I
BUILD NEW ENTRY STRUCTURE

1ST FLOOR STAFF ENTRY TO
LOWER LEVELS
LOCATION OF NEW KILN

ABOVE FOR PHASE I
EXISTING KIMBALL STRUCTURE

TO REMAIN EXACTLY AS IS DURING
PHASE I CONSTRUCTION
EXISTING STAIR & ELEVATOR

TO REMAIN DURING PHASE I
CONSTRUCTION. REMOVE AT
END OF PHASE I AND REPLACE
WITH TEMPORARY STAIR
LOWER LEVEL ENTRY

DURING PHASE I
CONSTRUCTION
NEW OPENING DURING PHASE II

AND CONNECT TO PHASE I
PHASE I
NEW KIMBALL
BUILDING
PHASE II
EXISTING KIMBALL
BUILDING
NOTE:
DURING PHASE II REMODEL OF
EXISTING KIMBALL BUILDING
ADIMINISTRATION FROM
LOWER LEVEL WILL MOVE TO
3RD FLOOR OF PHASE I. AT
COMPLETION OF PHASE II ADMINISTRATION MOVES BACK TO
EXISTING KIMBALL BUILDING
AND RESTAURANT MOVES TO
3RD FLOOR OF PHASE I.
TEMPORARY WALL TO REMAIN

DURING PHASE I AND PHASE II
CONSTRUCTION. REMOVE AT
COMPLETION OF BOTH PHASES
The design of the Kimball Art Center is planned to

maintain continuous operation while Phase One and
Phase Two are under construction. The key to any
successful phased construction is the tying together of the
adjoining phases and interim temporary construction that
allow portions of the building to gracefully operate and
feel complete, during a time when the entire structure has
not yet been completed.
Phase One would begin with the construction of the
new addition located at the corner of Main and Heber
and connection to the existing Kimball structure. This
phase would begin with isolating the kiln and the existing
stair and elevator while construction is in progress. Full
construction would begin immediately upon isolating
these elements.
TEMPORARY ENTRY
EXISTING KILN TO REMAIN UNTIL

PHASE I IS NEAR COMPLETE AND
NEW KILN IS INSTALLED IN PHASE I
TEMPORARY STAIR - LOWEST LEVEL
TO EXISTING KIMBALL BUILDING ONLY.
PERMANENT STAIR ABOVE. STAIR IS
BUILT LAST AFTER KIMBALL IS MOVED
AND OPERATIONAL IN NEW STRUCTURE
TEMPORARY EGRESS BETWEEN
BUILDING PHASES
18
SLIGHT ADJUSTMENT TO PLAZA

STEPS DURING PHASE II
PHASE II
PHASE I
When nearing completion, the Kiln, elevator and stair

would be removed. The new kiln would have already been
installed and operational in the new addition. A new
temporary stair would be constructed connecting the
existing Kimball Building along Heber with the new splitlevel on Main Street. With proper planning this can take
place within a 3-4 week period and minimize the need for
the center to close.
PHASE I - Initial
Isolate kiln and existing stair/elevator core
PHASE I - In Progress
Temporary stair connecting historic building and new wing
Partial construction of final plaza steps
Kiln in new wing becomes operational
PHASE I - Near Completion

Completion of plaza stairs and entrance through historic building
PHASE II
Administration space returns to historic building
Restaurant to occupy former admin space in new wing
Admin
Restaurant
This phase would also require a temporary main entry located adjacent to the large 20 foot high studio(s) spaces located at the split-level. In addition, the court located at
the corner of Main and Heber would require some temporary construction between the new addition and existing building where the kiln was located. This small portion of
exterior work would be removed and reconfigured during Phase Two.
Phase Two would involve the remodel of the existing Kimball Art Center Building. No significant exterior changes are planned. The intent of this phase is to restore the
Historic Building, keep the work simple and the construction cost very low. By keeping the existing floors, walls and roof structures, the costs can be kept to a minimum. The
windows need to be retrofitted and the roof would require some structural reinforcement to properly handle snow loads and the new roof deck but a majority of the work
can be cosmetic in nature and costs can be kept to a minimum. Nonetheless, when Phase Two is completed it will feel like an entirely new building. The greatest cost (and
architectural impact) would be the tie-in between Phase One and Two, where a portion of the main level existing floor between the two phases would be removed to provide
an opening to the existing basement below and visually connect all the public spaces between the two phases.
19
2. The Kimball Cloud

Renderings
Site Plans
Model Photos
Sections
Plans
2: The Kimball Cloud
View R1
Main Street and Heber Ave.
22
View R2
Entry Plaza
23
Urban Context Plan
24
25
R3
B
A
C
R1
R7
Site Plan
26
27
View R3
View down Heber Ave.
28
View R5
Upper Deck
29
30
View R7
Heber Ave. Elevation
31
View R4
Lecture Area and
Receiving
32
View R6
Restaurant
33
Section A-A
34
Section B-B
35
Section C-C
With the building skin off.
36
Section C-C
With the building skin on.
37
STORAGE
ADJACENT LOT
PARKING
EL. -7-0
CLAY
CLAY
CERAMIC STUDIO
WET CLAY
KILN
ENTRY
UP
- STAFF ENTRY & STAFF PARKING,

DELIVERIES
LOADING
DN
ENTRY BELOW
EL. -10-0
MUSE
- EVENING RESTAURANT ENTRY

AND/OR EVENT ENTRIES TO UPPER
FLOORS WHEN ART CENTER IS CLOSED
GARAGE DOOR
PASSENGER
& FREIGHT
ELEV.
ADMINISTRATION
NIGHT SECURED ZONE FOR TOWER
WOMEN
DN
PASSENGER
& FREIGHT
ELEV.
WOMEN
UP
EL.+/-0-0
UP
JANITOR
CLOSET
OFFICE
SECURITY GATE
RECESSED ABOVE
UP
TO CLAY
R6
OFFICE
DN
STORAGE
STORAGE
PARK AVENUE
OFFICE
UP
KITCHENETTE
DN
MEN
SKYLIGHT ABOVE
MEN
LECTURE AREA/ RECEIVING

EL. -10-0
BATH
BATH
LAUNDRY
MINI TOWER
ABOVE
WELDING, SMITHING,
GLASS STUDIOS + SHOP
SPRAY
DN
GIFT SHOP
OPEN TO STUDIOS BELOW

UP
EL. -7-6
DUMB WAITER
COATS
DUMB WAITER
LANDING
LARGE EXHIBITION SPACE
EL. +2-6
DIGITAL LAB
CAFE
CONFERENCE
UP
DARK ROOM
PHOTO LAB
DISPLAY
SHELVING
UP
CATERING KITCHEN
SLIDING GLASS DOORS
RECEPTION
SHOP
TERRACE
EXHIBIT SUPPORT STORAGE/

CRATING + UNPACKING
DN
MAIN STREET
SLIDING DOOR
DEMISING WALLS
FOR STORAGE, CRATING,
ETC. AS NEEDED
DN
TERRACE BELOW
LOBBY
UP
EL. -7-6
MECH. ROOM
ENTRY PATIO
ENTRY
EL. +/-0-0
EL. -1-0
R2
HEBER AVE
NUE
Basement Plan
38
HEBER AVE
NUE
Ground Floor Plan

VIEW TO
QUARRY MOUNTAIN
EXHIBIT
PARTITIONS
IR
ON
SMALL EXHIBITION
IR
ON
VIE
OU
VIE
OU
NT
AIN
CATWALK ABOVE
NT
AIN
MEN
TO
WOMEN
TO
KITCHEN
RESTAURANT
SERVICE STATION
DUMB WAITER
RECEPTION
DUMB WAITER
UP
VIEW
DO
WN
DEE
R VA
LL
EY
RESTAURANT
WAITING
UP
UP
WAITING
DN
DN
DN
EL. +44-0
EL. +56-0
VIEW
FIREPLACE
UP
DEE
DO
R VA
WN
DN TO
RESTAURANT
VIE
FIREPLACE
DE
OPEN TO
BELOW
LL
EY
ER
DO
WN
VA
LL
EY
DN
EXHIBITION
BAR
UP
BAR
EXHIBIT
PARTITIONS
DN
ROOF DECK
EL.+24-0
RESTAURANT
VIE
W
DO
DE
WN
ER
VA
LL
EY
WN
EY
DO
LL
W
DE
ER
VIE
VA
ING
LIGHT
SO
UTH
SO
IN
TA
UN
O
M
IN
TA
UN
LE
G
EA
LE
TO
LD
BA
SKYLIGHT
TO BELOW
EA
UTH
VIE
LD
TO
BA
SED
INTO
GA
VIE
DIFFU
LLERY
R5
Third Floor Plan
Fourth Floor Plan
Roof Plan
MECHANICAL
TERRACE
STUDIO
PASSENGER
& FREIGHT
ELEV.
BATH
UP
UP
EL. +12-0
DN
BATH
RESTAURANT
UP
NTO
DN
E
CAD
FA
NO
TIO
JEC
HT
VIE
ADMINISTRATION
PRO
MO
CHILDRENS STUDIO
NIG
DECK
R4
SKYLIGHT TO GIFT
SHOP/ CAFE BELOW
EL. +15-0
RETAIL / GIFT SHOP

SEATING
ADULT STUDIO
TERRACE
UP
EXHIBITION
STUDIOS
Second Floor Plan

39
3. Boards
3: Boards
R1
DESIGN CONCEPT NARRATIVE

With over 9000 skiable acres and 64 buildings on the National Register of Historic Places,
Park City has drawn millions of people from around the world to live, visit and play among
its unique natural beauty and blend of old and new. One of the most incredible and
mesmerizing natural features is the seemingly endless deep blue sky. Despite the time of
year or weather conditions, the sky always seems to quickly return to its infinite and hypnotic
clarity, with rarely a cloud in the sky. It provokes a kind of indelible wonder; a dreamlike
state of mind that engages the viewer, heightens their sense of awareness, and brings a
sense of vitality to the place. The design concept for the new Kimball Art Center addition
and renovation is to perceptually bring the uniqueness of the Park City sky directly into the
space of the city, allowing the user to forge a deeper and more meaningful understanding
of the fundamental, yet delicate relationships that exist between themselves, the natural
world, its vital resources, and our collective cultures. The Kimball Cloud delivers a new
experience and expands art into the broader Park City community, creating a new social
space for the 21st century.
The buildings faade creates a visual icon, a glowing beacon that can be seen and
experienced from a distance and immediately adjacent. The upper floors are composed
of a conventional glazing system that is covered by a rain screen made from a translucent
honeycomb material. This translucent, faceted skin is not only aesthetic, but also plays a
role in the buildings thermal performance. Below this envelope, the new ground level
faade is constructed of very transparent glass and opens directly to the street, while
delicately connecting and weaving into the heavy mass of the existing historic Kimball
building. Spatially, the lower floor is absorbed into the adjacent existing building and
the city, while the upper floors overhang the more transparent level below. The new
cloud building appears to levitate above the site, while the historic structure feels solid
and grounded to the earth. This illusion enhances the buildings, giving them a collective
strength that neither building could possess individually.
Interior spaces delicately knit together passive and active uses, allowing the community
to view and/or participate in the artistic experience. Rather than simply displaying art for
view, the new design reveals to the community the very process by which art is created.
Every feature of the building is multivalent and rich with meaningperforming several
roles for functional, formal and experiential effect.
At the corner of Main Street and Heber Ave, the creation of a large exterior court links
directly to the 20-foot high smithing, welding and glass studios that would use this court
daily as their outdoor workspace. The faade between the exterior court and studio is
visually clear, opening the Art Center to public view. Large sliding panel doors open
and connect the exterior and interior together, so artist and students can use the court
seamlessly from inside to out. This court, located midway between the existing Kimball
ground floor and basement levels, is connected directly to the street, and allows most of
the working studio spaces to be visually linked to the street corner. These spaces flow
from the court deep into the building linking the new structure with the existing building.
In this configuration, the existing basement is opened up and connected to Main Street
along with the existing Kimball ground floor and the new structure. Creating this split-level
design at the street level on Main Street and Heber Avenue, serves several other important
purposes: it allows for great flexibility, affording the Art Center the ability to easily divide
and use the ground level for a variety of purposes and functions, both large and small,
while still remaining visually open and not feeling like separated smaller rooms.
The heart of the Art Center, the process by which art is made, is connected to the street
corner. Passerby can see deep into the building, viewing people working throughout
several studio spaces, the main exhibition space and the many other spaces that are
visually linked together. Rather than simply displaying art to the community, the process
itself is on display.
URBAN CONTEXT PLAN
1 = 50-0
42
3: Boards
R2
B
A
C
R1
R7
SITE PLAN
1/16 = 1-0
43
3: Boards
R3
PLEATED SURFACE
TEXTURED SKIN INCREASES
VISUAL TACTILITY AND OVERALL
PERCIEVED DEPTH OF SURFACE
DOUBLE SURFACE
USE INTERNAL CAVITY AS
ADDITIONAL THERMAL LAYER
MASSING DEVELOPMENT
TRANSFORMATIONS
SKIN LOGICS
SPLAY
BEND
SPLIT
SMALL VIEWS
SHIFT
SCALE
STACK
SCALE
CENTER
EXISTING
Historic building
EXTEND ACROSS
Maximize site utilization
EXTEND UP
Expand usable space on footprint
CARVE
Add public space at street corner
and parking under new addition
CONNECT
Link existing and new
buildings with rooftop deck
SLICE
Maximize usable space within new building
CONTRACT
Augment floor plates to suit program,
environmental factors, and urban context
WRAP
Clad new building in
light, ethereal skin
EDGE
PLEATED TUBES
INCREASE STRUCTURAL RIGIDITY
AS SELF-SUPPORTING SYSTEM
STRIATE
SKEW
LOCAL
SPLIT
LARGE VIEW
44
3: Boards
R5
R6
R7
R4
PHASING MITIGATION
1
SUN STUDY
2
PHASE I - Initial
Isolate kiln and existing stair/elevator core
PHASE I - In Progress
Temporary stair connecting historic building and new wing
Partial construction of final plaza steps
Kiln in new wing becomes operational
PHASE I - Near Completion

Completion of plaza stairs and entrance through historic building
EXTERIOR SPACES
PHASE II
Administration space returns to historic building
Restaurant to occupy former admin space in new wing
Roof decks
receive sunlight throughout the day
Street-level
public plaza
Admin
Restaurant
SUN STUDY
EXTERIOR SPACES
DAYLIGHTING
8AM
4PM

receive year-round sunlight
10AM
10 AM
2PM
10 AM
4PM
2PM
4PM
2PM
N
12PM
SUMMER
WINTER
SECTION B-B
SECTION A-A
SECTION C-C
1/16 = 1-0
1/16 = 1-0
1/16 = 1-0
45
3: Boards
MECHANICAL
TERRACE
STUDIO
PASSENGER
& FREIGHT
ELEV.
BATH
UP
UP
EL. +12-0
DN
BATH
UP
DN
ADE
VIE
FAC
NO
TIO
JEC
HT
NTO
PRO
MO
CHILDRENS STUDIO
NIG
DECK
R4
SKYLIGHT TO GIFT
SHOP/ CAFE BELOW
EL. +15-0
SEATING
ADULT STUDIO
TERRACE
UP
2ND FLOOR
1/8 = 1-0
ADJACENT LOT
PARKING
EL. -7-0
ENTRY
UP
- STAFF ENTRY & STAFF PARKING,

DELIVERIES
LOADING
EL. -10-0
MUSE
- EVENING RESTAURANT ENTRY

AND/OR EVENT ENTRIES TO UPPER
FLOORS WHEN ART CENTER IS CLOSED
GARAGE DOOR
PASSENGER
& FREIGHT
ELEV.
ADMINISTRATION
NIGHT SECURED ZONE FOR TOWER
WOMEN
UP
OFFICE
SECURITY GATE
RECESSED ABOVE
UP
TO CLAY
R6
OFFICE
STORAGE
MEN
PARK AVENUE
OFFICE
UP
KITCHENETTE
DN
LECTURE AREA/ RECEIVING

EL. -10-0
BATH
BATH
LAUNDRY
WELDING, SMITHING,
GLASS STUDIOS + SHOP
SPRAY
EL. -7-6
DUMB WAITER
DIGITAL LAB
DARK ROOM
CONFERENCE
PHOTO LAB
UP
CATERING KITCHEN
ET
SLIDING GLASS DOORS
MAIN STRE
SLIDING DOOR
DEMISING WALLS
FOR STORAGE, CRATING,
ETC. AS NEEDED
SHOP
TERRACE
EXHIBIT SUPPORT STORAGE/

CRATING + UNPACKING
EL. -7-6
MECH. ROOM
R2
HEBER AVE
NUE
BASEMENT LEVEL
1/8 = 1-0
46
3: Boards
VIEW TO
QUARRY MOUNTAIN
EXHIBIT
PARTITIONS
IR
ON
IR
ON
SMALL EXHIBITION
VIE
OU
NTA
VIE
OU
NTA
MEN
TO
TO
KITCHEN
IN
RESTAURANT
SERVICE STATION
WOMEN
IN
CATWALK ABOVE
DUMB WAITER
DUMB WAITER
RESTAURANT
WAITING
VIEW
DO
WN
DEE
R VA
LL
EY
UP
RECEPTION
UP
UP
WAITING
DN
DN
DN
EL. +44-0
EL. +56-0
VIEW
DN TO
RESTAURANT
DO
WN
DEE
R VA
LL
EY
FIREPLACE
UP
VIEW
DO
WN
DEE
R VA
LL
EY
FIREPLACE
OPEN TO
BELOW
DN
BAR
EXHIBITION
BAR
UP
ROOF DECK
EXHIBIT
PARTITIONS
DN
EL.+24-0
RESTAURANT
W
DO
WN
AL
LE
Y
IN
TA
SO
UTH
VIEW
DO
DEE
WN
R VA
LL
EY
LLERY
LIGHT
SED
LE
UN
INTO
GA
EA
LE
DIFFU
LD
EA
SKYLIGHT
TO BELOW
TO
BA
LD
TO
BA
3RD FLOOR
VIE
VIE
ING
R5
4TH FLOOR
1/8 = 1-0
5TH FLOOR
1/8 = 1-0
1/8 = 1-0
STORAGE
CLAY
CLAY
CERAMIC STUDIO
WET CLAY
KILN
DN
ENTRY BELOW
DN
PASSENGER
& FREIGHT
ELEV.
WOMEN
UP
JANITOR
CLOSET
EL.+/-0-0
DN
STORAGE
SKYLIGHT ABOVE
MEN
PARK AVENUE
MINI TOWER
ABOVE
DN
GIFT SHOP
OPEN TO STUDIOS BELOW

UP
COATS
DUMB WAITER
LANDING
LARGE EXHIBITION SPACE
EL. +2-6
CAFE
UP
DISPLAY
SHELVING
RECEPTION
DN
TERRACE BELOW
LOBBY
MAIN STRE
ET
DN
UP
ENTRY PATIO
ENTRY
EL. +/-0-0
EL. -1-0
HEBER AVE
NUE
GROUND FLOOR
1/8 = 1-0
47
4. Fee Structure and Design Schedule
4: Fee Structure and Design Schedule
FEE STRUCTURE
Brooks + Scarpa can structure the design fee either as a Lump Sum Fixed Fee or a Fee as the Percentage of Construction Cost. We prefer a Fixed Fee
based on a defined scope of work. Once the scope and deliverables are clarified and confirmed, we can determine a lump sum fixed fee. Or, we can
establish a fee based on an estimated cost of construction, which is usually approximately 15% of the cost of construction.
The following consultants will be included in our fee, and therefore under contract directly with Brooks + Scarpa: Local Architect/ Architect of Record,
Structural / Facade Engineer, Mechanical, Electrical & Plumbing Engineer, Specifications Writer, Lighting Designer, and Landscape Architect. Costing,
Civil Engineering and Entitlement Work is not included. Should any other consultants be required, they will be retained directly by Kimball, or by Brooks
+ Scarpa as an additional fee.
Reimbursable expenses are billed separately with a fifteen percent surcharge and include: travel, phone, photographs, parking, printing and
reproductions, and permits. All consultants retained by Brooks + Scarpa will have fifteen percent surcharge added to the cost of their services.
Invoices for services will be billed on a monthly basis as a percentage of the completion of the project. All bills are payable within ten days of the invoice
date. Bills unpaid in thirty days will be charged with interest, and bills unpaid in 45 days will be charged an additional sum for administrative costs.
In order to begin the project, we expect the Owner, the KAC, to provide the following items: survey, legal address, As-built drawings of the existing
space, and any other pertinent information and legal information. This information will be necessary in order to begin the Schematic Design phase.
Brooks + Scarpa uses AIA document B101-2007 edition for contracts.
DESIGN SCHEDULE
C l i e n t Te a m R e v i e w - Fo u r w e e k s
Upon notification of project award, the Brooks + Scarpa team and KAC will review all the competition material and the KAC will give comments and
direction to the design team in order to move forward with the Schematic Design Phase. This shall include comments about design direction, community
and funding strategies, project program, budget, schedule, KAC milestones and deadlines and any other information that will help the design team
advance through the schematic design phase.
At this stage the design team will familiarize themselves with key representatives of KAC and establish the desired line of communication between the
KAC and the project team. The design team will work with KAC to develop the agenda for the next stage. Also at this time, the design team will collect
any outstanding information, such as topographic survey, existing building floor plans and sections, legal description, etc. At this point, we would also
begin an in-depth code review and physical building inspection. The team would then prepare a preliminary report outlining our findings. The report
would be reviewed by KAC and revised as necessary. Once approved by KAC this document will become part of the Schematic Design Preliminary Project
Manual.
Schematic Design - 6-8 weeks
Based on the information above, the design team will prepare schematic design documents for the KAC to review.
During this process the design team will work with KAC to:
50
4: Fee Structure and Design Schedule
Plan, organize and develop the Community Outreach

Identify the most practical and cost-efficient mechanical, electrical and structural systems and any other necessary shell and core improvements.
Determine the best approach to landscape design.
Assess code impacts relative to the design and verify code compliance issues.
Establish preliminary anticipated project costs.
Schematic design deliverables and presentation material are outlined herein:
The Schematic Design Documents will include items presented at the competition stage: study models, perspective sketches, electronic modeling
or combinations of these media. Preliminary selections of major building systems and construction materials shall be noted on the drawings or
described in writing. Based on the mutually agreed upon program and requirements from the above outlined process the Design team will prepare,
for approval by the KAC, Schematic Design Documents consisting of drawings and other documents illustrating the scale and relationship of the
project components.
Site plan showing the siting strategies and layout of floor plans, elevations and schematic material finishes.
Floor plans at a mutually agreed-upon scale with sections and elevations.
Material/Color Concept Board - The team will develop, in concert with the building, materials and color palettes, a coordinated and compatible
interior design palette. The Team will develop one alternative color/material palettes for the Clients approval. Each will reflect a unique solution
within the Clients color preference parameters.
Coordination of Structural, Mechanical, Electrical and Plumbing concepts and engineering consultants as the design progresses.
Pricing Two weeks

At this stage, we recommend having at least one contractor or cost estimator review the drawings and outline specifications to provide an estimated cost
of construction. We prefer to monitor costs early on in the design in order to avoid large value engineering exercises later on in the process.
C l i e n t Te a m R e v i e w Tw o w e e k s
KAC will review all the Schematic Design material and provide comments and direction to the design team in order to complete the final Schematic
Design Package. Revisions will be made and a final schematic design package will be prepared.
Design Development Phase approximately 11 weeks
This includes approximately 8 weeks for production of the Design Development drawings, and 3 weeks for review.
Construction Documents Phase- approximately 24 weeks (varies depending on the final design)
After completion of Construction Documents, the drawings will be submitted for permit. Thus, the time noted does not include plan check review or plan check corrections.
The schedule does not include any entitlements. Should entitlements, such as Environmental Review or other, be required, the schedule will be modified as needed.
51
5. Team Introductions
5: Team Introduction
Brooks + Scarpa
Brooks + Scarpa has redefined the role of the architect and results in some of the most remarkable and exploratory design today. They do so by
looking, questioning and reworking the very process of design and building. Each project appears as an opportunity to rethink the way things
normally get done; to redefine and cull-out latent potentials that exist in materials, form, construction and even financingto, as Scarpa says,
make the ordinary extraordinary. This produces entirely inventive work that is quite difficult to categorize because it is driven by exploration
rather than an initial intent. It is environmentally sustainable, but not about sustainable design. It employs new materials, digital practices and
technologies, but is not defined by nor molded by technologies. It is socially and community conscious, but it is not created as a politically correct
statement. Rather, it is deeply rooted in conditions of the everyday, and works with our perception and preconceptions to allow us to see things in
new ways.
Over the last ten years, Brook + Scarpa has received more than 50 major design awards, notably 18 National AIA Awards, including the 2010 AIA Architecture Firm Award and
2010 AIA California Council Firm of the Year Award, four AIA Committee on the Environment Top Ten Green Project awards, 2005 Record Houses, 2003 Record Interiors, and
the 2003 Rudy Bruner Prize. Brooks + Scarpa was a finalist for the 2002 United Nations World Habitat Award and the Architectural League of New York named the firm an
Emerging Voice in 2004. Their work was recently on exhibit at the National Building Museum in Washington, DC and has been featured in Newsweek. Lawrence Scarpa has
also appeared on The Oprah Winfrey Show.
Brooks + Scarpa is a architecture and planning firm founded in Santa Monica in 1991. Principals Lawrence Scarpa, FAIA, and Angela Brooks, AIA, LEED AP, have garnered
international acclaim for their success in marrying an innovative modern aesthetic with leadership in sustainable and socially progressive design. Their exploratory, inventive
approach has led to seminal work such as the Colorado Court affordable housing project and the Solar Umbrella home, both recognized for their achievements in design and
sustainability. Brooks + Scarpa is currently working on a wide variety of commissions for public, private, and institutional clients.
Brooks + Scarpa has teamed with the following firms:

Blalock and Partners (Local Architect)
Blalock & Partners Architectural Design Studio is an award-winning firm of architects and design professionals located in Salt Lake City,
Utah. Directed by its principal and founder, Kevin Blalock, AIA, the firm currently holds licenses and practices in Utah, Arizona, Colorado,
Idaho and Wyoming.
Established in 2004, the firms endeavor is to create thoughtful and intriguing design solutions with particular sensitivity to a clients site and budgetary constraints. Each
projects challenge carries with it the underlying principle of creating architecture that is harmonious with the natural environment while aspiring to uplift the human spirit.
A projects eventual design solution draws inspiration from mans relationship to, and reliance on, the environment; taking into account the evolution of time, changes in
season, passage of day to night. This philosophy influences and invokes design solutions that are specific to the users needs, the clients goals and budget.
Blalock & Partners offers a full-service, collaborative approach to all projects. Drawing on a diverse background and layers of expertise in architecture, interiors, programming
and master planning, the firm does not distinguish between interior and exterior design. Rather, team members promote design ideas that allow the solutions to seamlessly
evolve from exterior to interior; from large scale master plans and site developments to sensitive additions, renovations and adaptive re-use.
54
Buro Happold (Structural and Facade Engineering)
Buro Happold advises clients on the best way to develop, design and procure the building envelope, using our knowledge of the full supply
chain to provide high level technical advice across the whole design process, including the choice of materials and systems. Our aim is to
achieve a cost-effective, viable design solution that provides top performance at the lowest possible risk.
The facade makes a major contribution to the sustainability of a building, influencing both energy efficiency and the quality of the internal
climate. It is also an integral part of the buildings aesthetic, complementing the structural form and defining its visual impact on the urban
environment. Buro Happold uses a rigorous methodology to resolve the inter-connected issues involved in efficient facade design and
detailing.
Our facade engineers work closely with other members of the project team to bring the benefits of high-level technical knowledge to the design of the envelope. With
sustainability now a key regulatory requirement, we carefully analyze the environmental behavior of different facade designs using advanced techniques such as thermal
modelling, wind analysis, acoustic design, solar and glare studies.
This rigorous assessment enables us to design a facade that is appropriate for both the building and the locale. Combining our practical knowledge of natural ventilation,
shading and daylighting systems with environmental factors such as solar gain, wind flow and weather proofing we are able to deliver well built, high performance facades
that provide superb occupant comfort with much reduced energy and running costs.
Integral Group (Mechanical, Electrical and Plumbing Engineering)

Integral Group has a reputation for a practical approach to high performance building design on a budget. As you will see from our
qualifications, there are a great number of examples of this expertise for a variety of buildings with similar functions; project types
represented include museums, galleries, interpretive centers, community and visitor centers, historic renovations, classroom and public
gathering facilities. Our experience is also representative of every unique climate region in North America, including colder climates.
Art facilities, such as Kimball Art Center, present unique design challenges and can present heating and cooling load profiles that require creative design approaches. Art
Spaces, galleries, and archival spaces frequently have very specific environmental requirements and must be designed to be highly energy efficient without sacrificing
performance. Museums can also feature unique architecture and building envelopes that require sensitivity and innovation to renovate for energy efficiency.
Since the mission of our company is to provide exemplary buildings that serve to set the standards for high performance, one of our approaches is to take advantage of
teachable moments in building systems for certain types of facilities. For example, in the Exploratorium, a ground-breaking, innovative science museum located on San
Franciscos waterfront, we designed a unique system for providing free cooling from the water in San Francisco Bay. This system is planned as part of an exhibit in the
museum itself, giving visitors a concrete example of sustainable design at work.
Art not only serves as a tool for cultural enrichment, but can be a powerful way to communicate sustainable thinking in a different way to audiences that include artists and
the general public. We embrace collaboration with our clients in finding innovative ways to incorporate art into our projects so that they vividly illustrate the uses of high
performance building strategies and reinforce the experience of green buildings improved comfort, air quality, heating, cooling, and natural light.
55
Coen + Partners (Landscape Architecture)
Coen + Partners is a nationally renowned landscape architecture practice based in Minneapolis. Through a process of collaboration,
experimentation and questioning, our work embraces the complexities of each site with quiet clarity and ecological integrity.
Our landscapes are influenced by people and place. We collaborate extensively with top and emerging global design talent to create site designs integrating programmatic,
architectural, and ecological goals with innovation and beauty. We offer a comprehensive suite of services including master planning, site design, programming, and project
administration for urban, green roof, rural and multiscaled residential, institutional, and commercial projects. In each area of emphasis, we expose and enhance in-situ
systems while highlighting the architectural concept through site-specific materials, deferential textures, and supportive plant palettes.
Our work reflects an understanding of site, visual beauty, environmental advocacy and fiscal responsibility unmatched in the landscape architecture community. We seek not
to recreate nature in our work, but rather to redefine natural frameworks and transform them into innovative solutions for comprehensively designed environments.
The success of our practice is due to our design vision and dedication to our clients.
Over the past nineteen years, Coen + Partners has been acclaimed with over twenty-five design awards and recognized by AIA, ASLA, the Committee on Urban Environment
and influential publications such as The New York Times, Metropolis, and Dwell. Coen + Partners received a Progressive Architecture citation in 2003 for Mayo Plan #1. This
citation, given for the radical interpretation of a standard subdivision plat, is only the second time a landscape architecture studio has won the prestigious P/A award in its
fifty-plus year history.
Coen + Partners work was recently featured in Worlds Away: New Suburban Landscapes, a traveling exhibition in collaboration with the Walker Art Center in Minneapolis and
the Carnegie Museum of Art in Pittsburgh. Worlds Away presents our new approach to design within the context of American suburbia. In addition, Coen + Partners
exhibited work in New York City with a team of influential architects, led by Architecture Research Office, as part of the Downtown Alliances Strategic Framework for
Greenwich Street and Lower Manhattan.
Luminesce (Lighting Design)

Luminesce Design Inc. was founded in 2006 by Heather Libonati, LC. After receiving her MFA in theatre design from California
Institute of the Arts, Heather became intrigued by the permanence and scale of architectural work. An Award winning lighting
designer with 10 years of architectural lighting design experience, Heather founded Luminesce Design Inc. with the goal of
working with equally passionate clients and architects.
Determined to never specialize in one lighting application or project type, we have found that each past project informs the next giving us the ability to solve any lighting
design challenge with a fresh solution rooted in practical experience. Luminesce Design seeks to work with Designers and Owners that are driven to innovate and inspire.
Whether its a temporary art piece, permanent interior or exterior commercial project, or your home, Luminesce Design provides every project with individualized lighting
solutions specific to each project and design team. Luminesce Design is passionate about lighting and sustainability. We understand that successful lighting design can
create an atmosphere, an identity, an impression and an experience.
We believe that good lighting design begins with a healthy collaboration with the Design Team, Owner and End-users and understand that the lighting systems have a life
beyond initial occupancy.
56
6. Previous Project Experience
6: Previous Project Experience

CAM Raleigh (Contemporary Art Museum)
Location:
Raleigh, North Carolina
F i r m s I n v o l v e d : Brooks + Scarpa
Cost:
$5,800,000
Size:
22,300 SF
Date:
2010
S c o p e : Renovation of a 2 story, brick warehouse with an addition of new 900 sf entry lobby. Program included: Exhibition
spaces, archive and art storage, educational center, administrative offices, catering kitchen, sculpture garden
The client originally secured the services of Brooks + Scarpa to design a 96,300 SF mixed-use building, with galleries and retail at the ground level and residential units above. At the time, this
was a growing trend among museums as a means for increasing their financial capabilities. Brooks + Scarpa participated in and conducted a series of workshops and charrettes with the Board
and museum stakeholders to generate and select a preliminary design. At the culmination of this effort, the economy took a turn downward, and the project was re-evaluated. Our ultimate
project for CAM closely parallels the Kimball Art Centers proposed project.
The second and final scope maintained the historic 1920 two-story brick warehouse that is located in Raleighs Historic Depot District. The Depot District contains Raleighs only significant
collection of buildings related to the heyday of railroad transportation and shipping in the Capital City. By recycling this important building, CAM preserves an important part of Raleighs
history and demonstrates its commitment to sustainability and leadership in historic preservation. Similarly, KAC seeks to preserve its more than 100-year old historic livery stable turned gas
station in the heart of Park City.
Equally important to the preservation of the existing structure at CAM was the addition of the new 900 square foot entry structure. The dramatic lobby is a glass-enclosed space set beneath
a spectacular folded-panel roof that extends over the entrys sculpture garden to form a kind of welcoming front porch. Located on the east side of the existing building, the lobby is a
modern re-interpretation of the old loading dock, moving people, goods and art deep into the central core of the main exhibition space. This asymmetrical cross axis was created to juxtapose
and complement the symmetry of the old historic building. The two buildings collapse together and fuse into one structure. Old and new become one. The space provokes a kind of indelible
wonder while still affording traditional values to the people who visit. Again, KACs mission is similar: to create a new identity in the community by means of an artistic building exterior.
Of CAM, John Morris, a software engineer, photographer and writer, says: The building itself is a work of art. It chronicles the solid utility of Raleighs red-brick past. Its an old building with a
new purpose, a new interior with a futuristic canopy roof that pulls it off really, really well.
CAMs director of development, Rosemary Wyche points out that much of the original fabric of the building, a produce warehouse with loading bays for trucks and a connection to a railroad
spur, is largely intact, including the original apparatus for the freight elevator visible from the open stair to the museums main level. There the Main Gallery is revealed as a dramatic space with
tall ceilings with the original metal trusses exposed and a row of porthole-like details that are part of the new ventilation and heating and air conditioning system. An original lunette window
floods the space with light penetrating deep into the new basement gallery cut into the floor below.
The lower level gallerys square cast-in-place masonry columns with distinctive flared capitals and sheared caps have a delicacy of their own to complement to main exhibition space above.
The lower level is also home to administrative offices, storage and preparation areas and the catering kitchen. The administrative area is defined by half-walls that give the basement a sense of
openness. This level also accommodates one more exhibit space, the Media Lab, or Black Box Room, intended to display digital art and other technology.
Every feature of CAM is multivalent and rich with meaningperforming several roles for functional, formal and experiential effect. This marriage of the old and new, respect for history, while
bringing something entirely new and exciting makes this building inseparable from the history of the region. The transition from an anonymous asbestos-covered block to a visually exciting
and functional art space in the midst of Raleighs Depot Historic District, is a remarkable.
Parallel goals, contexts, constraints, scales, missions and scopes can be made between Brooks + Scarpas CAM Raleigh project and the Kimball Art Centers exciting endeavor. Our experiences
with CAM serve to better inform us of about approach, process, lessons learned, although each individual project has its own solution and requires its own unique response.
CAM was featured in the November issue of Architectural Record magazine.
58

Siqueiros Mural Shelter, Canopy, Viewing & Interpretive Center
Location:
Olvera Street, El Pueblo, Los Angeles, California
Cost:
$3,400,000
Size:
40,000 GSF
Date:
Under construction
S c o p e : Provide protection for historic mural with new canopy; viewing platform for mural, and renovation of
existing building to be a visitor center/ interpretive museum. Currently under construction.
Brooks + Scarpa created a permanent shelter structure, interpretive museum and viewing platform, showcasing and protecting the allegorical mural Tropical America by David Alfaro
Siqueiros, a radical, expelled from Mexico in the 1930s. This project is currently under construction and scheduled for completion in early 2012.
Offensive to the conservative society doyennes of the time, the mural, depicting the struggle of native peoples against imperialism, was painted over. As the whitewash peeled away, the mural
was rediscovered in the 1960s as the Chicano movement gained momentum, but a lack of funds prevented its full restoration, which is now finally underway.
There are multiple stakeholders involved in this project, including The Getty and the LA Bureau of Engineering. Brooks + Scarpa has been working in collaboration with the entire team for over
10 years to see this project realized. We have become experts at recognizing and addressing the requests of the parties involved. We can assist KAC too in evaluating and incorporating the
ideas and needs of its staff, users, the Board, the Project Landmark Committee, and the community. Assessing these comments and realizing them in a comprehensive and outstanding design
is our expertise. We pride ourselves on listening to the clients needs and responding.
We understand KACs context and goals to be similar to the ones on this project. The Siqueiros mural is located in the historic heart of Los Angeles, Olvera Street, along a second-story exterior
wall. The aim of Brooks + Scarpas canopy design is to announce the murals existence to the public and create a new focal point near the vibrant shopping streets of the original 18th-century
Pueblo de Los Angeles, and adjacent to important 20th century icons, Union Station and City Hall.
The project includes complicated engineering challenges, such as reinforcing the masonry structure of each of the separate buildings comprising the project, and placing the columns for the
protective canopy so that it does not compromise the historic buildings structural walls, nor the historic Zanja Madre watercourse located directly below the museum. The historic nature of the
site, and density of ownership and cultural interests involved in the project, also requires coordination among an unusually complicated set of consultants and clients.
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Aronson Fine Arts Center at Laumeier Sculpture Park
Location:
St. Louis, Missouri
Budget:
$7.5 million
Size:
18,350 SF
Date:
In design
Firms Involved:
Brooks + Scarpa
S c o p e : New, 2-story art museum and offices on the grounds of an existing sculpture park. The new building is sited to take into
account the two existing structures that will remain and be connected via bridge at the 2nd floor.
The 105 acre Laumeier Sculpture Park contains 85 pieces of sculpture exhibited throughout the park and large estate home and separate carriage house. Accredited by the American
Association of Museums, Laumeier Sculpture Park is today an institution of international significance and has over 300,000 visitors annually. Laumeiers mission is to initiate a lifelong
process of cultural awareness, enrich lives, and inspire creative thinking by engaging people in experiences of sculpture and nature simultaneously. Laumeier provides high-quality learning
experiences for the greater St. Louis community and for visitors from all over the world. The many changing exhibitions, concerts, educational programs, lectures and special events developed
at Laumeier Sculpture Park for all to enjoy support the mission of the institution.
In this project, the art can be found inside, out and encompassed within. This gallery & office building is a simple wrapped volume, yet by use of innovative cladding material and techniques,
the building moves beyond a fundamental house for art, to become one of the pieces of art in the landscape. The exterior skins serves not only an aesthetic purpose, but also a sustainable one:
by mitigating the solar heat gain, utility costs can be kept to a minimum. The original design also incorporated a green roof, to be used for displaying art as well as additional gathering space
during special events.
Like its sculptural neighbors, the Fine Arts Center interacts with the viewer in a uniquely individual manner on all fronts. Light and shadows play in the perforated skin, due in part to the
diverse materials and distances of the enclosure beyond, as well as the custom natural pattern inscribed on each panel. Each faade engages the user for its own purpose: the lower side of
the hill is the main entrance, while a secondary entrance is provided on the uphill slope, adjacent to the main existing building. The south faade is covered with a perforated metal canopy
for an exterior Resource Terrace. Most practical is the north entrance for loading and unloading exhibitions and large scale works of art. The viewer is allowed a preview of the art inside from
an exterior overlook into the main gallery accessed from the East faade. This strategic feature draws intrigue from park visitors, persuading them to return during gallery hours, and thus
achieving the Owners goal of diversifying their audience.
The Fine Arts Center will provide a much needed, and their first, year-round facility for the Park as they continue to broaden horizons in the region. Having been termed the crowning jewel
of the Park, the building will meet American Association of Museums (AAM) accreditation. It will house serve as the offices for the 8 staff members and museum director. KACs programmatic
needs are similar: gallery space, back of house, administration area, education department space, and the usual building operations (restrooms, circulation, etc.).
It was not always so easy to reconcile design and budget: the simplicity of the plan and volume, seeking to allow for an economical building system, were not always present. Through multiple
design conversations and cost estimations, a reasonable program was established and the building was sited. Brooks + Scarpa worked together with a local contractor during the Schematic
Design phase to obtain pricing information. As a result, the Owner was able to place a value on certain aspects of the design and programming of the building. Taking advantage of existing
infrastructure, some program was re-purposed to other buildings on site, to result in a 2- story concrete and masonry structure set into the hill.
Prior to Schematic Design, Brooks + Scarpa collaborated with the Parks Board and Building Committee to host an initial design ideas charrette. Brooks + Scarpa also led multiple public
presentations regarding the development of the design and how it related to the budget and schedule. A highly detailed model was constructed to be used in part for fundraising purposes.
Laumeiers mission in creating this new building echoes Kimball Art Centers mission for their upcoming project: increasing operational space and raising presence and awareness in the
community through sustainable, world-class design- all within a budget. As architects, we do our best work within constraints and limitations- whether they are financial, site or functionally
driven.
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Bergamot Station Arts Complex and Artists Lofts
Location:
Santa Monica, California
Cost:
$1,218,000 Live/Work Lofts, $405,000 Office/Studio space
Size:
14,000 SF Live/Work Lofts, 9,000 SF Office/Studio space
S c o p e : Adaptive reuse of an industrial warehouse complex into an art center with 45 galleries, the Santa Monica Museum of Art, and Live/
Work lofts, including Master Planning services, feasibility studies, entitlements and design.
Bergamot Station Arts Complex (BSAC) is an adaptive reuse of an industrial warehouse complex that was once an important hub along the railway connecting the Westside to downtown Los
Angeles. Developed in three phases starting in 1994, BSAC is an internationally known art center comprised of a series of buildings converted into 45 art galleries including the Santa Monica
Museum of Art (SMMA), Live/Work Lofts, a cafe and office space. BSAC contributes to a live-able future for the Westside of Los Angeles, not only by creating a pedestrian oriented commercial
node within the city but also by creating a center teeming with richly diverse cultural and urban experiences.
Phase I of BSAC, which was initiated by Frederick Fisher and Associates, consisted of preliminary schematic design for the rehabilitation of a portion of the existing site and its buildings.
In Phase II, Brooks + Scarpa completed all Phase I elements, prepared the BSAC Master Plan, performed crucial parking analysis, feasibility studies, and entitlement work necessary for
the realization of the project. During Phase III of the project an adjacent 45,000 sq.ft. private parcel was incorporated into the BSAC. Renovation of existing buildings on this parcel and
implementation of the only new building on the site followed as part of the Master Plan. During this phase, Brooks + Scarpa engineered the building of the SMMA (Narduli Grinstein Architects)
and designed two distinct buildings on the site: Bergamot Artist Lofts, the only new building at BSAC, and Click3XLA, a renovation and addition to an industrial warehouse formerly used to
manufacture residential water heaters.
The Bergamot Artist Lofts and Click 3XLA were developed as feature design elements of the Bergamot Station Master Plan. Without compromising formal and material innovation, both projects
express a fundamental concern with maintaining continuity and coherence with the character of the existing buildings at Bergamot Station. The14,000 sq.ft. Artist Lofts mixed-use program
includes a ground level studio/gallery space with three artist live/work units above. This project evolved as a careful response to its context: a primary palette of materials was established,
sympathetically relating to the industrial materials at the site. Corrugated metal, steel and glass blend in with the surrounding context while cold rolled steel and translucent lexan panels help
establish the buildings idiosyncratic identity. Click3XLA is a renovation and addition to an existing 9000 sq.ft. industrial building. The program includes Flame rooms used to create visual
effects and computer animation for TV commercials, shows and large format movies. Also included are several computer animation studios, avid rooms, CGI suites, open production space,
conference rooms, executive offices and a machine room housing sophisticated visual effects computers.
As demonstrated on this project and on others, Brooks + Scarpa is adept at working on phased projects. Although the phasing at KAC will involve temporarily incorporating all programmatic
needs into a new building and then ultimately expanding into both buildings, unlike BSAC which involved implementation of a Master Plan for multiple tenants, the concepts behind the
phasing processes are similar. We will work together with KAC to execute a phasing plan that satisfies the needs of the users throughout all three phases.
Consistent throughout the Bergamot Station Art Complex is the desire to create space characterized by elegance, fluidity and a coherence appropriate to its context while also innovating
elements of distinction and complexity that help create a unique personality and experience within the greater urban context. Here, like at KAC, the original texture of the buildings is
integrated in the design- similar materials are utilized and the warehouse style is maintained- but new life is breathed in by innovative use of those materials and a fresh interpretation of a
standard warehouse building.
Again, by maintaining the majority of the original buildings and the site, the urban fabric is left undisturbed. The site will again soon be revitalized when the new Los Angeles Expo subway
line is constructed with station is located one block away, it will link downtown Los Angeles to the westside of the city.
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Fuller Lofts
Location:
Los Angeles, California
Size:
158,000 GSF
Date:
2009
Firms Involved:
Brooks + Scarpa
S c o p e : Adaptive re-use of and addition to existing building to market rate lofts, retail and parking.
A prime example of smart urban development, the Fuller Lofts project is a 127,500 sq. ft. adaptive reuse and nearly 30,500 sq. ft. vertical expansion of a 1920s concrete industrial building in a
depressed neighborhood of East Los Angeles. Located convenient to a station on a recently constructed light-rail line, the Fuller Lofts was the first transit-oriented development begun in the
area and has spurred the revitalization of Lincoln Heights.
We use the term smart urban development for the same reasons the Kimball Art Center seeks to re-use and expand upon their existing building. We as well, find the importance in recycling
buildings, and not using valuable resources to construct a completely new building. From an environmental standpoint, it is erroneous to construct a new building on virgin land if an existing
building can be upgraded. This concept particularly makes sense when the existing building is in a prime location, such as adjacent to public transportation, or at the most visited corner of the
city. Adaptive re-use allows for the surrounding urban fabric to be maintain, while a new identity is formed. Generally, from a budgetary point of view, adaptive re-use is more cost effective
than new construction. Furthermore, money saved on re-using an existing building can be used for design features of the rehabilitation or new structure.
Consisting of 102 housing units along with 15,500 sq. ft. of commercial space, the program for our Fuller Lofts project adds two stories of penthouse lofts above the original four-story structure.
Connected by an open-air paseo, a newly constructed two-story parking structure lies directly adjacent.
Our design was the result of several design options explored that took best advantage of cost, schedule, and sustainability while incorporating design excellence. We worked with the
contractor early on in the process under a Design/Build and Guaranteed Maximum Price contract.
The design solution for Fuller Lofts creates a daring juxtaposition between new and old. The original neoclassical faade is preservedalong with the elegant, formal lobbyand crowned by
a striking steel-clad faade wrapping the addition on the upper floors. Inside, an atrium courtyard was cut into the structure, bringing light and air into the center of the building and thereby
reducing the mechanical systems needed. The courtyard was designed with an exterior stair and walkway system to build community through informal interaction. Units are entered directly off
this open area, making it the central circulation point of the complex. Two rooftop gardensone open to all occupantsfurther enhance residents quality of life along with operable windows
in every unit, many of which also have private balconies.
As stated above, and KAC understands through their mission statement, sustainable features can be designed into existing building structures, as well as being easily incorporated into new
designs. At Brooks + Scarpa we prioritize integration of passive sustainable ideas, before adding active sustainable elements into the scope. These passive features are part of the design and
have no additional cost; they are concepts such as siting the building and its openings properly to take advantage of sun and wind. Active elements, such as solar panels, can then be added to
the scope if the budget allows.
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Eccles Center for the Performing Arts and Horne School of Music at Snow College
Location:
Ephraim, Utah
Cost:
$17.4 million
Size:
84,000 GSF
Date:
2004 complete
Firms Involved:
Blalock and Partners
R e l e v a n t P r o j e c t I n f o : Project for multiple art disciplines; location outside of Salt Lake City; historical campus
context; gateway project for college and community; exhibit and gallery spaces for visual arts; art classroom and
administrative spaces; performing arts spaces; response to campus context.
The Eccles Center for Performing Arts and Horne School of Music at Snow College combines the theater and music disciplines into a single building for education, production and performance.
The project brings theater and musical art productions to the small, rural community of Ephraim, UT.
Music and theater disciplines intersect in the shared, dynamic lobby space linking the 550-seat theater, black box theater and 750-seat concert hall. The lobby serves as a gathering space,
exhibition space and lounge. The varying brick textures, colors, building massing and window placement were conceived as part of an overall music composition and theatric production.
Snow College won the AIA Utah Honor.
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Manon Caine Russell / Kathryn Caine Wanless Performance Hall at Utah State University
Location:
Logan, Utah
Cost:
$12 million
Size:
18,000 GSF
Date:
2005 complete
Firms Involved:
R e l e v a n t P r o j e c t I n f o : World-class performing arts space; community icon; mountain location using out-of-state
architect (Sasaki Associates) in collaboration with Salt Lake City architect (Kevin Blalock, AIA); set in historical campus
context; performing and visual arts facility; public gathering space; lobby / gallery / display space; educational facility.
The Performance Hall at Utah State University represents the schools commitment to developing a competitive, signature arts program as part of their core curriculum. As the first building in
the campus Arts District, the project profoundly addresses an educational need as well as becoming a cultural icon for the community. The acoustics, lighting and infrastructure are all designed
to world-class standards, achieving the highest levels of performance support attainable.
In addition to acting as an educational and performance space, the facility hosts student, community and professional events in the lobbys gallery space. Designed to open to the exterior, the
lobby extends outside to facilitate larger events year round.
USU Recital Hall won the AIA Utah Honor.
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Uinta County Library Lyman Branch
Location:
Uinta County, Wyoming
Cost:
$1.2 million
Size:
10,200 GSF
Date:
2010 complete
Firms Involved:
R e l e v a n t P r o j e c t I n f o : iconic community building; located outside of Salt Lake City; multiple stakeholders (city,
county and community representatives); direct response to city and site context; public building; exhibit / display spaces;
meeting room / educational facilities.
The Lyman Public Library, a branch of Uinta County, WY, anchors the civic core of the community in its placement adjacent to the existing City Hall, filling in the vacant space on the block.
This small project is able to establish its own identity with dramatic use of materials and building massing. The architectural form and materials were inspired by the local agrarian buildings
surrounding the town. Zinc panels were used in response to the metal clad roofs and silos; stone cladding was incorporated to reflect the stone fences found in the neighboring landscape;
exposed wood timbers and roof deck pay homage to the aging barn structures in both material and form.
Lyman Library won the Engineering News Record Mountain States Best Small Public Project award.
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Dolores Dore Eccles Center for Performing and Visual Arts at Dixie State College
Location:
St. George, Utah
Cost:
$16 million
Size:
78,000 GSF
Date:
2004 complete
Firms Involved:
R e l e v a n t P r o j e c t I n f o : Project for multiple art disciplines; location outside of Salt Lake City; restrictive site
constraints; gateway project for college and community; exhibit and gallery spaces for visual arts; art classroom
and administrative spaces; performing arts spaces; response to campus context.
The Performing and Visual Arts Center at Dixie State College is a facility that supports the education and production of a wide variety of art disciplines: fine and visual arts, music, theater and
dance. The project serves the students and faculty as well as contributing to the artistic endeavors of the community.
Programmatically, the building provides indoor and outdoor gallery spaces, administrative and storage spaces for the fine and visual art department; a concert hall, rehearsal and related
support spaces for the music department; a 450 seat proscenium theater, black box theater, rehearsal and production spaces for the theater department; and rehearsal and performance spaces
for the dance department.
Dixie State College Dolores Dore Eccles Center for Performing and Visual Arts won the AIA Utah Honor.
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Salt Lake County Public Works Administration Building
Location:
Midvale, Utah
Firms Involved:
Cost:
$4.3 million
Size:
23,000 GSF
Date:
2010 complete
R e l e v a n t P r o j e c t I n f o : Project serving multiple disciplines; public building; restricted budget; project featured a
competition for public art which drove the lobby development; public gathering / meeting spaces.
The new 2-story administration building for Salt Lake Countys Public Works Department serves as a new identity for the County to the public, facilitating greater and more efficient public
interface. The project is Salt Lake Countys first LEED Platinum project and the first 100% publicly funded Platinum project in the State of Utah.
The architectural expression incorporates materials in the various stages of their life cycle. Steel panels are used in a raw state as exterior cladding and in a more finished, refined approach
for interior wall surfaces. The body of the building is constructed of board-formed concrete, expressing the tactile nature of both the process and finished product. Concrete waste from the
construction process was in-turn used to create gabion retaining and landscape wall elements.
Salt Lake County Public Works Administration Building won the following awards: AIA Utah Merit Award, AIA Utah Sustainable Design Merit Award, Engineering News & Record Mountain States
Gold Medal - Best Public Works Project and Gold Medal Outstanding Architectural Design.
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Aortic Arc, California College of the Arts
Location:
San Francisco, CA
Date:
2009 complete
Firms Involved:
Buro Happold
S e r v i c e s : Structural Engineering
A new canopy for a student lounge at the California College of the Arts (CCA) hangs within a double-height space and functions as a light scope, spatial definer, and viewing portal. The
minimum surface structure is made up of 546 unique HDPE panels linked to one another by over 4000 pop-rivets. The name of the piece comes from its resemblance in form to a portion of the
human heart and the fact that it leaps over an existing structural beam. The surface is suspended from three upper stainless steel rings (two circular, one elliptical) which are held and hold each
other in tension. A singular large parabolic ring functions as a hoop skirt below.
The technical and artistic challenges are unique and did not allow for a conventional approach. Collaborating closely with the designers, the engineers employed non-linear analysis tools and
parametric BIM technology to model and predict the final minimal energy form of the piece which, structurally, behaves as a hybrid between a cable-net and membrane structure.
A panelized system was developed using Generative Components and a customized Rhino script that took the raw data and turned it into a drawing file to drive a CNC milling machine that
generated all the parts. HDPE plastic, the same material used to make milk jugs, was selected for the panels due to its low cost, resistance to solar degradation, recyclability, low embodied
energy, and high tensile capability.
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Crystal Bridges Museum of American Art
Location:
Bentonville, AR, USA
Cost:
$180 million
Date:
2011 completion expected
Firms Involved:
Buro Happold
S e r v i c e s : Structural Engineering, MEP Engineering, Sustainability Engineering
C l i e n t : Walton Family Foundation
The museum, Crystal Bridges, takes its name from an inspired glass-and-wood design that traverses a local spring-fed stream. Designed by Boston-based architect Moshe Safdie, the museum
will present perspectives on the flow of Americas history and heritage through the eyes of the nations most influential artists.
The museum will house a permanent collection of masterworks from American artists along with galleries dedicated to Native American and regional art and artists. In addition, temporary
exhibitions drawn from national institutions will be displayed in the museum. A dynamic temporary exhibitions program will complement the holdings of the permanent collection. The
permanent collection, assembled by Alice Walton and the Walton Family Foundation, is composed of paintings and sculptures by American artists from the Revolutionary period through the
modern era.
The innovative museum design includes plans for approximately 100,000 sf of gallery, library, meeting and office space. Crystal Bridges will house a 250-seat indoor auditorium, areas for
outdoor concerts and public events, gallery rooms suitable for large receptions, as well as sculpture gardens and walking trails.
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Isabella Stewart Gardner Museum
Location:
Boston, MA
Firms Involved:
Buro Happold
Cost:
$114 million
Date:
2012 completion expected
A r c h i t e c t : Renzo Piano Building Workshop
S e r v i c e s : Structural Engineering, MEP Engineering, Fire Protection, Lighting Design, LEED Energy Consulting and Performance
Assessment
Isabella Stewart Gardner Museum is a world famous art museum. A 70,000 square feet extension to the museum is envisioned as well as minor refurbishments to the existing main building. The
extension will house the museum shop, a special exhibition space, new green houses, the entrance, artist residence, restoration space, offices, the orientation space and a new state of the art
Auditorium.
The design team was given the mandate to create a signature architectural landmark building. Renzo Piano Building Workshop is the design architect of the project and the architectural
concept consists of 6 separate building blocks tied together by one faade.
Buro Happolds services include the mechanical, electrical, plumbing, fire protection, structural and lighting design as well as LEED energy consulting and performance assessment at the
various stages of the design. In close cooperation with Renzo Piano Building Workshop and the other design consultants on the project, Buro Happold is designing a building where all the
building elements are integrated to a great extent, thereby maximizing the usable floor space and clear story height.
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National Great Blacks in Wax Museum
Location:
Baltimore, MD
Cost:
$20 million
D a t e s : 2010- present
C l i e n t : The National Great Blacks in Wax
Firms Involved:
Buro Happold
S e r v i c e s : Electric lighting / daylighting, structural engineering, MEP engineering, sustainability
In the twenty-three years since its founding, The National Great Blacks in Wax (NGBIW) Museum has experienced significant growth, becoming one of the States great tourist attractions with
over 300,000 visitors annually. Connection to the community has always been an important focus of the NGBIW Museum. Floating above the existing row homes of East North Avenue, the new
NGBIW Museums transparent first floor follows the contours of the site. The structure overhangs the sidewalk of East North Avenue to enhance the sense of entry and public spaces are oriented
towards this thoroughfare to reinforce and add vitality to an important urban edge. The cultural program is organized around a central garden stepping with the topography of the site. Gallery
spaces are situated within the context of a landscape park. An elevated roof terrace reinforces the notion of public space and connects with the views and vistas of greater Baltimore while bus
drop off is sited towards the north to allow for ample green space to the south.
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Minneapolis Central Library
Location:
Minneapolis, MN
Size:
50,000 SF
Cost:
$1.2 million (landscape)
Firms Involved:
Coen + Partners
P r o j e c t T y p e : Institutional landscape and streetscape design
D a t e s : completed 2006
Coen + Partners design strategy for the Minneapolis Central Library was to claim a zone around the building that connected and attracted people to the function of the place while
celebrating the role of the Library within the downtown heart of Minneapolis. The site solution responds to and supports the scale, geometry and action of the architecture through the use of
uncomplicated materials in inventive arrangements. The innovative design solution created a powerful terminus for the citys famous, highly-trafficked Nicollet Mall while accommodating both
a limited budget and concerns regarding durability and maintenance in harsh mid-western winters.
Coen + Partners extended the internal column grid of the structure into the landscape by means of a forest-like grid of custom light columns. The lighting scheme expanded the luminous
character of the building into the landscape and provided a consistent wash of light at both overhead and pedestrian scales. Additionally, a layered garden of reclaimed slate wraps the
buildings north half. Birch trees emerge from the slate garden, planted only several feet apart, mimicking the natural growth pattern of the trees in a thicket or forest in rural Minnesota.
The close arrangement of the plantings forces a vertical growth habit, providing dapple screening for the interior reading rooms. Strategically placed seating created space for quiet outdoor
reading, gatherings, eating lunch, or waiting for the bus.
This project won the ASLA Minnesota Award.
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Westminster Courtyard and Memorial Columbarium
Location:
Minneapolis, MN
Size:
25,000 SF
Cost:
$2.1 million
Firms Involved:
Coen + Partners
P r o j e c t T y p e : Institutional urban landscape design
D a t e s : completed 2008
Westminster Presbyterian Church is a prominent institution in downtown Minneapolis with far-reaching community service and social justice programs. The Church enlisted Coen + Partners to
complete a new design for the landscape surrounding the 110-year-old building; the firm was challenged to create a new presence for Westminster along two busy urban streets, a meaningful
courtyard for receptions and ceremonies, and a memorial columbarium containing nearly 2,000 companion niches. Such a design must blend the new, contemplative exterior space with both
the historic building and bustling urban fabric of the city.
Views of the reception and columbarium spaces are obscured from the street by a patinaed metal screen, custom-designed with patterns abstracted from those in Westminsters original stained
glass windows. A stone wall along 12th Street contrasts and complements the materiality of the church itself, while groundcover gardens are interspersed throughout the landscape spaces,
providing color and texture. The columbarium is accessed by a subtly sloping procession from the street level. The reception and ceremony area consists of stone paving, a birch garden, and a
series of vine-covered screens. A narrow water rill parallels 12th Street, reflecting the linear form of the columbarium wall and animates the space.
This project won the ASLA Minnesota Award and ASLA National Award.
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Daniels Faculty of Architecture, Landscape and Design Building, University of Toronto
Location:
Toronto, Canada
Size:
13,000 SF (street level) 19,500 SF (roof)
Firms Involved:
Coen + Partners
P r o j e c t T y p e : Institutional streetscape and roofscape design
D a t e s : in progress
Office dA with Coen + Partners won the competition for the redesign of The Daniels Faculty of Architecture, Landscape, and Design building at the University of Toronto; the project is currently
in progress. Coen + Partners collaborated on the design for streel-level landscape and an innovative rooftop garden.
The streetscape design integrates the renovation and addition to the Daniels building through a quiet palette of paving, lights, and trees. A simple planar framework grounds the structure to
showcase the fabric-like exoskeleton enveloping the project.
Atop the new library an occupiable green roof houses a variety of environments, both educational and social, for students and faculty. A multi-purpose terrace area is created for events,
installations, and general gatherings outside the library. A series of terraced landforms are planted with bands of varying flora and codified as an extension of the library itself; areas to be
reserved for student explorations, horticultural exercises, and experiments. The rooftop culminates at the pinnacle of the building with an outdoor auditorium space for lectures, concerts, or
informal student gatherings.
Office dA and the larger project team were honored with 2010 P/A Award for the innovative design.
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Lavin Bernick Center, Tulane University
Location:
New Orleans, LA
Size:
40,000 SF (exterior)
Cost:
Firms Involved:
Coen + Partners
P r o j e c t T y p e : Campus Landscape Design
$1.9 million (landscape)
D a t e s : completed 2006.
The Tulane University Center project included the redesign and expansion of the existing university center and surrounding campus area. Coen + Partners collaborated with Vincent James
Associates Architects to design exterior vegetative treatments for the building and to redesign a small pocket park adjacent to the University Center.
Largely driven by context and regional vernacular, the design explores ways to convey the lushness of the semi-tropical New Orleans climate purely through form. Therefore, the material and
plant palettes are refined: vertical planes of climbing vines extend from the building into the surrounding landscape; these insertions into the pocket park create soft divisions between passive
and active spaces. Linear benches along thoroughfares and within the pocket park recall the horizontality of the building. These features required extensive material research and determined
design direction in order to produce simple and beautiful site forms that invite engagement and occupation.
This project won the AIA Committee of the Environment (COTE) Award (VJAA), and ASLA Minnesota Award.
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Exploratorium
Location:
San Francisco, CA
Cost:
$140 million
Size:
210,000 GSF
LEED:
Platinum (target)
Firms Involved:
Integral Group
E n e r g y E f f i c i e n c y : Zero Energy Building - 1 MW PV system & 60% lower energy compared to typical U.S. Museum
Water Efficiency: 65% better than typical U.S. Museum
The new home of this internationally acclaimed science museum is sited on San Franciscos historic Piers 15 and 17, and will bring to life a dormant section of San Franciscos waterfront. The
building is being designed to be a net zero energy and net zero carbon building. It will house an observatory, public exhibitions, classrooms, programs, a restaurant and caf, a museum store, a
national center for teacher development, event space, exhibit-fabrication spaces and workshops, and ancillary offices.
By careful design, the buildings load has been reduced to less than half of that of a conventional museum building - the remainder of the building energy will be met with a large 1,000kW
solar photovoltaic system. When completed, the building will be the largest Zero Energy Building in America. The building is being designed to meet the LEED platinum standard. Innovative
mechanical and energy efficient system designs included in the project are: a bay water cooling system; radiant heating and cooling; natural ventilation; daylighting; heat pump heating (all
electric heating allows for the net zero energy).
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Fort York National Historic Site Visitors Centre
Location:
Toronto, ON
Firms Involved:
Integral Group
Cost:
$18 million
Size:
22,000 GSF
The new Visitors Centre at the Fort York National Historic Site will pay homage to Torontos founding story and Canadas military past. Situated beneath the Gardiner Expressway on a 43 acre
site in downtown Toronto, the centre will serve as a museum and explore the relationship between natural landscapes and the built environment.
Scheduled for completion to mark the bicentennial of the War of 1812, the museum will act as a hub, connecting visitors to the sites rich history and surrounding areas while also providing
enhanced facilities for public programs. The centre will include multi-purpose and meeting rooms as well as a theatre.
Integral Group is currently providing mechanical and electrical services for this project, offering a truly innovative approach to museum design. Careful consideration for the varied historic
collections informed both mechanical and electrical design strategies utilizing such systems as displacement ventilation to maintain humidity levels as well as UV protective lighting. This
22,000gsf facility is designed to the Canadian Conservation Institutes Class A Museum standards. Additional features include radiant slab heating and cooling, an air source heat pump system
with condensing boilers and a fully adjustable lighting control system. Exterior LED lighting will illuminate the site boardwalk and will also be suspended from the causeway to provide lighting
from above.
Key Features Include:
Radiant slab heating and cooling
Displacement ventilation
Air source heat pump
Exterior LED lighting
UV protective lighting systems
High performance theatrical lighting control system
102

Science World Facility Renewal
Location:
Vancouver, BC
Cost:
$35 million
Firms Involved:
Integral Group
O w n e r : A.S.T.C. Science World Society
Size:
22,900 GSF
For the past two decades, Science World has played a fundamental role in our community by providing science education and encouraging a love for science. The charitable, non-profit
organization has been an integral part of Vancouvers history
and is now planning a $35M renewal. The iconic structure will undergo renovations and expansion to support the increasing number of visitors each year and create a healthy sustainable
environment.
The approximate total area of renovation and expansion activities is 22,900gsf which consists of approximately 9,600gsf of new construction and 13,300gsf of renovations. The majority of the
expansion work will be a west addition that is comprised mainly of additional gallery space on Level 2.
In support of Science Worlds mission of engaging our community in science and inspiring future science and technology leadership throughout BC, Integral Group is providing innovative
mechanical engineering services that will help Science World realize its environmental, economic and social goals. Science World has invested approximately $3M of their budget on sustainable
building technologies, such as advanced glazing systems, LCD glass, photovoltaic cells, solar-thermal panels and a green roof.
Extensive glazing on the faade will fill the new facility with light during the day and will act as a light beacon at the east end of False Creek at night.
Key Features Include:
Heat recovery
Radiant slab
Solar panels: evacuated tube and plate technology for domestic hot water
Green roof
Glazing systems
Photovoltaic cells
104

VanDusen Garden Visitor Centre
Location:
Vancouver, BC
Cost:
$21.9 million
Size:
21,527 GSF
Firms Involved:
Integral Group
O w n e r : City of Vancouver, Vancouver Board of Parks and Recreation, VanDusen Botanical Garden Association
As one of Vancouvers renowned tourist destinations, the VanDusen Botanical Garden has been a landmark for over 30 years, creating a picturesque landscape year-round with its unique plant
collection. The facilities renewal project includes a new garden pavilion designed to support VanDusens vision of providing an inspiring and enjoyable environment for visitors by constructing
a living building that aims for a net-zero ecological footprint. The development is currently pursuing the Living Building Challenge a certification program that addresses development at
seven performance areas: Site, Water, Energy, Health, Materials, Equity and Beauty.
Integral Group was retained to provide mechanical and electrical consulting services for this target LEED Platinum recreation project. The strategy behind this 2,000 m2 living building involves
taking into consideration the buildings natural surroundings to ensure a harmonious balance between the built and natural environment. A living building (net-zero) generates all of its own
water and energy on site on a net annual basis.
Sustainability Goals:
Targeting LEED Platinum Certification
Net Zero Energy
Living Building Challenge
106

CalTrans District 7 Headquarters
Location:
Los Angeles, CA
Cost:
$165 million
Size:
1,200,000 GSF
Firms Involved:
Luminesce
O w n e r : State of California, Department of General Services
Date:
2004 complete
This fast track design build project has a Silver LEED rating and won an Illuminating Engineering Society Award of Excellence for the exterior lighting design. The exterior is illuminated with
a combination of linear fluorescents concealed in architectural elements, a three story neon art piece and light spilling from the interior into the courtyard. The white architectural lighting
provides security lighting without overpowering the impact of the art piece.
Collaborating with the Los Angeles Bureau of Streetlighting, the lighting design integrates this contemporary building into the urban context by utilizing the citys standard streetlights around
the buildings perimeter. The streetlighting is supplemented with washes of light on building surfaces to improve the nighttime pedestrian experience.
In the interior, lines of light pass through the building aligning from floor to floor when viewed from outside the building. In the open office spaces, linear fluorescents with dimmable ballasts,
occupancy sensors integrated into the luminaires and controls allow end users to tune the light levels to their personal tastes while allowing facilities managers to shed load during peak
demand as needed. The integrated occupancy sensors provide approximately 30% energy savings compared to traditional office lighting schemes; the user controls provide a potential for an
additional 30% savings in energy savings.
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Los Angeles City Hall, Facade Lighting
Location:
Los Angeles, CA
Cost:
$273 million
Date:
2001 complete
Firms Involved:
Luminesce
O w n e r : City of Los Angeles / Project Restore, Kevin Jew
By studying historic photographs and electrical drawings, the original lighting scheme was replicated using modern lighting technology restoring this Los Angeles icons prominence in the
citys skyline. Careful consideration was given to locating lighting fixtures in such a way as to not impact the historic elements while allowing for ease of maintenance. The new faade lighting
system utilizes 25% of the electricity of the original lighting design, and has been awarded an IIDA Award of Merit and a Lumen West Award of Excellence.
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7: Resumes
L a w r e n c e S c a r p a , F A I A , Lead Designer
P r in cip a l , B r ooks + S ca rpa Arch i te cts
REGISTRATION:
Registered Architect,
NCARB Certified
California, C21812
Florida, AR00132227
North Carolina, 8534
Missouri, A-2008011825
Arizona, 50353
Montana
SELECTED HONORS AND DISTINCTIONS:

2010 National Architectural Firm Award, AIA
2010 Architectural Firm Award, AIA California Council
Elected, College of Fellows, AIA
National Education Honors Award, AIA
Community Impact Award, Los Angeles Business
Council
2008, Hall of Fame, Lifetime Achievement Award,
Interior Design Magazine
PROFESSIONAL AFFILIATIONS:
Chairman, Organizing Committee, 2011 State of
California AIA Monterey Design Conference
Affordable Housing Design Leadership Institute,
Co-founder
Mayors Advisory Council for City Design, 2009- present
Frederick P. Rose Architectural Fellowship, Selection
Committee Member, 2009-present
Advisory Board Member, Woodbury University School of
Architecture, 2008 present
Participating Resource Team Member, Mayors
Conference on the City Design #43, Philadelphia, PA
February 2009
Organizing Committee Member, 2009 State of California
AIA Monterey Design Conference
The work of Lawrence Scarpa has redefined the role of the architect to produce some of the
most remarkable and exploratory work today. He does this, not by escaping the restrictions of
practice, but by looking, questioning and reworking the very process of design and building.
Each project appears as an opportunity to rethink the way things normally get done with
material, form, construction, even financing and to subsequently redefine it to cull out
its latent potentials as Scarpa aptly describes: making the ordinary extraordinary. This
produces entirely inventive work that is quite difficult to categorize. It is environmentally
sustainable, but not sustainable design; it employs new materials, digital practices and
technologies, but is not tech or digital; it is socially and community conscious, but not
politically correct. Rather, it is deeply rooted in conditions of the everyday, and works with
our perception and preconceptions to allow us to see things in new ways.
Mr. Scarpa is also an artist. Ask Scarpa Who are you? and he will reply, Im an artist!
I see myself as an artist who happens to love building. For Scarpa painting is both an
extension of, and a diversion to, the practice of architecture. His work seeks to establish
rich connections for those who experience ita layering of the ephemeral with the permanent that parallels the notion of multiplicity,
creating vibrancy beyond the nature of the individual.
Scarpas work also emphasizes the experience of making. The object is important but the experience also has a profound impact and
leaves something that lasts well beyond the mere physical and visual formation. Surprising discoveries occur more frequently when
the process of discovery takes precedence, emphasizing the exploration. Because of this, he employs a process that is open ended:
experimental and exploratory.
Over the last ten years Mr. Scarpa has received fifty major design awards including sixteen National AIA Awards, 2005 Record Houses,
2003 Record Interiors, 2003 Rudy Bruner Prize, FOUR AIA COTE Top Ten Green Building Award and was a finalist for the World
Habitat Award, one of ten firms selected worldwide. In 2004 The Architectural League of New York selected him as an Emerging
Voice in architecture. His work has been exhibited internationally including the National Building Museum in Washington, DC. He
has been Featured in NEWSWEEK and appeared on The Oprah Winfrey Show. In 2009 Interior Design Magazine honored him with their
Lifetime Achievement Award. In 2010, he was awarded the National and State Architecture Firm Award from the American Institute of
Architects.
ACADEMIC POSITIONS:
John Jerde visiting Professor, University of Southern
California, August 2011 - December 2011
Distinguished Visiting Professor of Practice, Mississippi
State University, January 2011- April 2011
EDUCATION:
Master of Architecture
University of Florida
Bachelor of Design
116
He has taught and lectured at the university level at numerous schools. He was the 2011 John Jerde Visiting Professor at the University
of Southern California, the 2010 Ivan Smith Eminent Visiting Professor at the University of Florida, 2009 E. Fay Jones Visiting Professor
at the University of Arkansas, the 2008 Ruth and James Moore Visiting Professor at Washington University, the 2007 Eliel Saarinen
Visiting Professor at the University of Michigan, 2005 Max Fisher Visiting Professor at Taubman College of Architecture at the University
of Michigan, 2004 Freidman Fellow at the University of California at Berkeley. He is a co-founder of Livable Places, Inc.; a nonprofit
development and public policy organization dedicated to building mixed-use housing on under-utilized and problematic parcels of
land. Most recently he co-founded the Affordable Housing Design Leadership Institute (AHDLI) to help develop more sustainable and
livable communities.
Mr. Scarpa has been the lead designer on all projects, including the projects herein, since 1993.
7: Resumes
A n g e l a B r o o k s , A I A , L E E D A P , Pro je c t M anager
P r in cip a l , B r ooks + S ca rp a Arch i te cts
REGISTRATION:
Registered Architect, California, C27554
SELECTED HONORS AND AWARDS:
2011Distinguished Architect Alumni Award, University
of Florida (ARC 1987)
2010 USA Network Character Approved Award for
Innovation in the Field of Architecture
2009 Recipient, National American Institute of
Architects, Young Architect Award
2008 AFLA Design Green Award (Architecture
Foundation of Los Angeles) TreePeople
2007 Recipient, Alumni Young Architects Design Award
College of Design, Construction and Planning
University of Florida, School of Architecture
Peer Reviewer, PLACES: Design Forum for the Public
Realm, 2010
Peer Reviewer, GreenBuild International Conference,
2010
Board Member, AIA Los Angeles Chapter, 2010- present
Advisory Board Member, Solar Santa Monica, 2009 present
Van Alen Institute, member, 2009 - present
LEED Accredited Professional, US Green Building
Council, 2003 -present
The American Institute of Architects, 2003 present
Southern California Association of Non Profit Housing
(SCANPH), 2006 2011
United States Green Building Council (USGBC), 2002 2005
SELECT PUBLICATIONS:
AIA honors winners of 2009 Young Architects Award,
Architectural Record, May 2009
PROFESSIONAL EXPERIENCE:
Brooks + Scarpa, Principal 1999 2010
Killefer Flammang, 1996-99
Los Angeles Community Design Center, 1993-96
Appleton Mechur, 1991-92
Skidmore Owings Merrill, 1988-89
Angela Brooks, a recognized leader in the field of environmental and sustainable design and
construction, has been practicing architecture since 1991. Since 1999, she has been responsible
for overall project management, firm development and leading the Sustainable Development
Department.
Ms. Brooks served as Project Architect for Colorado Court, a 44-unit affordable housing project
in Santa Monica that generates the majority of its energy on-site. At Colorado Court, Ms.
Brooks was also responsible for LEED Certification; the project received a Gold rating from
the United States Green Building Council, which led to the evolution of the rating system so
that this type of project could be competitive. She has served as a sustainable consultant
on various projects, has lectured about the importance of design and sustainability and has
served as Project Architect on several projects at Santa Monica College, multi-family residential
projects, and public projects such as the Santa Monica Senior Recreation Center and the City of
West Hollywoods Plummer Park. Ms. Brooks was a peer reviewer for Global Green USAs book
Blueprint for Greening Affordable Housing: 2nd Edition and was featured in the book Women in Green: Voices of Sustainable Design
for her policy work with Livable Places and on Fuller Lofts, a sustainable mixed-use project designed to be a catalyst for neighborhood
revitalization.
Ms. Brooks was also a co-founder and past President of Livable Places, Inc., a non-profit development company dedicated to building
sustainable mixed-use housing in the city of Los Angeles on under-utilized parcels of land as a reaction against Southern Californias
suburban sprawl. She has served as an advisor to the National Endowment of the Arts, Mayors Institute on City Design and currently,
she sits on the Advisory Board of Solar Santa Monica, a program whose mission is to achieve net zero energy imports by 2020 for the
City of Santa Monica; a model that can be replicated throughout the country.
Over the last ten years Ms. Brooks firm BROOKS + SCARPA has received fifty major design awards including sixteen National AIA Awards,
2005 Record Houses, 2003 Record Interiors, 2003 Rudy Bruner Prize, 2006 and 2003 AIA COTE Top Ten Green Building Award and was
a finalist for the World Habitat Award, one of ten firms selected worldwide. Her work has been exhibited internationally including the
National Building Museum in Washington, DC and has been featured in NEWSWEEK magazine. In 2010, she was awarded the National
and State Architecture Firm Award from the American Institute of Architects. In 2009 Ms. Brooks received the National American
Institute of Architects Young Architects Award. In 2010, she received the USA Network Character Approved Award for her innovative
work in the field of architecture.
EDUCATION:
Master of Architecture, 1991, Graduation with
Distinction
Southern California Institute of Architecture
Bachelor of Design in Architecture, 1987
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E m i l y H o d g d o n , R A , L E E D A P , Pro je ct A r c hi t ec t
S en ior A r c hi t e c t , B r o o k s + Sca rpa Arch i te cts
Emily Hodgdon has been a project manager and architect with Brooks + Scarpa since 2007, working on a variety of projects, ranging
from single-family homes to affordable housing, museums, and community centers. She is typically responsible for day-to-day project
management on each project, with services ranging from drawings production to construction administration.
PROFESSIONAL HISTORY:
Brooks + Scarpa Architects (formerly Pugh + Scarpa Architects), 2007- present
Bohlin Cywinski Jackson, San Francisco, CA, 2001-2007
House + House Architects, San Francisco, CA, 1999-2001
Jon Hensley Architects, Arlington, VA, Summer Intern 1998, 1999
SELECTED PROJECT EXPERIENCE:

Rosa Gardens Apartments, Palm Springs, CA
Role: Project Architect
$12.5 million, 4.5 acres, 2011 complete, LEED-Homes Silver (est.).
57-unit, 2-story multi-family housing for low income families.
Program: Community Room, Pool, Tot Lot, Laundry facilities, surface parking
REGISTRATIONS:
Registered Architect, California, C30043
LEED Accredited Professional
Palmdale Senior Center, Palmdale, CA

$5.5 million, 16,500 SF, 2010 complete
Program: offices, reception desk, conference room, computer room, three breakout rooms, kitchen, patio and auditorium.
SPEAKING ENGAGEMENTS
2010 California Association of Museums Annual
Conference: Greening Your Museum
Laumeier Sculpture Park Arts and Education Center, St. Louis, MO

15,000 SF, in Schematic Design
A museum building in a sculpture park in St. Louis County, MO.; includes exhibition and meeting spaces, cafe, and
administrative offices.
Member, Design Review Board, Westwood, Los Angeles
Morley Gate Land Port of Entry, Nogales, AZ
Project is in the Bidding Phase, est. 2012
New pedestrian entry facility housing US Border Patrol personnel and featuring enhanced wayfinding and protective canopy.
EDUCATION:
Bachelor of Architecture
Virginia Polytechnic Institute and State University
Apple Retail Stores, Prototypes & Multiple Locations
with Bohlin Cywinski Jackson
Developed new prototypical standards for Apple Retail
Project Manager for stores in Hollywood, Rome, New York and others.
Pixar Animation Studios Headquarters, Building 2, Emeryville, CA
Design team for new office building on headquarters campus
Program: offices, conference room, screening rooms, cafe.

Farrar Residence, Park City, Utah
New 7,000 SF custom residence with cantilevered lap pool.
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K e v i n B l a l o c k , A I A , Pri n ci pa l - In - C h a rg e
P r in cip a l , B l a l oc k a n d Pa rtn e rs
Kevins planning and architectural design background encompasses a 17-year career as a design professional. Throughout his career,
Kevin has focused on a broad range of design projects affording him a unique spectrum of experiences. He has led the feasibility,
programming, planning and design efforts on construction projects ranging from 1,000 square feet to more than 400,000 square feet.
Among those projects are numerous award-winning civic and public-use facilities. Kevins commitment to a collaborative process
means engaging in and facilitating meetings with the various stakeholders. His experience affords him the ability to adequately plan for
the critical infrastructure necessary for a successful end product. He recognizes the importance of balancing the design aesthetics with
the necessary programmatic requirements at the earliest possible stage to maintain a realistic project budget, and ensure a beautiful,
dynamic end product.
REGISTRATION:
Registered Architect:
Utah #4753142
Idaho #AR-984430
Wyoming #C-2466
Civic / Municipal Experience
Park City Library Expansion, Park City, Utah
Davis County Administration Building & Library, Farmington, Utah
Davis County Childrens Justice Center, Farmington, Utah
Grantsville City Library, Grantsville, Utah
Uinta County Library, Lyman Branch Library, Lyman, Wyoming
Uinta County Library, Mountain View Branch, Mountain View, Wyoming
Murray City Library Renovation, Murray, Utah
Cedar City Library, Cedar City, Utah
Grand County Library, Moab, Utah
Grand County Community Center, Moab, Utah
Salt Lake County Riverton Senior Center, Riverton, Utah
Salt Lake County Public Works Administration Building, Midvale, Utah
Salt Palace Expansion Phase II, Salt Lake City, Utah
Colorado #400587
EDUCATION:
Bachelor of Architecture,
University of Detroit
Foreign Studies,
Warszawa Politechnika,
Warsaw Poland
Commercial Experience
Gregory Swapp Office Building, Sandy, Utah
Dry Creek Office Complex, Lehi, Utah
The Gateway Complex, Salt Lake City, Utah
Novell Corporate Headquarters, Orem, Utah
Morgan Stanley Riverwoods, II Office Complex, Riverwoods, IL
Pinnacle Point Office Complex, Draper, Utah

Education Experience
Dixie State College Fine & Performing Arts Center, St. George, Utah
Snow College Performing Arts Center, Ephraim, Utah
Utah State University Recital Hall, Logan, Utah
BYU Idaho Eliza Snow Performing Arts Center, Rexburg, Idaho
Snow College Activities Center Expansion, Ephraim, Utah
University of Utah, Merrill Engineering Building Renovation, Salt Lake City, Utah
University of Utah, A. Ray Olpin Student Union Renovation, Salt Lake City, Utah
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C h a d P a r k e r , A I A , Pro je ct Arch i te ct
S en ior A ssoc i a t e , B l a l o ck a n d Pa rtn e rs
Chad is one of the firms most talented Project Architects. With over 12 years in the profession, he brings a wide variety of experience
in public and civic buildings, fine arts, K-12 & higher education, and mixed-use facilities. A critical team member on any project, Chad
brings added value to all phases of design, production, project management and client interface.
EDUCATION:
Bachelor of Architecture,
Montana State University

Park City Fire Station, Park City, Utah
South Jordan City Police & Courts, South Jordan, Utah
Apache Junction City Hall, Apache Junction, Arizona
West Bountiful City Hall, West Bountiful, Utah
Draper Library, Draper, Utah
Northeast Superior Courts, Maricopa County, Arizona
Mesquite City Hall and Fire Station, Mesquite, Nevada
Lehi Activity Center, Lehi, Utah
Davis County Conference Center, Farmington, Utah
West Jordan Library, West Jordan, Utah
Mixed Use Experience
Turnberry Resort Village, Deer Valley, Utah
Traverse Mountain Mixed-Use Development Master Plan, Lehi,
Utah Desert Pearl Development, Springdale, Utah
Gas Lamp Village Master Plan, Salt Lake City, Utah
The Gateway Development, Salt Lake City, Utah
Station Park Mixed Use Development Master Plan, Farmington, Utah

Commercial Experience
Zions Bank Tower Reskin, Salt Lake City, Utah
LDS Archives Building, Salt Lake City, Utah
Morgan Stanley Riverwoods, II Office Complex, Riverwoods, IL
Main Street Pedestrian Plaza and Underground Parking Structure, Salt Lake City, Utah
DABC Liquor Store, Holladay, Utah

Weber State University, Davis Campus Four Classrooms Building, Layton, Utah
Herriman Middle School, Jordan School District, Herriman, Utah
Orion Junior High School, Harrisville, Utah
West Jordan Elementary School, West Jordan, Utah
Tooele High School, Tooele County School District, Tooele, Utah
University of Hawaii, Manoa Campus Center, Master Plan, Honolulu, Hawaii
The University of Arizona Memorial Student Union
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C h a r l e s G a d d i s , L E E D A P , Pro je ct M a nager
S en ior A ssoc i a t e , B l a l o ck a n d Pa rtn e rs
Coupled with over a decade of experience in the professional field of architecture, Charles diverse range of skills and abilities afford
him the opportunity to take a very hands-on approach to project delivery from project conception through construction completion.
Charles excels at delivering complex projects, particularly phased renovations and additions, on time and within budget. In addition,
his diverse project portfolio affords him an extensive knowledge base in a wide variety of planning practices, design and construction
types, and details beneficial to offering clients the best possible service in many areas. Charles strives to foster environmental
stewardship and true civic engagement in each of his projects, as well his daily life. Charles has been LEED accredited since November
of 2006.
EDUCATION:
Bachelor of Science
Urban Planning
University of Utah
Park City Library Expansion, Park City, Utah
Park City Recreation Center Addition / Renovation, Park City, Utah
Davis County Childrens Justice Center, Farmington, Utah
Uinta County Library, Lyman Branch Library, Lyman, Wyoming
Uinta County Library, Mountain View Branch, Mountain View, Wyoming
Murray City Library Renovation, Murray, Utah
Cedar City Library, Cedar City, Utah
Grand County Library, Moab, Utah
Salt Lake County Kearns Recreation Center Renovation, Kearns, Utah
Salt Lake County Riverton Senior Center, Riverton, Utah
Salt Lake County Public Works Administration Building, Midvale, Utah

Dixie State College Fine & Performing Arts Center, St. George, Utah
Snow College Performing Arts Center, Ephraim, Utah
University of Utah, Merrill Engineering Building Renovation, Salt Lake City, Utah
University of Utah, A. Ray Olpin Student Union Renovation, Salt Lake City, Utah
University of Utah, Eccles Health Sciences Library Renovation, Salt Lake City, Utah
University of Utah, Heritage Center Renovations, Salt Lake City, Utah
University of Utah, Orson Spencer Hall Hinckley Institute of Politics Renovation, Salt Lake City, Utah
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G r e g O t t o , B S C E B A r c h M E n g , Pro je c t Pr inc ip al
P r in cip a l , B ur o H a p p o l d
Greg Otto founded the Los Angeles office in 2006 and currently leads the structural group on
the west coast. Having been educated as an architect and engineer and engaged in the practice
of both, Greg has been focused on collaborative working between the architect and engineer
and the potential for innovation. His current research is directed toward computer modeling and
analysis, and manufacturing methods that bring the architect, engineer and fabricator into a
more collaborative and innovative environment. With a focus on integrated design and the use of
appropriate technology, Greg has played a significant role in ensuring a high level of quality and
innovation in Buro Happolds projects over the last seven years. In addition to his professional
work, Greg has been actively engaged in academic research and teaching of both Architecture
and Engineering at numerous academic institutions including Yale University, Harvard University,
Southern California Institute of Architecture (SCI-Arc) and University of Southern California (USC).
DISCIPLINE:
Structural and Facades Engineering
QUALIFICATIONS:
BSCE Cooper Union
BArch Kansas State University
MEng Massachusetts Institute of Technology
BURO HAPPOLD:
2001- present
RELEVANT PROJECT EXPERIENCE:

University of Iowa Visual Arts Building
Iowa City, IA, USA
Levitated Mass, Los Angeles County Museum of Art

Los Angeles, CA, USA
Curtis R. Priem Experimental Media and Performing Arts Center

Troy, NY, USA
Live Wire, Southern California Institute of Architecture

Smithsonian Institution Patent Office Building

Washington, DC, USA
Mesquite Sculpture
Mesquite, TX, USA
Harvard University Art Museum

Cambridge, MA, USA
reALIze
General Motors Headquarters: Campus Master Plan*

Detroit, MI, USA
RealD Stair
King Abdullah International Gardens

Riyadh, Saudi Arabia
Siqueiros Interpretive Center Mural Canopy

Aortic Arc, California College of the Arts

San Francisco, CA, USA
Talus Dome
Edmonton, Alberta, Canada
Bathing Lady Sculpture

New York, NY, USA
US 101
Cradle
Santa Monica, CA, USA
LAX Skylight Art Installation

Dragonfly, Southern California Institute of Architecture

JACCC Canopy Design
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S a n j e e v T a n k h a , A I A , As s o ci a te Pri n ci pal
Bu r o Ha p p ol d
Sanjeev holds a Masters of Building Science from the USC School of Architecture and a Bachelor
of Architecture degree from the School of Planning and Architecture in New Delhi. He is a LEED
accredited professional and is an active member of the U.S Green Building Council (USGBC). Prior
to joining Buro Happold in 2011, Sanjeev Tankha was instrumental in developing innovative
solutions to complex design challenges all over the world. He has also played a significant role in
the research and development of High Performance Building Envelopes which focuses on design
issues related to the performance of buildings. Projects that Sanjeev was actively involved in
include the People Mover Station at the MGM CityCenter in Las Vegas; SEC Headquarters Building,
the worlds first double curved cable net supported facade in Washington DC; and New Poly Plaza
Building, the worlds largest cable net facade in Beijing, China.
DISCIPLINE:
Structural Engineering
QUALIFICATIONS:
MBS, University of Southern California, School of
Architecture, Los Angeles, CA
BArch, School of Planning and Architecture, New Dehli,
India
BURO HAPPOLD:
2011- present
RELEVANT PROJECT EXPERIENCE:

Anaheim Regional Transportation Intermodal Center
Anaheim, CA, USA
Confidential Global Headquarters Campus
San Francisco, CA, USA
LA Event Center*
El Monte Transit Center*
El Monte, CA, USA
San Diego Airport Extension Smart Curb Canopies*
San Diego, CA, USA
Port of Long Beach Headquarters Building*

Long Beach, CA, USA
Los Angeles Convention Center Repositioning*
Event Deck Structure Design*

Pedestrian Bridge - Concept Design Competition*
Seoul, South Korea
*denotes experience prior to joining Buro Happold
Ritz Carlton Hotel and Residences Tower and Conference Center*

Los Angeles, CA, USA*
Palladium Hotel and Offices*
Hollywood, CA, USA
City Lights Hotel*
Downtown Los Angeles, CA, USA
Sunset La Cienega Hotel*
West Hollywood, CA, USA
MGM City Center, People Mover Station Tension Structure*
Las Vegas, NV, USA
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S h a n e C o e n , Le a d L a n d s ca p e D e s i g n e r
P r in cipa l , C oe n + P a rtn e rs
Founder and Principal, Coen + Partners, Inc.,
Minneapolis, 1991- Present; New York, 2005- Present
SELECTED AWARDS:
2011 American Society of Landscape Architects Merit
Award, Minnesota Chapter Lake Calhoun Residence,
Minneapolis, MN
2011 American Society of Landscape Architects Honor
Award, Minnesota Chapter U.S. Land Port of Entry,
Warroad, Minnesota
2010 American Society of Landscape Architects
Honor Award, Minnesota Chapter Sullivan Residence,
Minneapolis, Minnesota
Award, Minnesota Chapter Lavin Bernick Center
for University Life, Tulane University, New Orleans,
Louisiana
Award, Minnesota Chapter A Living Street: A Landscape
Illustrating Five Principles for Greenwich South, New
York, New York
Award, National Speckman House, St. Paul, Minnesota
Award, National Westminster Presbyterian Church
Columbarium and Courtyard, Minneapolis, Minnesota
American Society of Landscape Architects
Registered Landscape Architect: Minnesota, New Jersey,
New York, North Dakota, Texas
Urban Land Institute, Institute for Urban Design, Forum
for Urban Design
SELECT ACADEMIC EXPERIENCE:
Harvard University GSD Options Studio Instructor, Fall
Semester 2011, 2010
Rhode Island School of Design, Department of
Architecture, Visiting Critic
University of Massachusetts, Department of Landscape
Architecture and Regional Planning, Visiting Critic
Washington State University, School of Engineering and
Architecture, Visiting Critic
Clemson University, Department of Planning and
Landscape Architecture, Visiting Critic
Shane Coen is the Founder and Principal of Coen+Partners. He was raised in Boulder,
Colorado, and received his professional degree from the University of Massachusetts,
Amherst. For nineteen years, Shane has led Coen+Partners innovative practice, directing
the design vision for each project in the studio. As a result of his creativity and disciplined
design approach, his work has received numerous awards and is recognized by influential
design publications throughout the world. The New York Times architectural critic,
Anne Raver, describes Shanes work as pushing Midwestern boundaries. He received a
Special Award for Collaborative Work from the American Institute of Architects Minnesota
Chapter.
In addition to his practice, Shane lectures extensively, speaking not only about his work,
but about the importance of landscape architecture in shaping our urban, suburban, and
rural environments and of truly collaborative design processes. He was a featured speaker
for the Emerging Voices Lecture Series, sponsored by the Architectural League of New
York, upon receiving an Emerging Voices Award for 2009. Other notable speaking engagements include panel participation in the
lecture series The Influence of the New West, Confounding Expectations: Photography in Context at the New School in New York and
at the symposium Sustainable Waterfronts: Learning from the Dutch Experience co-hosted by AIA Chicago and the Kingdom of the
Netherlands. Shane has lectured at Harvard Universitys Graduate School of Design, University of California Berkeley, University of
Southern California, Princeton University, University of Michigans Future of Design conference, James Rose Center in New Jersey, and
Portland Museum of Art as part of the 2010 Architalx Lecture Series.
For the past two years, Shane has taught an options studio at Harvard Universitys Graduate School of Design (GSD). His studios
explore relationships between modern landscape design, significant and historic works of architecture, and large-scale campus design.
In addition, Shane devotes time to critique student work at Rutgers, Clemson, University of Massachusetts, University of Minnesota,
Washington State University, North Dakota State University, and University of California Berkeley.
He also serves on the GSA National Registry of Peer Professionals. This appointment follows a winning entry in the 2010 Design
Excellence Awards for Landscape Architecture for the U.S. Land Port of Entry in Warroad, Minnesota. Shane is joined by a select group
of highly regarded private-sector professionals in the fields of design and architecture to advise the GSA Public Buildings Service for
the next two years.
EDUCATION:
University of Massachusetts, Amherst, MA 1990
124
7: Resumes
B r y a n K r a m e r , Pro je ct Arch i te ct
S en ior D e si gne r , C oe n + Pa rtn e rs
Senior Designer / Marketing Director, Coen + Partners,
Inc. Minneapolis 2001 2005; New York City 2005
2009; Minneapolis 2009 - Present
Horticultural Scientist, Department of Horticulture,
University of Minnesota, 1999-2001
SELECTED AWARDS:
Award, Minnesota Chapter Lavin Bernick Center for
University Life, Tulane University, New Orleans, LA
Award, Minnesota Chapter A Living Street: A Landscape
Illustrating Five Principles for Greenwich South, NY
2009 Architectural League of New York Emerging Voices
Award - Coen + Partners
2008 American Institute of Architects, Committee on
the Environment (COTE) Award Lavin Bernick Center for
University Life, Tulane University, New Orleans, LA
2008 American Institute of Architects Honor Award,
Minnesota Chapter Mayo Plan #1, Rochester, Minnesota
2007 American Society of Landscape Architects Award,
Minnesota Chapter Minneapolis Central Library,
Minneapolis, Minnesota
National Mayo Plan #1, Rochester, Minnesota
Minnesota Chapter Mayo Plan #1, Rochester, Minnesota
2003 Progressive Architecture Award, Architecture
Magazine Mayo Plan #1, Rochester, Minnesota
Institute for Urban Design, New York
Architectural League of New York
SELECT EXHIBITIONS / EXHIBITION DESIGN:
2009 Yale School of Architecture Worlds Away: New
Suburban Landscapes, New Haven, Connecticut
2008 Carnegie Museum of Art Worlds Away: New
Suburban Landscapes, Pittsburgh, Pennsylvania
2008 Walker Art Center Worlds Away: New Suburban
Landscapes, Minneapolis, Minnesota
2003 Progressive Architecture Award Exhibition,
Architecture Magazine, New York, New York
EDUCATION:
College of Architecture and Landscape Architecture,
University of Minnesota Twin Cities
Master of Landscape Architecture, 2001
Bachelor of Environmental Design, 2000
Bryan Kramer is a Senior Designer at Coen + Partners. He received his Bachelor of

Environmental Design and Master of Landscape Architecture degrees from the University
of Minnesota. Bryans work experience is focused on project visioning, conceptual design,
and design development for residential, cultural, and institutional projects in the United
States and abroad. His work encompasses the design and management of projects from the
conceptual design phase through construction documentation and project implementation
phases.
With Coen + Partners, Bryan has been the lead designer for key projects within the firm,
including the P/A Award-winning Mayo Plan #1, Minneapolis Central Library, Lavin Bernick
Center at Tulane University, Systems Biology Courtyard at the Institute for Advanced Study in
Princeton, and the Depot Hill Equestrian Community in upstate New York, and competition
entries for Gwanggyo Pier Lakeside Park in Suwon, South Korea and The Daniels Faculty of
Architecture, Landscape, and Design building at the University of Toronto. His work has also
been integral in the design of numerous residential landscapes in California, Minnesota, and New York.
From 2005 to 2009, Bryan led Coen + Partners New York City office. On the east coast, he designed and managed several residential
master planning projects in the Hamptons and Hudson River Valley, green roof projects in lower Manhattan and New Jersey, and a high
profile landscape master planning and visioning study for a neighborhood between the World Trade Center and Battery Park.
SELECT PROJECTS:
A Living Street: A Landscape Illustrating Five Principles for Greenwich South, New York, New York
Depot Hill Equestrian Community, Amenia, New York
Institute for Advanced Study - Systems Biology Courtyard and Green Roof, Princeton, New Jersey
Daniels Faculty of Architecture, Landscape, and Design; University of Toronto, Toronto, Ontario, Canada
The Visionaire Green Roof and Garden, Battery Park City, New York
Lavin Bernick Center, Tulane University, New Orleans, Louisiana
Minneapolis Central Library, Minneapolis, Minnesota
Mayo Plan # 1, Rochester, Minnesota
Jackson Meadow Phase II Master Plan
Mecox Bay Residence, Southampton, New York
Tarica Residence, Larchmont, New York
Pryor Residence, Montauk, New York
Northwest Peach Farm Residence, East Hampton, New York
Private Residence, Venice, California
FlatPak Residence, Woodstock, New York
Assoufid Hotel Master Plan, Marrakech, Morocco
Smith Residence, Lakeville, Minnesota
125
7: Resumes
Z a c h a r y B l o c h , Pro je ct M a n a g e r
S en ior A ssoc i a t e , C o e n + Pa rtn e rs
Associate, Coen + Partners, Inc., Minneapolis.
2007Present
Hammel Green & Abrahamson, Inc., Minneapolis. 20042007
Planner and Landscape Architect Intern, Sanders
Wacker Bergly, Saint Paul. 2002-2004
Assistant City Planner, City of Wayzata. 1998-2001
American Planning Association
ACADEMIC EXPERIENCE:
Adjunct Faculty, Department of Landscape Architecture,
College of Design, University of Minnesota, 2009
Visiting Critic, College of Design, University of
Minnesota Twin Cities, 2004 - Present
Teaching Assistant, College of Architecture and
Landscape Architecture, University of Minnesota Twin
Cities, 2002-2003
EDUCATION:
College of Architecture and Landscape Architecture,
University of Minnesota Twin Cities.
Master in Landscape Architecture, 2003
Leon Arnell Joint Thesis Award, 2003
ASLA Certificate of Honor, 2003
Port Cities Study Abroad Program - Portugal,
Spain, Italy, 2002
University of Southern California, Los Angeles,
California.
Bachelor of Science in Urban Planning and
Development, 1998
126
Zachary Bloch is a Senior Associate at Coen + Partners. Zachary has been integral to the
development of a number of large-scale master planning projects at Coen + Partners,
including Land Port of Entry projects in Warroad, Minnesota, and Van Buren, Maine, with
the Government Services Administration (GSA); the Fort Snelling Master Plan Study; the
Lafayette Yards Master Plan, and a number of private residences across the country.
He holds as a Bachelor of Planning in Urban Design and Development from the University
of Southern California and a Master of Landscape Architecture from the University of
Minnesota where he received the Leon Arnell Joint Thesis Award and ASLA Honor Award
for design from the Minnesota Chapter. Prior to joining Coen + Partners, he worked for
Hammel, Green & Abrahamson, and the City of Wayzata, Minnesota, both as a planner and
landscape architect. Zachary also serves as an adjunct faculty member for the College of
Design at the University of Minnesota and is a frequent guest critic for a number of graduate
design studios.
RECENT PROJECTS:
US Land Port of Entry, Van Buren, Maine
US Land Port of Entry, Warroad, Minnesota
Bull Creek Residence, Austin, Texas
Minarovic Residence, The Woodlands, Texas
Fort Snelling Visitors Center and Master Plan, Minnesota
Red Wing Park, Red Wing, Minnesota
Project Designer/Planner, Austin Peay State University Campus Master Plan, Clarksville, Tennessee*
Project Designer/Planner, Michigan Technological University Fresh Look Campus Master Plan, Houghton, Michigan*
Project Designer/Planner, Fort Valley State University Campus Master Plan, Fort Valley, Georgia*
Project Designer, Central Wyoming College Campus Master Plan, Riverton, Wyoming*
Project Designer, Western Wyoming Community College Campus Master Plan, Rock Springs, Wyoming*
Project Designer, Minnesota State University Mankato, Trafton Science Center South Addition Master Plan and Site Design,
Mankato, Minnesota*
Project Designer, Gustavus Adolphus College, Campus Framework Plan, St. Peter, Minnesota*
Project Designer, Willmar Regional Treatment Center Campus Master Plan, Willmar, Minnesota*
*with Hammel Green and Abrahamson
7: Resumes
J o h n A n d a r y , P E , L E E D A P , Pri n ci pa l In Char ge
P r in cip a l , I nt e gr a l G ro u p
REGISTRATIONS:
Professional Engineer, 1989
PROFESSIONAL ACTIVITIES:
Award : American Council Of Engineering Companies
(ACEC) 2011 Engineering Excellence Grand Award
(NREL RSF Project)
Author : School Planning & Management Magazine
(April 2010) Green School Design Sustainable,
Teachable, Promotable
Presenter : International Association of Science Parks
Annual Conference (2011) Net Zero Energy Science
Park Concept
Presenter : 14th Energy, Utility and Environment
Conference (2011) Building a Zero Energy Building
and a Zero Energy Campus
Presenter : AIA National Conference (2009) The
Beauty Of Zero The Design of a Zero Energy Building
Presenter : International Green Building Conference
(Greenbuild 2005) The Waterless Office
Presenter : Colorado Sustainability Conference (2009)
Vying For Net Zero The NREL Research Support
Facility
Presenter : 23rd International Passive and Low Energy
Architecture Conference (PLEA 2006) North American
Solutions
Presenter : UC/CSU Sustainability Conference 2008
Successful Examples of Integrated Building Design
Presenter : UC/CSU Sustainability Conference 2005
Eco-Charrette Workshop
Guest Lecturer : University of California at Davis
Sustainability in the Built Environment Spring 2005
Guest Lecturer : California College of the Arts High
Performance Buildings Fall 2006
Guest Lecturer : Pacific Energy Center How to Think
About Building Energy Models Fall 2007
Member : USGBC, Northern California Chapter
Member : American Society of Heating, Refrigeration
and Air Conditioning Engineers
EDUCATION:
North Carolina State University BSME, 1983
Heading up the bioclimatic design practice at Integral Group, Mr. Andary brings more
than 25 years of engineering experience in civic, cultural and community, higher
education, health care, commercial and laboratory design to the team. His career has
coupled innovative technical designs with energy and resource efficiency. He has built
an engineering practice focused on green buildings and energy efficiency in the high
tech industry.
Through integrated design, eco-charrettes, and with an eye on the triple-bottom
line (people, planet, profit), John focuses on design synergies and cost transfer
opportunities that yield the greatest environmental and social bottom line results
without sacrificing the all-important economic bottom line. John believes that
sustainable design is an engineers social responsibility and has served as the Project
Manager and Principal In Charge on numerous LEED projects, including seven projects
targeting Platinum certification, and six targeting net zero energy. John was the
Principal In Charge for the Research Support Facility project at the National Renewable
Energy Laboratory (NREL), which at 350,000 square feet will be the one of the largest LEED Platinum, Zero Energy Buildings in the world
when complete.
He is active in the green building industry, contributing his sustainable design experience to various public committees, including the
United States Green Building Council, while constantly presenting and lecturing on green building topics.
PROJECT EXPERIENCE:
Research Support Facility, DOE National Renewable Energy Lab (NREL) LEED-NC Platinum Certified / Net Zero Energy Design
Golden, CO
Energy Systems Integration Facility, DOE National Renewable Energy Lab (NREL) LEED-NC Gold and Net Zero Energy Targets
Golden, CO
Marin Country Day School LEED for Schools Platinum and CHPS Certified, Net Zero Energy Design San Rafael, CA
DOE National Laboratories Commercial Building Partnership, Low Energy Building Consultant
East Corporate Yard, Sacramento Municipal Utilities District LEED NC Platinum and Net Zero Energy Targets Sacramento, CA
Southface Energy Institute Eco Office LEED-NC Platinum Certified Atlanta, GA
Edith Green Wendell Wyatt Federal Building Modernization LEED-NC Gold Target Portland, OR
Student Life Center at Sacred Heart School LEED for Schools Platinum Certified, AIA COTE Top Ten Project Atherton, CA
AIA San Francisco Headquarters LEED-NC Gold Certified San Francisco, CA
Marin Country Day School Phase I LEED-NC Gold Certified San Rafael, CA
UCSB Ocean Sciences Education Building LEED-NC Gold and Net Zero Energy Targets Santa Barbara, CA
National Estuarine Research Reserve Facility LEED-NC Gold Certified Grand Bay, MS
Shiloh Sustainable Village LEED-NC/CS/ND Platinum and Net Zero Energy Targets Windsor, CA
LEED Assessor for the United States Green Building Council
Moss Landing Marine Laboratories, San Jose State University LEED-EB Gold Certification Moss Landing, CA
Hearst Gymnasium, University of California LEED-NC Silver Target Berkeley, CA
Barnum Family Center for School and Community Partnerships, Stanford University, Palo Alto, CA
Kavli Institute for Particle Astrophysics, DOE Stanford Linear Accelerator Campus (SLAC) Palo Alto, CA
*Resume encompasses experience prior to Integral Group.
127
7: Resumes
J o s e p h W e n i s c h , L E E D A P , Pro je ct M anager / M ec hani c al Engi neer
S en ior E ngi ne e r , I nt e g ra l G ro u p
Josephs areas of expertise include project management, energy modeling, and mechanical system
selection and layout. He has been a lead designer for several prominent community and civic
projects with Integral Group, including the Exploratorium, Oakland Museum Renovation, and the
Portola Valley Town Center.
REGISTRATIONS:
USGBC Northern California Chapter
ASHRAE
EDUCATION:
B.Sc. Mechanical Engineering, Massachusetts Institute
of Technology (1996)
M.Sc. Civil Engineering, Building Systems Program,
University of Colorado, Boulder (2002)
Before coming to Integral Group, Joseph worked for five years in a variety of research and
engineering positions related to energy efficiency and renewable energy. As a graduate student in
the Building Systems Program at the University of Colorado at Boulder, he studied and completed
projects in building energy modeling and analysis, renewable energy system design, energy
auditing, and HVAC controls. He has held full-time positions at the National Renewable Energy Lab
and at GE Wind Energy, and spent ten months teaching renewable energy and energy efficiency
software as a visiting instructor in Nepal. Before this, Joseph also worked for three years as a
mechanical engineer and global services analyst at GE Transportation Systems. His responsibilities
included designing fuel systems for locomotive diesel engines and reducing transportation and
parts replacement costs at field service locations worldwide.
PROJECT
128
EXPERIENCE:
Oakland Museum of California Renovation / LEED Silver Certified, Oakland, CA
Exploratorium / LEED Platinum Registered, Zero Carbon, Zero Energy, San Francisco, CA
Confidential Historic Renovation / Targeting LEED Gold Certification, San Francisco, CA (historic renovation)
Presidio Officers Club Historic Renovation, San Francisco, CA (historic renovation)
Packard Foundation Headquarters / LEED Platinum Registered, Los Altos, CA
Portola Valley Town Center / LEED Platinum Certified, Portola Valley, CA
UC Davis, Tahoe Center for Environmental Sciences / LEED Platinum Certified, Incline Village, NV (cold climate)
WatsonvIlle Water Recycling Facility / Targeting LEED Platinum Certification, Watsonville, CA
Mills College, Betty Irene Moore Natural Sciences Building / LEED Platinum Certified, Oakland, CA
UC Santa Cruz Biomedical Sciences Research Facility / LEED Gold Registered, Santa Cruz, CA
81st Ave. Oakland Public Library, Oakland, CA
California Polytechnic Institute / LEED Gold Registered, San Luis Obispo, CA
Moraga Barn, Canyon Construction / LEED Platinum Certified, Moraga, CA (historic renovation)
UC Davis Tahoe Environmental Research Center Hatchery Renovation, Lake Tahoe, CA (historic renovation)
7: Resumes
D a v i d K . K a n e d a , P E , A I A , L E E D A P , Elec t r ic al Engi neer
P r in cip a l , I nt e gr a l G ro u p
REGISTRATIONS:
Professional Electrical Engineer, California No. E14003,
Illinois, Nevada, Colorado
Registered Architect, Wisconsin
European Engineer, Chartered Engineer, UK
ADVISORY POSITIONS:
U.S. Green Building Council Regionalization Working
group (2011- Present)
California Energy Commission PIER Evidence-Based
Design and Operations Program - California Advisors on
Measured Performance (2010-present)
California Building Standards Commission - Green
Building Code Advisory Committee (2009present)
Energy Division of the California Public Utilities
Commission Zero Net Energy Action Plan
(2009-present)
PUBLICATIONS:
Less than Zero High Performance Buildings (2010)
Plug Load Reduction: The Next Big Hurdle for Net Zero
Energy Building Design American Council for an
Energy Efficient Economy: Summer Study (2010)
IDeAs Z2 Design Facility: Design for a Net Zero Energy
Building American Council for an Energy Efficient
Economy: Summer Study (2006)
PROFESSIONAL RECOGNITION & AWARDS:
Penn State University Department of Architectural
Engineering Centennial Fellow (2010)
USGBC: Northern CA Chapter Environmental
Superhero (2009)
Santa Clara County: League of Conservation Voters Environmentalist of the Year (2009)
AIA COTE Top 10 (2010, 2x2009, 2008)
American Institute of Architects
US Green Building Council
Sustainable Silicon Valley
Illuminating Engineering Society of North America
National Council of Examiners for Engineering &
Surveying
The Chartered Institute of Building Services Engineers
The Engineering Council
EDUCATION:
Master of Business Administration, London Business
School, London, England (1993)
Bachelor of Architectural Engineering with distinction,
Penn State University, University Park, PA (1981)
David brings distinctly out of the box, innovative thinking to the table. He is a professional engineer,
a registered architect and a LEED Accredited Professional as well as an MBA. He has over two decades
of experience in the design and coordination of electrical systems for buildings in a broad range of
projects including educational facilities, civic projects, and commercial offices.
Davids specialties include sustainable electrical and lighting design. He has spoken on sustainable
engineering issues at American Institute of Architects National Conventions, Greenbuild International
Conferences, Lightfair International, the National Academies: Federal Buildings in 2030 Symposium,
the IFMA 3D Sustainability Summit and the Pacific Energy Center, as well as at Penn State, University
of Nebraska, Kansas State, and Stanford Universities. He has also published research on sustainable
electrical system design at American Council for an Energy Efficient Economy (ACEEE): Summer Studies
and the Rethinking Sustainable Construction: Next Generation Green Buildings Conference.
He is a member of the General Services Administrations National Register of Peer Professionals and
the AIA California Council - Committee on the Environment. He also holds advisory positions on the
California Building Standards Commission Green Building Code, California Public Utilities Commission
Zero Net Energy Action Plan, the California Energy Commission (CEC) /Public Interest Energy Research (PIER) Evidence-Based Design
and Operations Program, the US Department of Energy (DOE) / CEC/PIER Building Faade Research Program.
PROJECT EXPERIENCE:
Oakland Museum of California Expansion, Upgrade HVAC System, Warehouse, Oakland, CA
Childrens Discovery Museum Renovation, San Jose, CA
San Jose History Museum Renovation, San Jose, CA
Art 21 Gallery Remodel, Palo Alto, CA
UC Davis, Tahoe Center for Environmental Sciences / LEED Platinum Certified, Incline Village, NV (cold climate)
UC Davis Tahoe Environmental Research Center Hatchery Renovation, Lake Tahoe, CA (historic renovation)
Kirkwood Timbercreek Lodge, Kirkwood, CA (cold climate)
Desert Research Institute Storm Peak Lab, Steamboat Springs, CO (cold climate)
Donner Summit Residence, Truckee, CA (cold climate)
David Brower Center Mixed Use / LEED Platinum Certified, Berkeley, CA
Packard Foundation Headquarters / LEED Platinum Registered, Zero Carbon, Zero Energy, Los Altos, CA
Gordon and Betty Moore Foundation / LEED Platinum Certified, Palo Alto, CA
StopWaste.org Headquarters / LEED Platinum Certified, Oakland, CA (historic renovation)
East San Jose Carnegie Library, San Jose, CA (historic renovation)
Bay School, San Francisco, CA (historic renovation)
Burlingame High School, Burlingame, CA (historic renovation)
Caltech Linde + Robinson Lab for Global Environmental Science / LEED Platinum Registered, Pasadena, CA (historic
renovation)
UC Berkeley, Cloyne Hall, Berkeley, CA (historic renovation)

*Encompasses prior firm experience.
129
7: Resumes
H e a t h e r L i b o n a t i , L C , L e a d L i g h ti n g D e si gner
P r in cip a l , Lum i ne sc e D e s i g n
Illuminating Engineering Society, NCQLP
Heather Libonati, LC is the design principal for Luminesce Design. After receiving her MFA from
CalArts in theatrical lighting design, she worked on a wide variety of project types and sizes.
Determined to never specialize in one lighting application or project type, Heather has found
that each project informs the next giving her the ability to solve any lighting design challenge
with a fresh solution rooted in practical experience. Her award winning lighting designs
have been published in magazines including Architectural Record and Lighting Design and
Application. With a sense of humor, a passion for lighting, and a love of the process, Heather
designs lighting experiences that are efficient, effective and timeless.
SELECT PUBLICATIONS:
Architectural Record Polishing a Hidden Gem, October
2011
Architectural Record Giant Interactive Group, January
2011
Eco-Structure Good Eats, January 2011
Lighting Design + Application The Roadsters Hipster
Showroom, December 2008
SELECT AWARDS:
IESNA Award of Merit, Giant Group, Shanghai, PRC
Interior Lighting Design, 2011
Lumen West Award of Merit, The Plant Caf Organic, San
Francisco, CAInterior Lighting Design, 2011
Lumen West Award of Merit, Cincinnati Convention Center
Renovation and Expansion, Cincinnati, OHInterior and
Exterior Lighting Design, 2007
Lumen West Award of Excellence, CalTrans District
7 Headquarters, Los Angeles, CAExterior Lighting
Design, 2006
Lumen West Award of Merit, CalTrans District 7
Headquarters, Los Angeles, CAInterior and Energy
Lighting Design, 2006
Lumen West Award of Excellence, Los Angeles City Hall,
Los Angeles, CA, 2001
EDUCATION:
California Institute of the Arts, M.F.A. in Theater Design
SELECT PROJECT EXPERIENCE:

3M Center, St Paul, MN (interior and exterior remodel of center of campus)
CalTech South Undergraduate Housing, Pasadena, CA (built 1931)*
CalTrans District 7 Headquarters, Los Angeles, CA**
Giant Group East and West Campuses, Shanghai, P.R.C.
Hannys, Phoenix, AZ (built 1947; originally department store now a restaurant)
Los Angeles City Hall Faade lighting, Los Angeles, CA (built 1928)**
Love Theater at Mirage Resort and Casino, Las Vegas, NV*
Plummer Park, West Hollywood, CA
Tesla Motors, Los Angeles, CA
* Designed by Heather while at KGM Lighting
**designed by Heather while at HLB Lighting
Loyola University Chicago, B.A. in Theater, magna cum

laude
130
7: Resumes
131
r o
a r c
t e
4611 west slauson ave., los angeles, california 90043

tel. 310.828.0226 fax. 310.453.9606
info@brooksscarpa.com
www.brooksscarpa.com

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4611 W. Slauson Ave.

Lawrence SScarpa, FAIA

1. Narratives and Diagrams

1: Narratives and Diagrams

DESIGN CONCEPT NARRATIVE

Brooks + Scarpa Architecture

Kimball Art Center - Stage II

1: Narratives and Diagrams

Add public space at street corner

Link existing and new

Maximize usable space within new building

Augment floor plates to suit program,

Clad new building in

Brooks + Scarpa Architecture

Kimball Art Center- Stage II

1: Narratives and Diagrams

DESIGN METHODOLOGY, TEAM COLLABORATION AND PROPOSED

Brooks + Scarpa Architecture

Kimball Art Center - Stage II

1: Narratives and Diagrams

Brooks + Scarpa Architecture

Kimball Art Center- Stage II

1: Narratives and Diagrams

12 -14 THK SLAB

Brooks + Scarpa Architecture

Kimball Art Center - Stage II

1: Narratives and Diagrams

Brooks + Scarpa Architecture

Kimball Art Center- Stage II

1: Narratives and Diagrams

Brooks + Scarpa Architecture

Kimball Art Center - Stage II

1: Narratives and Diagrams

Brooks + Scarpa Architecture

Kimball Art Center- Stage II

1: Narratives and Diagrams

Radiant cooled and heated slabs.

Relief air windows and displacement

Chilled air from evaporative cool tower

Brooks + Scarpa Architecture

Kimball Art Center - Stage II

1: Narratives and Diagrams

Folded polypropylene honeycomb panel

Slab edge detail rendering

Brooks + Scarpa Architecture

Kimball Art Center- Stage II

1: Narratives and Diagrams

WARMER AIR RISES THRU STAIR

PASSIVE DOWNDRAUGHT COOLING

RADIANT HEATING AND COOLING

Brooks + Scarpa Architecture

Kimball Art Center - Stage II

1: Narratives and Diagrams

RADIANT HEAT AND SNOW MELT

Brooks + Scarpa Architecture

Mechanical Heating and Cooling

Kimball Art Center- Stage II

1: Narratives and Diagrams

BUILD NEW ENTRY STRUCTURE

LOCATION OF NEW KILN

EXISTING KIMBALL STRUCTURE

EXISTING STAIR & ELEVATOR