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s e p t e m b e r 2011 v o l u m e 16 , # 6

About the Cover

4 WelCome

6 Profiles meet the design professionals behind the projects in this issue

8 sWAtChes Who’s doing what where in the design industry

11 mArKetiNG logo types

1� mANAGemeNt should you fire your marketing director?

14 GooDs New products and services

16 shoWroom veneman Collections las vegas, Nevada

36 hot shots scot Zimmerman heber City, utah

46 DAtebooK

48 fiNAl foCus An image by scot Zimmerman

departments

18 leeD PlAtiNum flagstaff and Denver projects achieve the ultimate green rating

�6 ProJeCt WAlK-throuGh shepley bulfinch’s Windsor and Churn in Phoenix

3� sustAiNAble DesiGN AWArDs four projects get the nod from AiA utah

38 mArKet WAtCh Green products

features

14

�6

38

Table of ConTenTs

the easton Collection Center at museum of Northern Arizona in flagstaff by

James A. roberts, roberts/Jones Associates, inc., Phoenix. Photograph by michele mountain.

JOHN BROOKS, INC.DENVER, CO 303.698.9977

SUMMIT FURNITURELOS ANGELES, CA 310.289.1266

ELAN COLLECTIONSLAS VEGAS, NV 702.255.8267

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4 s o u r c e s + d e s i g n s e p t e m b e r 2011

Sources+Design magazine is published six times annually by babb & Associates, llC. Direct advertising, editorial and subscription inquiries to babb & Associates, box 9-626, 13835 N. tatum blvd., Phoenix, AZ 85032, 602.870.8440; www.sourcesanddesign.com. back issues are available on a limited basis. Contents copyright 2011 by Sources+Design. All rights reserved. Publisher reserves the right to accept or reject any editorial or advertising material. this publication assumes no responsibility for unsolicited materials.

p r o u d m e m b e r o f :

ameriCan insTiTuTe of arChiTeCTs

ameriCan soCieTy of inTerior Designers

inTernaTional furnishings & Design assoCiaTion

inTernaTional inTerior Design assoCiaTion

AIA

Publisher

Terry Babb

AssoCiAte Publisher

Karen Romersa

eDitor

Nora Burba Trulsson

Art DireCtor

Linda Longmire

CoNtributiNG Writers Pamela Bir

Kimberly MacArthur GrahamFrank Stasiowski

for ADvertisiNG

Patrick JagendorfRegional Manager 562.795.9134

Karen Romersa 602.696.8768

CirCulAtioN

Sandi Smyth 602.909.7319

eleCtroNiC ProDuCts Pamela Bir

Your Computer Lady

Leanna Hoff Boers | HoffMiller Gera King, ASID | Scottsdale Community College

Larry Lake, ASID | Lawrence Lake InteriorsErik B. Peterson, AIA, NCARB | PHX Architecture

Eric Strain, AIA | Assemblage StudioRandy Wells | Las Vegas Design Center

Marie Wikoff, ASID | Wikoff Design Studio

for more iNformAtioN [email protected]

for rePriNts/ePriNts Wrights Reprints

877.652.5295 (toll free)

EDItorIAL ADVISory BoArD

’ve always said that Mies van der Rohe’s Farnsworth House is at the top of my favorite-works-of-architecture list. In July, during a trip to Chicago, I finally had the chance to visit the landmark glass house, now a National Trust Historic Site on the Fox River in Plano, Illi-nois. Despite a few mosquito bites acquired during the mile walk from the vis-itor’s center to the house, being inside the house was, well, magical. I thought I heard a chorus of angels singing and, yes, I did buy the t-shirt. As a design professional, a Farnsworth visit should probably also be on your bucket list.

Farnsworth House exhibits numerous tenets of what we now call green design (natural daylighting and ventilation, sustainable building materials such as steel, glass and travertine, treading lightly on the land), and much of this issue is dedicated to the furthuring of those basic ideas. We’re touring LEED Platinum projects in Denver and Flagstaff, and taking a glance at AIA Utah’s Sustainable Design Excellence Awards, which includes a winning project by another personal favorite (yes, editors do have opinions!), DesignBuildBLUFF, a non-profit that designs and builds sustainable housing for remote areas of the Navajo Nation. Additionally, check out the new green products in our “Mar-

ket Watch” section, which range from textiles to roof hatches.

Besides trekking to architectural landmarks during summer vacation, Sources+Design has been out and about on the regional design scene. We participated in The Reference Library’s Trade Show, held at the Sheraton Wild Horse Pass Resort near Chandler, Arizona in conjunc-tion with AIA Arizona’s state conference. It’s a great show, with some 90 vendor booths, including our friends, Lights Up Arizona!, who displayed commercial and residential lighting products and fixtures. We’re also headed to the Las Vegas Design Center September 14 for a portfolio review and roundtable discussion aimed at getting projects by interior designers and architects published. I’ll be joined by Las Vegas architect Eric Strain, AIA, principal of Assem-blage Studio, for that event. Details at www.lvdesigncenter.com/events.Looking ahead, we’ll be co-sponsoring IIDA Southwest Chapter’s UnVeiled trade show on November 3, to be held at the new ballpark, Salt River Fields at Talking Stick in Scottsdale, Arizona.

Finally, congratulations to Sources+Design friend, Douglas Sydnor, FAIA. Doug, a Scottsdale, Arizona architect, has just published Plugger: The Architec-ture of Reginald Sydnor, a beautiful black-and-white book dedicated to his father’s architectural legacy, in metro Phoenix and beyond.

Enjoy the issue, mark your calendars for upcoming design events and plan a trek to Illinois to see the Farnsworth house. Fall is a nice time to visit.

—Nora Burba Trulsson

IWelCome

Farnsworth House

At The Reference Library’s Trade Show. Top: The Lights Up Arizona! crew. Above: Sources+Design’s Nora Trulsson, Terry Babb and Karen Romersa. Photography by Suad Mahmuljin.

Jim FairchildFrank OomsRon Pollard

Paul RicherScott Sandler John Sturr

Bill TimmermanMatt Winquist

Scot Zimmerman

reProDuCtioN Ben Franklin Press

CoNtributiNG PhotoGrAPhers

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s e p t e m b e r 2011 s o u r c e s + d e s i g n �


James A. Roberts, AIA, LEED APAs a youth in the 1960s, architect Jim Roberts moved to

Flagstaff from the Bay Area. “It was total culture shock,” he recalls of the then-small mountain town. He also spent a year and a half living on the Navajo reservation where his step-father worked at a trading post. By the time he’d graduated from Flagstaff High School, Roberts had absorbed the nature and the culture of northern Arizona. He went on to serve in

Vietnam, graduate from Arizona State University and establish Roberts/Jones Asso-ciates in 1983 in Phoenix with architect Dave Jones, a firm that handled everything from residential and religious work to commercial and mixed-use projects. Recently, though, Roberts returned to his Flagstaff roots when he was asked to design the Easton Collection Center for the Museum of Northern Arizona. “I was tuned into the culture of the Colorado Plateau,” he says. The LEED Platinum center, sited with views of the mountains, is featured in this issue.

Joe Herzog, AIAChris NietoRyan Grabe

If you drive around downtown Phoenix and see any interesting modern buildings or find yourself in a buzz-worthy restaurant or bar, it’s likely that the Phoenix office of Shepley Bulfinch was involved in the design. The firm was founded as merzproject in �004 by principals Joe Herzog and Chris Nieto, whose backgrounds, respectively, are architecture and construction/development. Herzog, who has a master’s in architecture from Arizona State University, and Nieto, who founded a development and property management company, started with adaptive re-use projects before branching out into education, govern-ment and hospitality work. Their projects have won

accolades and attracted the notice of Shepley Bulfinch, a national firm with which they merged in �009. Along with project designer Ryan Grabe, who also has a master’s in architecture from ASU and a background in hospitality, residential and product design, Herzog and Nieto were most recently involved in another buzz-worthy project, The Windsor and Churn, a neighbor-hood restaurant/bar and ice cream parlor tucked into a trans-formed, historic strip mall near downtown Phoenix. You can see it in this issue’s “Project Walk-Through.” n

}}} m e e t t h e d e s i g n e r s b e h i n d p ro j e c t s f e a t u re d i n t h i s i s s u e

James Roberts

Joe Herzog

Chris Nieto

Ryan Grabe

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}}} w h o ’s d o i n g w h a t , w h e re i n t h e d e s i g n i n d u s t r y

he Cesar Chavez Library, designed by the Tucson, Arizona-based architectural firm Line and Space, has been named one of ten American Landmark Libraries by the Library Journal. The ��,000-square-foot library, located in the Laveen neighbor-hood of Phoenix, is sited at the edge of a 40-acre park and includes a children’s area

with interactive displays, a teen area, public computers and meeting space, group study space and quiet reading spots. The library, which has achieved LEED Silver certifica-tion, features a roof designed for rainwater harvesting, mounded-earth thermal insula-tion and shaded, low-e insulated glazing. The award was given by a jury consisting of architects and librarians to honor U.S. libraries that exemplify design and construc-tion excellence.

Wyoming landscape architect James G.

Verdone was one of 40 members elevated to the national 2011 ASLA Council of Fellows.

Verdone, principal of VLA Inc., with offices in Jackson, Wyoming and Driggs, Idaho, was the first landscape architect licensed to practice in Wyoming and the first appointee by the gover-nor to sit on Wyoming’s

Board of Architects and Landscape Archi-tects. A graduate of North Carolina State University, Verdone’s work has won numer-ous regional and national awards.

Two Colorado architects have been appointed to serve on national 2012 AIA

awards juries. William Moore, AIA, founder and president of Denver’s Sprocket

Design-Build, Inc., will participate on the AIA Housing Awards and the AIA/HUD Secretary’s Awards juries. Scott A. Linde-

nau, FAIA, design principal at Studio B

Architects of Aspen, will serve on the Insti-tute Honor Awards for Architecture jury. Both architects are AIA Colorado compo-nent members.

IIDA Rocky Mountain Chapter was

named the 2011 Small Chapter of the Year during IIDA’s national meeting in Chi-cago. The chapter, which covers Colorado, Montana, Utah and Wyoming through city centers in Colorado Springs, Denver and Salt Lake City, also won Excellence awards in chapter programs and forum educational activities, as well as an Honorable Mention in membership marketing.

tw a c h e sS t

Cesar Chavez Library by Line and Space.

James G. Verdone, FAIA

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Danoski Clutts Building Group has com-pleted a tenant improvement project for Designs By Jeff White at the Tivoli Village shopping center in Las Vegas. The retail project for the custom jeweler, designed by Commercial Design Group, also of Las Vegas, was the renovation of a �,036-square-foot space to include a unique, hard-lid ceiling with multi-level soffits, custom tile, a spe-cialty safe in the retail area and strategically placed lighting.

Tempe, Arizona-based Meltdown Glass

Art & Design has completed a decorative glass feature wall for the Baylor Charles A.

Sammons Cancer Center in Dallas, Texas. Meltdown Glass principal BJ Katz and team created 1� pan-els with custom texture and multi-colored dichroic glass, to function as lobby art, a staircase facade and hand rail.

The Phoe-nix office of Shepley Bulfinch has announced two new projects. The architectural firm is wrapping up the renovation of the dining facilities at the Worner Center at Colorado College in Colorado Springs, Colorado. The fast-track renovation–the first major renovation for

the Worner Center in its �0-year-history–is geared toward obtaining LEED-EB certifi-cation. The architectural firm has also been selected to design Double Cask, a �,�00-square-foot gastropub in Avondale, Arizona. The design includes rustic materials, market walls, an exposed kitchen, filament lighting and large garage doors that will open onto patios.

In other Shepley Bulfinch Phoenix news, Katherine Westrick, EDAC, LEED AP, has joined the firm as a member of the healthcare design practice. Westrick has a bachelor’s degree from the Uni-versity of Michigan.

CSHQA, headquartered in Boise, Idaho, has been awarded

a contract with the Oregon

Department of Energy to con-duct 48 comprehensive energy audits of K-1� school facilities. The architectural and engineering firm is one of 11 firms selected to participate in the first step of a multi-phase, statewide effort to improve energy efficiency at �00 Oregon school facilities.

Meltdown Glass project at Baylor cancer center.

Shepley Bulfinch’s Worner Center.

Katherine Westrick

Danoski Clutts’ Designs By Jeff White

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w a t c h e sS tIn other CSHQA news, Kathy Hopkins

has joined the firm’s mechanical engineer-ing department. With more than 30 years’ experience as a project designer, Hopkins will be involved with the firm’s commercial and retail projects.

Architect Paolo Soleri has retired as president and CEO of Paradise Valley, Ari-zona-based Cosanti Foundation. Soleri, best known for his Arcosanti community in cen-tral Arizona, will hand over the foundation’s leadership to Boston architect Jeff Stein, AIA, a longtime Soleri collaborator. The 9�-year-old Soleri’s most recent project, the Soleri Bridge in downtown Scottsdale, Ari-zona, was completed in �010.

The Scottsdale, Arizona interior design firm Est Est has hired four interior design-

ers. Bryan Anderson, an Arizona State University graduate; Dominic Andrade, a graduate of Northern Arizona University; Lygia Harkins, who has an interior design degree from Scottsdale Community Col-lege; and Lindsay Murray, who has a degree from Northern Arizona University, have recently joined the firm.

PHX Architecture of Scottsdale, Arizona has announced a staff addi-tion and a certification. Laura Hughes, AIA, a graduate of the Rhode Island School of Design, has joined the firm and is currently completing her NCARB certifica-tion. Architect Maurita

Walker, AIA, LEED BD+C, CSBA, is now a Certified Sustain-

able Building Advisor, one of 800 nationally to receive this certification.

The Tucson office of STG Design, an architecture, interiors and planning firm, has hired Sally Chavez, ASID, LEED AP as interior designer. Chavez has previous experience in government, healthcare, com-mercial and educational projects.

Arizona Tile has recognized three employees who are celebrating 30 years with the commercial and residential tile distributing company. Randy Morreim, vice president of the stone division; Bob Shuford,

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Thoma-Holec Design LLC has moved to a new, 4,200-square-foot office in Mesa, Ari-zona. The interior design firm, founded by LuAnn Thoma-Holec, ASID, specializes in senior living and specialized care communi-ties. The new address is �� E. Hampton Ave., Suite 11�, Mesa, Arizona.

Studio ADT, a to-the-trade supplier of original art, posters, photographs and fram-ing owned by Anthony Tremonto, has relo-

cated to larger quarters. The new address is �1�0 E. 6th St., Suite 8, Tempe, Arizona.

Elite Home Theater Seating has opened a permanent showroom at the Las Vegas

Design Center. The Canadian designer of custom home-theater seating has leased a 460-square-foot showroom at the center.

Pacific Resource Group has been selected as the Arizona agent showroom for Rob-

ert Allen/Beacon Hill. The showroom is located at the Arizona Design Center in Scottsdale.n

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marketing

B y K i m b e r l y M a c A r t h u r G r a h a m

n the last column, I shared advIce on naming your business. as many of you have pointed out, identifying that perfect name is only half the fun–or half the battle, depending upon your point of view. You also need to carefully select the graphic equivalent of that “for-ever” name, a logo.

a logo can incorporate typography or imagery–or both, can be photo-realistic or wholly abstracted, color-ful or black “ink” only. like your name, it can be almost anything you dream up–but that doesn’t mean that it should be.

Your company’s logo, like its name, is an opportunity. many clients realize it’s a chance to look good, but what you need to keep in mind is that it’s a chance at real, emotional connection with a potential cli-ent. and that is what successful marketing is all about.

When choosing a logo, there are a range of functional considerations, of course, such as making sure a mark is legible when reproduced in black only or at a small size. (ever squinted at a business card, wonder-ing about the splotch so carefully centered above the cardholder’s name?)

But, again, it’s a process, and it’s also about trust in your design and marketing firm. the most successful identities are based on trust. Following are recommendations for select-ing a company logo.

Pick a designer whose style speaks to you. You wouldn’t ask a world-renowned opera singer to perform rock n’ roll, right? same goes for graphic designers. While many are capable of working in many different styles, all have a preference. It’s simply smart to select a designer whose style dovetails with yours. You’ll get a strong part-nership and the designer’s best work.

Connect images to words for maximum impact. remember that your company’s logo is a visual partner for its name. each should enhance the other and together, they should convey the essence of your compa-ny’s brand. one of the best tools for early logo develop-ment is to think of five words that describe your business, its personality and vision. (of course, these words should be readily available if you’ve just completed your compa-ny’s naming / brand messaging.)

Expect a rough start. Based on an initial brainstorm meeting with your designer, you can expect to see a half-dozen rough sketches. Be open to the designer’s ideas, but candid with your feedback, since your input will be used to narrow the field to two or three more refined versions, possibly in vector format (and typically without color, so that you can focus on form). From these, you’ll work together to identify a single, favorite concept, which might combine aspects of the ideas presented thus far, for final refinement and color exploration.

Consider the use of emotional branding. While you might not initially see how a non-traditional symbol repre-sents your business, think beyond the literal to the emotional. Why do so many com-panies use animals in their logos? Because people’s very emotional relationships with critters translates to an emotional con-nection with the brand. Firefox, msn, Bacardi, lacoste, Ferrari, swarovski are just a few examples.

Put it to the test. When testing a logo concept (ideally while in the grayscale stage), ask to see it on a mock-up of a web page or a brochure. see how it holds up alongside text blocks or other graphic ele-

ments. does it get lost? If your logo concept is vertical, how does it read in the horizontal format of a web page? how does it fit into a header? If your header needs to be stretched vertically to accommodate the logo, you might lose space to display vital information “above the fold.”

If you love it, set it free. this is the hard part. Bring ideas, give input and seek feedback from knowledgeable peers (early in the process, so you don’t pay for a rede-sign), but remember that you’ve hired a graphic designer because he or she offers expertise you do not have. Free your designer, free yourself, free your logo. It’ll be a beau-tiful thing. n

Kimberly MacArthur Graham is founding principal of Layer Cake, LLC, a boutique firm that specializes in marketing communications and publicity for clients in the building and design industry. For more information, visit www.GoLayer Cake.com or contact [email protected] or (720) 836-7117.

I

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your company’s

logo is a visual

partner for its

name. Each

should enhance

the other.


lthough the tItle oF thIs article implies I am suggesting you fire your marketing director, I am not. In fact, I

believe that every ounce of energy from every principal, project manager, officer of the company, marketing direc-tor and others must now be spent in the focused pursuit of real, billable work. any energy not focused on securing billable work is wasted. here are 15 reasons why not to keep your current marketing director.

1. 100 percent non-chargeable. With all the effort that goes into securing projects through writing proposals, maintaining client relationships and win-ning presentations, every marketing director should find ways to charge time to real proj-ects. We know of several firms that maintain accurate accounting records of all marketing time prior to selection and then include that time in the fee estimate provided to client, thereby getting paid for their actual market-ing.

2. Response to every RFP. Your marketing director should understand the focus of your practice and should be direct-ing energy and efforts to determine just those rFPs that fit your firm’s skills. Wast-ing time by responding to every rFP that comes to your firm will demoralize project managers and never produce an effective hit rate.

3. Pursuing loss leaders. Your marketing director must understand that in these economic times loss leaders cannot be tolerated. clients who promise future work in this environment are everywhere. unfortunately, many firms respond to the sirens put forth by such clients, wast-ing enormous amounts of productive time and rates and fees that generate losses instead of profits.

4. No building of strategic alliances. one of the critical roles of the marketing director in a design practice is to build critical alliances with other design firms, cli-ents, contractors and sub-consultants that can lead to more work. any marketing director not pursuing such alliances is not fulfilling their role correctly.

5. No coaching of project managers in proposal writing. effective marketing directors coach, guide, teach and constructively edit the work of project manag-

ers, thereby expanding a firm’s ability to respond to each rFP in a customized manner without sacrificing the integrity of the firm’s liberal message and brand.

6. Effective research. one of the most important roles of the marketing director is to lead the effort on mar-ket research. doing so requires that the marketing direc-tor be a student of demographics, statistics and economic data—being able to discern critical information from conversations with analysts, clients, contractors, sub-con-sultants and others to identify networks of clients that have billable work for your firm.

7. Boundless energy. great market-ing directors thrive on the chase, indulg-ing in every aspect of pursuing new work with seemingly boundless energy. If your marketing director seems beaten-down and exhausted by the current economic situa-tion, perhaps it is time for a change.

8. Impeccably organized. Pursuing dozens of leads for design and construction work requires impeccable organization to assure that each plan for a proposal, fee negotiation and presentation contains every detail necessary to beat the competition.

9. Media savvy. an effective marketing director must understand all aspects of pub-lic relations including how to manage the media, take advantage of opportunities to

be in the media and possess a developing network of press and media contacts that can spread information about your firm. media today includes social networks such as Facebook and twitter, and today’s marketing director must be a proponent of network communications and a leader in its execution.

10. Keeper of the brand. Brand is a promise that anyone truly understands is derived by associating with your firm. an effective marketing director understands brand power and never misses the opportunity to deliver on the promise.

11. Relationship management. the best market-ing directors establish systems to help all principals man-age client relations. Because many design professionals are not effective at maintaining or building interpersonal relationships with clients, it falls to the effective marketing

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director to maintain calendars, to remind principals to make calls to generate draft e-mails and to set up meetings necessary for effective relationship management.

12. Website leadership. Your web-site is your new brochure. accordingly, the marketing director must be in charge of maintaining and updating every aspect of your website. In today’s fast-paced technologically driven world, this could mean daily changes. a good marketing director hires the right people to build and manage a firm’s website and monitors all information posted to it.

13. Blog maintenance. a firm without a blog in 2011 is losing ground to the competition every day. having a blog means that someone in your office must update questions and answers and maintain a dialogue with bloggers daily. good marketing directors understand the importance of blog correspondence in today’s world, and create the circum-stances necessary for your firm to main-tain an effective blog.

14. Writing a marketing plan. It is the role of the marketing director to draft the firm’s marketing plan suggest-ing strategies, goals and tactics, and the appropriate authority and responsibility for each task in the plan. additionally, the plan must contain economic targets for projects and fees necessary to achieve the firm’s strategic growth.

15. Self-improvement. In spite of the workload and economy, your mar-keting director must believe their own effort on self-improvement—through outside study, online courses, mentor-ing, or other related educational activi-ties

If you find yourself disagreeing with any of these 15 points, remember there are competing firms whose marketing directors are leaders in all 15 items. If your firm has a marketing director that fails in excess of 50 percent of these tests, now is the time to change that person. n

Frank Stasiowski, FAIA, is the founder and president of PSMJ Resources, Inc., www.psmj.com. He can be reached at (617) 965-0055 or by e-mail at [email protected].

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To subscribe, just visit www.sourcesanddesign.com.

How Do You Keep Up With New Products?Q:

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Armstrong Ceiling and Wall Systems now offers design professionals the ability to create straight or curved ceiling-to-wall transitions for its WoodWorks Grille, WoodWorks Linear and MetalWorks Linear product lines, mean-ing all three lines can be installed in the ceil-ing, on a wall, or curved from ceiling down to wall. The radius from the ceiling to wall is formed through the use of either faceted Arm-strong Prelude main beams or fixed Serpen-tina main beams. The new capability results in complete ceiling and wall integration, offer-ing the opportunity to create signature spaces in hospitality, healthcare, retail and other set-tings. www.armstrong.com/walls.

Farrow & Ball has unveiled its latest collec-tion of traditionally made wallpapers, The Broccato Papers, crafted using Farrow & Ball paint printed onto paper. The six wallpapers were inspired by the Italian Renaissance period. Named for the Italian word for “bro-cade,” the collection features floral and fruit patterns derived from decorative 14th- and 15th-century fabrics housed at the National Gallery in London. The collection’s patterns come in ten colorways. www.farrow-ball.com.

Designer David Mayne has a background in home furnishings showrooms but always had a yen for hands-on tin-kering. He’s now opened Table M Lamp Restora-tion in Denver, a

shop geared toward design professionals and specializing in lamp restoration and custom lamp making. He can make pen-dants out of hand-blown glass objets, craft brass stags into a traditional chandelier or, as shown here, restore a 19th-century gas fixture for the Colorado Historical Soci-ety’s Healy House museum in Leadville. 1309 S. Inca St., Denver, CO 80223; (303) 936-1425 or www.tablem.com.

before

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To meet the demand of increased teaming and collaborative spaces in today’s office, Gunlocke has launched the Trio line training tables. The col-lection combines simple design with flexibility and is available in 13 natural veneers, 13 Stratawood choices, 13 lami-nate finishes and five different edge details, all of which can be topped with Gunlocke’s Cleartech finishing system. The line offers LEED IEQ 4.5 compliant finishes, a high percentage of recycled content and FSC-certified models. www.gunlocke.com. n

B&B Italia has introduced Ray and Jean, two new compact armchairs designed by Antonio Citterio. The Ray chair features a bronze base detail and a slightly lower seat height. Jean has a slightly higher seat height, with the option of a back cushion, and features polished aluminum or painted bases in four colors. Both chairs have blanket stitching and come in numerous uphol-stery options. www.bebitalia.it.

QMotion motorized shades are smooth and silent, and can operate with or without a wire-less remote control. Powered by alkaline batter-ies, the shades are free of cords and wires, and feature crisp, clean, modern lines that make them applicable for residential and commercial installations. Shade fabrics are available in numerous colors and configurations ranging from 5 percent screen to blackout. www.qmotionshades.com.


Showroom} } } Ve n e m a n C o l l e c t i o n s L a s Ve g a s D e s i g n C e n t e r • L a s Ve g a s , N e v a d a

f you’ve ever lounged poolside at a luxe resort, tossed your iced latté cup into a chic, woven rattan trash receptacle or dined on a fashionable restaurant patio, chances are pretty good that you’ve experienced veneman collections. though the venerable outdoor furniture company does a brisk business on the residential side, it is well known for its collections that can withstand the rigors of hospitality settings, be they hyatts, marriotts, Four seasons or others around the world.

It made sense, then, for the firm to open a new cor-porate showroom in las vegas earlier this year, to be at the epicenter of that city’s ever-evolving hospitality design scene. the 2,000-square-foot showroom at the las vegas design center next to the mundo restaurant is run by showroom manager Brenda determan, who

helped design the space and its displays to accommodate larger pieces and appeal to hospitality as well as residential designers.

“We chose the las vegas design center location because it really draws not only from las vegas, but internationally,”explains Bill markowitz, veneman’s ceo. “We see business from south and central america and canada in las vegas, in addition to states such as arizona and california.”

veneman collections started as a family business in the early 1970s in Westminster, california, specializing in cast-aluminum outdoor furnishings. the company was sold to tropitone, then acquired by markowitz, a veteran of Brown Jordan, and his business partner, tim shannon, in 2003.

IVeneman Collection’s Cortez woven pool bed. Opposite top: A table and chairs from Veneman’s The Roger Thomas Collection. Opposite bottom: Armchairs and a table from Veneman’s Walt Disney Signature Collection.


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veneman still focuses on its cast-alumi-num products, making them at the califor-nia foundry. “We have every match plate still available,” markowitz says, “which means we can still bring back the retro lines.” the firm has added woven, rattan and teak collections, in products ranging from towel bins and stools to canopied pool beds and dining tables, designed by in-house artisans as well as name designers.

two recent collections include a Walt disney signature line and the roger thomas collection. “Walt disney enjoyed outdoor entertaining at home,” says mar-kowitz. “he also liked to design furniture for his own use. the company gave us access to his archives to inspire our collec-tion.”

the roger thomas collection, mar-kowitz points out, was spearheaded by the executive vice president of Wynn design and development, the creative force behind Wynn las vegas and macau, the Bellagio

and other casino resort properties. “roger has an art history background and his col-lection for us is influenced by classic French design.”

With styles ranging from very traditional to ultra-contemporary, designers can keep coming back to veneman collections for any kind of project. “designers like us, too, because it’s not one size fits all,” markowitz says. “We offer customization.”

markowitz notes that the products are all extremely durable and well-made, meant to stand up to hospitality use, which means that residential end-users can expect long life from their veneman collections pieces.

“We like to say that our furniture doesn’t get used, it gets abused, “ says markowitz, “and it still stays beautiful.” n

Veneman Collections, Las Vegas Design Center, 495 S. Grand Central Parkway, Suite A-114, Las Vegas, NV 89106; (702) 366-9918 or www.venemanfurniture.com.


Two Recent Projects Achieve The Ultimate Green Rating

B Y N O R A B U R B A T R U l S S O N

Xcel energy regional Headquarters

At 1800 larimer

Denver, Colorado

rnl

Denver, Colorado

lEED PlATINUMEx terior and lobby photography by Frank Ooms

Interior photography by Ron Pol lard

hen Xcel energY looked For a neW regIonal head-quarters site in denver where the firm could consolidate three previous loca-tions, their corporate tag line, “responsible by nature,” figured prominently in the search. the minneapolis-based utility company, which provides electric power and natural gas to eight Western and midwestern states, desired a leed Platinum building, in which they could create a leed Platinum interior for the regional headquarters.

Xcel found space at 1800 larimer, 22-story office tower in downtown denver that was not only certified leed-cs Platinum, but also offered full-height glass walls, 24,500-square-foot f loor plates and tall ceilings. completed last year, the highrise–the first to be built in the central business district in some 25 years–was

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a spec office tower designed by the denver office of rnl, an architecture, interiors and landscape architec-ture firm. the building, which includes parking for 413 cars, achieved Platinum status with features such as a roof garden, the use of recycled-content materials, reduced water usage, its proximity to public transportation and an under-floor air distribution system.

With a commitment of 14 f loors in the new build-ing, Xcel became the main tenant. But having rnl handle the utility company’s interior design was not a sure thing. “We had to interview for the project, explains interior designer annemarie dienstbach, an rnl principal. “It was not a done deal. the fact that we did the building was both a plus and a minus. Xcel wanted a tenant advocate, and we had to prove we could do the job.”

rnl was awarded the project, and a team that included dienstbach, interior designer rene stremel, IIda, leed aP; chairman and ceo (architecture) h. Joshua gould, aIa, leed aP; interior designers sara mcgarry, IIda, leed aP, michelle richter, leed Id+c; and Patty thwaites, leed aP; interior and architectural designer michael slater, leed aP Bd+c; associate david key, leed aP; and architect robert Beblavi, leed aP; came together to work on the Xcel job.

the team paid a visit to the utility’s minneapolis headquarters. Initially, the plan was to take design cues from the midwestern facility for the new space, which was slated to accommodate 1,300 employees. “We soon realized that we had a lot more design opportu-

nity in denver, given the building and the desire to achieve Platinum certification for the interior,” explains dienstbach.

“the minneapolis offices had small windows,” adds rene stremel. “the denver building had so much glass. there was no common design thread. also, Xcel was re-branding themselves with “responsible by nature,” so that fed into the design.

additionally, age played into the design of the denver quarters. according to dienst-bach, some 50 percent of Xcel’s employee base would be retiring within five years that meant that Xcel would be replacing half of its denver staff with new and, theoretically, younger workers. “the new space had to attract younger employees,” explains stremel. “that meant it had to be youthful and energetic, and emphasize collaboration and transparency.”

With one f loor dedicated to computers and training, and one designated as an executive level, the rnl team devised a f loorplan for the remaining f loors that placed workstations

Opposite page: The 1800 larimer lobby includes a corner waiting area for Xcel Energy. Above: Glass-topped workstations, de-mountable glass walls and plenty of gathering spaces combine to create a light-filled, flexible office that encourages collaboration. Below: On the executive level, pops of red spark a cool color scheme.


at the perimeters of the floor, allowing those areas to have the majority of the views of downtown denver’s street scene and natural daylight. a small cluster of private offices and conference spaces occupy the ends of the f loorplan, while the central core is made up of elevator banks, a small elevator “landing space,” restrooms and storage. a break room and conference spaces f lank the elevator banks.

“there really isn’t an entry floor or reception areas on each f loor,” says dienstbach. “visitors check in on the ground floor, in the main lobby, and are escorted upstairs by an employee.”

the interior design for Xcel begins on the ground-floor lobby of the highrise, where visitors can learn about Xcel on a cluster of f lat-screen display panels, sur-rounded by circular seating. the main reception desk is split into two entities, one serving Xcel, and one serving the rest of the building.

up the elevators, every other f loor is color-coded a soothing, pale shade of green or blue, highlighted by pops of red and yellow. “We wanted a fresh, crisp palette with high contrast,” says stremel. “It brings a level of energy and vibrancy to the workspace.”

curved countertops in the break rooms and reception counters near the eleva-tors add contrast to the rectangular forms of the glass-topped workstations, as do curved ceiling details. demountable glass walls and workstations that can easily be reconfigured were installed to ensure f lexibility.

more than 40 percent of the furnishings were re-used from Xcel’s previous loca-tions. new pieces include molded maple barstools, bright yellow side chairs and coffee tables grouped together in collaborative “huddle” spots. each workstation

left: A curved ceiling detail adds interest to the executive level. Above: In a break room, a curved bar top encourages coffee talk away from the kitchen portion of the space.


Architecture and interior design: RNL, 1050 17th St., Suite A200, Denver, CO 80265; (303) 295-1717 or www.rnldesign.com.

Workstations: Steelcase, www.steelcase.com.

Demountable walls: KI, www.ki.com.

Carpeting: C&A Floorcoverings/Tandus, www.tandus.com.

Bar stools: Stylex, www.stylex.com.

Side chairs: Coalesse, www.coalesse.com.

also includes a cushion-topped file cabinet, which can be pulled out for additional seating. contemporary pendant lighting, patterned carpet tile f looring and framed graphics that depict everything from utility poles and windmills to wind turbines finish off each floor.

completed last year, the project is registered as pursuing leed-cI Platinum certification through the use of such strategies as daylighting and occupancy sensors, user-controlled hvac, low water-use plumb-ing fixtures and recycled content in numerous materials ranging from carpeting and countertops to glass tile and gypsum board.

the sustainable design, summarizes stremel, is meant to appeal to a more youthful worker. “the younger generation likes to engage, move around and collaborate. they’re less hierarchical.”

Above: A tree-filled plaza links the 1800 larimer lobby to the street. left: Flat-screen displays tell the story of Xcel in the building’s ground-floor lobby.


Easton CollECtion CEntErMusEuM of northErn arizona

he 200-acre MuseuM of NortherN arizoNa, fouNded in 1928 by zoologist harold s. colton and his artist wife, Mary-russell fer-rell colton, is a repository for the natural history and native culture of the surrounding colorado Plateau. sited in drifts of pine forest and meadows at the base of the san francisco Peaks, just north of downtown flagstaff, the museum campus consists of a historic stone museum building that’s open to the public and, across a busy highway linking flagstaff to the Grand canyon, the museum’s research and collections facilities.

until recently, the museum’s five million Native american artifacts, which range from prehistoric pottery to contemporary textiles, natural science speci-mens and fine art pieces were scattered throughout a variety of buildings located on the research/collections portion of the campus, a system that made it hard to research, catalogue, view and even safely maintain the items.

TFlagstaff, Arizona

James a. roberts, aia, lEED aP

roberts/Jones associates, inc.

Phoenix, Arizona

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several years ago, the museum’s director, robert G. Breunig, Ph.d, made it a priority to push for a central collections building. the result of that effort is the easton collection center, a 17,000-square-foot, Leed Platinum building designed by Jim roberts, princi-pal of the Phoenix architectural firm roberts/Jones associates, inc.

“the museum has an amazing collection,” says rob-erts, who spent part of his youth in flagstaff. “for every object you see displayed in the museum, there’s something like 50 more in collections. the museum’s most pressing issues when i stepped in was to preserve this collection, yet to make it more accessible to researchers.”

roberts and his design team started with a masterplan for the museum campus, as well as programming, not-ing that the research/collections portion of the campus consisted of a hodgepodge of buildings–some historic, some just old and utilitarian–and a jumble of driveways and parking spots.

roberts suggested a site for the new collection build-ing that faced numerous historic buildings, creating a courtyard of sorts, as well as a pedestrian-friendly traffic flow between the new and existing buildings, removing some of the old driveways and existing buildings to make way for new. rubble from the demolished buildings was recycled into the construction of the new collection

center, which was carefully placed on the site to preserve a series of mature ponderosa pine trees.

the form of the new building arose organically, inspired by the site itself, as well as conversations roberts had with the museum’s advisory panel, which included representatives from several Native american tribes. “the way we sited the building, you would approach it from the south,” explains roberts. “But according to Native american beliefs, the entry should be on the east to meet the rising sun. in this case, the east side also faces the mountains.”

roberts devised a curving wall, which arcs from south to east, to lead visitors from the parking area to the front of the building. the rest of the building zig-zags away from the curve, with a roofline that angles upward toward the mountains. indoors, the f loorplan includes a lobby and offices, a mezzanine for research and a vast storage core.

cladding the curving wall in native sandstone–a visual link to the historic museum across the street, roberts had the other exterior walls done in a ruddy-hued lime plaster, anchoring the building to flagstaff ’s volcanic soils. a bank of windows along the curving south wall breaks up the facade and provides natural daylight to the south-facing offices, as well as passive solar heat gain during the winter months. roberts

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opposite page and above: A curving stone wall leads from the parking lot to the main entrance. Weathered steel panels bear styl-ized native American graphics. The center’s living roof bears native grasses and other plants.


detailed the exterior with weathered steel, as a nod to the metal roof of an adjacent historic building, and used stylized Native american motifs as graphic elements.

Perhaps the most notable element of the building’s exterior is the living roof, angled at a 14-degree pitch away from the parking area. the 4,000-square-foot living roof, which doubles as a research facil-ity for museum-connected botanists, is planted with drought-tolerant native species, including grasses, that inhabit the surrounding meadows. rainwater and snowmelt drain into a series of stepped planters, which filter the runoff into a 20,000-gallon cistern. the living roof also serves to link the building to the site.

inside, the lobby’s polished concrete flooring is marked by a graphic design depicting the four directions, important in Native american belief systems. additionally, a 20-foot-high slot window near the front entrance serves as a solar aperture, allowing the rays of the vernal and autumnal equinoxes to glow across the lobby. Within the storage core, sealed cases on tracks allow researchers to organize and examine the collections.

to protect the collections, indoor air quality was a major concern in the project. however, roberts, the museum curators and consultants opted to take a more natural path. “the museum is in a high, dry

environment,” notes the architect, “and the objects within the collec-tion were made and lived in this environment. We chose a f loating parameter for the indoor environment.” the parameter allows for indoor temperatures to range from about 60 degrees in the winter to about 70 in the summer, with a humidity level of about 35 percent, plus or minus eight percent. With the building’s thermal mass, tempera-ture and humidity levels can’t change that quickly, and the “floating parameter” saves energy as well. the tightly sealed building is also slightly pressurized to prevent unfiltered air from entering, important in a region where wildfires are virtually an annual event.

the collection center’s Leed Platinum designation came as a result of numerous other strategies and materials. a photovoltaic array on the roof is capable of providing 27 percent of the building’s energy needs. solatube daylighting devices help illuminate the interior. Low water-use plumbing fixtures were installed. any wood products used were made of reclaimed lumber or fsc-certified materials. outdoors, walkways and parking spots employ permeable paving materials. the parking area is equipped with a charging station for electric vehicles, including those that shuttle employees and visitors around the museum campus.

completed two years ago, the collection center is slowly being filled with objects ranging from seeds to pots, carefully brought over from smaller, outlying buildings. though the new building serves its purpose well, there’s always an eye toward tomorrow.

“the building was designed to be doubled in size for the future,” says roberts. n

Above: A slot window next to the entry door acts as a solar aperture. left: Petrified wood speci-mens were used in the landscape surrounding the building.

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Architecture and masterplanning: Roberts/Jones Associates, Inc., 2525 E. Arizona Biltmore Circle, Suite B128, Phoenix, AZ 85016; (602) 955-7575 or www.robertsjones.com.

Living roof consultant: Rana Creek, 10 Harris Court, Suite C-5, Monterey, CA 93940; (831) 659-3820 or www.ranacreek.com.

Energy modeling: Quest Energy Group, 1620 W. Fountainhead Parkway, Suite 210, Tempe, AZ 85282; (480) 467-2480 or www.questenergy.com. Daylighting systems: Solatube, www.solatube.com.

Collection storage system: Spacesaver/Delta Designs Ltd., http://museum.spacesaver.com.

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inside the collection center, a floor graphic depicts the four directions.


Windsor And churnPhoenix, Arizona

Shepley BulfinchPhoenix, Arizona

By norA BurBA Trulsson

PhoTogrAPhy By MATT WinquisT/shePley BulFinchi P r oj e c T W A l k-T h r o u g h i

siNce the 1940s, the red Brick aNd stacked saNdstoNe strip mall served the Windsor square neighborhood in central Phoenix. a f loral shop and a beauty salon, best known for creating the iconic, cotton-candy beehive sported by arizona’s former Governor rose Mofford, were among the many businesses that have called the 4,200-square-foot shopping

center home.When the building went on the market a few years ago, some neighbors across the

street took note. Lauren and Wyatt Bailey, and kris and craig deMarco, partners in upward Projects, the company behind the über-successful Postino Winecafe, thought the nearby strip mall would make a great location for a new restaurant.

“We didn’t really have a concept in mind,” admits Lauren Bailey, “but we decided to let the building dictate the concept.” despite layers of old paint and “really ugly turquoise awnings,” the partners decided that the building had great bones and charm. the seeds for what became Windsor, a neighborhood restaurant and bar, and adjacent churn, an ice cream and candy parlor, were planted.

Above: The 18-seat bar anchors Windsor’s interior. opposite page: The exterior was renovated to expose the brick walls. new hardscape and plantings add a modern touch.


the Phoenix office of shepley Bulfinch was enlisted to design the adaptive re-use project, spearheaded by principal architect Joe herzog, aia, who worked with project manager/designer ryan Grabe and firm principal chris Nieto. “the restaurant partners had a soulful concept,” recalls Nieto. they wanted it to be a neighborhood res-taurant that was both family-friendly and had a great bar, plus an ice cream shop that would appeal to everyone.”

the design team found the building, which had six bays for different businesses, to be structurally sound, but the existing systems had to be brought up to code. they opted to remove brick partition walls between the first three bays to create the space for Windsor, dedicated the fourth bay to churn and the fifth to the pastry kitchen serving both both eateries. a salon still occupies the sixth bay.

a floorplan challenge was keeping Windsor and churn separate, yet connected. the design team opted to keep front and back entrances for both establishments, then connected them with a back hallway, which allows patrons to travel between both without having to step outdoors. two restrooms that serve both eateries were placed along the hallway.

indoors, Windsor is anchored by a central bar, equipped with both draft beer and wine service, that can seat 18. tables and booths wrap around the bar in an L shape. “We wanted the restaurant to reveal itself as you walk around,” says Grabe. “You don’t walk in and look at a sea of tables.” exposed ceilings, soda-blasted brick walls and the original

Top: churn’s bright interior includes traditional cabinetry, honeycomb tile flooring and marble coun-tertops. Above: in back, an old storage building (left) was re-purposed into a dining ramada. Tables and chairs down the center serve both Windsor and churn. opposite page: Friends and neighbors donated some 2,500 cassette tapes to serve as a community art project down the hallway connecting Windsor and churn.


concrete flooring (a white rectangle marks the spot where the f lorist’s cooler once stood) provide an imperfect, warm and patinaed backdrop that creates the restaurant’s public-house ambiance. the design theme is further carried out with furnishings and accessories such as vintage molded plywood school chairs, chicken-wire glass-front cabinetry above the bar and mirrors crafted out of window frames from New York’s flatiron Building, all finds by Lauren Bailey and the partners, who spent months scouring websites, vintage-furniture dealers and antiques stores for interior details.

While the interior of Windsor is warm and moody, churn is bright, white and cheerful, marked by honeycomb tile f looring, traditional cabinetry and marble countertops, with pops of color com-ing from wall graphics, vintage candy displays on shelves and tubs of ice cream.

a special community art project was installed in the hallway between Windsor and churn. “i

Above: The patio’s brick pavers were recycled from demolished interior partition walls. right: A collection of wire chairs awaits churn customers.


was inspired by the story of a homeless man who lived under a bridge,” explains Lauren Bailey. “he glued cassette tapes to the bridge walls for decoration.” Bailey sent out an e-mail blast to friends, patrons and neighbors asking them to donate old cassette tapes, collected some 2,500 and had them glued to the hallway wall. “We put a drink rail under the installation so people could hang out there and look at the tapes to see how many they recognize.”

outdoor spaces were equally detailed. the building’s original wood doors and windows were meticulously duplicated and replaced. one section of back wall was replaced with a telescoping window wall that allows the bar and patio to be connected. the shepley Bulfinch team recycled brick from the interior partition walls into a back patio and converted an old storage shed in the back into a ramada-like structure for outdoor dining. exterior lighting, gutters and downspouts were replaced with vintage-style weathered steel pieces. outdoor furnishings include salvaged chairs from arizona state university, reupholstered in plaid fabric backs and baseball-stitched seating, and vintage oil cans used as f lower pots.

opened in april of this year, Windsor and churn has been a hit with the neighborhood–and beyond. on any given night, it’s filled with

families who come for dinner and ice cream treats, young professionals who hang with friends at the bar and couples enjoying a meal out.

“the place is always packed,” says Nieto. “it’s comfortable and accessible, so people tend to come back often.” n

Architecture: Shepley Bulfinch, 1437 N. First St., Suite 201, Phoenix, AZ

85004; (602) 430-3223 or www.shepleybulfinch.com.

Landscape architecture: Chris Winters & Associates, 820 N. 3rd St.,

Phoenix, AZ 85004; (602) 955-8088.

General Contractor: Venue Projects, 748 W. Pierce St., Suite B, Phoenix, AZ

85007; (602) 390-9916 or www.venueprojects.com.

Bar: DB Woodworks, Phoenix, AZ; www.dbwoodworks.com.

Door and window reproduction: Michael Abbott, Phoenix, AZ;

(602) 370-3310

Telescoping window wall: Arcadia, www.arcadiainc.com.

Molded plywood chairs: Amsterdam Modern,

www.amsterdammodern.com.

Chicken-wire glass and Flatiron mirrors: Olde Good Things,

www.ogtstore.com.

An exposed ceiling and brick walls, along with an unadorned concrete floor, give Windsor a warm, aged look. seating is mid-century molded plywood school chairs.


ia utah’s fourth sustaiNaBLe desiGN exceLLeNce aWards 2011 competition recognized four projects–three workplaces and a low-tech home–that exemplify sustainable design principles. the projects, designed by utah-based firms, were juried by a panel that included david Miller, faia, of Miller hull Partnership in seattle; Jennifer Languell of trifecta construction solutions in ft. Myers, florida; and henry tom, aia, of Line and space design in tucson.

} } } Located at the edGe of saLt Lake citY’s downtown business district, the Bogue Building was built in 1904 for salt Lake engineering Works. the 24,400-square-foot pitched-roof brick warehouse is on the National register of historic Places and proved to be the ideal new home for ffkr architects. the firm embarked on a sensitive adaptive re-use program that included leaving most of the building and its architectural details intact, cleaning up the surrounding brownfield and creating a shady, drought-tolerant landscape. sustainable strategies and systems in the building also include the use of historic and new skylights, natural ventilation, motion-sensitive lighting and photovoltaic panels. additionally, the architectural firm committed to green business practices, including recycling and the use of green clean-ing products. Last year, the building received Leed eB silver certification, the first in the state.

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Architectural NexusSalt Lake City

} } }arChiTeCTural nexus Trans-formed a nondescript, 1960s suburban fitness center into their new, sophisticated and open architectural studio. The 30,000-square-foot building was opened up and a portion of the roof removed to create an atrium, which brings light to the building’s central core. The existing gym floor was repurposed into f loating ceiling panels that hover over conference areas, while existing bathroom and locker areas were maintained but scaled back to suit the needs of office workers. a new double-height, glazed entry and perforated metal panels helped to modernize the exte-rior. sustainable elements include drought-tolerant landscaping, low water-use plumbing, photovoltaic panels and new, energy-efficient electrical, mechani-cal and ventilation systems. The building received leed Platinum certification in March.

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} } }designbuildbluff is a nonProfiT organization under the direction of hank louis that builds low-cost, sustain-able homes in the navajo nation. a recent project, designed and built with the help of the university of utah architecture students, is the whitehorse residence in Montezuma Creek. The three-bedroom, one bath, 1,025-square-foot home’s form was influenced by the lines of single-wide trailer as well as a pole barn. raised on a telephone pole foundation that allows fine sand to blow beneath, rather than against the structure, the home’s building materials include recycled sheets of aluminum, reconstituted shipping pallets and hand-mixed natural plaster. an adobe stove warms the interior, while windows provide natural ventilation. The shed roof directs rainwater to a buried cistern, which is pumped to provide bathroom and landscape water. n

}}} C i t A t i o n A w A r d

Whitehorse Residence

DesignBuildBLUFF

with Hank Louis, AIAPark City, Utah

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Hot SHotS}}} S c o t Z i m m e r m a n H e b e r C i t y, U t a h

P H O T O G R A P H E R S O F D E S I G N

n The early 1980s, PhoTograPher scot Zimmerman found himself living in fresno, California. Zimmerman, who’d started his career with a small shop and studio serv-ing the ski industry in Park City, utah, began noticing soaring, curving and angular modern buildings and homes around fresno. asking around, Zimmerman discovered they were all designed by architect arthur dyson.

after making a point of introducing himself to dyson, Zimmerman soon found himself shooting the architect’s work. “art got a portfo-lio,” says Zimmerman, “but he taught me to see the drama in architecture. he mentored me.”

The collaboration also led to a book, Romanza, The California Architecture of Frank Lloyd Wright, published by Chronicle books in 1988. doing the book, which was sparked by an idea from dyson and written by david geb-hardt, was both a learning experience and a suc-cess. “My life changed,” recalls Zimmerman. “it started my career.”

Zimmerman, a utah native and self-taught photographer, began working on numerous

architecture and design books, including The Details of Frank Lloyd Wright (Chronicle books, 1994), Architecture of Arthur Dyson (fresno art Museum, 1993) and California Cottage Style (sterling/Chapelle Publishing, 2003) written by his wife, writer and stylist ann Zimmer-man. he also found himself in demand as magazine photographer, submitting design images to House Beautiful, Western Interiors and Design, Architecture, Sunset, Utah Style and Design, Cooking with Paula Deen, and numerous other publications. More recently, he’s been shoot-ing resorts, including projects in new Mexico, south Carolina and florida. in between, there have been gallery showings of photographs, lec-tures and presentations.

“i wound up traveling all over the country shooting projects,” explains Zimmerman. “That’s why my client base is in many different states. The magazine and book projects led to meeting architects and interior designers who had me photograph projects for their portfo-lios.”

Known for his dramatic angles, lighting and saturated colors, Zimmerman embraced the digital age with gusto. “The digital revolution has allowed me to deliver the images i envi-sioned but could never do with film,” he notes.

I

Below: A commercial project by Lisman Studio, Salt Lake City. Right: A fountain at Frank Lloyd Wright’s Storer house.

“i don’t miss film at all.” last year, Zimmerman began experiment-

ing with architectural videos, capturing in motion the drama that his still photography portrays. “it’s been a steep learning curve. i have a glide camera that lets me walk through an interior without jerkiness. i’m aiming for videos of projects that architects and interior designers can link to their websites. i think a video can really capture the feeling of a space.”

These days, Zimmerman says he’s busy as ever. “Thirty years later, i’m still doing pho-tography and loving it. That says something, doesn’t it?” n

Scot Zimmerman Photography, Heber City, Utah, (800) 279-2757 or www.scotzimmermanphotography.com.

s o u r c e s + d e s i g n 37

Top: A Fresno residence by Arthur Dyson. Above: A residence by GSBS Architects, Salt Lake City. Left: A residence by Will Bruder + Partners, Ltd., Phoenix.


m a r k e t w a t c h

Lights Up, a brooklyn, new york-based lighting manufac-turer, has introduced lamp products that feature shades made of 100 percent recycled PeT (polyethylene terephthalate, a product used in soft-drink bottles), with patterns printed using water-based inks. The products are available in table and floor lamps, sconces, f lush ceiling mounts, chandeliers and pendants. Avail-able through Lights Up Arizona, Scottsdale, AZ; (480) 600-2504, www.lightsuparizona.com or www.lightsup.info.

Green ProductsNeed LEED points? Or are you just looking for products that are energy efficient and made sustainably? Here’s a sampling of the latest eco-friendly architectural and interior products on the market today.

ecoglass, a new line of textured architectural glass from Bend-heim, contains 60 percent recycled material. available in 10 textures and varying degrees of privacy, the material can be used in residential applications such as partitions, sliding doors, shower enclosures, cabinetry and more. Produced in europe’s only clean-burning oxygen/fuel-fired cast glass furnace, ecoglass is offered in 5/32”, 1/4” and 3/8” thicknesses and is available in sheets up to 70” by 126”. www.bendheim.com.

Caroma’s new invisi series ii wall-hung toilet hovers above the f loor, attached to the wall. Plumbing is hidden inside the wall for a clean, modern look. The tank, f lush valve and trap are designed to work as one optimized system, meaning less water is used per f lush. The toilet includes two buttons for f lushing: a half f lush that uses .8gpf, and the full f lush, which uses 1.28gpf. www.caromausa.com.


Crossville’s metal line, Mixology, is made with a minimum of 50 percent post-consumer recycled content, and was designed for com-mercial or residential interior vertical applications, suitable for accent walls, moulding, ceiling trim, chair rails, window and door borders, backsplashes and more. The line includes seven field tile designs in two sizes, plus ten trim options and two random mosaics in four finishes. www.crossvilleinc.com.

revolv stone composite tiles from Flux Studios are made with 76 percent recycled material collected from the area around the Chicago-based firm’s headquarters, includ-ing waste limestone from a local architec-tural ornament manufacturing site. The handmade tiles contain no petrochemicals and emit zero VoCs, and come in a con-temporary assortment of dimensional and relief tiles. suitable for use in walls or floors, wet or dry interior applications, commercial applications and outdoors in non-freezing environments, the revolv tiles come in 18 colors. Customization is available. www.fluxstudios.com.


The low-profile Modena range hood by Zephyr features dCbl suppression system, a quiet, direct-current, brushless motor that exceeds energy star requirements, using only 26 watts of energy and pulling approximately 30 percent more CfM on working speed settings. additionally, the stainless steel and glass canopy hood features a dim-mable led light, which uses only three watts of energy and offers 25,000 hours of life. www.zephyronline.com.


Bilco’s enhanced-performance roof hatch meets leed standards for recycled content and is about 48 percent more energy efficient than standard roof hatches. designed for buildings seeking leed certification and for those located in extreme climates, the product features a cover and curb that are fully insulated with two-inch polyisocyanurate thermal insulation board, which achieves an r-value of 12 and is ozone-friendly to protect the environment. it also has an ePdM finger-type gasket that ensures a positive seal. www.bilco.com.

Kaguya bamboo subway tile can be used in vertical applications, such as accent walls and backsplashes, in both commercial and residential set-tings where they are not subjected to repeated moisture. Made of 100 per-cent bamboo, the 2” by 4” tiles can complement a hardwood or bamboo floor. Available through Anchor Bay Tile, www.anchorbaytile.com.


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Four Hands’ new sierra Collection, which deliv-ers a modern, western design influ-ence, is made with 100 percent fsC-certified reclaimed and repurposed wood. each piece is handmade, features cast-iron hardware and is finished with a clear sealer and wax. The col-lection includes a bed, chest, table and credenza. www.fourhands.com.

Brentano’s new drapery fabric, sil-houette, is woven of 100 percent natural bamboo fiber, a fine yarn that is structur-ally similar to linen and shares the qualities of a supple hand and outstanding drape. The fabric features a luxurious luster, has good moisture absorbency, and is resistant to microorganisms and sunlight damage. www.brentanofabrics.com.

Sustainable Flooring’s Versacork f looring is sourced from the byproducts of Portugal’s wine-cork industry. discs of cork are placed on thick backing to create a mosaic sheet, which can be mounted onto any surface, then grouted. Cork, a renewable product, is anti-microbial and slip resistant, as well as a thermal and acoustic insulator. it can be used in commercial and residential applications, including wet areas, and seems especially perfect for wine bars. Available in Arizona through Misty Hancock, (602) 320-0798 or www.sustainableflooring.com.




The Bosch 800 Plus dishwasher uses only two gal-lons of water per cycle and 97 percent less energy than the federal standard. operating at a virtually silent 39 dba, the dishwasher features the infolight, a small red light that projects on the f loor to indicate the appliance is in use. The 24” stainless steel dishwasher has a third rack for additional capacity and has a half-load option for smaller amounts of dishes. Available through Ferguson Bath, Kitchen & Lighting Gallery, www.ferguson.com or www.bosch-home.com.

Ciralight’s smart skylights use sun-tracking mirrors to bring in full, natural daylight for up to 12 hours a day. each 4’ by 4’ skylight can light more than 800 square feet, without heat gain or use of electrical lighting. Available through South-West Daylight, Scottsdale, AZ; (480) 980-5091 or www.ciralightglobal.com.

adagio, the fiberglass/mineral fiber ceiling from CertainTeed is a hybrid design that combines the sound absorption of high-density fiberglass with the sound containment qualities of mineral fiber. The design eliminates the need for field-fabricated sandwich panels and full-height wall partitions that can add complexity and cost to construction. with a recycled content of 38 to 59 percent, the product can contribute to leed certification. www.certainteed.com.



Fireclay Tile has introduced Crush, a new united states-manufactured, 100 percent recycled glass tile. waste glass is sourced within 20 miles of fireclay’s san Jose, California manufacturing facilities. The firm employs a proprietary glass-fusing technology that’s paired with state-of-the-art kiln firing that uses about one quarter of the energy needed to make traditional glass tile. Custom colors, sizes and shape development are available. www.fireclaytile.com.

Maria Yee, a furniture company long known for its environmentally friendly manufacturing and business practices, has introduced the Papyrus sideboard. Made of responsibly har-vested elm wood and finished with natural tung tree oil, the sideboard includes three self-closing drawers and three bottom compartments with adjustable shelves. The hand-crafted piece also features leather pulls. Available through C.A.I. Designs, Denver Design District, 595 S. Broadway, Denver, CO 80209; (303) 282-8100, www.caidesigns.net or www.mariayee.com.



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ultimate fabric roman shades by DSC Window Fashions combines the look of a fabric roman shade with the insulating properties of cellular backing, resulting in a 62 percent reduction in heat or cold loss. Made in the united states, the product is available with dsC fabric choices or it can be made with CoM. Motorization is avail-able. www.dscwindowfashions.com.

recycled leather by Spinneybeck is produced by combining milled scraps of 100 percent vegetable-tanned leather and a natural rubber adhesive that emits no VoCs to form a paste, which is then pressed together using heavy rollers and heat to produce sheets. The product can be used for small leather-goods manufacturing, vertical surfaces and as a woven material for upholstered wall panels, shown here. like all spinneybeck leathers, the product is greenguard certi-fied. www.spinneybeck.com.


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eCo by Cosentino is a new counter-top and surfacing material made with 75 percent post-consumer and post-industrial recycled raw materials, including mirrors, glass, porcelain and crystallized ashes. bound together with an eco-friendly resin made in part with corn oil, the slab and tile product can be used for residential and commercial kitchen and bath projects. The product, which is available in 10 colors, has been recognized with a silver-level Cradle To Cradle certification. www.ecobycosentino.com. n


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DatebookS e p t e m b e r

September 14 Get Published: Portfolio Review, Las Vegas Design Center, Las Vegas, NV; www.lvdesigncenter.com/events. Tips for architects and interior designers on getting published, presented by Sources+Design editor Nora Burba Trulsson and Las Vegas architect Eric Strain, AIA.

September 16 IIDA Rocky Mountain Chapter Pret-A-Porter Fashion Show, Ellie Caulkins Opera House, Denver, CO; www.iidarmc.org.

September 17 Valley Forward Association’s 31st Annual Environmental Excellence Awards, The Westin Kierland Resort, Phoenix, AZ; www.valleyforward.org. Event honoring environmentally sensitive projects throughout metro Phoenix.

September 22 Architects Speak: Jess Holmes, FAIA, Historic Fifth Street School Auditorium, Las Vegas, NV; www.aialasvegas.org. AIA Las Vegas program on “Design in the Desert.”

September 23 AIA Denver Design Awards Gala, Denver Botanic Gardens, Denver, CO; www.aiacolorado.org.

September 23-24 AIA New Mexico State Conference and Awards Banquet, Santa Fe Hilton, Santa Fe, NM; www.aianewmexico.org.

O C t O b e r

October 4-7 Greenbuild 2011, Metro Toronto Convention Centre, Toronto, Canada; www.greenbuildexpo.org.

October 6-8 AIA Western Mountain Region Conference, Historic Fifth Street School, Las Vegas, NV; www.aialasvegas.org.

October 13 1952-2012/60 Years of Architecture: Reginald Sydnor and Douglas Sydnor, Appaloosa Branch Library, Scottsdale, AZ; www.scottsdalelibraryfriends.org. Lecture by Douglas Sydnor, FAIA, and discussion of his new book, Plugger: The Architecture of Reginald Sydnor, covering the work of his father from 1952 to 1994.

October 13 Design Under Par, Continental Golf Course, Scottsdale, AZ; www.idca.info. Fundraiser presented by Interior Design Coalition of Arizona.

October 30-November 2 ASLA Annual Meeting and Expo, San Diego Convention Center, San Diego, CA; www.asla.org.

N O v e m b e r

November 3 1952-2012/60 Years of Architecture: Reginald Sydnor and Douglas Sydnor, AIA Arizona offices, Phoenix, AZ; www.aia-phoenixmetro.org. Lecture by Douglas Sydnor, FAIA, and signing of his new book, Plugger: The Architecture of Reginald Sydnor, covering the work of his father from 1952 to 1994.

November 3 UnVeiled, Salt River Fields at Talking Stick, Scottsdale, AZ; www.iidasw.org. IIDA Southwest Chapter trade show.

Sponsored by Sources+Design. n


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