Category Archives: Project Spotlight

On Top of Their Game

Jean Nayar

Re:Vision designs a new state-of-the-art headquarters facility for real estate giant Jones Lang LaSalle that reflects best practices in commercial design across the board.

If there’s anyone who can truly appreciate the value of well-developed property it’s a real estate professional. So when the powerhouse global real estate advisory and investment management firm Jones Lang LaSalle prepared to relocate its Philadelphia headquarters recently, it was very clear about its requirements—and its intentions to demonstrate to its clients a workspace that would be well ahead of the curve in every way. After interviewing a group of design firms to create its new space, the company’s management honed in on Philadelphia-based Re:Vision Architecture for their ability to think outside the box.

“We were an unconventional choice for JLL because we’re a niche firm that focuses on sustainable design,” says Drew Lavine, Re:Vision’s lead architect on the project. “But they wanted something different and we demonstrated a real commitment to innovation.” JLL’s primary aim was to develop a state-of-the art regional hub that would serve as a functioning example to its clients of innovative practices in tenant fit-outs. “They wanted a space that would reflect their culture and their collaborative work approach,” explains Lavine. “And they also wanted a sustainable design that would meet LEED Platinum standards.”

At the outset of the project, Re:Vision facilitated collaborative programming sessions with JLL to define and develop consensus-based space needs. With a clear sense of its organizational foundation, the architects worked with the client to assess a series of premier locations in the Philadelphia central business district, doing qualitative and comparative analyses of base building systems and amenities as well as space conditions such as views, light, and orientation. They also worked out test fits of the program to the actual spaces for layout efficiency and design concepts, which ultimately led to the selection of a 10,000-sq. ft. space for 40 employees in a Class-A office tower at 1650 Arch Street.

 

Innovation was a key concept driving the design. “The client really wanted to express a sense of the firm’s vitality, not through excess, which is more common in real estate, but through innovation,” says Lavine. “So we emphasized innovation throughout in our space planning, in our integration of technology, and in our sustainable approach to design from day one.” Like any good real estate professional, JLL is particularly focused on the needs of its clients, who are involved with both commercial office space as well and industrial real estate. “JLL isn’t just brokering deals, it also serves as owner’s representative through design and construction and leasing and property management, too,” says Lavine. To visually inspire both groups of clients on first impression with their design, the architects challenged the spatial and material conventions of Class-A office space by exposing and polishing structural concrete floors, detaching ceilings and exposing deep steel beams, creating freestanding, transparent rooms in large open spaces, and defining public and work spaces with industrial materials, such as plywood and blackened steel.

To address the company’s collaborative approach to working, the architects developed a dynamic workplace organized around “neighborhoods,” which include a mix of structured and informal meeting spaces to accommodate different modes of collaboration. “As they move further away from paper-based working, their work style has become more akin to working in a café than in an office and flexibility was key to the design to accommodate future growth,” says Lavine. Among the different meeting areas anchoring the two ends of the office are a state-of-the art conference room designed for global teleconferencing and an informal café that functions as the multi-use heart of the office. Small zones with lounge seating offer additional relaxed areas for small group interaction. From a planning vantage point, JLL chose to move toward fewer assigned workspaces and more workspace sharing options. Rows of desks in collective work areas were designed to accommodate more “densified” seating over time as the workforce grows. State-of-the-art AV and networking interfaces allow for a variety of collaborative interactions.

Setting the sustainability bar as high as possible, JLL and Re:Vision also aimed for LEED Platinum certification—and the project is the first to achieve it for Commercial Interiors in Center City Philadelphia.

Among the broad cross-section of sustainability strategies employed, the architects reduced built space by more than 20 percent than the original program and more than 30 percent than the original RFP. This unbuilt space translated to a significant reduction in environmental impact not just through the embodied energy involved for new construction but also through reduced energy use over time. Through smart design and fixture selection, they also created a base lighting system that is 23 percent more efficient than code minimums. Plus, advanced occupancy and daylight harvesting controls from Lutron bring this efficiency to more than 50 percent better than code. The architectural and furniture design allow access to daylight and views from every workstation and all collaboration spaces.

One hundred percent of JLL’s furniture from its previous office was diverted from landfills, either by reusing it in the new space or sending it to corporate storage for use in future offices, and more than 60 percent of construction and furniture material was manufactured regionally. The custom carpet tiles from Interface offer high design, low-cost, sustainable characteristics and adhesive-free installation using TacTiles®, which made them a top choice for the architects in the office and conference areas.

In sum, the new headquarters space of this dynamic international real estate firm deftly reflects its culture and supports its business, and also proves JLL’s commitment to walking the talk of well-developed, well-managed, and sustainably designed real estate.

 

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Functionality and Timeless Design: Presbyterian Senior Living

Meeting Expectations From the Floor Up

When Presbyterian Senior Living (PSL) decided to install Interface carpet tile in six of its many mid Atlantic locations, it was for two key reasons—functionality and timeless design. With the task of managing home-like living and resident care, PSL needed a flooring product that not only met various codes for senior living environments, but from a design perspective offered a wide selection of styles, patterns and colors  to allow each facility to have a distinct look and feel.

Ease of installation, selective replacement and maintenance also prompted them to use Interface carpet tile. And after working with their design firm and seeing much success with the new buildings, PSL decided to install Interface carpet in its renovation projects as well.

Less hospital, more hospitality

_98F7853With senior living facilities straddling the line between residential and healthcare, the flooring must exude a home-like, healing, hospitality aesthetic while also meeting functional needs. As an interior designer who has worked with Interface for 15 years, Adair E. Pagnotta, director of interior design at Noelker and Hull Associates, knew that Interface products would fit the bill. “We needed a timeless, hospitality design that would meet the owner’s overall goals and codes and represent Pennsylvania’s Lancaster County heritage,” she says. With a wide range of styles, patterns and colorways, Interface covered the floors of a number of new buildings across PSL’s campuses, including independent living, personal care, skilled nursing and rehabilitation, giving each its own distinct, yet cohesive, look.

Functional, flexible, and fresh

With faster installation and minimal downtime in occupied spaces, PSL’s renovation projects were much easier using Interface carpet tiles. According to Rodney L. Fenstermacher, Corporate Director of Construction and Environmental Services at Presbyterian Senior Living, since it didn’t disrupt the day’s activities, it was much more convenient for residents than other flooring alternatives. And when damage to the flooring occurred—as is expected in senior living spaces—Interface carpet tiles changed out with ease. Fenstermacher recalls when a medication permanently stained a floor; just the one tile was replaced without altering the look of the floor. He points to this flexibility as a critical advantage of using Interface modular carpet over broadloom.

Fenstermacher also appreciates that all Interface products include Intersept®, the proprietary antimicrobial preservative that protects the carpet against odor causing bacteria. “We have various events that involve liquid and keeping spills from settling to the lower surface is very important to us to prohibit mold and odor,” says Fenstermacher.

Lasting impressions

In addition to the aesthetic and performance advantages of Interface carpet tile, Interface also strives to offer a positive customer experience. Pagnotta attests to Interface’s exceptional customer service, saying that her Interface representative is “someone who cares about us as a firm and cares about our work with the customer. They take pride in what they do to ensure that not only as designers we are able to work with Interface, but there’s confidence garnered with the customer in the end,” she says.

But the real test was with the residents and staff. After conversations with residents, Pagnotta heard only positive feedback with the most resounding response being that it’s a “beautiful installation.” She says, “Some didn’t even realize it was carpet tile until someone told them.”

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Easy Maintenance Meets High Level Design

When the Hamilton City School District in Ohio commissioned Cincinnati-based SHP Leading Design to design eight new elementary schools, the objective was to make the schools more equitable across the district. The scope of the project, completed in 2010, included classrooms, extended learning areas, media centers, administrative offices, gyms, and cafeterias. While each school was to have a distinct, high level design aesthetic, ease of maintenance and sustainability rounded out the top criteria for the newly designed spaces. Interface carpet tile answered the call on all counts.

Distinct design, equal impact

To create a unique look and feel for each school, SHP devised two sets of themes. Four schools reflected the four seasons with a palette based on winter, spring, summer, and fall, and the other four schools were inspired by the elements (fire, water, earth, and wind). Using these themes to determine the colors and signage, SHP began with the floor. “We actually started with the Interface carpet tile as the foundation of the color scheme for the themes,” Malatesta says of how the interior design scheme evolved. “It was the spring board for the color theme for the rest of the materials. We were looking for a lot of blues, some neutrals, lime green – basically every color in the rainbow. We were also able to do some intense, larger scale patterns and provide more of an impact than what you would find in a typical school,” she asserts. “And the feedback from students, staff, and parents has been overwhelmingly positive.”

 

Easy to maintain, tough to stain

“The main thing we were looking for was a product that would be easy to maintain, [and] carpet tile allows easy replacement for any damage or soiling. So, that is what drove the idea behind the carpet tile,” explains SHP senior interior designer Carrie Malatesta. As such, Interface became the impetus for the entire design scheme with carpet tile being used in many spaces.

“I’ve had great results with the modular carpet,” says Dennis Haynes, custodian at RidgewayElementary School. “It’s easy to clean, and I’ve only had to replace one piece in about three years.

Throughout the facilities, SHP used a combination of Interface modular carpet with TacTiles® connectors glue-free installation system or spread adhesive, based on area of need. Not every classroom was carpeted, so in areas with VCT flooring, the designers created area rugs using TacTiles connectors to adhere the carpet tiles to each other.

Crissy Ponder, a custodian at Highland Elementary School, attests that Interface carpet tile definitely performs better than the old carpet. “It’s pretty hard to stain, and if needed, it changes out easily. We had to replace four tiles when someone welded an object and didn’t use a drop cloth. The selective replacement was great.”

Points for sustainability

Sustainability was an important part of the criteria in choosing a flooring solution for this large scale (90,500 square feet) project. Conscious that LEED Silver Certification was a requirement for all of these facilities, Interface carpet tile was a logical choice. “These schools are partially funded by the Ohio Schools Facilities Commission, and all of those schools need to have LEED Silver certification. So we were definitely looking for materials and products [like Interface carpet tiles] that would contribute toward LEED certification,” says Malatesta.

Beyond the potential contribution to LEED credits, Interface carpet tile also offers the environmental benefits of a long, useful life. The high-performance flooring holds up well against the wear and tear of young students on a daily basis, and the option of selective replacement extends the life of the overall floor. To that end Malatesta says that she was in one of the Hamilton schools just months ago, and the Interface carpet tile looked like it had just been installed—three years after its actual installation.

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Forward Thinking

Jean Nayar
Adobe headquarters workplace floor, San Jose, Calif., designed by Valerio Dewalt Train Architects. Photography by David Wakely.

Adobe headquarters workplace floor, San Jose, Calif., designed by Valerio Dewalt Train Architects. Photography by David Wakely.

In the lightning-paced technology industry, new startups and established companies alike must constantly adapt to stay viable in today’s hyper-competitive marketplace. Over its 30+-year history, Adobe, a global leader in digital marketing and media solutions, has done just that—crafting tools and providing services that allow its customers to develop groundbreaking digital content across different platforms, and to measure, manage, and monetize it as well.

While the company itself has constantly changed to meet today’s business demands, until recently the interiors of its headquarters facility in San Jose, Calif., were entrenched in a mid-1990s point of view. So Adobe’s leaders enlisted architects from Valerio Dewalt Train’s Palo Alto office to transform its spaces to reflect the forward-thinking solutions it delivers to its customers. The results exude an arty-techno quality that aptly resonates with Adobe’s philosophy and aligns with its creative image in the business world.

“Over the years, Adobe had moved from its traditional boxed software products to digital publishing and other digital marketing services that allow a new model of user interface to measure web traffic,” says Antonio Caliz, Valerio Dewalt Train’s senior associate on the project. “The company is delivering big solutions to its clients, who expect forward-thinking offices, but the company’s interiors were stuck in the past—with enclosed offices around the perimeters and a few conference rooms near the core. So we pushed the envelope for more open, collaborative, sustainable spaces filled with natural light.”

Adobe’s headquarters is a vertical campus with three multi-story buildings on a tight urban site. “The question was “how do we create a current space in Silicon Valley, which is a suburb of San Francisco that’s aiming to be an epicenter of its own, yet has few contextual points of reference?’” says William Turner, senior associate from Valerio Dewalt Train. The designers’ first opportunity to create a fresher environment for Adobe was in its Customer Experience Center, where its executive team meets with clients from metropolitan areas all over the country. “In developing the look and feel of the space, we turned toward the intersection between the digital world and the arts for points of reference,” says Caliz, noting Adobe’s exceptionally creative approach to developing technology.

As such, the designers reshaped this part of the facility with gallery-like spaces that blend materials one would see in an urban loft, such as exposed brick, timbers, and concrete floors, with advanced media elements like extra-large touch screens and interactive speakers that play up the company’s technological expertise. They also crafted a series of open, interactive spaces with a variety of seating groups for different types of interaction. “The spaces began to take on a domestic, casual work/live quality,” says Caliz, “which aligns with today’s more collaborative approach to doing business.”

Contrasting materials like wood paneling on walls and textured charcoal gray Interface carpet tiles on floors lend earthy warmth to the sleek windowed spaces, while pops of saturated colors—on both furnishings and carpet—bring fresh energy to the corporate interiors. To create a range of experiences for Adobe’s clients, the designers developed what they call a “device garden,” which contains an array of products for different platforms, and updated dining areas that break away from the typical office experience. “The sales and branding teams wanted a variety of experiences for their clients, so we created different types of living room-like and dining spaces for informal presentations,” says Caliz.

Once the Customer Experience Center was complete, the designers extended their design concepts and vocabulary into work areas in the other two buildings of the campus. Before starting the renovation, they undertook a workplace analysis with focus groups to help them envision the right strategy for an open floor plan. Ultimately, they did away with the enclosed offices around the perimeter and developed a series of open neighborhoods for various teams with a mix of shared collaborative, work, and performance spaces. While the textured charcoal grey carpet tiles unify the circulation areas of the overall design, subtle changes in carpet coloration enabled the designers to differentiate between various team zones within the open plan. Other sections of carpet in pure colors further define distinct meeting spaces in the open interiors. “Because the carpet was customizable, we specified accent lines in the texture of the carpet to match the accent colors we used to define each neighborhood,” says Caliz. The palette of blue, green, and orange tones throughout the workspaces were pulled from Adobe’s branding materials—and were selected to appeal to both younger engineers the company plans to recruit as well as the seasoned employees with tenure.

The materials palette was also selected with eco-friendliness in mind. “Sustainability is part of Adobe’s DNA,” says Caliz. “Its headquarters was one of the first LEED platinum buildings for EBOM, and we wanted every material we chose to be in line with their approach to the environment. We especially like the Interface carpet, because the quality of its design meets the pickiness standards of architects, and because the company as a whole pushes the sustainability story to their sources in a way that makes the products sustainable way beyond their client base.”

 

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One Happy Customer

Jean Nayar

Creative people need inspiration. And the new offices of T M Advertising in Dallas, Texas, where creative ideas are conjured everyday, brim with uplifting energy. “Magic happens when people have no walls and agendas around them,” says Bill Oakley, T M’s creative director. “We wanted a space that was fresh and open, and made you want to work that way.” With this brief, the design team from Gensler’s Dallas office crafted a light-filled, dynamic workspace for the company that not only encourages collaboration and the free flow of ideas, but has literally transformed how its employees do business.

Carpet tiles help with acoustics in the conference and meeting rooms, where a majority of surfaces are glass. Photography by Bruce Damonte.

Carpet tiles help with acoustics in the conference and meeting rooms, where a majority of surfaces are glass. Photography by Bruce Damonte.

Not long ago, however, it was an entirely different story. T M’s previous office, in a space that formerly housed the billing department of a large energy company, was completely unsuited to the nature of its work. “The space had high, closed-panel workspaces with no connectivity between project teams,” says Christopher Goggin, senior associate and design director from Gensler. “It was the opposite of what they needed—and we were meant to undo all that.”

In contrast, the new offices, spanning 49,000 sq. ft. on three floors of a glass-clad building in Victory Plaza at the American Airlines Center—Dallas’s premier sports and entertainment venue—is an ideal setting for the advertising firm. American Airlines is one of T M’s primary clients, and other nearby buildings along a pedestrian concourse in the lively entertainment district house sports radio and TV news stations, a bevy of restaurants, and other creative enterprises.

Still, the new space was not without its challenges. Primary among them was the shape of the building itself. “The office floors were built on top of an underground parking structure, so it has an atypical floor plate,” says Goggin, who adds that the awkwardly located core pinches one side of the space, and columns appear to be randomly placed, making planning workspaces within a traditional grid all but impossible.

A bright yellow staircase that links the three floors boosts the energy and adds a sense of flowing movement to the space. Photography by Bruce Damonte.

A bright yellow staircase that links the three floors boosts the energy and adds a sense of flowing movement to the space. Photography by Bruce Damonte.

“We took the problems and made them assets by enclosing the core with in elliptical structure and radiating low-profile, workbench-style furniture arrangements out from the core in an open plan environment that allows everyone in the office to enjoy light and views and easy access to one another,” Goggin explains. The elliptical element and other occasional colorful features, such as a bright yellow staircase that links the three floors, boost the energy and add a sense of flowing movement to the space. “These elements introduce something architecturally engaging without being overly tricky, unlike the slides and carousels and other thematic elements that one often sees in other ad agencies,” Goggin explains. “The owners wanted opportunities to do creative work, but not in a space that would compete with their work.”

 

 

As such, the walls of the space are white with neutral flooring materials that establish a sophisticated backdrop for the occasional pops of color and subtle graphic references to the industry. Gray concrete floors define the circulation zones, and give way to Plynyl® checkerboard floor tiles in shades of gray in the work areas. Interface carpet was used in the glass-enclosed conference and small meeting rooms to provide a sense of richness and texture in these gathering areas.

“In the places you see clear glass, the change of flooring gives you an obvious cue that you’re at a transition point,” says Goggin. “We especially liked the Interface product because it produces a simple, subtle interesting texture that’s different from what you’d usually see in a typical office space.” The designers also liked the charcoal color of the material. “Its dark neutral hue provides weight and visual balance at the floor against the white walls,” he says. And even though there were no LEED requirements with this project, Goggin notes that Gensler designers always try to incorporate environmentally friendly products and “Interface has a good sustainability story,” he adds. The tiles also help with acoustics in the conference and meeting rooms, where a majority of surfaces are glass. Cost, too, was an issue, so materials were chosen to offer the most design for the price, according to Goggin.

Gensler’s design for TM Advertising in Dallas, Texas, has transformed the way the ad agency’s employees do business. Photography by Bruce Damonte.

Gensler’s design for TM Advertising in Dallas, Texas, has transformed the way the ad agency’s employees do business. Photography by Bruce Damonte.

Instead of any specific branding elements, shots of saturated color with grayed undertones that provide a sophisticated twist add subtle notes of vibrancy to the space. Windows overlooking the plaza let client visitors view their own advertising on big screens mounted in the plaza courtyard just outside. Listed by Advertising Age as One of the best Places to Work in 2012 and earning both IIDA and TEXO Construction Awards last year, the new office space is a key to their employees’ positive attitudes, believe T M’s principals. “The spirit of the design is light, clean, and happy,” says Hal Dantzler, T M’s director of integrated production. “It is a happy place to work.” An added bonus: the firm’s clients regularly want to meet in the new offices and spend more time there, too.

Photography by Bruce Damonte

 

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