2026 ISSUE 3 A New Vision for Crisis Care Huntsman Mental Health Institute Crisis Care Center LEGENDS Robert Herman, FAIA EDA: The Fourth Generation
President Clio Rayner, AIA, LEED AP BD-C President-Elect Warren Lloyd, AIA, LEED AP Treasurer Roger Phillips, AIA, CDT, LSSYB, LEED AP BD+C, WELL AP Secretary Natalie Shutt-Banks, AIA, NOMA Editor Frances Pruyn, CPSM Staff Executive Director Angie Harris Roberts Managing Director Joe Mangum Reflexion is a publication of the Utah Chapter of the American Institute of Architects. aiautah.org AIA Utah 280 S. 400 W., Ste. 150 Salt Lake City, UT 84101 ©2026 AIA Utah | MBR Connect™. All rights reserved. Reflexion is published quarterly for AIA Utah and is the official publication for this association. The information contained in this publication is intended to provide general information for review, consideration and education. The contents do not constitute legal advice and should not be relied on as such. If you need legal advice or assistance, it is strongly recommended that you contact an attorney as to your circumstances. The statements and opinions expressed in this publication are those of the individual authors and do not necessarily represent the views of the AIA Utah, its board of directors or the publisher. Likewise, the appearance of advertisements within this publication does not constitute an endorsement or recommendation of any product or service advertised. Reflexion is a collective work, and as such, some articles are submitted by authors who are independent of the AIA Utah. While AIA Utah encourages a first-print policy, in cases where this is not possible, every effort has been made to comply with any known reprint guidelines or restrictions. Content may not be reproduced or reprinted without prior written permission. For further information, please contact the publisher at (801) 676-9722. Contents 5 PRESIDENT’S MESSAGE Build, Grow, Celebrate 6 MEMBER SPOTLIGHT Kelly Holland, AIA, NCARB 8 LEGENDS Robert Herman, FAIA 13 EDA: The Fourth Generation 17 Dear Architect 18 Defining and Designing the Utah Moment AIA Utah Annual Conference 2026 Preview 20 A New Vision for Crisis Care Huntsman Mental Health Institute Crisis Care Center 23 2026 AIA Utah Scholarship Golf Tournament Recap 24 Design Award Submissions for Small Firms The Benefits Beyond the Accolades 26 Thank You to Our 2026 Medal Sponsors! 4 REFLEXION
Build, Grow, Celebrate PRESIDENT’S MESSAGE As summer begins to wind down, I’m excited about everything that still lies ahead for AIA Utah. In just a few weeks, we’ll gather for our 2026 Annual Conference, “Defining/Designing the Utah Moment,” to learn from one another, strengthen our profession and help shape what’s next for architecture in Utah. But first, I want to thank our members for supporting the 2026 AIA Utah Scholarship Golf Tournament. Your participation helped raise scholarship funds for students in Utah’s accredited architecture programs at the University of Utah and Utah Valley University. It was wonderful to have student representatives from both schools join us at the tournament as a reminder of the importance and impact of investing in the next generation of architects. As we look ahead, three themes capture what is next for AIA Utah: Build, Grow and Celebrate. Build Earlier this summer, the AIA Utah Board of Directors gathered to refine our strategic direction, continuing both the work from our 2024 retreat and our partnership with LENS to facilitate the session. We revisited the core purpose of our organization, aligned our thinking with AIA National’s new Strategic Plan, and reflected on the progress we’ve already made. Just as importantly, we focused on where we need to go next. We’re excited to begin sharing these strategic initiatives with the membership at this year’s Annual Conference. This isn’t simply a rollout; it’s the beginning of a conversation. We want your feedback, your ideas and your perspective as we refine these initiatives together. AIA Utah is strongest when its direction reflects the voices and aspirations of its members, and we are committed to making this process transparent, collaborative and meaningful. Grow Our Annual Conference on Sept. 17 will explore the extraordinary opportunities and challenges shaping architecture in Utah today. As our state continues to evolve with rapid growth, housing needs, environmental pressures, the approaching Olympics, changing practice models and an increasingly unique regional identity, we have an opportunity to help define what comes next. The conference is one of the greatest benefits of AIA membership, offering meaningful continuing education, fresh perspectives, inspiration and the chance to reconnect with colleagues from across the state. This year, we’ll kick things off with a residential home tour and evening social in Park City, creating another opportunity to experience great design together while strengthening the relationships that make our profession so rewarding. Celebrate Shortly after the conference, we’ll gather once again for our annual Celebration of Architecture on Oct. 8 at the Utah Museum of Fine Arts and the presentation of this year’s AIA Utah Honor Awards. This event expands how we recognize excellence within our chapter — not only through our Honors and Awards program, but by celebrating the people, projects, committees and newly licensed architects whose contributions elevate our profession and strengthen our architectural community. We have much to celebrate as we head into the final months of the year, and I hope you’ll join us as we build our future, grow together, and celebrate the people and projects that make AIA Utah such a vibrant community. I look forward to seeing you there. BY CLIO RAYNER PRESIDENT, AIA UTAH 5
MEMBER SPOTLIGHT Kelly Holland, AIA, NCARB Why AIA? The main reason is right there on the door when you walk in: “Helping architects be better architects.” I realized early on that no one person can know everything about this profession; collaboration is key to success. I believe the AIA is one of those organizations where you get out what you put into it. I spend time helping the AIA and other architects, but honestly, I get as much, if not more, help from them. I’ve learned so much from the architects I’ve met through the AIA. Favorite Utah space, built or natural? That’s tough! But I’d say the Tushar Mountains, especially Eagle Point. I first discovered the Tushars while helping my then-girlfriend (now wife) with one of her many ultra-marathons. It’s such a unique and special place that my wife and I decided to get married there. I know the Cottonwood Fire devastated much of that area, and my heart goes out to all those affected. Favorite book? “So Good They Can’t Ignore You” by Cal Newport. I was in the middle of a career crisis, questioning if architecture was right for me, when I first read the book. I thought back on my career and mentors and thought ahead to where the profession might be heading. That’s what led me to focus on high-performance building and specialize in energy conservation through building envelopes. Mantra? Don’t let perfection be the enemy of progress. Reach out today and let’s talk about your next project. ALDERS.COM A Leading Distributor of Specialty Building Materials 6 REFLEXION
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Robert Herman, FAIA LEGENDS INTERVIEWED BY FRAN PRUYN, CPSM As part of our ongoing series of interviews with architectural legends, we are proud to present this interview with Robert Herman, FAIA. It was a pleasure to interview him, learn more about his impact on public architecture in Utah and understand his contributions to the industry. This interview has been edited for length and clarity. Val A. Browning Center for the Performing Arts at Weber State University Ogden High School Burch Creek Residence, Ogden REFLEXION 8
When did you decide to become an architect? I can’t recall a time when I didn’t think about becoming an architect. My parents recognized it and really helped support that interest. I was given books on architecture — Wright, Kahn, Leonardo, Boullee, Michelangelo — and every family vacation incorporated some architectural experience. When you went to school to be an architect, where’d you go? I started at the University of Utah right after graduating from Ogden High School, intending to pursue a degree in architecture. At the time, the University of Utah’s School of Architecture offered only a Master of Architecture degree, which required a major in another undergraduate discipline. Initially, I decided to major in art, but during my foundation year, I started taking many art and architectural history courses. I loved those courses and decided to switch my emphasis from studio art to art history. My background in art and architectural history was especially helpful in architecture school, where postmodernism and the use of historic precedent were becoming increasingly influential among many faculty. This historical perspective gave me a clearer understanding of the cultural, political, geographical and economic forces shaping contemporary architecture — a perspective that continues to drive my work. When I started the master’s program in 1977, there was a lot of tension between faculty members schooled in modernism and newer faculty members who shared their views on postmodernism, which were in some ways in conflict with each other. I recall a studio co-taught by John Sugden, one of the preeminent modernists in Utah, and Bob Hermanson, a leading advocate of postmodernism. Our studio was working on a very large-scale project: a design for support housing for a proposed power plant on the Kaiparowits Plateau in southern Utah. Listening to their lectures at the start of each studio session provided a study in ideological contrast that often continued into the desk crits. It was a very illuminating experience for me. You graduated in 1980, a tough time for architects. Job prospects were limited. I was interviewed by Skidmore Owings Merrill (SOM) in my last year of school. They were opening a new office in Houston. Richard Keating, a University of Utah alumnus, was recruiting at the U. His message was, fundamentally, “You won’t find a job anywhere else, so why don’t you come and take a position in Houston with SOM?” However, at the time I graduated, my plan was to go back and pursue a degree in urban design. To that end, I hoped to find a temporary position locally until I was ready to go back to school. I received an offer from a firm in Ogden that I thought would be a good short-term position. The firm was Mathewson and Sanders, which — at the time — was a five-person office. I liked the firm and the people so much that I ended up staying there for the next 20 years. As a small office, it gave me both broad experience and an opportunity to hone my skills as a designer. Ogden also gave me the opportunity to become involved in nonprofit work. I served on the Ogden Arts Commission, where I helped launch its public art program. I also served on the boards of the Ogden Nature Center, the Ogden Symphony Ballet Association, Preservation Utah and the Advisory Board of the Weber State University Department of Art. There, I chaired the committee to create the university’s new Kimball Visual Arts Center. I also served as the co-chair of the Ogden General Plan update in 2000, which led to a 20-year stint serving on the Ogden Planning Commission. Those years were wonderful. After Don Matheson, one of the partners, left the firm to work at DFCM as a project manager, I became partners with Mike Sanders. What do you wish architecture school had taught you before going into practice? I thought they did a good job of teaching me the fundamental distinction between architecture and mere building. On the Above and below: Gallivan Center Plaza, Salt Lake City 9
While serving on the board of the Ogden Nature Center, I helped to develop a new vision for its wildlife sanctuary as well as a new visitors center, which modeled as many sustainability strategies as we could muster in the pre-LEED era. What influenced your decision to move to EDA? In 2000, I was given the opportunity to join EDA, a firm I had long admired. This would be quite a change for me: to join a long-established firm with its modernist legacy versus continuing to build on what we achieved in Ogden. I believed EDA would give me more opportunities to explore my own long-held interest in modern architecture, urban design and critical regionalism. I am still here 26 years later. At the time, EDA was moving into a type of studio system. There were three studios: the recreation studio, an interior design studio and an “everything else” studio. I was part of the “everything else” studio. This allowed me to work on a variety of projects — a perfect fit for me. I like the challenge of learning about various building program types and the strategies and technologies they require. I didn’t think I would enjoy working at a firm as much as I enjoyed working at Sanders Herman, but I did. Working at EDA has been a very interesting, fun and creative experience, and I’ve worked with very talented people and made many good friends there. Talk about your projects at EDA. The first significant project I worked on was John the Baptist Parish Church, which is part of the Skaggs Catholic Center in Draper. It was an invited design competition with four other Utah-based firms. EDA’s winning design was a highly modern evocation of both the liturgical forms and symbols of the Catholic tradition. It won several design awards and was featured in two books, including Michael J. Crosbie’s “Houses of God.” Other projects I worked on were the L.S. Peery Environmental Education Center, which was the second building I designed at the Ogden Nature Center; other hand, there are some practical skills that could have helped me better understand the technical design of buildings. Talk about your Sanders Herman projects. The first major commission I worked on as a project designer was the Second District Juvenile Court, which led to one of our larger projects, the Second District Court, a 12-courtroom building in downtown Ogden. One of the most significant projects for me was the restoration of the Egyptian Theater. I began working with the Egyptian Theater Foundation in 1984 when the building was first threatened with demolition. With this organization, I spent the next 10 years helping to create the conditions for its ultimate restoration into what would become the David Eccles Conference Center. Helpfully, in 1987, a team of architects, planners and urban designers under the auspices of the AIA’s Regional Urban Design Assistance Team program came to Ogden. They highlighted the restoration of the Egyptian Theatre as a critical potential improvement the city could make to help revitalize downtown. Later in the early ‘90s, a partnership between Weber County, Weber State University, the Egyptian Theater Foundation and Ogden City emerged. All four entities came together to restore the building and to expand it into what became the David Eccles Conference Center. Sanders Herman partnered with Fentress Bradburn of Denver, Conrad Schmidt, and Theatre Projects Consultants in New York to renovate the movie house for both film and live theatre. The project received the National Trust for Historic Preservation’s Honor Award, one of the first given to a Utah project. Sanders Herman also did an extensive remodel of the 120,000-square-foot Browning Center, renovating everything except the two performance spaces. Around the same time, we also designed the Weber State University Lindquist Alumni House. University of Utah Crocker Science Center interior Weber County Library interior Midvale Senior Center 10 REFLEXION
the Gallivan Center re-design; the Midvale Senior Center, recognized by the AIA’s Design for Aging Award; the Sweetwater County Justice Center in Wyoming, recognized by the AIA Architecture for Justice Review; and, most recently, the Crocker Science Center at the University of Utah, including the adaptive re-use of two historic buildings as well as two new academic and research buildings. I also had the chance to work on the renovation of Ogden High School, my alma mater. It was one of the most complicated projects I’ve ever worked on: restoring one of Utah’s finest examples of Art Deco architecture and adapting it into a 21st-century learning environment. The preservation of the building was a significant feat for the community and won the National Trust for Historic Preservation Honor Award. How has architecture evolved since your early days in school? It has changed in several capacities. There is the technology, the way buildings are designed and documented, and, more recently, the way they’re constructed. One thing that has also changed is the sophistication of buildings. There is now an expectation for buildings to meet extensive requirements for environmental systems, energy use, air quality, cost controls and responsiveness to increasingly complex users’ needs. This has required greater design expertise and specialization. Firms need an array of experts to accomplish all the pieces of a project because no one person, certainly not the “master architect,” would be able to accomplish it alone. This requires architects to learn to lead in a different way. In retrospect, would you have done anything differently? I can’t say that I would have done much differently. I had the opportunity to work in two very rewarding firm environments. I’ve always felt quite challenged in what I was doing. I’ve been satisfied with what I’ve done and had a good time doing it. Is there anything you would have liked to do or still want to do? I’d like to continue working with the public. The projects I’ve enjoyed most and perhaps contributed the most to the environment are in public architecture. I believe — to borrow from Sam Mockbee — that “good design is for everyone.” We’re all entitled to good design; it’s a right, not a privilege. That’s an area of design I would continue to foster as both a designer and an advocate. What would you like to be remembered for, as an architect, a designer and a public citizen? That I really did strive to make this a better place through design and design advocacy. This includes my work with the American Institute for Architects, serving in multiple leadership roles in the state and participating on three RUDAT and SDAT teams that took me to communities in Texas, Pennsylvania and Nebraska. It includes my work with the Utah Center for Architecture, which I helped to initiate alongside Elizabeth Mitchell, Warren Lloyd and Burtch Beall. The Center hosted the Utah Architects Project, the first database of Utah architects from 1847 to 1949, and implemented the EECTA/Box City initiative, an award-winning curriculum for children to learn about the value of good city planning and to appreciate the elements of architecture and urban design. This work also led me to serve as the chair of AIA’s Institute Honor Awards for community and regional design, with a national jury evaluating projects from all over the world. A great experience. Ogden Eccles Conference Center Burch Creek Residence, Ogden Burch Creek Residence, Ogden Murray Science Center at Waterford School 11
Any advice for younger architects? Be adaptable. It’s certainly one of the qualities that has, I think, helped me most as a designer. Adaptability will be a more critical asset as we move into the next era of placemaking, where we will face new technologies like artificial intelligence and address the major existential environmental and social issues facing our world. Architects will be particularly useful in finding good solutions to these problems. For younger architects, I think your best defense is to continue educating yourself. That’s the exciting aspect of it. It’s a value that schools like the University of Utah are promoting — the ethos of lifelong learning. When I’ve observed people I worked with who have that kind of innate curiosity — the willingness to dig in and do the investigation, do the exploration, do the experimentation — I’ve thought they’re the ones who can innovate us into the future. Ogden Nature Center L.S. Peery Environmental Education Building at the Ogden Nature Center Weber County Library exterior Sweetwater County Circuit Courts, Rock Springs, WY University of Utah Crocker Science Center exterior University of Utah Crocker Science Center exterior 12 REFLEXION
expanses of glass, exposed concrete and steel, and strong connections to the Utah landscape and climate served for decades as a signature of their work. Notable modernist projects illustrating the application of Edwards and Daniels’ design philosophy are Carbon High School (1959), Salt Lake City Main Library (1964), University of Utah Art and Architecture Complex (1970), Governors Plaza (1983) and the Winter Sports Park (2002). Since Ralph and Jud’s retirement, the EDA succession of capable leaders includes Ron Simmons, John Taft, Burke Cartwright, Peter Emerson, John Shuttleworth, Greg Brooks and Robert Herman (see Legends article on page 8). These individuals and the current principals guided the firm to grow and thrive through seven decades in the turbulent world of Utah architecture. Utah Modernism’s continuance derives in part from EDA’s tendency to grow leadership from within its staff. Recent examples of Utah Modernism under current EDA leadership include the Miller Student Commons at Waterford School, the University of Utah’s L.S. Skaggs Applied Science Building and the Wasatch County Administrative Building. EDA: The Fourth Generation BY FRAN PRUYN, CPSM Each successive generation of EDA leaders has embraced and refined the firm’s design philosophy, which current leadership refers to as “Utah Modernism.” Ralph Edwards and Jud Daniels, graduates of UC Berkeley, came home to Utah and established Edwards & Daniels Architects (now EDA) in 1955. Prior to returning to Utah, Jud worked for Skidmore, Owings & Merrill (SOM) while Ralph spent time with John Reid in San Francisco. Influenced by the international style, the two are credited with bringing modernism to Utah. The clean geometric forms, minimal ornamentation, large Draper Senior Center Olympic Park Complex, Park City University of Utah Crocker Science Center Fairbourne Station Office Tower, West Valley City University of Utah Skaggs Pharmacy Institute 13
I recently sat down with the fourth generation of leaders to talk about who EDA is in its current iteration: the firm’s culture, philosophies and goals. Certainly, this trio has longevity with EDA — each has worked with the firm since the late ‘90s. Thomas Brennan, AIA, LEED AP, NCARB, currently serves as the firm’s president and directs its civic and public sector practice. Joining EDA in 1994, he is closely associated with many of the firm’s government, justice, library and community projects throughout Utah and the Intermountain West. Tom’s projects of note include the Midvale Senior Center, Gallivan Plaza, Sweetwater County Justice Center and Weber County Main Library. Principal Stephanie McCarthy has been with EDA since 1997. She directs the firm’s higher education and K-12 practice, with a focus on leading the programming, design and construction of major university and K-12 science facilities, including several University of Utah projects and Murray Science Center at Waterford School. Joining EDA in 1997, Evan Cindrich, the principal who leads EDA’s interior design practice, has 39 years of interior design and project management experience. His established reputation for developing effective, efficient workplace and corporate interior solutions includes headquarters projects for companies such as Skullcandy, Overstock, Maverik, Weave and Lucid Software. Tom, Stephanie and Evan agree that Utah Modernism guides EDA’s firm ethos and defines its architectural vision. The progressive design philosophy, rooted in the unique climate and context of the Intermountain West, is realized through the aesthetic and practical drivers for EDA’s work. The trio defines the principles of Utah Modernism as: • Clarity of plan organization • Natural light as form giver • Integrated art • Elegant, timeless quality • Engagement of all the senses • Movement through time and space • Clear and expressive structure • Connection of outside to in and inside to out • Unity of architecture and landscape design • Responsible environmentalism • Natural materials with colors and textures reflective of Utah and the West Embodied in EDA’s projects, Utah Modernism leads to transformational places for EDA’s clients. Rather than resulting in a signature “look,” it expresses itself through a commitment to the regionally relevant, environmentally responsible and community-focused tenets of progressive design. Collaborative Process Tom, Stephanie and Evan describe EDA’s culture as client-, design- and service-oriented. Its design process focuses on collaboration rather than hierarchy. Tom says, “I think it’s revealing that, aside from bookkeeping, we haven’t had private offices in over 25 years. We prioritize open access for and to everyone. Our structure is only hierarchical in that people understand where to go for resources and support.” Tom explains EDA’s design-focused approach means the design expression is carried from concept through technical documents that are thoughtful, proficient and cohesive both functionally and aesthetically. Salt Lake City Main Library Utah Olympic Park, Park City Utah Veterans Memorial, West Valley City Overstock.com Headquarters interior Overstock.com Headquarters exterior 14 REFLEXION
Stephanie remarks, “There’s something incredibly satisfying about moving a project from concept to realization. It’s especially rewarding for the team to see their work come to life, to watch it operate, and to be there to support their professional growth along the way. “The people who stay the longest are those who are willing to jump in and help wherever needed. That spirit keeps the work dynamic and engaging for everyone. At the end of the day, if it’s not fun, why do it?” Tom continues, “Excellence in design detailing is critical to creating facilities with lasting value, durability and sustained relevance — as history has proven with EDA’s Salt Lake County Main Branch Library. The building had it all. It was heavily used, yet when its original mission evolved, it was preserved because it had held up so well. It has truly withstood the test of time.” Challenges Over Time The leadership acknowledges that, though EDA experiences many successful seasons, like most companies, it has overcome its share of business and financial challenges throughout the life of the firm. Tom explains, “Our goal is to continue learning how to create greater stability over time. None of us were formally trained for that — it’s something we’ve learned through experience. In the 1980s, as the economy softened, the firm went from 65 employees down to 20. By 1994, we were at 16, then grew to 45 leading up to the Olympics. During the dot-com downturn, EDA scaled back to 18 people within just 12 months. Over the past decade, we’ve maintained a more consistent staff of approximately 25 to 30 professionals, reflecting a more stable and sustainable approach. “Leading by example can be daunting — stepping in to solve problems while bringing a sense of calm and direction to the effort. The harder times affect everyone differently, whether it’s making the difficult decision to lay people off or figuring out how to meet the next payroll. Leadership is ultimately about earning buy-in. EDA has endured because of a shared commitment to our culture and, at times, a willingness to make personal sacrifices. “We approach each of these challenges by bringing all our expertise to the table and solving them together. That collaborative approach strengthens both our client relationships and our team growth. In the end, what we’re building is bigger than any one of us individually.” As a result, despite the architectural profession’s tendency to mirror the overall economic climate, the EDA leadership team knows that they have very fulfilling careers. Where They Are and Where They Hope To Go Tom says, “It’s incredibly exciting. We’re currently working on a wide range of planning and design projects and have built a strong reputation in tenant improvements. Most of our work comes through referrals — about 98% is from repeat clients — which is remarkable and speaks to the strength of our relationships and the trust we’ve earned.” Evan adds, “Maintaining the relationships and friendships you build is just as important as the work itself. There’s something bittersweet about the end Castlight Health, Sandy IMA Salt Lake City Murray Science Center at Waterford School Skullcandy Headquarters, Park City Questar Headquarters, Salt Lake City Summit County Health Services, Park City 15
Celebrating four decades of delivering multi-unit and commercial projects across the Intermountain West Pictured: Residences at Sugar Alley EXPERIENCE THE DIFFERENCE of a project — you’ve worked so closely together, and then it suddenly comes to a close. That’s why it’s important to find ways to keep working together again.” The Future Tom would like to grow the firm a little bit: “We currently have 25 professionals. With a team of around 40, you can take on virtually any project while still maintaining close collaboration. Beyond that size, it becomes much harder to stay connected, and teams tend to become siloed.” Stephanie says, “We grow very carefully. We’ve never been a hire-fire firm. It is always agonizing to lay off employees. That is not who we are as a firm; we invest in people.” Tom continues, “I’m a little apprehensive about what comes next as we consider how AI will change our profession. AI can’t cultivate relationships — that human connection will always matter. I see it as another tool, part of a natural technological evolution, much like the transition from hand drawing to CAD, and from 2D drafting to 3D modeling with Revit. There will always be a need for a critical eye, thoughtful judgment and human insight.” EDA’s leadership is focused on building the firm as one grounded in design to provide a high-quality product both aesthetically and technically. Continuing the application of Utah Modernism, Tom, Stephanie and Evan lead by example to instill the joy of doing the work and working together both internally and with the entire project team. That is what they hope to pass on to future generations. Stephanie concludes, “We are a full-service architecture firm, designing with and for people. Our work is about creating buildings that inspire and environments that transform communities. We truly believe architecture is one of the most powerful design disciplines — capable of shaping people’s lives and improving the world around us.” University of Utah Skaggs Applied Science Building 16 REFLEXION
If you have a question you want to pose, an issue you want to explore with your colleagues, or an editorial position you would like to share in a future issue, please contact Joe Magnum at the AIA Utah office at jmangum@aiautah.org. This issue’s question: “Is there a way to design a sustainable AI data center?” Garth Shaw, AIA, LEED AP BD+C, Principal, Director of Sustainability, GSBS Architects Artificial intelligence (AI) promises to transform how we work, learn, discover and solve problems. Yet AI breakthroughs depend on something decidedly physical: massive data centers that consume enormous amounts of electricity and water. As communities compete to attract these facilities, we need to ask: Who bears the costs, and who shares the benefits? Can AI data centers be environmentally and socially sustainable? Sustainability means meeting today’s needs without compromising the ability of future generations to meet their own. By that standard, most large AI data centers fall short. They place extraordinary demands on electricity, water and public infrastructure, often requiring costly upgrades to power and water systems. Many also rely, directly or indirectly, on fossil-fuel-generated electricity, thereby contributing to greenhouse gas emissions. While these facilities may bring investment and tax revenue, local communities can also experience increased pressure on public resources, concerns about water availability and questions about whether the economic benefits justify the long-term environmental costs. That does not mean a sustainable AI data center is impossible. Lower-water-use cooling systems, waste-heat recovery, more energy-efficient computing, carbon-free electricity and better facility design can significantly reduce environmental impacts. Greater transparency and economic agreements that fairly balance private benefits with public costs can also strengthen the social sustainability of these projects. Innovation should not excuse any of us from accountability. Those who design, finance, approve and operate AI data centers must ensure that technological progress does not impose disproportionate costs on future generations. Additional resources for those interested in data center design: • Architecture 2030’s Data Center Evaluation Checklist: An eight-point framework designed to guide developers, policymakers and urban planners in creating sustainable, zero-carbon digital infrastructure. • Novva Data Centers: A Utah-based company that has become a national leader in energy-efficient hyperscale data centers. Their facilities emphasize water conservation, renewable energy and innovative cooling strategies. • Aligned SLC Data Centers: Aligned is known throughout the industry for advanced cooling technologies and sustainable data center design. • Smart Building Solutions DBA Intellivex: Specializes in smart building systems and data center infrastructure, including energy-efficient building technologies. • UtahDB Data Management Lab: Part of the University of Utah Kahlert School of Computing, this research group is focused on designing and developing efficient, scalable data management systems. 17
Defining and Designing the Utah Moment AIA Utah Annual Conference 2026 Preview Utah is entering a transformative decade — one defined by unprecedented growth, housing and environmental challenges, the return of the Olympic Winter Games, major development, evolving practice models and a renewed conversation about regional identity. The AIA Utah 2026 Annual Conference positions architects at the forefront of these defining issues, empowering them to lead the conversation and shape the future of our communities. Curated by Conference Chair and AIA Utah President-Elect Warren Lloyd, the conference offers two days of inspiring tours, thought-provoking discussions, and recognized speakers designed to challenge perspectives and spark meaningful dialogue. The conference begins Sept. 16 in Park City, where attendees will explore the rapidly evolving Wasatch Back — one of the most active luxury custom residential design markets in the world. Fueled by unprecedented investment and the return of the 2034 Olympic Winter Games across the corridor of 10 major ski resorts stretching from Powder Mountain to Sundance, the region is redefining mountain living. Participants will enjoy exclusive tours of three exceptional custom homes that respond thoughtfully to their unique environmental settings while pushing the boundaries of mountain modern design. The day concludes with a networking reception at ATI Solus, providing opportunities to connect with colleagues and design leaders. On Sept. 17, the conference moves to the Robert H. and Katharine B. Garff Building at the University of Utah, home of the university’s Executive Education program, for a full day of immersive learning and discussion focused on the forces reshaping Utah’s future. From explosive population growth and the urgent need for sustainable housing to the challenges facing the Great Salt Lake and preparations for the 2034 Olympic Winter Games, Utah stands at a pivotal moment that demands visionary leadership from the design community. Internationally acclaimed architect and humanitarian Yasmeen Lari will open the conference with an inspiring keynote that demonstrates practical, community-centered models of social and environmental resilience. She will also participate in a panel discussion on designing for wellness alongside Dr. Harland Hayes, FACEP, chief medical officer at Intermountain LDS Hospital, and Valerie Greer, director of graduate studies and faculty member in the University of Utah School of Architecture. The conference will also feature an important discussion examining how architects can responsibly design within Utah’s fragile landscapes, environmental hazards, climate pressures and unique ecosystems. Panelists include Dr. Ben Abbott, BYU professor and executive director of Grow the Flow, and Don Willey, director of operations for The Point. The day concludes with an energetic and highly practical session on artificial intelligence for the AEC industry presented by Kristin Kautz, FSMPS, CPSM. Attendees will leave with actionable strategies and real-world applications they can begin implementing immediately to enhance their practice. The AIA Utah 2026 Annual Conference is more than a professional development event — it’s an opportunity to help define the next chapter of Utah’s built environment. Join residential and commercial architects, developers, allied professionals, educators and students as we explore the design strategies, policy conversations and emerging technologies that will shape one of the most consequential periods in our state’s history. The Utah Moment is here. The question is not whether change is coming — it’s how we, as architects and design professionals, will help shape it. 18 REFLEXION
WEDNESDAY SEPTEMBER 16 Register here Park City, Utah 1:30-5:00pm 5:30-7:00pm 8:30-9:30am 9:30-10:00am 10:00-11:30am 11:30-12:00pm 12:00-1:00pm 1:00-2:30pm 2:30-3:00pm 3:00-4:30pm Residential Home Tour Social and Discussion: ATI Solus Opening Keynote Yasmeen Lari Kristin Kautz, FSMPS, CPSM Registration + Vendor Visits Lunch + Vendor Visits ANNUAL MEETING Vendor Visits AI Assistants and Automations and Agents and Apps, Oh My! Designing for Wellness (Panel Discussion) Yasmeen Lari Dr. Harland Hayes Valerie Greer Land, Environment & Context (Panel Discussion) Dr. Ben Abbott Don Willey TBA THURSDAY SEPTEMBER 17 University of Utah Garff Executive Education Building
A NEW VISION for Crisis Care Huntsman Mental Health Institute Crisis Care Center “We aren’t designing this for someone else. We are designing this for us, our families and our friends.” — Michael Dolan, AIA, Principal, FFKR Everyone knows someone who has been in an emotional or psychological crisis. Mental health ailments do not discriminate; in fact, it’s likely that at some point in your life, you, a family member or a friend has needed the aid of a mental health professional for diagnosis or treatment. For those experiencing mental health crises, the Huntsman Mental Health Institute (HMHI) Kem and Carolyn Gardner Crisis Care Center is the first line of care. Designed by FFKR Architects and architecture+ (a Troy, New York, firm specializing in behavioral health care settings), the HMHI Crisis Care Center was completed in 2025. Michael Dolan, AIA, principal architect at FFKR, said, “It was quite humbling to work with Huntsman Mental Health Care Institute; they are so invested in helping people in crisis.” Crisis centers offer an alternative to overcrowded emergency rooms that are ill-suited for mental health treatments. Emergency rooms provide medical/surgical spaces for professionals to attend to a human body in distress; they specialize in “blood and guts,” focusing first on medical stabilization before mental health evaluations. As ERs address a wide variety of medical problems, they often have only one psychiatric clinician, an on-call psychiatrist or a telepsychiatry service. For someone experiencing psychological distress, the waits in an ER can be long, noisy and stressful. People in crisis can also end up in jail, which can exacerbate suffering. Certainly, correctional facilities are the appropriate destination for a person who has committed a serious crime or poses an ongoing danger, but jails are built for containment and consequences. To a person whose actions are driven by severe depression, psychosis, mania, panic attacks or suicidal thoughts, jails can be frightening or traumatic. The HMHI Crisis Care Center is a very different environment from an emergency room or jail. It is a clinical center with specialized treatment programs to address a wide range of acuity levels among mental health patients. It provides law enforcement personnel and ambulances with a place to bring individuals in crisis, avoiding the emergency department and diverting people from jail. It accommodates walk-ins, transfers and drop-offs. To address such far-ranging and diverse populations and the associated design challenges, the project team engaged representatives from key user groups to form a Core Stakeholder Team. The Core Team informed the project team how providers could best deliver services to a wide range of patients. “They helped us through programming and conceptual design by focusing on care models. We were able to formulate how the space would be used on a refined level: how to receive patients, who would be received, where, and what they would need. They were very precise in terms of their processes, as well as identifying the unique qualities of populations they serve in our geographic location,” Dolan said. The overall goal was to match the response to individual needs, which can differ radically, while protecting both the individual and the public. Complicating the design of the Crisis Center was the building site: 900 West and 3300 South. It is located near several Salt Lake County facilities and sandwiched between the Salt Lake County Sheriff’s Office, the County Jail and the South Salt Lake Men’s Shelter. Although convenient in some ways, one of the project team’s initial concerns was how to dispel the notion that the center is just an extension of the shelter and not welcoming to all. The Advisory Council worried that walk-ins, or “everyday people,” would not come to the center for needed care because the stigma of mental health would be compounded by the location of the facility. 20 REFLEXION
has a carefully planned sequencing of spaces. Some patients arrive for care voluntarily through the main entrance, while others arrive via police or ambulance. A separate, more discreet and higher-security entrance serves these higher-acuity patients while mirroring the finishes and warm design touches of the main entrance to promote patient dignity. With patients separated by diagnosis or acuity level, the separate pods help patients feel safer, less stressed and less fearful. After patients pass through a secure vestibule, they are first escorted to the triage and assessment area. Wood ceilings and cabinetry, textural wall panels, and layers of lighting ease the transition to triage. A centralized observation area at the intersection of three distinct receiving pods allows staff greater flexibility in positioning patients based on care needs. The building’s design places a strong emphasis on hospitality and comfort, introducing a welcoming softness through repeated design patterns, layered lighting, and warm materials throughout the space while maintaining requisite durability and patient safety. That message starts at the main entrance with a broad, protective canopy. A tall glass curtain wall floods the lobby with daylight, and a concierge greets and directs arrivals from a hospitality-inspired reception desk. An undulating, warm wood ceiling with biophilic textural wall panel contributes to the sense of refuge and healing. The intentional design integrates harm-free fixtures with hospitality-infused elements such as warm wood ceilings, layered lighting, rounded edges on nurse desks and benches, and therapeutic outdoor spaces. Interior layouts optimize staff efficiency, patient autonomy and comfort. The acute stabilization area on the third floor is a safe, designated space where staff can manage patients and patients can find more privacy. The area provides a unique service beyond 24-hour stabilization and observation. It functions as an inpatient unit and is regulated accordingly, with a target length of stay between two and 14 days. The unit is divided into “neighborhoods” Fortunately, that has not been the case. Dolan believes the center’s design reshapes the narrative surrounding mental illness and treatment facilities. It replaces sterile, hard-security impressions with design features that foster dignity for patients and their families. Dolan quoted Core Team member Dr. Roxanne Bartell when she first viewed the rendering of the main stairway: “It looks like we are making an investment into mental health.” Kevin Curtis, the operations director at the Crisis Care Center, was integral throughout the design process and emphasized that the building must have a “no wrong door” philosophy, ensuring that every person in crisis, arriving voluntarily or with first responders, is welcomed, stabilized, treated and connected to future care. This three-story, 81,600-square-foot center serves low- to high-acuity patients, with an integrated 30-chair observation unit on Level 1, outpatient and bridging services on Level 2 and a 24-bed acute stabilization unit on Level 3. Senior Associate Interior Designer Sydnie Young added, “It shows mental health in the right light. At intake, everyone is treated at an equal level. We have taken elements from the front into the back-of-house, making both sides feel welcoming.” To support the various needs of the patients, the HMHI Crisis Care Center 21
with distinctive color schemes and motifs, providing both patients and caregivers with a clear sense of orientation. The design team thoroughly researched materials and finishes to blur the line between hospitality and security, normalize the therapeutic experience and minimize the institutional feel. This meant very carefully specifying everything from plumbing fixtures to door hardware and carpeting, to provide a comfortable, safe and secure environment. For instance, the design team identified a special flocked flooring material, not unlike the outside of a tennis ball: Forbo Flotex Textile Flooring. Because carpet can be unwound and become a ligature, the challenge was to find a material that was safe, comforting, supportive of patient wellness, durable, cleanable and met the desired aesthetic. Other normalizing design features include layered lighting from multiple sources and distinctive wall textures that provide a positive distraction for visual tracing. Integrated ceiling and floor materials provide acoustical settings that allow conversations to be heard but not overhead. All the beds in the center are full-sized, because most adults in the U.S. are accustomed to sleeping on larger beds. As nature can be an essential component of patients’ care regimens, the HMHI Crisis Care Center offers access to open air, including ample views of the surrounding landscape and admittance to outdoor healing gardens. The gardens provide a therapeutic, calming space for patients to relax, feel secure and experience the positive effects of nature through carefully selected landscape materials, varied textural paths and thoughtful groundcover choices. Comprehensive support services provide holistic care for each patient. An on-site mental health clinic offers immediate counseling and connects patients to more specialized, long-term therapy providers and options. Physical health and basic needs support are accommodated through a small medical clinic, dental clinic and legal services. These services are tailored to address the common needs of the patient population experiencing acute crises. Dolan says, “Huntsman Mental Health Institute is a unique group. They take things to higher levels, so that patients and providers feel like they are being taken care of.” To reinforce the Institute’s vision — to free the world from mental health stigma and suffering, and advance hope and healing for all — no one is turned away. Mental health crisis stabilization is provided to any adult regardless of their ability to pay. The HMHI Crisis Care Center is also a training site for the next generations of crisis care professionals, including social workers, nurses, psychologists, psychiatrists and more. An integrated research component will gather and disseminate data to support caregivers in implementing new findings into clinical practice. In addition, the facility includes areas for community outreach, training, research, and education to teach others about mental health and how to care for loved ones. There are research components throughout the building to shorten the loop for putting research into clinical practice. Not only does the outreach program extend the scope of care for individual patients, but it also reinforces the critical notion that mental health treatment is indeed healthcare. The opening of the Kem and Carolyn Gardner Mental Health Crisis Care Center has been transformational in our community, serving as a warm and welcoming place for those experiencing mental health crises. This facility has filled a gap by providing intentional care to those who need it and serving as a much-needed resource for law enforcement, social services, first responders, and community partners to connect those they serve with lifesaving mental health services. 22 REFLEXION
2026 AIA Utah SCHOLARSHIP GOLF TOURNAMENT Recap On July 21, AIA Utah’s Annual Scholarship Golf Tournament teed off in spectacular fashion at Wasatch Mountain Golf Course in Midway, bringing together architects and industry partners for a day of fun, friendly competition and giving back. The tournament was a tremendous success, raising record-breaking funds for scholarships for architecture students at the University of Utah and — for the very first time — Utah Valley University. Every swing, putt and raffle ticket at this year’s event represented an investment in the next generation of architects. One of the highlights of the tournament was seeing students from both schools’ architecture programs out on the course, thanking golfers and sponsors for making these scholarships possible. Participants also enjoyed remarks from Arnab Chakraborty, the dean of the University of Utah College of Architecture and Planning, and David Barker, founder of UVU’s Bachelor of Architecture program, who shared the exciting impact of these scholarships on aspiring architects. A heartfelt thank you to our generous tournament sponsors, whose support ensures that every dollar raised goes directly to supporting student scholarships. And congratulations to this year’s champions — David Brenchley, Steve Goodwin, Jeff Haws and Sandy Sandberg — who posted an incredible winning score of 19 under par. Thank you to everyone who participated, sponsored, volunteered and cheered on the golfers. We can’t wait to see you on the course again next year! Architecture students from the University of Utah and Utah Valley University 23
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