PUB 3 2022-2023 ISSUE 4 How Transit-Oriented Development Can Transform Community Placemaking The Art of Embedding Public Art in Public Architecture
Reflexion is a publication of the Utah Chapter of the American Institute of Architects. www.aia.org/utah AIA Utah 280 S. 400 W., Suite 150 Salt Lake City, Utah 84101 President Jessica Hoffman, AIA, NCARB President-Elect Chamonix Larsen, AIA Secretary Jared Anzures, AIA Treasurer Roger Phillips, AIA Editor Frances Pruyn, CPSM Staff: Angie Harris Roberts Executive Director Joe Mangum Programs & Office Manager ©2023 AIA UT | The newsLINK Group, LLC. All rights reserved. Reflexion is published quarterly by The newsLINK Group, LLC for AIA UT 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 UT, 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 UT. While AIA UT 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 855.747.4003. 4 Executive Director’s Message Why AIA? 6 Member Spotlight: Bryan Markkanen, AIA 8 Legends: Peter Brunjes, AIA A Legacy of Greatness and Distinction 12 Legends: The Remarkable Life of Lynn Scott Woodbury, AIA 16 How Transit-Oriented Development Can Transform Community Placemaking 18 What Landscape Architects Want Architects To Know 20 All-Electric Construction Is a Clean Air and Climate Solution 22 Lessons Learned in the Design Business A Discussion with David Brems, FAIA and Kevin Miller, FAIA 24 The Art of Embedding Public Art in Public Architecture CONTENTS 3
Ask questions. It is smart for architects to question the value of their AIA membership. It is important to understand what you get in return for paying dues. Yes, membership “signifies your commitment to a high standard of professional ethics.” But beyond that, if we’re doing our job right, it helps you reengage with the local architecture community and the issues it faces. It leaves you feeling empowered through a stronger network and shared knowledge. AIA highlights the impact this profession has on our communities and inspires you to engage on a local or national level to influence policy. It provides you with opportunities to mentor emerging professionals and shape the future of our communities. Over the past few months, I’ve had the pleasure of joining committee meetings and learning more about the ways they provide meaning for our members. Scan the QR code to read about AIA Utah’s current committees. Remember, you are always welcome to join a committee or attend their events! EXECUTIVE DIRECTOR’S MESSAGE Why AIA? AIA highlights the impact this profession has on our communities and inspires you to engage on a local or national level to influence policy. ANGIE HARRIS ROBERTS, EXECUTIVE DIRECTOR, AIA UTAH Speaking of events, please check out our new event calendar on the AIA Utah homepage. In addition to AIA Utah-sponsored events, we list opportunities hosted by partner organizations. We hope this helps you keep informed about activities that are most important to you. Finally, what better way to understand the value of your AIA membership than hearing from fellow architects on why they choose to be AIA members? For the first installment in this new Member Spotlight feature, we talked with Bryan Markkanen. If you’d like to be featured in this section, please reach out to me at ahroberts@aiautah.org. www.aia.org/resources/188521-aia-utah-committees 4 REFLEXION
Time is valuable; why AIA? The AIA seems like a quick way to reach a larger number of people, nurturing productive and thought-provoking notions, thoughts and conversations within a bigger sphere. It allows you to meet people outside of your firm and talk about big ideas and garner different perspectives from different minds. It’s also important to give back to your community in whatever way suits you. This can be in a soup kitchen, joining a board for a non-profit, or volunteering to create trails. There are so many ways to give back but this one, especially with an environmental slant, was a good choice. There’s also the aspect that the organization helps architects succeed. Best way to overcome a creative block: Take a break. Walk the dog, grab a cup of coffee, just get up from your desk. So many times, a log jam will clear with little or no effort when you allow your brain space to breathe, let the problem bounce around on its own and untie its own knot that you’ve been trying so hard to pick at. Favorite Utah space: There are so many places in this state. One that immediately comes to mind and encompasses many sites in the Wasatch front and back is the top of a snowcovered hill. Using manpower and sticky skis in the middle of the wilderness to ascend to the top of a silky white carpet is liberating and helps one appreciate the surroundings. It helps center a person and is also a great activity for overcoming a creative block. And there are so many of these magical places so close to home. Favorite drink: Plain coffee with a little cream in the morning and on some evenings a nice hazy IPA. Whiskey gingers are certainly enticing when the moment calls for them. Mantra: Do what you can and try not to sweat the rest, even though you will. Bryan Markkanen, AIA FOUNDER, RIPPLE ARCHITECTURE CHAIR, AIA UTAH’S COTE/BEC COMMITTEE 6 REFLEXION
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As part of our ongoing series of interviews with architectural legends, we are proud to present this interview with long-time architect Peter Brunjes, AIA. He was gracious with his time, and it was a pleasure to interview him. This interview has been edited for length and clarity. When did you decide to become an architect? My dad was an architect. So, I was interested in it early on. In the 50s and 60s, I’d visit him at his office. I was always drawing and was pretty good at it. BY FRAN PRUYN AND PHIL HADERLIE LEGENDS Peter Brunjes, AIA A Legacy of Greatness and Distinction I was born in Connecticut; my dad went to Yale. They had mostly wood and steel structures in Connecticut, but my dad wanted to study concrete which was very popular in Miami and Puerto Rico. So we ended up moving to Puerto Rico and lived there for nine years. He designed and built our home from scratch and did most of the work himself. That was fascinating. In 1971, when it came time for college, I had two choices, go to Yale and study architecture or go visit Utah with a girlfriend’s family, go skiing, and discover Utah and its excellent architecture school. I chose Utah over Yale. Talk about your training. The University of Utah was really excellent. I majored in Fine Arts and Sculpture while taking basic design courses in architecture. I always went back to Chicago in the summertime, where my dad worked for Abbott Laboratories as their corporate architect. Through him, I got an insight into international architecture. I also studied at the University of Wisconsin-Milwaukee my junior year; I couldn’t get the courses I needed at the University of Utah. It was a different approach than the University of Utah; I learned a lot. 8 REFLEXION
When I came back to Utah to finish my senior year, I took a heavy load. I loved the idea of starting from scratch and developing a program — going through design scenarios to arrive at what was the best solution for the budget and the program — for the environment and for the engineering required. I got married. My wife was accepted at Harvard to go into the education program. I didn’t get into Harvard, so I applied to the Boston Architecture Center. It was a good choice: it was right in town and all the courses were taught by architects practicing in the area. I learned a tremendous amount with its amazing mix of historical architecture and new buildings. I was there from ‘76 to ’78, our two sons were born during this time. I couldn’t get work in Boston, so I set off on an Amtrak pass for three weeks to look at all the different places we could live. The second stop, after Denver, was Salt Lake City. I got a job at Holland Pasker Reinhold, so we moved back to Utah. We referred to Holland Pasker Reinhold as a sweatshop: draftspeople all lined up in a big drafting room. Cecil Holland would walk around with his pipe in his mouth and gruffly tell us, “Get back to work.” He was great. Art Pasker was very good at marketing and very connected to the The Church of Jesus Christ of Latter‑day Saints; he knew a lot of people in town. I learned a lot there — a lot of detail work and production, how to produce a set of drawings and organize it, and work with consultants. At one point, I was lent out to Ron Molen. He had two big hotel/condo jobs in Park City. It was a wholly different experience, being involved more in design and the aesthetics and the feeling of a building. The office was made of very small spaces, all of us crammed together. There was a lot of camaraderie and sharing information and experience. The fellow who sat behind me, Bob Money, had just taken the exam and passed everything his first try. Up till then, I had been hesitant. I was selling pretty well at the Park City and Utah Arts Festivals and had some shows in galleries in Park City and Salt Lake. But Bob had passed all nine sections at once, and that interested me. I hadn’t really considered becoming an architect, but it was probably a good time. So, in ‘83 I studied hard for six or eight months and took the exams and was able to get them all done in one sitting. So, I became a licensed architect and went to my first AIA convention in San Francisco with my dad. One of the sessions was something about becoming a partner. All these young guys were saying that you basically planned your career around becoming a partner. That was news to me, but I took it to heart and set myself a goal that, in five years, I’d become a partner somewhere. That wasn’t going to happen at Ron Molen’s because he was a sole proprietor, did all the initial design, and held things pretty close to the vest. I started looking around town and interviewed with the up-and-coming firms. I couldn’t get into Valentiner’s. I realized later that the office manager had a reputation for controlling his appointments. So, I called Niels at home. He was very understanding. We met soon thereafter, and I was hired. I was really psyched to be part of that firm. I started in ‘85 and immediately was given a project to manage by myself. I had taken projects all the way through before, but this was me with the client: find out what needed to be done, get it done. I grew pretty quickly at Valentiner’s. FHP Medical Health Care was an insurancebased program, and they were expanding. I took that on, and we did a bunch of clinics around the area: Ogden, Provo, Salt Lake City. We did a big hospital and a specialty center in South Salt Lake for them, which later became Granite High School, that our firm remodeled into educational spaces. In 1989, Niels said, “I’m reorganizing the firm and I’d like you and Sean Onyon to join me as partners.” I was very, very thrilled and told him, “Absolutely, I’d be glad to bring everything I have to the growth of the firm.” Soon after, he asked, “What would you think about bringing Steve Crane on as another partner?” He brought a lot of education and marketing experience to the firm. So, in 1990, we became Valentiner Crane Brunjes Onyon (VCBO). How did your specialties develop? I took to healthcare early on. Over the years, I pursued that kind of work at the state, the university, with Intermountain Healthcare, and with other physician groups. Then, I remember sitting in on an AIA conference where hospital administrators were presenting their side of the healthcare story. The economy and politics were hurting health care, and they had no strategy for where or how to grow. At that point, healthcare design work was faltering, and big healthcare architecture firms around the country were working on other kinds of projects. A big practice area was correctional work. I got involved in corrections, mostly youth detention 9
centers, and I had been involved with modularity at FHP in healthcare. It really applied to correctional work: working on modules of 8–16 beds around a dayroom. The designs had to be very functional and everything visible like in a hospital. I really enjoyed that work and hopefully contributed to a number of younger kids finding their way in life through a better facility that felt comfortable and encouraged them to be better people instead of punishing them. One of our favorite stories of yours is Happy’s Temple. Tell us more about that. During the late 80s and 90s, we got involved with Coca-Cola’s Park City snow sculpture contest. A group of us would get together with our kids and families and go to Park City. We piled a lot of snow by the high school and then sculpted it. Generally, I was in charge of the design and making it feasible — fun and recognizable for the crowds coming through. We also wanted to win the prize money to give away to Books for Kids. We won year after year. One of our best was Happy’s Temple. It was Happy, the dwarf from Snow White, in his temple that was like the Parthenon. We won the $1,000, which went to the kids. Later, we were submitting work to the AIA competition for that year’s projects. It got an honorable mention award from the AIA. That was wonderful. Talk about some projects that you’re particularly proud of. My favorite, early in the 2000s, was the Health Sciences Education Building at the University of Utah. We worked with so many departments at the University Health Sciences Campus and DFCM. It was a real milestone in my career. We were working with a firm from Boston and were in charge of writing all the specifications. The Boston architect said, “What did you choose for the front door handle?” I showed him, and he said, “Well, that’s good. But that’s the first piece of the building the users will touch when they come to the building. So, we really want to make it nice and tactile.” So, we chose something even nicer in stainless steel. What’s the building really going to feel like from the very first moment somebody opens that door? That’s important. Additionally, we commissioned artwork through the Arts Council and selected three artists to provide artwork throughout the building. The team incorporated the art into the building where it really was seamless. It was my first indication that I needed to work with an entire envelope. That added another layer of complexity to an already complex program. I went into the project knowing we must provide the client with a building that was state of the art and had a super tight envelope. That was the first project where we followed through with LEED certification, and it was the university’s first project pursuing a LEED Gold certification. We led the client through the process, making choices based on how much it would cost, but also on what was right for the future, the users, and the environment. The project was CM/GC, so we had the contractor on board very early in the project to rely on to help make many more design decisions, like making the connection between the building and the library work and being weatherproof and functional. We watched them take on their LEED requirements: no food, drink, 10 REFLEXION
very nicely. I exceeded my goals. But like with any firm, you’re dealing with egos and different personalities when you partner with people. We were very careful, the four of us, adding partners. Maybe it is growing pains, but it was a lot to manage and tempers would run thin, opinions would run hot, and that was disappointing. But it was a business, and it was seriously run as a business. I really respect Niels for many things. One is his business sense and running the business. But getting along as partners, you’re basically married to each other. You have to respect each other. Even with the full support of the other partners and the resources of the office, sometimes you step on each other’s toes, or don’t agree with something that happens with a project. Generally, we worked everything out. We grew together and figured things out, and I think, really had a lot of respect for each other. Advice to somebody starting out in the field? Really get into the culture where you work. Do everything you can to contribute positively to the feeling of an office. It becomes a second family and it’s important to treat it like that. If you no smoking on campus. It really changed their culture. Imagine a building site with no Big Gulp cups! They started recycling much more of their waste — cardboard and sheetrock that they separated further and further so they could recycle it more carefully. The entire paradigm changed for contractors during this project. Talk about changes in the industry from the 70s through to your retirement. By the mid-80s, I had become a very good draftsperson and could get around the desk and drawing tools quickly and develop plans. But the era of CAD was starting, and that changed needed skillsets. It started with just floor plans, things that could be repeated — like different floors. Later, it became the whole set. Then Revit was another whole change. You could design everything in three dimensions! It was wonderful for the client to see the project develop in three dimensions. Of course, there was Sketch Up and other software that enabled us to sketch buildings in three dimensions. Sustainable design was a huge revolution. Until LEED, we were doing buildings generally that would pass silver certification. When LEED came out, I took the exam and became fascinated by the whole process of transforming: recycle, reuse and efficiencies and design for materials and where they are sourced. Envelope design became a very engineered approach for all the seams and joints and corners and roof and parapets and down at the base of the wall, taking into consideration condensation and the building needing to breathe but still be weatherproof. That became our Holy Grail over the next few years. At first, it was a struggle getting clients on board to spend money on components of the building — LED lighting or glazing — the things that would cost more, but pay off in the long run. It didn’t take long before developers were saying, “If I spend this much more on this building, I can get this much more for rents.” Talk to me about any disappointments you might have had. Partnership was this bright goal when I was a young architect and it turned out see a void where something’s not being taken care of, do it. If the firm needs some master planning and you can do that, or you feel you could take a stab at it, do it. Even if you’re starting off, you can still empower those around you with encouragement. As a developed architect with experience, it’s important to empower everybody on your staff. And don’t ever go backwards and put somebody down or hurt or punish anybody for doing something wrong. Just learn from your mistakes. Empower people to move forward and grow. To watch the full interview, please scan this QR code. https://youtu.be/qkEgomSnbyo 11
BY FRAN PRUYN LEGENDS The Remarkable Life of Lynn Scott Woodbury, AIA 12 REFLEXION
Lynn Woodbury was on my list to interview for a long time for this series on AIA Utah Legends. He was active for decades in the industry and in the development sector, which is an unusual path for a licensed architect. He was an inspiration to many who admired his facility to be productive and creative after a life-altering injury. We talked and set up times for the interview, but time just got the better of us, and Lynn passed away on March 27, 2023. Lynn Woodbury was born on June 24, 1952, in Salt Lake City, Utah, to Wallace Richards Woodbury and Beverley Clair Beesley. Lynn spent his youth golfing, creating mischief with “the boys” (lifelong friends), and he was an East High champion swimmer. Lynn joined the family firm — the Woodbury Corporation — first when he was in high school as a drafter. Woodbury is a development and management business that has thrived for over 100 years. The firm has a diverse portfolio that includes retail, office, hotel, multi-family housing, senior living, student housing and mixed-use projects. Following a year working in the National Guard and a two-year mission for The Church of Jesus Christ of Latter-day Saints in Mexico City, Mexico, Lynn pursued his business degree and Master of Architecture at the University of Utah. He continued working with Woodbury during his college years and grew to play a critical role in the business, leading the design and construction division. I talked with Lynn’s brothers, Jeff and Rick Woodbury, who worked with him in the business, about his career, his talents, his dedication and his legacy. When did Lynn decide to become an architect? Jeff: He got his drafting table when we split rooms in 1962; he was very young. He was always drawing house plans, swimming pools, site plans and layouts of buildings … he had all kinds of ideas about how he would do things. He moved into what was called the Pine Room, and my father bought him a drawing desk, got him a T square and rulers and different stencils, etc. to help him with his drawing. Rick: I recall that he made his definite decision when he was 13 years old. I was two years older than he was. We were goofing around, and he was drawing up something and he said something like, “You know, Rick, I really want to become an architect.” I said, “Great, you do the architecture and engineering, I’ll do the law and business. Then we’ll do real estate.” That day in 1965, I think Lynn and I decided we’d go into business together. What about his training? Jeff: Lynn acted as a draftsman parttime from high school on, drawing out space plans and things like that. My father worked really closely with architects in-house on various buildings. We had an in-house architect by the name of Ben Grajalva. Lynn started working with the architect to help get our father’s ideas on paper. Rick: Lynn asked my father if he could do some of that, and my father went to Ben and Ben was fine with it. Jeff: Ben would give him little assignments. In the real estate business, you get a piece of land, or you get a building, and you pencil the concept. Then you give it to the architects to draw that up. We were all exposed to that type of activity from a really young age. Lynn was just more proficient at it than the rest of us and, in many ways, was a lot more thoughtful in the detail of his work. Rick: He also did leasing and a lot of other things, not just architecture. He was an assistant to my father; he got a lot of business background. He told me in architectural school the criticism that his professors had of him was that he had to release his creativity, that he was too practical. His answer to his professors was, “Look, I’m trying to design projects that I know what will be built, so many of these other guys just design things that could never happen.” The professor said, “That’s fine, but you need to not worry so much about what can be built.” He got that idea working in the family business during high school and college, even before he got started working on an architectural degree. However, I think he did learn to use his creativity. Jeff: The original concepts of our office were done when he was in architecture school. My father felt the concept designs were not great concepts — but over time, my father became converted. Ultimately, what we built is what Lynn designed, with some modifications. Rick: When he got his architectural degree at the University of Utah then the question was, “Where does he apprentice?” In those days, you had to work a certain number of years under an architect in order to qualify to get your license. Ben was gone by then, but Dad and I hired Rich Dames and Vern Bush and absorbed that little firm with the understanding that they would do Woodbury projects, but also, that they would teach Lynn and he could apprentice under them. It might have 13
been smarter to send him out to another architectural firm, but we were small. We felt like we needed him, and he wanted to stay with the business. What type of projects did he work on? Jeff: Residential, office, hotels, a lot of retail, medical, industrial – Lynn was involved in every type of project we did. He had a unique way of thinking threedimensionally. He had a vision of how even complicated sites and complicated projects could happen. Most of Woodbury projects are built for tenants and companies; we don’t do a lot of spec space. Up until even a few months ago, Lynn had a way of coming up with an initial concept on a site that was very practical, very economical, very insightful. Even though he couldn’t draw in his later years, he was instructing other people to draw his vision. Lynn would save us a lot of money just because he could see by looking at the topo map and looking at the site how he could balance a site. That vision is really the talent that made him so valuable throughout his career, both before and after the accident. Did he do the detailing as well? Rick: In the early years, he did a lot of the detailing. He worked with Fred Babcock on the Holiday Inn in St. George, which was a fairly extensive project. And he did so much of the detailing that after the project was essentially completed, I went to him and said, “Lynn, we need you more on supervision and we need to hire other people to do that.” And it was a week later that he had his accident and kind of was forced into that anyway. But he’d always check the details throughout his career. Jeff: Yes, of course, but the problem was we became too big. Ultimately, he was head of our construction and design department, and he had a series of architects and draftsmen underneath him. We did many projects where we did all the plans in-house. Then we did other projects where we hired an outside architecture firm, and there’d be a weekly, or a couple design meetings a week, on projects, and Lynn would be involved in those meetings. But as head of that department, he would also manage construction management. An architect is very important as a project is being built to make sure that the plans are being interpreted correctly by the contractor. I’ve had multiple contractors say he saw things that they didn’t see. Can we talk about his accident, and how that changed his trajectory? Jeff: The accident occurred on a trampoline at his sister-in-law’s home. He got distracted as he was jumping and came off the trampoline and landed on the back of his neck. When I arrived at the hospital, he still felt like he was in the position he was in when he hit the ground, even though he was laying out flat. Obviously, it was a major shock to him. It took a significant amount of time and a lot of effort on a lot of people’s part to help him overcome that accident. I had an accident a few years ago and was in the hospital. Lynn and I were talking on the phone, and he said, “Yeah, I wasted too much time thinking about the mistake. As soon as I could just look forward rather than look back on the mistake, then I started being really productive again, and I started realizing how important and how wonderful life is.” Literally, he never complained. It was actually amazing how fast he came back and was really productive for us as an organization. He overcame so much because of his attitude that there is much more to life than worrying about what you can’t do. You should be focusing on what you can do. Rick: I recall he used to talk with his pencil. He would say, “I think we should do something like this.” And he would draw it real fast. He had to learn to describe things verbally rather than draw them, because in those days, you didn’t have the type of computer capabilities we have today. He learned quickly and made a quick adjustment. Just before his accident, we had designed a substance abuse center in St. George. The design had been done before his accident, but he’d been in the hospital for maybe five months or so. When he finally could get around, one of the first things he wanted to do was go down there because it was final inspection time and he had never seen the project. We went there in his van. The project was, in effect, near complete and as he would go into rooms, he would say, “Oh, this is wrong. We need to change this. This is not how it was designed.” Our construction supervisor and the contractor would say, 14 REFLEXION
“No, no, Lynn, you’re wrong.” Then we pulled out the plans (and that probably happened six or seven times) and he was right every single time. He would amaze contractors. I remember fairly recently Slade Opheikins of R&O said, “Whenever we had a meeting with Lynn, I’d tell our people, you guys got to be right on top of this. Make sure you’ve studied everything because Lynn will catch us on anything that we’re off.” Jeff: He worked almost 24 hours a day for 38 years. He would wake up in the middle of the night and be thinking about something, and you’d get an email or a text from him, verbally dictated or typed with his thumbs. Hardly ever did we miss a deadline because we were waiting on him since he was constantly working. Our father had kind of that gift as well. Sometimes, I’d think he was sleeping and the next thing you know, he’d pop awake, and he’d say, “Well, this is what we need to do.” And it was like he heard the whole conversation that was going on when his eyes were shut. Lynn took it to another level. He’d constantly work on a project and visualized what steps needed to be taken in order to get something done. He was involved in the design, construction, and the development of so many buildings. A design could come to us from another architect, and he would know right away that we would be way, way over budget. He would spend a lot of time both with contractors and architects on how to understand the business aspect of building a building and explain to them that, “There’s too much common area here,” or “This is really beautiful, but there’s no way the tenant can afford to pay for this.” He had a way of coming up with a beautiful solution that was more in line with what was practical and affordable for a project. Even outside architects would be very, very complimentary of his vision of how to economically solve problems for tenants. Do you know which projects were among his favorites? Rick: He really liked the Holiday Inn because he was able to participate in all aspects of it. I think he was really proud of the remodels at the University Mall. Jeff: Recently, somebody asked him that question at one of our investor meetings. He said he liked the future. He was always looking forward to the future, and so he named the projects that we were working on that he was really excited about. Lynn would dedicate an equal amount of effort on a small pad for a tenant as we would for military contractor at an Air Force base. I brought him some projects that I must say were not very sexy. He had a way of being able to make sure that the tenant could afford it, a way of making sure that the project worked, even if it didn’t have that overwhelming design piece to it. Lynn always made projects better. I just have to be so thankful for that. I knew when an architect brought a plan, Lynn could say, “Well, this doesn’t make sense, we should need to lay this out this way.” He’d work with somebody in our office by verbally explaining to him how to readjust it to get more space out of it or get another apartment or remove a hallway and make something more efficient. I told partners many times, “This needs to be approved by Lynn to make sure that we’re solving this the most efficient way.” Lynn had a way of challenging architects to do a better job and of motivating contractors to understand that they needed to toe the line, and they needed to be really proficient in their work. He was so broad in spectrum that sometimes I asked him, “So are you an architect or are you a developer?” And he would always tell me, “I’m an architect.” And I’m like, “Well, I think you’re a developer.” But he’d say, “No, you’re the developer. I’m the architect”. That was the badge that he carried, but he did so much more. Last thoughts? Rick: Sometimes, I would read in People magazine about amazing people and the things they’ve done, especially if I’d read about a quadriplegic. I would always think, “My brother has done way more than this,” but he never insisted on a lot of publicity or a lot of credit for things. He just did the job. I think his legacy is an example of a person who had faith, who had courage, who persevered under severe physical hardship. He was pretty unselfish. He didn’t want a lot of credit, and to some extent, I feel he’s an unsung hero. Jeff: Before he was injured, we used to golf a lot together and we used to always talk about how you can’t think about the shot you just hit. You have to hit the next shot; all your focus should be on that next shot. When he got injured, they told us that he had maybe 10 years to live. He lived 38 years locked in a body that he couldn’t physically do anything with. And every day of his life, he was always looking forward to the next shot. 15
How Transit-Oriented Development Can Transform Community Placemaking BY J. KELLY GILLMAN, ASLA, AICP Three specific kinds of human activities contribute to a vibrant, engaging urban realm. Essential activities are part of everyday life: working, shopping, going to school. Voluntary activities are those that draw people to linger in a place: eating at a restaurant, sitting at a café, attending a game or other event. Intentional activities are when people come to a place simply because they know that is where the people are. “Placemaking” is the art of creating a space where all three types of activities are happening simultaneously. People are attracted to places where other people are, so there must first be a reason for people to be — and stay — in those places. Historically, a sense of “place” emerged naturally. Services were often grouped in the center of the community to accommodate pedestrian access. It made sense for key transit stations to also be located at the community center. Often, other public spaces, retail markets and religious destinations were found in proximity. The grouping of these services in one space tended to create a unique character and identifiable sense of place. Today, we face new challenges in creating places with the same kind of character. Before the heavy use of automobiles, many places were built around a transit station. Today, communities are again turning to the transit station as one of many built components that can help create a sense of place. Once your community’s name shows up as a dot on a transit map, there is a greater opportunity to draw attention to residents, businesses, and visitors. Thinking Beyond the Station Today’s services are often distributed across a city, making it more challenging to establish the same sense of “place.” Despite changes in planning over the years, people still want to have places they can identify with. Communities still want a central square where people can gather. Transit stations, even local commuter stations with few amenities, can be a key component in the placemaking process. However, simply adding a station to a community cannot, by itself, create a place. A place is made when there is a critical mass of amenities to support the gathering of people. Along the S-Line in Salt Lake City’s Sugar House neighborhood, simple streetcar stations have been constructed. They include shade structures, ticket vending and informational signage. Enhancing the experience is the addition of a regional trail, enhanced landscaping along the corridor and public plazas at key nodes. Based on feedback from the neighborhood before design began, the aggregated amenities along the S-Line together have established the place as a destination. The transit stations have prompted hundreds of millions of dollars in private development along the corridor, many interacting directly with the corridor’s open space. How to Design a Standardized Transit Station to Fit a Neighborhood The Utah Transit Authority has established a set of safety guidelines, station platform and shade structure design guidelines, as well as branding and signage guidelines for the bus, light rail, streetcar and commuter rail transit systems. 16 REFLEXION
Working from the perspective of a transit operator, UTA seeks to provide a cohesive experience to their riders across the system. A patron of any of their services should be able to easily identify a transit station, understand how to use the services at that station and safely interact with the system. The creation of a unique place today often requires some creative thinking by community members. There may not be any historic fabric upon which to build your identity. The placemaking process in newly emerging places may require the development of a community brand, which may or may not be compatible with the brand of the transit system operator. Having worked in many communities, CRSA has seen firsthand the desire of municipalities to design custom transit stations, install unique pieces of art and integrate station platforms into a more comprehensive urban development. At the 650 South TRAX Light Rail System on Main Street in downtown Salt Lake City, three key design decisions were made to better integrate the station into the emerging community. First, as a project partially funded by the RDA of Salt Lake City, public art was required. Salt Lake City selected a local artist, Jiyoun Lee-Lodge, who created a sculpture that fits the context of Salt Lake City. Second, after some careful compromise with UTA, the design team collaborated with the owner of the adjacent office building to change the color of the UTA Station Shelter. The colors now match. Third, despite a bevy of challenges in the construction of this station, a mid-block pedestrian crossing was installed to allow access to both ends of the centerrunning platform. Locally sourced and fabricated artwork, a holistic color palette (even if subtle), and connectivity are key characteristics that help to tie the transit station into the community. The 650 South Main Street TRAX Station is unique in that it was the first in Utah to be constructed using a mix of public and private dollars. Understanding the importance of transportation to those living and working in the new neighborhood, developers worked with the Redevelopment Agency of Salt Lake City to construct a light rail station that had been envisioned 20 years prior. This balance of funding is happening with other stations, including the new Vineyard Station in Utah County. Vineyard City worked with the state legislature to get funding to help catalyze private development. It’s understood that having an adjacent station can help with the placemaking process and support the overall package of amenities found in a community. By continuing to introduce and prioritize public transportation infrastructure in our communities, we can bolster community character, support connectivity and increase the capacity for growth. 17
What Landscape Architects Want Architects To Know BY JAY BOLLWINKEL, PRINCIPAL AND LANDSCAPE ARCHITECT, MGB+A Think of the last time you went on a trip or vacation to somewhere new. Where did you go? Odds are, you probably budgeted in time to visit a few iconic “bucket-list” locations. If you had visited New York, these might have included Central Park, the Empire State Building, the 9/11 Memorial, the Statue of Liberty and many more. So why is it that we are drawn to such places? History, culture and a host of other reasons that we might come up with are surely reasonable explanations, but there is one thing that each has in common. All of these sites were brought into reality and made accessible to the world through the vision and collaboration of creative minds of the past. None would be possible without the support of a thoughtful and committed design team. So, what is it that we want you to know about us? We are your best partners in creating such places. The unique perspectives of landscape architects and architects are perfect complements to each other, and here are just a few of the many reasons why. Big Picture Thinkers Landscape architects are trained to look at the big picture of project sites and their landscape systems. We unpack a project site to find out what opportunities and constraints exist around a project that could add value or detract from the site. We are good at locating landmark buildings on highways so they appear to grow out of the site or can be seen centered on highway view corridors. Landscape architects help large-scale planning goals be manifested on the site scale. Landscape architects are frequently involved in area and regional planning, which provides opportunities to explore various architectural designs. It’s essential to ensure that the flow of outdoor spaces complements the internal flow of the building, creating a seamless transition between the indoors and outdoors. Additionally, landscape architects strive to promote connectivity within the community by designing outdoor spaces that encourage social interaction and engagement. By working together, architects and landscape architects can create a harmonious and cohesive design that integrates the built and natural environments, providing a truly exceptional experience for users. Creative Solutions Consider landscape architects as a valuable resource, as we have the expertise to offer innovative solutions that enhance the environment while often being significantly more cost-effective than other, more obvious design solutions. By leveraging our knowledge and creativity, we can provide unique and sustainable solutions that beautify the landscape and offer practical benefits to the community. For example, at Ogden-Weber Technical College, a piped canal ran through the campus, but unfortunately, the pipe was not strong enough to support heavy equipment driving over it. As a result, the pipe collapsed multiple times during maintenance equipment crossings. Initially, the plan was to replace the pipe with a stronger and deeper one. However, our team of innovative landscape architects proposed a cost-effective solution — opening up the canal and transforming it into a shallow water feature. The feature was created using concrete sitting blocks designed to look rustic by exposing the aggregate and knocking off corners. This project was a resounding success and even received a national ASLA award for its creativity. The newly transformed canal area has become a favorite spot among students to hang out, relax, and study. Collaborators/Team Players Working together, we add excellent value to your clients. Bringing different strengths and resources to the table makes teaming with landscape architects priceless. When City Creek Center wanted fish to be part of the project, landscape architects brought in an Ichthyologist (fish guy) to help. Together, we created a fish habitat that included all the water characteristics that fish need to thrive. This was challenging because the project location was flat (water needs a slope to flow) with only an 18” depth above the parking structure below to work with. Landscape architects coordinated with owners, retailers, various architects, structural, mechanical, and electrical engineers, and other specialty consultants to make this project successful. Conrad Sauer Detention Basin — Houston, TX Designed by OJB 18 REFLEXION
The City Creek Streetscape project required coordination with many municipalities, more than 60 consultants, owners and retailers. The most critical coordination was with the architects to align their building’s threshold elevations to match the streetscape, which did not have the flexibility to move vertically. Since the architects were in close collaboration with the landscape architect, the interface between building entries and the pedestrian plaza was executed with a seamless articulation. Had there not been such a close level of teamwork, an undesirable step would have been required. In our realm of work, we are continuously collaborating with the Army Corps of Engineers, Canal Companies, the State Division of Natural Resources, State Water Rights Departments and State Engineers to garner approval to improve natural stream habitats through restoration projects. Using Grading as a Design Opportunity Landscape architects are uniquely trained to study topography and grading solutions in a quick and iterative manner. Other disciplines tend to rely on rigid computerized tools for studying grading, but such tools can be unnecessarily time intensive and lack the valuable early design exploration found in the landscape architect’s quick handsketched studies. Additionally, relying on computerized programs for grading tends to be overly focused on function and overlooks aesthetic improvements and other programming opportunities. Consider the Conrad Sauer Detention Basin in Houston, TX, designed by OJB. While other disciplines may have resolved the urban stormwater issues on site with a typical rectangular grasslined detention basin, the landscape architects studied the site holistically and transformed the space into a striking floodable public amenity, filled with winding multi-use trails, shaded seating areas, and beautiful planted terraces, all while successfully addressing the site’s stormwater management needs. Harrisville Canal – Ogden-Weber Technical College Designed by MGB+A Outdoor Gathering Space Creators Because landscape architects understand various manmade and natural systems, they know how to create unique outdoor spaces, from river trail systems to urban courtyards. Landscape architects are adept at working with teams of designers to create large formal gardens integrated with buildings to natural flowing river systems coordinated with the natural environment and wildlife habitats. For example, we created gathering places along the City Creek Streetscape to break the wide streets, enhance the shopping experience, and create cultural and outdoor spaces. Inside City Creek, we created fishing ponds connected with spawning gravel streams that reduce fishermen’s noise so that adjacent ponds find fishing successes. As landscape architects, we are constantly changing the fabric of our cities. We foster community partnerships and incorporate public involvement to ensure inclusivity in outdoor spaces. The success of our outdoor spaces promotes the success of your indoor spaces. We are your best partners. Think about teaming with a landscape architect when you want to look at the bigger picture. Think about us when your project requires creative, cost-effective solutions. Someday soon, we’ll work together to create another “bucket list” project that people will travel to see for generations to come. City Creek Streetscape — Salt Lake City, Utah Designed by MGB+A 19
All-Electric Construction Is a Clean Air and Climate Solution BY KELBE GOUPIL AND LOGAN MITCHELL, UTAH CLEAN ENERGY Homes account for about 20% of greenhouse gas emissions — and much of that is controlled by how energy efficient they are and what kind of appliances we use. In addition to the climate impact, natural gas combustion also contributes to poor outdoor and indoor air quality. Transitioning towards energy-efficient, all-electric homes tackles both of these problems. Thankfully, all-electric appliances like air-source heat pumps and electric cooktops are taking off across the country. Utah’s Historical Context A century ago, when cooking and heating were done with coal and wood, air quality conditions in Utah were atrocious. A study in the 1919-1920 winter heating season placed clay jars around the city to measure soot fall. The clay jars measured 3001000 tons of soot per square mile fell from the atmosphere — literally air you could chew. Natural gas, which is more accurately known as “methane gas” since it is 95% methane, was introduced in Salt Lake City in 1930 and was thought of as a “cure-all” to the air pollution challenges of those days. Initially, it was expensive to build out the gas distribution network, and adoption was limited to affluent early adopters. There was resistance from coal companies who provided coal to homes and businesses, but by the 1990s, residential coal consumption had virtually disappeared. Thus, the coalto-natural gas energy transition took about 60 years and led to a dramatic reduction in air pollution and improvements in quality of life. Today we’re in the next phase of building energy transition. As we move from gas to efficient all-electric-buildings, Utah will see improved air quality and truly sustainable communities. What is All-Electric and Why is it Better? It comes down to how you cool and heat your house, heat your water and cook your food. Electric homes opt for efficient electric heat pumps instead of gas-powered appliances like a furnace or gas water heater. They also use electric stoves instead of their gas counterparts. There’s been a lot of talk lately about gas stoves. You hear how gas stoves are toxic or that a U.S. federal agency is planning a nationwide ban on gas stoves. So, which is it? Is your gas stove killing you or is the controversy a tempest in a teapot? Let’s dig in. It is a proven fact that having a gas stove in your house poses a health risk by creating indoor air pollution. The impact gas stoves have on childhood asthma development is similar to a child being exposed to secondhand smoke. Gas stoves produce two kinds of indoor air pollution. First, your gas stove is burning gas and that combustion produces NOx pollution in your kitchen, which can far exceed air quality standards. Second, gas stoves leak gas, even when they’re turned off. We can’t forget that gas is 95% methane, which is a potent greenhouse gas that is severely hurting our climate. But it’s actually that other 5% that is a health risk in your home. A recent study found 296 unique Volatile Organic Compounds (VOCs) in residential natural gas. If the word “volatile” didn’t make it clear, this includes 21 known hazardous air pollutants like benzene, hexane, toluene, and more. Although gas stoves have been recognized among air quality researchers as a health risk similar to secondhand smoking, nobody had calculated how many people are affected by it. Until now. A recent paper found that 12.7% of childhood asthma cases are associated with gas stove use. In the Intermountain West, we have slightly lower than average gas stove usage, so we’re likely closer to 10% of childhood asthma cases. Unfortunately, the number of homes with gas stoves has been climbing. From 2009 to 2020, there was a ~10% increase in gas stove use. It’s likely we’re increasing the amount of childhood asthma caused by gas stove usage. The size of a kitchen and how a stove is used (frequency, ventilation, etc.) factor into the level of risk posed by a gas stove. The health profile of those in the home is also important — children, older adults and those with existing respiratory conditions are at the highest risk for poor outcomes associated with indoor pollution. Those ready to ditch gas are in luck because there’s never been a better time! New induction stoves are more powerful and precise than gas stoves and are costcompetitive. They’re also easy to clean, don’t pollute indoor air, and don’t pump excess heat into your kitchen. Additionally, the Inflation Reduction Act has allocated millions of dollars in funding to states to provide rebates for energy-efficient electric appliances — including induction cooktops or ranges — to low- and moderate-income households. We are waiting for these rebate programs to be set up, but you can scan the QR code to calculate an initial estimate of how much you may be eligible for. https://www.rewiringamerica.org/app/ ira‑calculator 20 REFLEXION
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