also:

CHICAGO BUILDS A PARK FOR THE 21ST CENTURY

LIFE SKILLS: ONE HOSPITAL’S UNIqUE APPROACH

HOw “CSI” HAS POSITIvELY AFFECTED THE FORENSIC INDUSTRY

A mIDwEST UNIvERSITY TAKES THE “LEED”AND BUILDS FOR THE FUTURE

a publication of

Spring 2008

What’s NEXT?Imagine it is 1908, 100 years ago, when 23 year-old, Canadian-born, aspiring architect, Alvin Ernest Harley, launched our design firm in Detroit. He most cer-tainly had an inspiration - a vision - for our practice founded on a commitment to impact the world in some positive, although undetermined, new way. He was searching for what was next in architecture. Harley’s initial explorations took root in our organization and now as a firm of 500 multi-talented professionals, we are privileged to be celebrating a century of creative design and innovative problem-solving. Most importantly, our imaginative search for what’s next has not waned, and this new publication is quite simply dedicated to that quest.

To sustain our drive to be design thought leaders for another century requires an invigorating strategy. We are committed to helping you, our clients, achieve what’s next in your business, in your industry, and in your world. Therefore, we embrace ideals focused on delivering superior quality, unequaled service, and con-stant innovation. We advocate for inspired design, lasting value, and environmental stewardship. We seek staff who are superbly skilled, tenaciously committed, and who relish challenge. We embrace an unwavering commitment to excellence in all we do to meet your needs.

For NEXT to be successful, to be of real value, we will need your feedback and perspective. Let us know what you think. Help us see new things – to consider op-portunities differently. Share your own explorations. We invite your challenges. That is the spirit in which we offer NEXT to you. Our ability to innovate and improve is the key to our next generation of design and service leadership. We are committed to helping you achieve what’s next, and we trust you will enjoy the journey with us.

Dennis King, FAIA, FESDCorporate Chairman and CEOHarley Ellis Devereaux Corporation

NEXT ®

Editor: Gary L. Skog, FAIAManaging Editor: Judy LittleArt Director: Scott A. Withers, AIGAContributors: J. Peter Devereaux, FAIA, LEED AP; Dianne Ludman Frank, FSMPS; Dennis M. King, FAIA, FESD; Gary E. Mach, J.D., Certified Manager of Quality; Amy K. Masten; Chris Meter; Tom Van Derworp, RLA, ASLAAdvisor: Ralph J. Mocerino, AIA

NEXT is a publication ofHarley Ellis Devereaux Corporation© 2008

Send comments and suggestions to:next@hedev.com

In this issue:

LEEDing by Example

Lawrence Technological University becomes a “living laboratory” for sustainable design.

A Walk in the Park

Chicago pulls out all the stops to create the spectacu-lar Millennium Park and it took a grand effort to make it happen.

Learning Curves

Beaumont Hospitals takes education and patient safety to the next level by utilizing advanced simulation tech-nology in their new Marcia and Eugene Applebaum Surgical Learning Center.

Coloring Outside the Lines

A design team recalls toys from their youth and applies them to a big city hospital.

CSI: Real World

Television’s fascination with forensic science has a positive impact on the industry and helps it grow. The Hertzberg-Davis Forensic Science Center in Los Ange-les adds a different twist.

Mumm’s the Word … and Vueve … and Taittinger …

A unique establishment gives patrons a new experi-ence for the magic of champagne.

The Rise of Vertical Landscapes

Plants naturally filter the air of impurities indoors and out. A new trend in interior landscapes will have us all breathing easier.

NEXT: Viewpoint

J. Peter Devereaux, FAIA, LEED AP, president, Harley Ellis Devereaux Corporation, talks about authenticity in the workplace.

ON ThE cOvEr:The curving exterior glass of Lawrence Technological Univer-sity’s A. Alfred Taubman Student Services Center in South-field, Michigan designed by Harley Ellis Devereaux

2

6

10

12

14

18

23

24

Printed in the USA on environmentally responsible and sustainable paper with 100% of the fiber from independently certified, well-managed forests, or controlled wood manufactured with electricity in the form of renewable energy (wind, hydro, and biogas) and includes a minimum of 30% post-consumer recovered fiber.

What’s NEXT?Imagine it is 1908, 100 years ago, when 23 year-old, Canadian-born, aspiring architect, Alvin Ernest Harley, launched our design firm in Detroit. He most cer-tainly had an inspiration - a vision - for our practice founded on a commitment to impact the world in some positive, although undetermined, new way. He was searching for what was next in architecture. Harley’s initial explorations took root in our organization and now as a firm of 500 multi-talented professionals, we are privileged to be celebrating a century of creative design and innovative problem-solving. Most importantly, our imaginative search for what’s next has not waned, and this new publication is quite simply dedicated to that quest.

To sustain our drive to be design thought leaders for another century requires an invigorating strategy. We are committed to helping you, our clients, achieve what’s next in your business, in your industry, and in your world. Therefore, we embrace ideals focused on delivering superior quality, unequaled service, and con-stant innovation. We advocate for inspired design, lasting value, and environmental stewardship. We seek staff who are superbly skilled, tenaciously committed, and who relish challenge. We embrace an unwavering commitment to excellence in all we do to meet your needs.

For NEXT to be successful, to be of real value, we will need your feedback and perspective. Let us know what you think. Help us see new things – to consider op-portunities differently. Share your own explorations. We invite your challenges. That is the spirit in which we offer NEXT to you. Our ability to innovate and improve is the key to our next generation of design and service leadership. We are committed to helping you achieve what’s next, and we trust you will enjoy the journey with us.

Dennis King, FAIA, FESDCorporate Chairman and CEOHarley Ellis Devereaux Corporation

NEXT ®

Editor: Gary L. Skog, FAIAManaging Editor: Judy LittleArt Director: Scott A. Withers, AIGAContributors: J. Peter Devereaux, FAIA, LEED AP; Dianne Ludman Frank, FSMPS; Dennis M. King, FAIA, FESD; Gary E. Mach, J.D., Certified Manager of Quality; Amy K. Masten; Chris Meter; Tom Van Derworp, RLA, ASLAAdvisor: Ralph J. Mocerino, AIA

NEXT is a publication ofHarley Ellis Devereaux Corporation© 2008

Send comments and suggestions to:next@hedev.com

In this issue:

LEEDing by Example

Lawrence Technological University becomes a “living laboratory” for sustainable design.

A Walk in the Park

Chicago pulls out all the stops to create the spectacu-lar Millennium Park and it took a grand effort to make it happen.

Learning Curves

Beaumont Hospitals takes education and patient safety to the next level by utilizing advanced simulation tech-nology in their new Marcia and Eugene Applebaum Surgical Learning Center.

Coloring Outside the Lines

A design team recalls toys from their youth and applies them to a big city hospital.

CSI: Real World

Television’s fascination with forensic science has a positive impact on the industry and helps it grow. The Hertzberg-Davis Forensic Science Center in Los Ange-les adds a different twist.

Mumm’s the Word … and Vueve … and Taittinger …

A unique establishment gives patrons a new experi-ence for the magic of champagne.

The Rise of Vertical Landscapes

Plants naturally filter the air of impurities indoors and out. A new trend in interior landscapes will have us all breathing easier.

NEXT: Viewpoint

J. Peter Devereaux, FAIA, LEED AP, president, Harley Ellis Devereaux Corporation, talks about authenticity in the workplace.

ON ThE cOvEr:The curving exterior glass of Lawrence Technological Univer-sity’s A. Alfred Taubman Student Services Center in South-field, Michigan designed by Harley Ellis Devereaux

2

6

10

12

14

18

23

24

Printed in the USA on environmentally responsible and sustainable paper with 100% of the fiber from independently certified, well-managed forests, or controlled wood manufactured with electricity in the form of renewable energy (wind, hydro, and biogas) and includes a minimum of 30% post-consumer recovered fiber.

LbeyonD Green:Lawrence Technological University’s new Student Services Center in Southfi eld, Michigan is a fl agship for sustainable design in the midwest

awrence technological University is putting a new spin on the old adage, “practice what you preach:” from now on, it is “practice what you teach.”

Or, as joseph c. veryser, AiA, Lawrence Tech’s University Architect and Associate Dean, Col-lege of Architecture and Design, likes to say, “If we want our students and communities to be successful advocates of sustainable design, then we need to not only educate but also lead by example.”

And leading by example is precisely what the new A. Alfred taubman student services cen-

ter enables Lawrence Tech to do. By placing students – their services and success – at the physical heart of the campus, in a forward-looking building and quadrangle designed as a

sustainable “living laboratory,” Lawrence Tech is redefi ning its role as a leader.

In a move as welcoming and bold as the build-ing’s curved sweep of glass, Lawrence Tech has consolidated all of its student services, created a green campus center, and demonstrated its commitment to the environment and com-munity. Aimed at strengthening student access, convenience, and recruitment, the origin of the project was to centralize student services while implementing the fi rst step in a strategic cam-pus master plan. These goals sparked the idea of a unifi ed student center embodying Law-rence Tech’s innovative U Serving You service philosophy. But as design concepts with harley

ellis Devereaux developed, momentum and development grew. Rather than envisioning just glass and steel, the team captured opportu-

nities to position Lawrence Tech as a competi-tive educational institution, a good steward in sustainable design, a and valuable resource to the community.

grouP hugOn any given day, a steady stream of architec-ture, engineering, and management students fl ock to the new three-story, 42,000 square foot Taubman Center as their “one stop” for all of their service needs. The building is all about attraction – its dynamic image, bright colors, and open gestures embrace the campus in what Harley Ellis Devereaux designer Arthur F. smith,

FAiA calls a “group hug.” Seamlessly integrated with its new quadrangle, the project teems with life at Lawrence Tech’s academic heart. It has transformed a grass and concrete desert into a unifi ed hub of activity, and what Harley Ellis

“Our University and Colleges are all

strong advocates of sustainability. Here, we not only teach it

but make it visible and known to the students

and community.”

Joseph C. Veryser, AIAAssociate Dean

College of Architecture and Design Lawrence Technological University

eXAMPle

Devereaux landscape architect Mark hieber,

AslA, leeD AP terms, “a place of interest and inspiration; a jewel-like crown set in a lush environment.”

Designed with the intent to meet USGBC LEED Silver certifi cation, this glowing beacon, a $15.1 million project dedicated on April 7, 2006, was supported entirely by philanthropy – another example of taking ideas to the next level: Growing the project into the cornerstone of a $46 million capital campaign. Harley El-lis Devereaux worked with the University to leverage design as a development tool, and incorporate donor opportunities as the project evolved. Communication, consensus, and col-laboration were key to meeting the University’s goals and taking each step further. Beginning in the early 2000s, spectrum strategies assisted

Lawrence Tech in a strategic enterprise to align campus facilities and infrastructure with mis-sion and academic, administrative, and capital planning. The Student Services Center was identifi ed as the fi rst building for implementa-tion of long-range development, and presented along with it the opportunity to improve the quadrangle.

lisa kujawa, Assistant Provost at Lawrence Tech, refl ects on the process, “With Harley Ellis Devereaux facilitating, we began to look at benchmarks and our programming efforts, not just with an eye to what exists now, but with the goal of seeking to build something even greater. Goals worked hand-in-hand. The result was to create a more integrated approach with a focus on putting students in the middle of the University.”

a midwEsTErN uNivErsiTy’s maNTra bEComEs “PraCTiCE whaT you TEaCh”

sustainable “living lab” As the Taubman Center and quadrangle developed in tandem with funding, the idea that the building and site could be a learning opportunity – a “living lab” of green architec-ture, landscape architecture, and engineering – also evolved. The design transcended pure function to become a visibly sustainable and dynamic organism supporting the technolog-ically-based theory and practice taught at the University.

Smith explains, “From the beginning, the ap-proach to the Center was visionary. Lawrence Tech offi cials realized they had an opportu-nity to create a building that went beyond a rudimentary enclosure and practical needs to become a learning and research ‘lab’ refl ecting the University’s mission.” Hieber and Smith

leeDinGby

2 | NEXT Spring 2008 NEXT Spring 2008 | 3

LbeyonD Green:Lawrence Technological University’s new Student Services Center in Southfi eld, Michigan is a fl agship for sustainable design in the midwest

awrence technological University is putting a new spin on the old adage, “practice what you preach:” from now on, it is “practice what you teach.”

Or, as joseph c. veryser, AiA, Lawrence Tech’s University Architect and Associate Dean, Col-lege of Architecture and Design, likes to say, “If we want our students and communities to be successful advocates of sustainable design, then we need to not only educate but also lead by example.”

And leading by example is precisely what the new A. Alfred taubman student services cen-

ter enables Lawrence Tech to do. By placing students – their services and success – at the physical heart of the campus, in a forward-looking building and quadrangle designed as a

sustainable “living laboratory,” Lawrence Tech is redefi ning its role as a leader.

In a move as welcoming and bold as the build-ing’s curved sweep of glass, Lawrence Tech has consolidated all of its student services, created a green campus center, and demonstrated its commitment to the environment and com-munity. Aimed at strengthening student access, convenience, and recruitment, the origin of the project was to centralize student services while implementing the fi rst step in a strategic cam-pus master plan. These goals sparked the idea of a unifi ed student center embodying Law-rence Tech’s innovative U Serving You service philosophy. But as design concepts with harley

ellis Devereaux developed, momentum and development grew. Rather than envisioning just glass and steel, the team captured opportu-

nities to position Lawrence Tech as a competi-tive educational institution, a good steward in sustainable design, a and valuable resource to the community.

grouP hugOn any given day, a steady stream of architec-ture, engineering, and management students fl ock to the new three-story, 42,000 square foot Taubman Center as their “one stop” for all of their service needs. The building is all about attraction – its dynamic image, bright colors, and open gestures embrace the campus in what Harley Ellis Devereaux designer Arthur F. smith,

FAiA calls a “group hug.” Seamlessly integrated with its new quadrangle, the project teems with life at Lawrence Tech’s academic heart. It has transformed a grass and concrete desert into a unifi ed hub of activity, and what Harley Ellis

“Our University and Colleges are all

strong advocates of sustainability. Here, we not only teach it

but make it visible and known to the students

and community.”

Joseph C. Veryser, AIAAssociate Dean

College of Architecture and Design Lawrence Technological University

eXAMPle

Devereaux landscape architect Mark hieber,

AslA, leeD AP terms, “a place of interest and inspiration; a jewel-like crown set in a lush environment.”

Designed with the intent to meet USGBC LEED Silver certifi cation, this glowing beacon, a $15.1 million project dedicated on April 7, 2006, was supported entirely by philanthropy – another example of taking ideas to the next level: Growing the project into the cornerstone of a $46 million capital campaign. Harley El-lis Devereaux worked with the University to leverage design as a development tool, and incorporate donor opportunities as the project evolved. Communication, consensus, and col-laboration were key to meeting the University’s goals and taking each step further. Beginning in the early 2000s, spectrum strategies assisted

Lawrence Tech in a strategic enterprise to align campus facilities and infrastructure with mis-sion and academic, administrative, and capital planning. The Student Services Center was identifi ed as the fi rst building for implementa-tion of long-range development, and presented along with it the opportunity to improve the quadrangle.

lisa kujawa, Assistant Provost at Lawrence Tech, refl ects on the process, “With Harley Ellis Devereaux facilitating, we began to look at benchmarks and our programming efforts, not just with an eye to what exists now, but with the goal of seeking to build something even greater. Goals worked hand-in-hand. The result was to create a more integrated approach with a focus on putting students in the middle of the University.”

a midwEsTErN uNivErsiTy’s maNTra bEComEs “PraCTiCE whaT you TEaCh”

sustainable “living lab” As the Taubman Center and quadrangle developed in tandem with funding, the idea that the building and site could be a learning opportunity – a “living lab” of green architec-ture, landscape architecture, and engineering – also evolved. The design transcended pure function to become a visibly sustainable and dynamic organism supporting the technolog-ically-based theory and practice taught at the University.

Smith explains, “From the beginning, the ap-proach to the Center was visionary. Lawrence Tech offi cials realized they had an opportu-nity to create a building that went beyond a rudimentary enclosure and practical needs to become a learning and research ‘lab’ refl ecting the University’s mission.” Hieber and Smith

leeDinGby

2 | NEXT Spring 2008 NEXT Spring 2008 | 3

worked hand-in-hand to create a landscape that would also serve as a “perpetual field trip” and outdoor setting for learning, with unique fea-tures as donor opportunities, and sustainable elements such as geothermal wells, a vegetated green roof and bioswale to help solve the University’s stormwater management issues. “We sought to create a variety of different, interesting settings for students and faculty to gather and exchange ideas. It is precisely these ‘intellectual collisions’ that foster learning.” Thus, focal points – a fountain plaza, intimate amphitheatre and vest-pocket park – are visu-ally engaging, inspiring, and environmentally sound. Veryser concurs, “One of the most suc-cessful aspects of the project is its design solu-tion and aesthetic. Then, what really makes the building and quadrangle work is mechanical, electrical, and sustainable design. Our Univer-sity and Colleges are all strong advocates of sustainability. Here, we not only teach it but make it visible and known to the students and community.”

Measuring success in student and university terMsAnd things are measurably better and continu-ally improving. The response from students to the convenience of going to one place for their needs has been very positive. In the first months following the building’s opening, the University saw a 50-60% increase in the use of services through the “one stop” approach. Recognition of the project is contributing in part to an increase in enrollment.

Veryser notes, “The successful design and features have made the Taubman Center an attraction for communities and organizations such as the U.S. Green Building Council and the State of Michigan who ask to come see the facilities. We have enjoyed a good relationship with the City, but this project has established the greatest level of trust imaginable. People also now know that we are a resource in sustainable design – from solar energy to rain gardens.”

Hieber views Lawrence Tech as a national leader. “Through its building and quadrangle, Lawrence Tech is demonstrating that it is no longer sufficient to merely maintain an envi-ronmental status quo, but that municipalities and building owners have an obligation to im-prove the environment and create healthy cities for future generations. This is a model for sustainable design in action, enhancing public/private partnerships and educating communi-ties in the process.”

For Smith, “The Taubman Center is a testa-ment to how design can enhance an enterprise. The project has not only created a welcoming, dynamic environment, but also opportunities for development. It maximizes the potential

of the building as a learning tool, while mak-ing a positive and significant impact on the culture of the University and the student body. This project is more about the students and the University and their future than bricks and mortar.”

At A GlAnce:Real-World Applications of Sustainable Design and Engineering at the Taubman Student Services Center...

Geothermal energy system and field of 88 geothermal wells sunk 300 feet deep to heat and cool the building — no boiler, furnace, or even a gas meter

10,000 square foot vegetated green roof — more effective insulation than traditional roofs; controls and reduces stormwater runoff

10,000 gallon cistern for “gray” water for flushing toilets

Bioswale for stormwater management

Champion Tree project reduces stormwater runoff

Orientation to promote natural lighting and site elements

Low-e glass skin reduces heat loss and maximizing daylight

Lighting controlled room occupancy sensors; astronomic time clock adjusting daily

Direct Digital Control system for heating and cooling

Under floor air distribution

HVAC with no CFC-based refrigerants, HCFCs, or Halons

“This project is more about the students and the University

and their future than bricks and mortar.”

Arthur F. Smith, FAIADesigner, Principal

Harley Ellis Devereaux

livinG lAb: Site elements were inte-

grated into the sustainable design of the project as part

of the “living lab”

liGhtinG the wAy: Light bollards represent 88 geothermal wells that heat

and cool the building

U servinG yoU:Within months after the building opening,

there was a 50-60% increase in student services through the “one-stop” approach

4 | NEXT Spring 2008 NEXT Spring 2008 | 5

worked hand-in-hand to create a landscape that would also serve as a “perpetual field trip” and outdoor setting for learning, with unique fea-tures as donor opportunities, and sustainable elements such as geothermal wells, a vegetated green roof and bioswale to help solve the University’s stormwater management issues. “We sought to create a variety of different, interesting settings for students and faculty to gather and exchange ideas. It is precisely these ‘intellectual collisions’ that foster learning.” Thus, focal points – a fountain plaza, intimate amphitheatre and vest-pocket park – are visu-ally engaging, inspiring, and environmentally sound. Veryser concurs, “One of the most suc-cessful aspects of the project is its design solu-tion and aesthetic. Then, what really makes the building and quadrangle work is mechanical, electrical, and sustainable design. Our Univer-sity and Colleges are all strong advocates of sustainability. Here, we not only teach it but make it visible and known to the students and community.”

Measuring success in student and university terMsAnd things are measurably better and continu-ally improving. The response from students to the convenience of going to one place for their needs has been very positive. In the first months following the building’s opening, the University saw a 50-60% increase in the use of services through the “one stop” approach. Recognition of the project is contributing in part to an increase in enrollment.

Veryser notes, “The successful design and features have made the Taubman Center an attraction for communities and organizations such as the U.S. Green Building Council and the State of Michigan who ask to come see the facilities. We have enjoyed a good relationship with the City, but this project has established the greatest level of trust imaginable. People also now know that we are a resource in sustainable design – from solar energy to rain gardens.”

Hieber views Lawrence Tech as a national leader. “Through its building and quadrangle, Lawrence Tech is demonstrating that it is no longer sufficient to merely maintain an envi-ronmental status quo, but that municipalities and building owners have an obligation to im-prove the environment and create healthy cities for future generations. This is a model for sustainable design in action, enhancing public/private partnerships and educating communi-ties in the process.”

For Smith, “The Taubman Center is a testa-ment to how design can enhance an enterprise. The project has not only created a welcoming, dynamic environment, but also opportunities for development. It maximizes the potential

of the building as a learning tool, while mak-ing a positive and significant impact on the culture of the University and the student body. This project is more about the students and the University and their future than bricks and mortar.”

At A GlAnce:Real-World Applications of Sustainable Design and Engineering at the Taubman Student Services Center...

Geothermal energy system and field of 88 geothermal wells sunk 300 feet deep to heat and cool the building — no boiler, furnace, or even a gas meter

10,000 square foot vegetated green roof — more effective insulation than traditional roofs; controls and reduces stormwater runoff

10,000 gallon cistern for “gray” water for flushing toilets

Bioswale for stormwater management

Champion Tree project reduces stormwater runoff

Orientation to promote natural lighting and site elements

Low-e glass skin reduces heat loss and maximizing daylight

Lighting controlled room occupancy sensors; astronomic time clock adjusting daily

Direct Digital Control system for heating and cooling

Under floor air distribution

HVAC with no CFC-based refrigerants, HCFCs, or Halons

“This project is more about the students and the University

and their future than bricks and mortar.”

Arthur F. Smith, FAIADesigner, Principal

Harley Ellis Devereaux

livinG lAb: Site elements were inte-

grated into the sustainable design of the project as part

of the “living lab”

liGhtinG the wAy: Light bollards represent 88 geothermal wells that heat

and cool the building

U servinG yoU:Within months after the building opening,

there was a 50-60% increase in student services through the “one-stop” approach

4 | NEXT Spring 2008 NEXT Spring 2008 | 5

TEverything about the

park is done on a grand scale. There’s nothing timid about

Millennium Park.

A wAlkin the PArk

he massive stainless steel curls are visible from several city blocks away, billowing above the cityscape and lumi-nous in the afternoon sun. A metallic explo-sion on a magnifi cent scale, the show-stopping visual impact of the Frank Gehry-designed Jay Pritzker Pavilion music shell, meant to evoke the bloom of a grandiose fl ower, attracts pass-ersby like bees to a fl ower garden. The pavilion itself, a giant oval criss-cross trellis of steel tubes with speakers wired throughout, draws people to the space even when there’s nothing to see onstage.

And speaking of fl ower gardens, Chicago’sMillennium Park is resplendent with gardens, along with fountains, walking paths, open spaces and an astonishing collection of artistic expression, welcoming the 21st century while also looking back to the “City in a Garden” im-age envisioned by Chicago’s founding fathers in 1837.

But they would never have predicted this.

ThE world is PlayiNg iN ChiCago’s froNT yard

GooD, soUnD DesiGn:Chicago’s Millennium Park welcomes the 21st Century while looking

back to the City’s founding fathers’ vision of a “City in a Garden”

global talents on a grand scalePritzker Pavilion is just the beginning. Enter Cloud Gate, the gleaming, 115-ton stainless steel bean-shaped creation of British artist Anish Kapoor. Polished to a mirror shine, the sculpture strategically refl ects the city’s skyline as well as the many children’s faces who stop by to cavort in its refl ection.

And then there’s Crown Plaza, the creation of Spanish artist Jaume Plensa. In a modern-day take on the gargoyle, faces of Chicagoans vid-eo-projected onto two 50-foot towers “spew” water every six minutes into a surrounding refl ecting pool.

As Chicago-architect Daniel Hudson Burnham once said, “Make no little plans; they have no magic to stir men’s blood. Make big plans, aim high in hope and work.” Indeed, every-thing about this park is done on a grand scale. There’s nothing timid about Millennium Park. It’s hard to fathom that such splendor was once only a dismal expanse of rail tracks and a gravel parking lot.

chicago’s “front yard” cleans uPed Uhlir, FAiA, is a low-key guy with a knack for negotiating and for getting things done. His reputation preceded him and, in 1998, newly retired from the chicago Park District as director of research and planning, Uhlir was handpicked by Mayor richard Daley, known for his devotion to urban renewal and to doing things “big,” to head up a modest, two-year project: design and fund a park to cover a blighted expanse of eyesore property north of Grant Park between Michigan Avenue and the lakeshore. Chicago’s “front yard” was looking a bit tattered. One of Uhlir’s jobs as project design director was to get everyone to work together, no small feat when you’re dealing with the opinions, money, and personalities of Chicago’s wealthiest and most visible people. Not satisfi ed with middle-of-the-road attrac-tions, Chicago’s fi nest pulled out the stops and put their money down. The “modest” project became massive.

“We took the original design for the park and made some changes,” says Uhlir, who would ultimately be credited for shaping the over-all look and feel of the park. “We identifi ed sections people could underwrite, established various donor groups, worked out how to acknowledge major donors’ gifts. Needless to say, it was overwhelming to attempt to manage all the goings-on.”

the bAnDleADer:Ed Uhlir, FAIA, Millennium Park’s design director, a low-key

guy with a knack for getting things done

Those behind-the-scene efforts took the collective help of many, including spectrum

strategies and harley ellis Devereaux. Spectrum Strategies was initially asked to manage the construction of the Lurie Garden and the four pavilions that connect the park to the under-ground parking deck. That role quickly ex-panded to include many other of the elements of the park, including the Boeing Galleries outdoor art and sculpture promenade that was designed by Harley Ellis Devereaux, and por-tions of the Pritzker Pavilion.

David troszak, a principal with Spectrum Strat-egies, says, “Everyone on the project was thrilled to be a part of creating a truly world-class park. I have to say that the challenge of successfully completing Millennium Park took a world-class effort! Facilitating the require-ments of public stakeholders, private donors, world-famous architects and artists, and mul-tiple construction teams for each independent project simultaneously was intricate and criti-cally important. I’m proud of the team and the results we all achieved for the city of chicago. It’s the most successful new urban park in the world and I’ve enjoyed bringing my family to the Park to share in what we created.”

good things take tiMeIn what became a continually-evolving back-drop, the two-year completion time tripled

6 | NEXT Spring 2008 NEXT Spring 2008 | 7

TEverything about the

park is done on a grand scale. There’s nothing timid about

Millennium Park.

A wAlkin the PArk

he massive stainless steel curls are visible from several city blocks away, billowing above the cityscape and lumi-nous in the afternoon sun. A metallic explo-sion on a magnifi cent scale, the show-stopping visual impact of the Frank Gehry-designed Jay Pritzker Pavilion music shell, meant to evoke the bloom of a grandiose fl ower, attracts pass-ersby like bees to a fl ower garden. The pavilion itself, a giant oval criss-cross trellis of steel tubes with speakers wired throughout, draws people to the space even when there’s nothing to see onstage.

And speaking of fl ower gardens, Chicago’sMillennium Park is resplendent with gardens, along with fountains, walking paths, open spaces and an astonishing collection of artistic expression, welcoming the 21st century while also looking back to the “City in a Garden” im-age envisioned by Chicago’s founding fathers in 1837.

But they would never have predicted this.

ThE world is PlayiNg iN ChiCago’s froNT yard

GooD, soUnD DesiGn:Chicago’s Millennium Park welcomes the 21st Century while looking

back to the City’s founding fathers’ vision of a “City in a Garden”

global talents on a grand scalePritzker Pavilion is just the beginning. Enter Cloud Gate, the gleaming, 115-ton stainless steel bean-shaped creation of British artist Anish Kapoor. Polished to a mirror shine, the sculpture strategically refl ects the city’s skyline as well as the many children’s faces who stop by to cavort in its refl ection.

And then there’s Crown Plaza, the creation of Spanish artist Jaume Plensa. In a modern-day take on the gargoyle, faces of Chicagoans vid-eo-projected onto two 50-foot towers “spew” water every six minutes into a surrounding refl ecting pool.

As Chicago-architect Daniel Hudson Burnham once said, “Make no little plans; they have no magic to stir men’s blood. Make big plans, aim high in hope and work.” Indeed, every-thing about this park is done on a grand scale. There’s nothing timid about Millennium Park. It’s hard to fathom that such splendor was once only a dismal expanse of rail tracks and a gravel parking lot.

chicago’s “front yard” cleans uPed Uhlir, FAiA, is a low-key guy with a knack for negotiating and for getting things done. His reputation preceded him and, in 1998, newly retired from the chicago Park District as director of research and planning, Uhlir was handpicked by Mayor richard Daley, known for his devotion to urban renewal and to doing things “big,” to head up a modest, two-year project: design and fund a park to cover a blighted expanse of eyesore property north of Grant Park between Michigan Avenue and the lakeshore. Chicago’s “front yard” was looking a bit tattered. One of Uhlir’s jobs as project design director was to get everyone to work together, no small feat when you’re dealing with the opinions, money, and personalities of Chicago’s wealthiest and most visible people. Not satisfi ed with middle-of-the-road attrac-tions, Chicago’s fi nest pulled out the stops and put their money down. The “modest” project became massive.

“We took the original design for the park and made some changes,” says Uhlir, who would ultimately be credited for shaping the over-all look and feel of the park. “We identifi ed sections people could underwrite, established various donor groups, worked out how to acknowledge major donors’ gifts. Needless to say, it was overwhelming to attempt to manage all the goings-on.”

the bAnDleADer:Ed Uhlir, FAIA, Millennium Park’s design director, a low-key

guy with a knack for getting things done

Those behind-the-scene efforts took the collective help of many, including spectrum

strategies and harley ellis Devereaux. Spectrum Strategies was initially asked to manage the construction of the Lurie Garden and the four pavilions that connect the park to the under-ground parking deck. That role quickly ex-panded to include many other of the elements of the park, including the Boeing Galleries outdoor art and sculpture promenade that was designed by Harley Ellis Devereaux, and por-tions of the Pritzker Pavilion.

David troszak, a principal with Spectrum Strat-egies, says, “Everyone on the project was thrilled to be a part of creating a truly world-class park. I have to say that the challenge of successfully completing Millennium Park took a world-class effort! Facilitating the require-ments of public stakeholders, private donors, world-famous architects and artists, and mul-tiple construction teams for each independent project simultaneously was intricate and criti-cally important. I’m proud of the team and the results we all achieved for the city of chicago. It’s the most successful new urban park in the world and I’ve enjoyed bringing my family to the Park to share in what we created.”

good things take tiMeIn what became a continually-evolving back-drop, the two-year completion time tripled

6 | NEXT Spring 2008 NEXT Spring 2008 | 7

and with it the cost, due to the expansion of the park from 16 acres to 24 and the addition of an elite, eclectic mix of cultural attractions designed by a “who’s who” list of noted global talents. Finally, in 2004, several years past the event for which it was named, Millennium Park was unveiled: a cultural crossroads for Chica-go as well as an international example of what a city can accomplish. It was, by all accounts, worth the wait.

a landMark ParkListed in 2006 as the number one summer tourist attraction in the United States by the travel web site Priceline, no one knew the suc-cess of the park would reach such epic propor-tions, least of all Uhlir, who now, long past his two-year commitment, still spends much of his time traveling and consulting about the park, inspiring cities from Seattle to Seoul and Milan to Miami. More cultural than recreational, this is no humble Frisbee-tossing expanse of green space. “It has become the global standard-bearer for an urban park,” says Uhlir.

downtown doMino effectEverywhere there is a vibrant mix of people relaxing, strolling, and picnicking. Children splash in the Crown Fountain, excitedly antici-pating the next stream of water from the “hu-man” gargoyles. Concert-goers gather under the stars to enjoy music in the most idyllic of settings, the backdrop of the city rising against the night sky. The success of the Park has created a domino effect. According to Uhlir, “It’s been a huge economic engine for Chicago. Property values have gone up, there is a surge in residential and commercial building such as condos and hotels, and the retail area around the park is enjoying its own renaissance.”

what’s neXt?“Millennium Park is a tough act to follow,” says Uhlir, who lists Cloud Gate as his personal favorite attraction. “It’s pretty remarkable,” he notes.

It would be hard, if not impossible, for the city to trump its own success. Hardly content to stop there, however, the city is considering several other renewal efforts and also remains a contender as a host city for the 2016 Olympic Games. Uhlir shakes his head when asked if he would take the helm as executive director if, in fact, Chicago is selected for such a distinctive honor. “By then I will probably be very tired and in a rest home,” he jokes.

In the more immediate future, there is talk of a children’s museum on Navy Pier, while a bit farther north on the Chicago shoreline,

stUnninG hiGhliGhts:(left to right) Cloud Gate, Millennium Park Monument (Peristyle),

The Lurie Garden, aerial view of the park (below)

90 acres of land are earmarked for another park development. Currently, several projects within the city boundaries are in the process of converting abandoned industrial land into resi-dential, retail, and park areas. Another stretch of abandoned railroad property is also being considered for remediation. “The mayor wants more bike trails,” Uhlir explains. And judging by the overwhelming success of Millennium Park, the mayor gets what the mayor wants.

crown-inG AroUnD:Faces of Chicagoans are projected onto two 50-foot towers

that “spew” water into a refl ecting pool

“Everyone on the project was thrilled

to be a part of creating a truly world-

class park...[and] the challenge of successfully

completing Millennium Park took a world-class effort!”

David TroszakPrincipal

Spectrum Strategies

8 | NEXT Spring 2008 NEXT Spring 2008 | 9

and with it the cost, due to the expansion of the park from 16 acres to 24 and the addition of an elite, eclectic mix of cultural attractions designed by a “who’s who” list of noted global talents. Finally, in 2004, several years past the event for which it was named, Millennium Park was unveiled: a cultural crossroads for Chica-go as well as an international example of what a city can accomplish. It was, by all accounts, worth the wait.

a landMark ParkListed in 2006 as the number one summer tourist attraction in the United States by the travel web site Priceline, no one knew the suc-cess of the park would reach such epic propor-tions, least of all Uhlir, who now, long past his two-year commitment, still spends much of his time traveling and consulting about the park, inspiring cities from Seattle to Seoul and Milan to Miami. More cultural than recreational, this is no humble Frisbee-tossing expanse of green space. “It has become the global standard-bearer for an urban park,” says Uhlir.

downtown doMino effectEverywhere there is a vibrant mix of people relaxing, strolling, and picnicking. Children splash in the Crown Fountain, excitedly antici-pating the next stream of water from the “hu-man” gargoyles. Concert-goers gather under the stars to enjoy music in the most idyllic of settings, the backdrop of the city rising against the night sky. The success of the Park has created a domino effect. According to Uhlir, “It’s been a huge economic engine for Chicago. Property values have gone up, there is a surge in residential and commercial building such as condos and hotels, and the retail area around the park is enjoying its own renaissance.”

what’s neXt?“Millennium Park is a tough act to follow,” says Uhlir, who lists Cloud Gate as his personal favorite attraction. “It’s pretty remarkable,” he notes.

It would be hard, if not impossible, for the city to trump its own success. Hardly content to stop there, however, the city is considering several other renewal efforts and also remains a contender as a host city for the 2016 Olympic Games. Uhlir shakes his head when asked if he would take the helm as executive director if, in fact, Chicago is selected for such a distinctive honor. “By then I will probably be very tired and in a rest home,” he jokes.

In the more immediate future, there is talk of a children’s museum on Navy Pier, while a bit farther north on the Chicago shoreline,

stUnninG hiGhliGhts:(left to right) Cloud Gate, Millennium Park Monument (Peristyle),

The Lurie Garden, aerial view of the park (below)

90 acres of land are earmarked for another park development. Currently, several projects within the city boundaries are in the process of converting abandoned industrial land into resi-dential, retail, and park areas. Another stretch of abandoned railroad property is also being considered for remediation. “The mayor wants more bike trails,” Uhlir explains. And judging by the overwhelming success of Millennium Park, the mayor gets what the mayor wants.

crown-inG AroUnD:Faces of Chicagoans are projected onto two 50-foot towers

that “spew” water into a refl ecting pool

“Everyone on the project was thrilled

to be a part of creating a truly world-

class park...[and] the challenge of successfully

completing Millennium Park took a world-class effort!”

David TroszakPrincipal

Spectrum Strategies

8 | NEXT Spring 2008 NEXT Spring 2008 | 9

TleArninG

cUrves

ake one: Lights dim … the stage backdrop is simple and functional. All eyes focus not on elaborate set details but on the drama below.

Mission control: Lights fl icker … a power out-age creates a life-or-death situation. A comput-er-generated program sets systems in motion according to a well-rehearsed script.

Black-box theater? Sci-fi cockpit? This hub of activity is the Marcia and eugene Applebaum sur-

gical learning center at william beaumont hospital in Royal Oak, Michigan, a 5,500 square foot training facility believed to be the fi rst of its kind in the world.

Designed as a fl exible “black-box” theater, the $4.5 million prototype provides cutting-edge surgical training and medical simulation technology to set new standards for surgical expertise and patient safety. A bio-skills lab with ten stations, two mock operating rooms, control rooms and advanced IT and AV sys-tems technology allow Beaumont, one of the country’s premier surgical and teaching hos-pitals, to simulate actual clinical and operating situations. Teams of professionals and students train and hone skills on “patient” mannequins, using Human Patient Simulator technology to simulate realistic patient and environment functions with a precision similar to the mili-tary and aviation industries.

But this is no “behind-the-scenes” operation set in “hangar-like” shell space. Rather, the Surgical Learning Center is strategically show-cased center stage in Beaumont’s gleaming South Tower addition, opened in September 2004.

According to charles j. shanley, M.D., senior vice president and chairman of Surgical Ser-vices at Beaumont Hospital, Royal Oak, “The Surgical Learning Center is consistent with Beaumont Hospital’s mission and emphasis on education and patient safety. It is a very unique and spectacular accomplishment beyond one’s wildest dreams … Beaumont had tremendous vision to create the center in the heart of its 21st century hospital, and take leadership in patient safety. The tribute to its effective design is that all user groups can leverage it as a re-source for their needs.”

The vision for a highly specialized center for surgical training evolved over fi ve years. The Institute of Medicine focused national atten-tion on the prevention of medical errors with its publication To Err is Human in 1999. In its forward-thinking approach, Beaumont was taking its own mission and robust emphasis on education and patient safety to the next level: enhance patient safety by shifting the training

leArninG cUrves:Since its opening, Beaumont Hospitals’ Surgical Learning Center

has been host to medical professionals from around the globe who have presented on the latest technologies and procedures

MoDern clAssrooM: Ipit digna consequis nummolore dolorpe rcidunt

lor acincipit, qui exer alit lam quisl ip eros dolor inci eumsan vero dit, vullum delenim dolobore eugait

utat vullan venim dolor sustie mod tie modolenibh elenim dolor sit, venim zzrit autpat.

of surgical technical procedures out of the actual operating environment and into facilities incorporating full-immersion, advanced simula-tion technology, and robotics.

early risersBeaumont turned to its “A” team, long-time, proven partners harley ellis Devereaux and bar-

ton Malow who were involved in the design and construction of the South Tower Addition, to replicate the operating rooms with the high-est degree of fi delity. Harley Ellis Devereaux principal rick hall, AiA, points to the highly collaborative and streamlined process, working as one to complete design in three months and construction in fi ve. “We worked very closely with Beaumont and Barton Malow from the start, meeting as early as 6 a.m. with doctors and hospital staff, several times a week, for several months. Whatever we discussed in the morning, would be sketched on whiteboards and resolved in the same room immediately afterwards,” recalls Hall.

PraCTiCE makEs PErfECT as surgiCal lEarNiNg CENTErs

gaiN PoPulariTy

“The paradigm of how surgical techniques have been taught over five centuries is changing. This

Center is the resource that can shorten the learning curves for technical skills and

train the entire team in a safe environment.”

Charles J. Shanley, MDSenior Vice President and Chairman

Surgical ServicesBeaumont Hospital, Royal Oak

MoDern clAssrooM: Full height glass walls front two mockup operating rooms allowing viewing without interference

continued on page 22

10 | NEXT Spring 2008 NEXT Spring 2008 | 11

TleArninG

cUrves

ake one: Lights dim … the stage backdrop is simple and functional. All eyes focus not on elaborate set details but on the drama below.

Mission control: Lights fl icker … a power out-age creates a life-or-death situation. A comput-er-generated program sets systems in motion according to a well-rehearsed script.

Black-box theater? Sci-fi cockpit? This hub of activity is the Marcia and eugene Applebaum sur-

gical learning center at william beaumont hospital in Royal Oak, Michigan, a 5,500 square foot training facility believed to be the fi rst of its kind in the world.

Designed as a fl exible “black-box” theater, the $4.5 million prototype provides cutting-edge surgical training and medical simulation technology to set new standards for surgical expertise and patient safety. A bio-skills lab with ten stations, two mock operating rooms, control rooms and advanced IT and AV sys-tems technology allow Beaumont, one of the country’s premier surgical and teaching hos-pitals, to simulate actual clinical and operating situations. Teams of professionals and students train and hone skills on “patient” mannequins, using Human Patient Simulator technology to simulate realistic patient and environment functions with a precision similar to the mili-tary and aviation industries.

But this is no “behind-the-scenes” operation set in “hangar-like” shell space. Rather, the Surgical Learning Center is strategically show-cased center stage in Beaumont’s gleaming South Tower addition, opened in September 2004.

According to charles j. shanley, M.D., senior vice president and chairman of Surgical Ser-vices at Beaumont Hospital, Royal Oak, “The Surgical Learning Center is consistent with Beaumont Hospital’s mission and emphasis on education and patient safety. It is a very unique and spectacular accomplishment beyond one’s wildest dreams … Beaumont had tremendous vision to create the center in the heart of its 21st century hospital, and take leadership in patient safety. The tribute to its effective design is that all user groups can leverage it as a re-source for their needs.”

The vision for a highly specialized center for surgical training evolved over fi ve years. The Institute of Medicine focused national atten-tion on the prevention of medical errors with its publication To Err is Human in 1999. In its forward-thinking approach, Beaumont was taking its own mission and robust emphasis on education and patient safety to the next level: enhance patient safety by shifting the training

leArninG cUrves:Since its opening, Beaumont Hospitals’ Surgical Learning Center

has been host to medical professionals from around the globe who have presented on the latest technologies and procedures

MoDern clAssrooM: Ipit digna consequis nummolore dolorpe rcidunt

lor acincipit, qui exer alit lam quisl ip eros dolor inci eumsan vero dit, vullum delenim dolobore eugait

utat vullan venim dolor sustie mod tie modolenibh elenim dolor sit, venim zzrit autpat.

of surgical technical procedures out of the actual operating environment and into facilities incorporating full-immersion, advanced simula-tion technology, and robotics.

early risersBeaumont turned to its “A” team, long-time, proven partners harley ellis Devereaux and bar-

ton Malow who were involved in the design and construction of the South Tower Addition, to replicate the operating rooms with the high-est degree of fi delity. Harley Ellis Devereaux principal rick hall, AiA, points to the highly collaborative and streamlined process, working as one to complete design in three months and construction in fi ve. “We worked very closely with Beaumont and Barton Malow from the start, meeting as early as 6 a.m. with doctors and hospital staff, several times a week, for several months. Whatever we discussed in the morning, would be sketched on whiteboards and resolved in the same room immediately afterwards,” recalls Hall.

PraCTiCE makEs PErfECT as surgiCal lEarNiNg CENTErs

gaiN PoPulariTy

“The paradigm of how surgical techniques have been taught over five centuries is changing. This

Center is the resource that can shorten the learning curves for technical skills and

train the entire team in a safe environment.”

Charles J. Shanley, MDSenior Vice President and Chairman

Surgical ServicesBeaumont Hospital, Royal Oak

MoDern clAssrooM: Full height glass walls front two mockup operating rooms allowing viewing without interference

continued on page 22

10 | NEXT Spring 2008 NEXT Spring 2008 | 11

dEsigNiNg a ChildrEN’shosPiTal is Child’s Play

team of Chicago-based harley ellis

Devereaux designers were called on to rediscover their “inner-child” when the opportunity arose to pitch some fresh thoughts for a new $1 billion facility for Chicago’s children’s Memorial hospital. Al-though the primary architect presented plan options for the building, some of the key stakeholders on the client’s team asked for additional input and fresh thinking to push the creative envelope.

GETTING INTO THE MIND OF A CHILDThe team of john nelson, principal, corporate executive; Greg jancarik, associate, designer; and christian Dethloff, architect, met several times over a two-week period and brainstormed about what a children’s hospital should look like and say to the community and the users. This was of heightened urgency given the op-portunity to make a contribution to Chicago’s famed skyline along Mies van der Rohe Way and facing the Museum of Contemporary Art. Since the project was well advanced and the canvas already sized, the team showed remark-able inspiration in redefi ning the possibilities for the exterior image. As the brainstorming

initiAl scribbles:Initial concepts were based on child-oriented themes, with an accent on playfulness

sessions evolved, the team members found themselves harkening back to the familiar world of childhood for inspiration. Images of a box of crayons, a castle, a tree house, an erector set, and children’s games like Pick-up-Sticks danced across their minds. Seizing these images and applying them to possible design schemes was a labor of love for team member Jancarik. He notes, “Our goal was not to present a fi nal solution, but rather a palette of ideas as a springboard for further creativ-ity.” This effort was guided by senior staff member Nelson who sought to have the team express themselves freely. “It was clear at the presentation that we had succeeded in delight-ing those in attendance,” Nelson recalls. The job of putting the sketches into a presentation, and adding just enough “pizzazz” to capture the committee’s imagination fell to Dethloff. He noted that an experience he had as a child left him with the feeling that hospital’s can be “cold,” particularly to kids. In response, the designs are full of changing lights and colors, some of which may be controlled right from the child-patient’s bedside. The fi nal presen-tation even included the animated image of a helicopter landing on the roof-top helipad, which delighted the audience.

When the team made their presentation to the hospital committee, the reaction was nearly as boisterous as the images themselves. Noted Chicago architectural philanthropist richard

Dreihaus, who provided the impetus for the design competition among four architectural fi rms, said of the presentation “The Harley Ellis Devereaux team presentation was truly a breakthrough unrestricted by form or old ideas. John (Nelson), and his team are ex-

tremely talented architects, who understand classicism, and yet can interpret it for today’s needs.”

EARLY STAGESThe fi nal outcome of these fresh and non-traditional ideas has yet to be determined, and, as with all architectural projects, it may be restrained by physical limits, budget, or codes. Regardless, the spirit of the team’s youthful in-terpretation lives on as Harley Ellis Devereaux has now been commissioned to develop the ground level streetscape that will greet staff and visitors as they enter this magnifi cent new

COLORING OUTSIDE THE

shArPeninG the Pencil: “Jack and the Beanstalk” in context

“Rainbow” “Tree House” “Box of Crayons” “Toy Blocks” “Simon” “Puzzle” “Erector Set” “Pick Up Sticks” “Lite Brite” “Lego Blocks”

structure rising in Chicago’s Streeterville neigh-borhood. The team promises the eyelevel fea-tures will be fi lled with light and color and will capture the imagination and provide an inviting visage for everyone entering the hospital.

Everything old is new again, particularly when the child in each of us is allowed to come out and play, and invited to color outside the lines.

“Our goal was not to present a final solution, but rather a palette of ideas as a springboard for further creativity.”

Gregory G. JancarikAssociate

Architectural Design Harley Ellis Devereaux

12 | NEXT Spring 2008 NEXT Spring 2008 | 13

dEsigNiNg a ChildrEN’shosPiTal is Child’s Play

team of Chicago-based harley ellis

Devereaux designers were called on to rediscover their “inner-child” when the opportunity arose to pitch some fresh thoughts for a new $1 billion facility for Chicago’s children’s Memorial hospital. Al-though the primary architect presented plan options for the building, some of the key stakeholders on the client’s team asked for additional input and fresh thinking to push the creative envelope.

GETTING INTO THE MIND OF A CHILDThe team of john nelson, principal, corporate executive; Greg jancarik, associate, designer; and christian Dethloff, architect, met several times over a two-week period and brainstormed about what a children’s hospital should look like and say to the community and the users. This was of heightened urgency given the op-portunity to make a contribution to Chicago’s famed skyline along Mies van der Rohe Way and facing the Museum of Contemporary Art. Since the project was well advanced and the canvas already sized, the team showed remark-able inspiration in redefi ning the possibilities for the exterior image. As the brainstorming

initiAl scribbles:Initial concepts were based on child-oriented themes, with an accent on playfulness

sessions evolved, the team members found themselves harkening back to the familiar world of childhood for inspiration. Images of a box of crayons, a castle, a tree house, an erector set, and children’s games like Pick-up-Sticks danced across their minds. Seizing these images and applying them to possible design schemes was a labor of love for team member Jancarik. He notes, “Our goal was not to present a fi nal solution, but rather a palette of ideas as a springboard for further creativ-ity.” This effort was guided by senior staff member Nelson who sought to have the team express themselves freely. “It was clear at the presentation that we had succeeded in delight-ing those in attendance,” Nelson recalls. The job of putting the sketches into a presentation, and adding just enough “pizzazz” to capture the committee’s imagination fell to Dethloff. He noted that an experience he had as a child left him with the feeling that hospital’s can be “cold,” particularly to kids. In response, the designs are full of changing lights and colors, some of which may be controlled right from the child-patient’s bedside. The fi nal presen-tation even included the animated image of a helicopter landing on the roof-top helipad, which delighted the audience.

When the team made their presentation to the hospital committee, the reaction was nearly as boisterous as the images themselves. Noted Chicago architectural philanthropist richard

Dreihaus, who provided the impetus for the design competition among four architectural fi rms, said of the presentation “The Harley Ellis Devereaux team presentation was truly a breakthrough unrestricted by form or old ideas. John (Nelson), and his team are ex-

tremely talented architects, who understand classicism, and yet can interpret it for today’s needs.”

EARLY STAGESThe fi nal outcome of these fresh and non-traditional ideas has yet to be determined, and, as with all architectural projects, it may be restrained by physical limits, budget, or codes. Regardless, the spirit of the team’s youthful in-terpretation lives on as Harley Ellis Devereaux has now been commissioned to develop the ground level streetscape that will greet staff and visitors as they enter this magnifi cent new

COLORING OUTSIDE THE

shArPeninG the Pencil: “Jack and the Beanstalk” in context

“Rainbow” “Tree House” “Box of Crayons” “Toy Blocks” “Simon” “Puzzle” “Erector Set” “Pick Up Sticks” “Lite Brite” “Lego Blocks”

structure rising in Chicago’s Streeterville neigh-borhood. The team promises the eyelevel fea-tures will be fi lled with light and color and will capture the imagination and provide an inviting visage for everyone entering the hospital.

Everything old is new again, particularly when the child in each of us is allowed to come out and play, and invited to color outside the lines.

“Our goal was not to present a final solution, but rather a palette of ideas as a springboard for further creativity.”

Gregory G. JancarikAssociate

Architectural Design Harley Ellis Devereaux

12 | NEXT Spring 2008 NEXT Spring 2008 | 13

S

hollywood vs rEaliTy

itting in the DNA department of the los An-

geles Forensic crime center is a very funny poster: CSI Vegas versus the “Real CSI.” The top half features the glammed up group of actors from CSI Las Vegas, posed dramatically in a darkly lit examination room, their intense, “I won’t rest until justice is served,” gazes penetrating the photo. To the right of the photo, call-outs give you a quick run-down on the group:

Car = new Hummer2Lead female crim = Ex-stripper Physical appearance = hot, sexy, good looking

Below this Hollywood crew sits “the real CSI,” a very normal looking group of scientists posed in a brightly lit lab. Their callouts read: Car = old Chevy panel vanLead female crim = ex-high school teacherPhysical appearance = “nice personalities”

Somewhere along the way, from the O.J. Simpson trial to the popular new genre of television shows, forensic science got sexy and public fascination is at an all-time high. And in some ways the public interest has been very good for the industry.

“I think the ‘CSI effect’ has had an overall posi-tive impact on crime labs because it demonstrates the public’s fascination with what we do,” said barry Fisher, crime lab Director of the los Angeles

county sheriff’s Department. “We’ve used the mo-mentum from this interest to help raise money at the state and national level.”

REALITY OF CRIME LABS: CHALLENGESThe rate at which crime labs have grown in the past twenty years has accelerated considerably said Fisher. But he says that the real challenge is the bottomless pit of work and the resources they have to deal with it. Like a hospital emer-gency room, cases are triaged; work comes in, gets assessed, and is then placed in a pecking order. These challenges ultimately result in overwhelming case backlogs.

Greg Matheson, crime lab Director of the los

Angeles Police Department (lAPD), agrees that the biggest challenge is resources. “Scientists are expensive. Technology is expensive. And getting people up to speed is time-intensive and expensive. We’ve grown significantly in the past year and a half in anticipation of our move to the new facility and now that we’re here, I think the additional space and proximity to the University is going to be a huge help.”

LACL - CREATIVE SOLUTIONEnter the new hertzberg-Davis Forensic

science center at california state University

los Angeles (csUlA), designed to hold the

los Angeles Police Department’s Scien-tific Investigation Division, Los Ange-les County Sheriff ’s Department, the

California State University School of Criminal Justice & Criminalistics and the California Forensic Science Institute.

The largest local full-service crime laboratory facility in the United States, it accommodates approximately 400 staff members and provides forensic science support to all law enforcement agencies within Los Angeles County.

A labor of love, Fisher talks about the decade-long process in making this project a reality and his lengthy quest for fund-ing. It was a “case of serendipity” when he was visiting a new Riverside lab that just achieved accreditation and talked to the Dean of the University of California Riv-erside, School of Engineering, who related that there were tentative discussions to build a new Department of Justice crime lab on the University’s campus. It was like a “bolt of

jUst the FActs:The Hertzberg-Davis Forensic Science Center at California State University Los Angeles is the largest full-service crime

laboratory in the United States

“I think that the ‘CSI effect’ has had an

overall positive impact on crime labs because

it demonstrates the public’s fascination with what we do.”

Barry FisherCrime Lab Director

Los Angeles County Sheriff’s Dept.

14 | NEXT Spring 2008 NEXT Spring 2008 | 15

S

hollywood vs rEaliTy

itting in the DNA department of the los An-

geles Forensic crime center is a very funny poster: CSI Vegas versus the “Real CSI.” The top half features the glammed up group of actors from CSI Las Vegas, posed dramatically in a darkly lit examination room, their intense, “I won’t rest until justice is served,” gazes penetrating the photo. To the right of the photo, call-outs give you a quick run-down on the group:

Car = new Hummer2Lead female crim = Ex-stripper Physical appearance = hot, sexy, good looking

Below this Hollywood crew sits “the real CSI,” a very normal looking group of scientists posed in a brightly lit lab. Their callouts read: Car = old Chevy panel vanLead female crim = ex-high school teacherPhysical appearance = “nice personalities”

Somewhere along the way, from the O.J. Simpson trial to the popular new genre of television shows, forensic science got sexy and public fascination is at an all-time high. And in some ways the public interest has been very good for the industry.

“I think the ‘CSI effect’ has had an overall posi-tive impact on crime labs because it demonstrates the public’s fascination with what we do,” said barry Fisher, crime lab Director of the los Angeles

county sheriff’s Department. “We’ve used the mo-mentum from this interest to help raise money at the state and national level.”

REALITY OF CRIME LABS: CHALLENGESThe rate at which crime labs have grown in the past twenty years has accelerated considerably said Fisher. But he says that the real challenge is the bottomless pit of work and the resources they have to deal with it. Like a hospital emer-gency room, cases are triaged; work comes in, gets assessed, and is then placed in a pecking order. These challenges ultimately result in overwhelming case backlogs.

Greg Matheson, crime lab Director of the los

Angeles Police Department (lAPD), agrees that the biggest challenge is resources. “Scientists are expensive. Technology is expensive. And getting people up to speed is time-intensive and expensive. We’ve grown significantly in the past year and a half in anticipation of our move to the new facility and now that we’re here, I think the additional space and proximity to the University is going to be a huge help.”

LACL - CREATIVE SOLUTIONEnter the new hertzberg-Davis Forensic

science center at california state University

los Angeles (csUlA), designed to hold the

los Angeles Police Department’s Scien-tific Investigation Division, Los Ange-les County Sheriff ’s Department, the

California State University School of Criminal Justice & Criminalistics and the California Forensic Science Institute.

The largest local full-service crime laboratory facility in the United States, it accommodates approximately 400 staff members and provides forensic science support to all law enforcement agencies within Los Angeles County.

A labor of love, Fisher talks about the decade-long process in making this project a reality and his lengthy quest for fund-ing. It was a “case of serendipity” when he was visiting a new Riverside lab that just achieved accreditation and talked to the Dean of the University of California Riv-erside, School of Engineering, who related that there were tentative discussions to build a new Department of Justice crime lab on the University’s campus. It was like a “bolt of

jUst the FActs:The Hertzberg-Davis Forensic Science Center at California State University Los Angeles is the largest full-service crime

laboratory in the United States

“I think that the ‘CSI effect’ has had an

overall positive impact on crime labs because

it demonstrates the public’s fascination with what we do.”

Barry FisherCrime Lab Director

Los Angeles County Sheriff’s Dept.

14 | NEXT Spring 2008 NEXT Spring 2008 | 15

the ProoF:The Los Angeles Regional Crime Lab needed a strong design presence to create a robust signature gateway for the campus and a powerful image for the city and county

lightning” Fisher said. “We could do that here.” He envisioned it like a medical school/hospital scenario and saw great poten-tial being situated on campus.

ben Figueroa, Director of research Administration at california state

los Angeles, was the University representative on the project and talks about the University’s first impression of the part-nership. “Our criminalistics program evolved over the years to become more of a working/research program. The joint partnership with the crime labs and their ‘working labs’ fit our mission of being a teacher/scholar school; an environ-ment that represents learning by doing. We thought this was a wonderful opportunity with enormous potential.”

A NEW MODEL FOR CRIME LABSThe concept of a teaching crime lab is a new one. The original plan was to have two independent areas, one for the Sheriff and one for LAPD. However, once planning was underway, the decision was made to have the facil-ity be shared by function versus by group. To ensure a smooth planning process, group leaders from both sides were brought together to work with the architects and engineers at harley ellis Devereaux in conjunction with crime lab Design. The level of collaboration from all groups created a solid partnership from the beginning. The result is that functions are now placed near each other so that groups can learn from one another.

“We had scientists from both sides and we’d

start talking about the functionality of different

areas and from that scientific discussions

were brought out.”

Greg MathesonCrime Lab Director

Los Angeles Police Department(LAPD)

The multi-agency consolidation offered the practical benefits of a reduction in total staff needs and reduced operating costs. The collaborative spaces pre-sented interesting design challenges in creating flexible and efficient laboratory spaces that met the initial and future needs of each department within each agency. The CSULA teaching labs are of the same quality and use similar design philosophy to the forensic processing labs of both the Sheriff and Police.

ECO-FRIENDLY FACILITYEarly on, the team set the goal of designing the building for LEED Certifica-tion, Silver level. Greenworks studio, a Harley Ellis Devereaux Corporation Partner Company specializing in sustainable design, was brought onboard to help attain

this goal. Currently under review with the U.S. Green Building Council, the building inte-grates the design of the lab and office spaces for an efficient, occupant-healthy, and envi-ronmentally friendly facility.

LESSONS LEARNEDNow that the groups have settled into their new space, the directors reflect on the pro-cess that took years in the making and offer suggestions for groups interested in pursuing a similar arrangement.

“Make sure you have one person dedicated to the process,” advised Matheson. “Having someone who can do critical reviews of all the new plans and specs is really important and can ultimately make your building much better. The details really make a difference.”

Fisher added, “Get as many people engaged and interested as you can. Cast yourself as a cheerleader with the idea that it’s really something important. You can never stop marketing the project.”

WHAT’S NEXT Technology is going to play a significant role in how future crimes are processed and

CRIME WAVE:Harley Ellis Devereaux and Crime Lab Design have been involved in over 50 forensic-related projects in 23 states and 5 countries.

Current projects include:

tAkinG AiM:Student laboratory facilities coexist with forensic investigative areas creating a teaching/real life environment

Criminal Evidence Headquarters for the country of Kuwait (in association with NBBJ)

National Forensic Laboratory for the U.S. Fish & Wildlife Service in Ashland, Oregon

Medical Examiner/Forensics Center/County Operations Center for the County of San Diego

Forensic Science Laboratory for the Judiciary of Guam (in association with RIM Architects)

Metro-East Forensic Laboratory for the Illinois State Police

solved. Matheson describes a future scenario where detectives can take equipment to the scene of a crime that can process blood samples in an hour and then provide a list of possible suspects. He predicts that it’s not far off. “Improved technology is going to im-prove our ability to turn things around faster and ultimately help us with backlogs.”

The co-location of two labs is considerable, but the co-location of the labs on a univer-sity campus is even bigger. Housing these three groups under the same roof is a Petri dish in progress. The potential is enor-mous and if successful, could be used as a template for other crime labs. However, as with all experiments, the potential for new challenges to emerge also exists. Let’s give it some time to ferment and wait to see what’s next.

16 | NEXT Spring 2008 NEXT Spring 2008 | 17

the ProoF:The Los Angeles Regional Crime Lab needed a strong design presence to create a robust signature gateway for the campus and a powerful image for the city and county

lightning” Fisher said. “We could do that here.” He envisioned it like a medical school/hospital scenario and saw great poten-tial being situated on campus.

ben Figueroa, Director of research Administration at california state

los Angeles, was the University representative on the project and talks about the University’s first impression of the part-nership. “Our criminalistics program evolved over the years to become more of a working/research program. The joint partnership with the crime labs and their ‘working labs’ fit our mission of being a teacher/scholar school; an environ-ment that represents learning by doing. We thought this was a wonderful opportunity with enormous potential.”

A NEW MODEL FOR CRIME LABSThe concept of a teaching crime lab is a new one. The original plan was to have two independent areas, one for the Sheriff and one for LAPD. However, once planning was underway, the decision was made to have the facil-ity be shared by function versus by group. To ensure a smooth planning process, group leaders from both sides were brought together to work with the architects and engineers at harley ellis Devereaux in conjunction with crime lab Design. The level of collaboration from all groups created a solid partnership from the beginning. The result is that functions are now placed near each other so that groups can learn from one another.

“We had scientists from both sides and we’d

start talking about the functionality of different

areas and from that scientific discussions

were brought out.”

Greg MathesonCrime Lab Director

Los Angeles Police Department(LAPD)

The multi-agency consolidation offered the practical benefits of a reduction in total staff needs and reduced operating costs. The collaborative spaces pre-sented interesting design challenges in creating flexible and efficient laboratory spaces that met the initial and future needs of each department within each agency. The CSULA teaching labs are of the same quality and use similar design philosophy to the forensic processing labs of both the Sheriff and Police.

ECO-FRIENDLY FACILITYEarly on, the team set the goal of designing the building for LEED Certifica-tion, Silver level. Greenworks studio, a Harley Ellis Devereaux Corporation Partner Company specializing in sustainable design, was brought onboard to help attain

this goal. Currently under review with the U.S. Green Building Council, the building inte-grates the design of the lab and office spaces for an efficient, occupant-healthy, and envi-ronmentally friendly facility.

LESSONS LEARNEDNow that the groups have settled into their new space, the directors reflect on the pro-cess that took years in the making and offer suggestions for groups interested in pursuing a similar arrangement.

“Make sure you have one person dedicated to the process,” advised Matheson. “Having someone who can do critical reviews of all the new plans and specs is really important and can ultimately make your building much better. The details really make a difference.”

Fisher added, “Get as many people engaged and interested as you can. Cast yourself as a cheerleader with the idea that it’s really something important. You can never stop marketing the project.”

WHAT’S NEXT Technology is going to play a significant role in how future crimes are processed and

CRIME WAVE:Harley Ellis Devereaux and Crime Lab Design have been involved in over 50 forensic-related projects in 23 states and 5 countries.

Current projects include:

tAkinG AiM:Student laboratory facilities coexist with forensic investigative areas creating a teaching/real life environment

Criminal Evidence Headquarters for the country of Kuwait (in association with NBBJ)

National Forensic Laboratory for the U.S. Fish & Wildlife Service in Ashland, Oregon

Medical Examiner/Forensics Center/County Operations Center for the County of San Diego

Forensic Science Laboratory for the Judiciary of Guam (in association with RIM Architects)

Metro-East Forensic Laboratory for the Illinois State Police

solved. Matheson describes a future scenario where detectives can take equipment to the scene of a crime that can process blood samples in an hour and then provide a list of possible suspects. He predicts that it’s not far off. “Improved technology is going to im-prove our ability to turn things around faster and ultimately help us with backlogs.”

The co-location of two labs is considerable, but the co-location of the labs on a univer-sity campus is even bigger. Housing these three groups under the same roof is a Petri dish in progress. The potential is enor-mous and if successful, could be used as a template for other crime labs. However, as with all experiments, the potential for new challenges to emerge also exists. Let’s give it some time to ferment and wait to see what’s next.

16 | NEXT Spring 2008 NEXT Spring 2008 | 17

Lbelly UP:

One of the nation’s only champagne bars, Pops for Champagne is upscale and sleek

inda verhey relaxes at one of the crackled glass, high-top tables lin-ing the full length windows of Pops for

champagne, the Chicago champagne bar and jazz club she co-owns with her husband, tom verhey. Well versed in matters of the bubbly, she is describing her favorite: the Taittinger Comtes de Champagne Rose Brut. But even if one were totally unaware of its myriad vari-eties, colors and subtleties, a visit to this unique establishment will give you, at the very least, a new appreciation for the magic of champagne.

And that, says Verhey, is exactly the point. “Champagne is not just for ‘special occasions.’ We want to make it approachable for people. It’s all about educating. We have offerings from the major houses, the Mumms, Veuves, Dom—everyone knows Dom Perignon—but we also have vintage champagne selections, small harvest grower-producers, sweeter styles and sparkling wines from around the world.”

a new look for a new neighborhoodLooking around, the place seems so comfort-ably established that it’s hard to believe Pops has been here in its downtown Chicago loca-tion just over a year. In a move described by the Verheys as “necessary,” and by others as “crazy,” Pops iced its successful 24-year Lake View location and moved to Chicago’s upscale River North area in December 2006. “Over time, the Lake View neighborhood changed to a more family-oriented demographic,” notes Verhey, who runs the sales and marketing side of the business. “We wanted to expand our clientele, to bring in the after-work crowd, out-of-town visitors, weekend clubbers. That wasn’t going to happen in Lake View.”

Occupying a coveted corner address on North State Street and Ohio in the landmark Tree Studios Building, clean, light and contemporary has replaced the heavy wood, floral-carpeted, traditional feel of the former venue. “Cham-pagne is clean, clear, sparkling, vibrant—it’s fun,” says Verhey. “We wanted our new look to make that statement, to mirror that.”

froM salesMan to soMMelier The idea for a champagne bar happened unex-pectedly, back when Tom Verhey was working

as a salesman for Bell & Howell. He won a top sales award trip to Vienna and, while there, discovered a champagne bar. His fate was sealed. He returned to the U.S. and traded in his camera equipment for a corkscrew, taking a job at a wine bar to educate himself in the ways of the grape.

Tom went to see john nelson, who just opened his own fledgling business—an architecture firm—in his kitchen. Tom became one of John’s first clients and, in 1982, Pops for Champagne officially opened in Lake View. Over the ensuing twenty-some years, the Verheys opened and sold two other bars; John Nelson relocated his growing architecture firm; Tom and Linda remain clients and have also become friends.

Nelson, now corporate executive and principal of harley ellis Devereaux’s Chicago office, muses about their novel beginning. “Tom was a laid-back sort of guy, and I wasn’t sure they were

“Champagne is clean, clear, sparkling, vibrant—

it’s fun,” says Linda Verhey (above), co-owner of Pops for Champagne.

“We wanted our new look to make that statement,

to mirror that.”

the Word......and Vueve...and Taittinger...PoPs for ChamPagNE uNCorks a NEw imagE

iN ChiCago’s rivEr NorTh NEighborhood

18 | NEXT Spring 2008 NEXT Spring 2008 | 19

Lbelly UP:

One of the nation’s only champagne bars, Pops for Champagne is upscale and sleek

inda verhey relaxes at one of the crackled glass, high-top tables lin-ing the full length windows of Pops for

champagne, the Chicago champagne bar and jazz club she co-owns with her husband, tom verhey. Well versed in matters of the bubbly, she is describing her favorite: the Taittinger Comtes de Champagne Rose Brut. But even if one were totally unaware of its myriad vari-eties, colors and subtleties, a visit to this unique establishment will give you, at the very least, a new appreciation for the magic of champagne.

And that, says Verhey, is exactly the point. “Champagne is not just for ‘special occasions.’ We want to make it approachable for people. It’s all about educating. We have offerings from the major houses, the Mumms, Veuves, Dom—everyone knows Dom Perignon—but we also have vintage champagne selections, small harvest grower-producers, sweeter styles and sparkling wines from around the world.”

a new look for a new neighborhoodLooking around, the place seems so comfort-ably established that it’s hard to believe Pops has been here in its downtown Chicago loca-tion just over a year. In a move described by the Verheys as “necessary,” and by others as “crazy,” Pops iced its successful 24-year Lake View location and moved to Chicago’s upscale River North area in December 2006. “Over time, the Lake View neighborhood changed to a more family-oriented demographic,” notes Verhey, who runs the sales and marketing side of the business. “We wanted to expand our clientele, to bring in the after-work crowd, out-of-town visitors, weekend clubbers. That wasn’t going to happen in Lake View.”

Occupying a coveted corner address on North State Street and Ohio in the landmark Tree Studios Building, clean, light and contemporary has replaced the heavy wood, floral-carpeted, traditional feel of the former venue. “Cham-pagne is clean, clear, sparkling, vibrant—it’s fun,” says Verhey. “We wanted our new look to make that statement, to mirror that.”

froM salesMan to soMMelier The idea for a champagne bar happened unex-pectedly, back when Tom Verhey was working

as a salesman for Bell & Howell. He won a top sales award trip to Vienna and, while there, discovered a champagne bar. His fate was sealed. He returned to the U.S. and traded in his camera equipment for a corkscrew, taking a job at a wine bar to educate himself in the ways of the grape.

Tom went to see john nelson, who just opened his own fledgling business—an architecture firm—in his kitchen. Tom became one of John’s first clients and, in 1982, Pops for Champagne officially opened in Lake View. Over the ensuing twenty-some years, the Verheys opened and sold two other bars; John Nelson relocated his growing architecture firm; Tom and Linda remain clients and have also become friends.

Nelson, now corporate executive and principal of harley ellis Devereaux’s Chicago office, muses about their novel beginning. “Tom was a laid-back sort of guy, and I wasn’t sure they were

“Champagne is clean, clear, sparkling, vibrant—

it’s fun,” says Linda Verhey (above), co-owner of Pops for Champagne.

“We wanted our new look to make that statement,

to mirror that.”

the Word......and Vueve...and Taittinger...PoPs for ChamPagNE uNCorks a NEw imagE

iN ChiCago’s rivEr NorTh NEighborhood

18 | NEXT Spring 2008 NEXT Spring 2008 | 19

going to succeed with this high-end product in a yet-to-be-gentrified area of the north side,” recalls Nelson. “The original space was a hot dog and polish sausage joint. But after they opened, it was a huge success and we were do-ing a remodeling or expansion every three or four years.”

design for downtownDesigner kevin ryder, iiDA, Harley Ellis De-vereaux, distinctly remembers the conversation that launched Pops’ new look. “When they came to us to design their new location, Tom and Linda wanted ‘upscale,’ ‘hip,’ and ‘sleek.’ They wanted to retain their loyal following, yet appeal to an entirely new urban crowd. The move from a residential neighborhood to an entertainment district called for a very differ-ent design philosophy to cater to a very dif-ferent demographic for success.” In essence, the design had to consider three distinctively different uses—a champagne bar, a jazz club and a retail store. The design had to be fluid enough to create a unique identity for each, yet intertwine the three into a cohesive whole.

Taking cues from the bubbly elixir, an entire palette of color and mood was derived from the elegance and effervescence of champagne and sparkling wine. Large, full-length windows provide a perfect opportunity to see and be seen in this ultramodern and swanky space. Champagne hues with golden and silvery ac-cents highlight the main level. Bubble-shaped golden orbs provide subtle illumination, floating toward the ceiling as if released from a giant champagne bottle. Soft backlighting envelops the amber glass and natural honey onyx bar, giving a subtle glow to the ambi-ance of the place: modern, yet earthy. Above the bar, variegated glass panels form a custom designed, grand-scale chandelier, at once an art form and an entertainment focal point, with built-in flat screens projecting images from the jazz club downstairs.

The vibe is starkly different in the jazz club, in the cozy underground level, where dim, moody blue lighting casts an old-Paris deco feel and pairs smoothly with the silky sounds of the live jazz musicians. The emphasis here is definitely

on the music, in contrast to the conversation of the chattering crowd on the main level.

Adjacent to the main space is Pops Shop, the nation’s only dedicated sparkling wine and champagne retail store. Gleaming stainless steel cold storage units hold an impressive array of French champagnes and sparkling wines from around the world. Pops Shop also offers weekly wine tasting events, from the well-known houses to the rare, small batch grower-producer harvests.

“This is our family business,” says Verhey, adding that she knows of only one, maybe two other champagne bars in the U.S. “We’re in this for the long term. The trendy bars come and go; that’s not us. We have a loyal clientele. They’re sophisticated, they want to learn. We like giving people new experiences.”

“The trendy bars come and go; that’s not us.

We have a loyal clientele. They’re sophisticated,

they want to learn. We like giving people

new experiences.”

20 | NEXT Spring 2008 NEXT Spring 2008 | 21

going to succeed with this high-end product in a yet-to-be-gentrified area of the north side,” recalls Nelson. “The original space was a hot dog and polish sausage joint. But after they opened, it was a huge success and we were do-ing a remodeling or expansion every three or four years.”

design for downtownDesigner kevin ryder, iiDA, Harley Ellis De-vereaux, distinctly remembers the conversation that launched Pops’ new look. “When they came to us to design their new location, Tom and Linda wanted ‘upscale,’ ‘hip,’ and ‘sleek.’ They wanted to retain their loyal following, yet appeal to an entirely new urban crowd. The move from a residential neighborhood to an entertainment district called for a very differ-ent design philosophy to cater to a very dif-ferent demographic for success.” In essence, the design had to consider three distinctively different uses—a champagne bar, a jazz club and a retail store. The design had to be fluid enough to create a unique identity for each, yet intertwine the three into a cohesive whole.

Taking cues from the bubbly elixir, an entire palette of color and mood was derived from the elegance and effervescence of champagne and sparkling wine. Large, full-length windows provide a perfect opportunity to see and be seen in this ultramodern and swanky space. Champagne hues with golden and silvery ac-cents highlight the main level. Bubble-shaped golden orbs provide subtle illumination, floating toward the ceiling as if released from a giant champagne bottle. Soft backlighting envelops the amber glass and natural honey onyx bar, giving a subtle glow to the ambi-ance of the place: modern, yet earthy. Above the bar, variegated glass panels form a custom designed, grand-scale chandelier, at once an art form and an entertainment focal point, with built-in flat screens projecting images from the jazz club downstairs.

The vibe is starkly different in the jazz club, in the cozy underground level, where dim, moody blue lighting casts an old-Paris deco feel and pairs smoothly with the silky sounds of the live jazz musicians. The emphasis here is definitely

on the music, in contrast to the conversation of the chattering crowd on the main level.

Adjacent to the main space is Pops Shop, the nation’s only dedicated sparkling wine and champagne retail store. Gleaming stainless steel cold storage units hold an impressive array of French champagnes and sparkling wines from around the world. Pops Shop also offers weekly wine tasting events, from the well-known houses to the rare, small batch grower-producer harvests.

“This is our family business,” says Verhey, adding that she knows of only one, maybe two other champagne bars in the U.S. “We’re in this for the long term. The trendy bars come and go; that’s not us. We have a loyal clientele. They’re sophisticated, they want to learn. We like giving people new experiences.”

“The trendy bars come and go; that’s not us.

We have a loyal clientele. They’re sophisticated,

they want to learn. We like giving people

new experiences.”

20 | NEXT Spring 2008 NEXT Spring 2008 | 21

O ne of the consequences of today’s technologically advanced society is that people spend an ever increasing amount of time indoors. Accord-ing to the Environmental Protection Agency, Americans spend a staggering 90% of our time indoors. The Agency further reports that indoor pollutant levels can reach two to fi ve times, and in some cases 200 times, the pollutant levels of outdoor air. These factors working in tandem raise signifi cant concerns about the quality of air in our indoor environments. The reality today is that improving the qual-ity of indoor air has become a necessity and not an indul-gence.

let nature take its courseAs greater emphasis is placed on attaining higher indoor air quality, the inherent natural air purifi cation qualities of live plants becomes increasing relevant. At the forefront is the benefi t of improved air quality. Indoor landscapes replicate the air purifi cation process found in nature where plants remove carbon dioxide, detrimental trace mineral elements, dust, mold spores, and volatile organic chemicals (VOCs). Simply put, plants in the indoor environment replicate air purifi cation processes found in nature, and, as such, contribute to a healthy indoor green oasis for all to enjoy. Bringing live plants indoors is not a new concept. It was used by the early Romans in their “Hellenistic” architectur-al-style buildings. However, the concept of combining the purifi cation benefi ts of live plants with other air purifi cation processes is a new concept and one worth considering.

going uPThe use of natural planted vertical landscapes is a highly visible feature in a building. They are referred to as Living Walls, Bio-Walls, Indoor Biofi lters, and, by many converts, the Tower of Power because of their ability to fi lter air. Planted walls serve as a natural sound insulator, signifi -cantly reducing noise pollution. These structures also use 5 to 10% of the fl oor space required for traditional interior landscapes. Vertical landscape features intuitively associ-ates your organization with the promotion of a sustainable, green building design that will enhance the goodwill people feel about your fi rm. In addition, it is a well established fact that quality landscape amenities will add real value to your property.

breathe easierImproving the quality of our indoor air has truly become a necessity and interior vertical landscapes will play an im-portant role in the development of green buildings. Verti-cal interior landscape applications embody an innovative technology based on a simple, natural process with remark-able potential for improving the quality of indoor air and our indoor experiences. As the concept of incorporating live plants in the interior environment takes off, we will all breathe easier.

Thomas Van Derworp, RLA, ASLA, is a landscape architect with Harley Ellis Devereaux. Over the last 17+ years, he has gained experience in a broad range of landscape architecture design including urban streetscapes, healing gardens, open space redevelopment, and sustain-able design.

Living wall by Air Quality Solutions Ltd. as part of the University of Guelph-Humber building by Diamond Schmitt Architects Inc in joint partnership with RHL Architects.

Designers and the hospital benchmarked surgical training facilities in North America, and even a culinary arts classroom designed by team member barton Malow technology

Group. The South Tower Addition had vacant shell spaces designated in the lower level and third fl oor for potential future uses. But a $2.5 million donation from the Applebaums drove vision forward to reality. Studying alternatives, the team made a bold and progressive move: locate the training facilities prominently under the skylit atrium on the third fl oor, to take ad-vantage of higher ceiling heights, and capture economies and best, highest use of space over the actual operating rooms. Most signifi cantly, the brightly colored, glass-enclosed Applebaum Surgical Learning Center communicates a clear message about the priorities Beaumont places on safety and education.

The Surgical Learning Center helps Beaumont keep its talent in the forefront, train residents and allied professionals, expose practitioners to new technologies and minimally invasive procedures, and apply technology to multiple areas. The Center is also a resource for the community, region, and nation, inspiring high school students and future healthcare profes-

settinG the stAGe: The design for the Surgical Learning Center creates a fl exible stage-like backdrop that supports cutting-edge surgical training and simulation, and showcases ground-breaking medical technology

blAck boX: All overhead systems are exposed and

painted black to bring focus on the activities below

(continued from page 11)

sionals, and hosting experts through education-al outreach. Because of the Center, Beaumont is exploring new partnerships with research institutions and government agencies, pioneer-ing efforts to transform healthcare worldwide.

Dr. Shanley summarizes how the Center moves Beaumont forward, “The paradigm of how surgical techniques have been taught over fi ve centuries is changing. Modern surgery is technology-driven and team dependent, with a number of people working in common. Learn-ing to apply new technologies involves advance training, repetition, and modeling. This Center is the resource that can shorten the learning curves for technical skills and train the entire team in a safe environment. The ultimate mea-sure of success is the impact this Center has on patient safety.”

22 | NEXT Spring 2008 NEXT Spring 2008 | 23

O ne of the consequences of today’s technologically advanced society is that people spend an ever increasing amount of time indoors. Accord-ing to the Environmental Protection Agency, Americans spend a staggering 90% of our time indoors. The Agency further reports that indoor pollutant levels can reach two to fi ve times, and in some cases 200 times, the pollutant levels of outdoor air. These factors working in tandem raise signifi cant concerns about the quality of air in our indoor environments. The reality today is that improving the qual-ity of indoor air has become a necessity and not an indul-gence.

let nature take its courseAs greater emphasis is placed on attaining higher indoor air quality, the inherent natural air purifi cation qualities of live plants becomes increasing relevant. At the forefront is the benefi t of improved air quality. Indoor landscapes replicate the air purifi cation process found in nature where plants remove carbon dioxide, detrimental trace mineral elements, dust, mold spores, and volatile organic chemicals (VOCs). Simply put, plants in the indoor environment replicate air purifi cation processes found in nature, and, as such, contribute to a healthy indoor green oasis for all to enjoy. Bringing live plants indoors is not a new concept. It was used by the early Romans in their “Hellenistic” architectur-al-style buildings. However, the concept of combining the purifi cation benefi ts of live plants with other air purifi cation processes is a new concept and one worth considering.

going uPThe use of natural planted vertical landscapes is a highly visible feature in a building. They are referred to as Living Walls, Bio-Walls, Indoor Biofi lters, and, by many converts, the Tower of Power because of their ability to fi lter air. Planted walls serve as a natural sound insulator, signifi -cantly reducing noise pollution. These structures also use 5 to 10% of the fl oor space required for traditional interior landscapes. Vertical landscape features intuitively associ-ates your organization with the promotion of a sustainable, green building design that will enhance the goodwill people feel about your fi rm. In addition, it is a well established fact that quality landscape amenities will add real value to your property.

breathe easierImproving the quality of our indoor air has truly become a necessity and interior vertical landscapes will play an im-portant role in the development of green buildings. Verti-cal interior landscape applications embody an innovative technology based on a simple, natural process with remark-able potential for improving the quality of indoor air and our indoor experiences. As the concept of incorporating live plants in the interior environment takes off, we will all breathe easier.

Thomas Van Derworp, RLA, ASLA, is a landscape architect with Harley Ellis Devereaux. Over the last 17+ years, he has gained experience in a broad range of landscape architecture design including urban streetscapes, healing gardens, open space redevelopment, and sustain-able design.

Living wall by Air Quality Solutions Ltd. as part of the University of Guelph-Humber building by Diamond Schmitt Architects Inc in joint partnership with RHL Architects.

Designers and the hospital benchmarked surgical training facilities in North America, and even a culinary arts classroom designed by team member barton Malow technology

Group. The South Tower Addition had vacant shell spaces designated in the lower level and third fl oor for potential future uses. But a $2.5 million donation from the Applebaums drove vision forward to reality. Studying alternatives, the team made a bold and progressive move: locate the training facilities prominently under the skylit atrium on the third fl oor, to take ad-vantage of higher ceiling heights, and capture economies and best, highest use of space over the actual operating rooms. Most signifi cantly, the brightly colored, glass-enclosed Applebaum Surgical Learning Center communicates a clear message about the priorities Beaumont places on safety and education.

The Surgical Learning Center helps Beaumont keep its talent in the forefront, train residents and allied professionals, expose practitioners to new technologies and minimally invasive procedures, and apply technology to multiple areas. The Center is also a resource for the community, region, and nation, inspiring high school students and future healthcare profes-

settinG the stAGe: The design for the Surgical Learning Center creates a fl exible stage-like backdrop that supports cutting-edge surgical training and simulation, and showcases ground-breaking medical technology

blAck boX: All overhead systems are exposed and

painted black to bring focus on the activities below

(continued from page 11)

sionals, and hosting experts through education-al outreach. Because of the Center, Beaumont is exploring new partnerships with research institutions and government agencies, pioneer-ing efforts to transform healthcare worldwide.

Dr. Shanley summarizes how the Center moves Beaumont forward, “The paradigm of how surgical techniques have been taught over fi ve centuries is changing. Modern surgery is technology-driven and team dependent, with a number of people working in common. Learn-ing to apply new technologies involves advance training, repetition, and modeling. This Center is the resource that can shorten the learning curves for technical skills and train the entire team in a safe environment. The ultimate mea-sure of success is the impact this Center has on patient safety.”

22 | NEXT Spring 2008 NEXT Spring 2008 | 23

Project Team Credits:

A. Alfred Taubman Student Services center

Client: Lawrence Technological UniversityArchitect: Harley Ellis DevereauxProgram Manager: Spectrum StrategiesSustainable Design Consultant and Commissioning: GreenWorks StudioContractor: Walbridge Aldinger Company

Millennium Park – The Lurie Garden, Exelon

Pavillions, Boeing Galleries, Jay Pritzker Pavillion

Seating

Client: Millennium Park, Inc.The Lurie GardenProgram Manager: Spectrum StrategiesLandscape Architect: Gustafson Guthrie Nichol, Ltd., Robert Israel, Terry Guen Associates, Inc.Contractor: Walsh ConstructionExelon PavilionsProgram Manager: Spectrum StrategiesArchitect: Hammond Beeby Rupert Ainge, Inc., McDonough Associates, Inc., Renzo Piano Building WorkshopContractor: Walsh ConstructionBoeing GalleriesProgram Manager: Spectrum StrategiesArchitect: Harley Ellis DevereauxLandscape Architect: Site Design GroupContractor: James McHugh Construction CompanyJay Pritzker PavilionProgram Manager: Spectrum StrategiesArchitect: Gehry Partners, LLPContractor: Walsh Construction

Marcia & Eugene Applebaum Surgical Learning

center

Client: Beaumont HospitalsArchitect: Harley Ellis DevereauxContractor: Barton Malow Company

children’s Memorial hospital Design concepts

Client: Children’s Memorial Foundation with a gift from Richard H. DriehausArchitect: Harley Ellis Devereaux

hertzberg-Davis Forensic Science center at

california State University

Client: State of California, Department of General ServicesArchitect: Harley Ellis DevereauxLab Planner: Crime Lab DesignSustainable Design Consultant and Commissioning: GreenWorks StudioContractor: S.J. Amoroso Construction Co., Inc.Construction Manager: Jacobs Facilities, Inc.

Pops for champagne

Client: Tom and Linda VerheyArchitect: Harley Ellis DeverauxContractor: Klein Construction Services, Inc.

Photography Credits:

cover: Justin Maconochie, Maconochie Photographyp 1: Tom Drew, Black, White + Color Photographyp 2, 5: Ryan Southen, Ryan Southen Photographyp 4: Justin Maconochie, Maconochie Photographyp 6: Getty Imagesp 7: City of Chicago/Walter Mitchell (Cloud Gate), City of Chicago (E. Uhlir)p 8: Howard Ashp 9: City of Chicago/Walter Mitchell (Cloud Gate), City of Chicago/Peter J. Schulz (Millennium Monument, aerial), Mark Tomaras (The Lurie Garden)p 10, 11, 22: Steve Maylone, Maylone Photographyp 12, 13: Harley Ellis Devereauxp 14: Getty Imagesp 15, 16: Bennie Chan, Fotoworksp 17: Harley Ellis Devereaux, NBBJ, RIM Architects, Getty Imagesp 18-21: Tony May, Anthony May Photographyp 23: Air Quality Solutions, Ltd.p 24: Raffi Alexander, Spiderbox Photography, Inc.

UP NEXT:

BIM: The Ultimate Digital Model

Trends in Education Design

Offices That Work

...and more

S ince the second grade, Peter Devereaux knew he wanted to be an architect. At that incredibly young age, he envisioned creating wonderful places. But it was not just about the architecture; it was about creating experiences that affect the quality of peoples’ lives. Fast forward to 2008, the Yale grad is now president of Harley Ellis Devereaux Corporation and his vision is as clear as it was back then. NEXT caught up with him to learn more.

“My focus at Harley Ellis Devereaux centers around three words: vi-sion, opportunity, and authenticity. Our vision is to distinguish ourselves by offering unique value propositions to all of our clients. Our clients represent the world of today, but through the single act of designing a building are embracing their idea of the future. We can bring to life what our clients envision, but that is only the beginning. Through the power of great design, we hope to enhance their business by creating memora-ble experiences which are uplifting to the human spirit. Sounds lofty, but it’s the ability to express the intangible, ‘soft’ solutions which enhance peoples’ lives that will help give our clients an edge in the world market.

The opportunities to focus on the experience, not just the place, are endless. Going beyond the prescribed requirements, the schools we de-

NEXT: viewpointJ. PETEr DEvErEAUX, FAIA, LEED APPrESIDENThArLEy ELLIS DEvErEAUX cOrPOrATION

sign must contribute profoundly to the educational experience, hospital design should enhance the healing process, and commercial projects should create a special experience for the shopper, resident, or worker. Our goal is to capture the experience, seize the opportunity within it, and align it with peoples’ lives in a meaningful way.

Authenticity is the thing that pulls it all together. Influenced in college by Lionel Trilling’s book, Sincerity and Authenticity, I was struck by his concept that our global consciousness has transitioned from a pre-in-dustrial age that valued sincerity to the more demanding concept of au-thenticity. Interestingly, one of today’s bestsellers is devoted to the same principles. James Gilmore and Joseph Pine, authors of the Experience Economy, have just released their new book, Authenticity, What Consumers Really Want. In it they explain that the more contrived the world seems, the more society craves experiences that are ‘engaging, memorable, and, above all, authentic.’ The challenge they issue to businesses today is to craft their brands to be perceived as authentic or risk being deemed fake and become obsolete. As a design firm, we are faced with the same chal-lenge: To design engaging, memorable, and, above all, authentic places that resonate powerfully with our deepest human values… the NEXT logical step.”

Project Team Credits:

A. Alfred Taubman Student Services center

Client: Lawrence Technological UniversityArchitect: Harley Ellis DevereauxProgram Manager: Spectrum StrategiesSustainable Design Consultant and Commissioning: GreenWorks StudioContractor: Walbridge Aldinger Company

Millennium Park – The Lurie Garden, Exelon

Pavillions, Boeing Galleries, Jay Pritzker Pavillion

Seating

Client: Millennium Park, Inc.The Lurie GardenProgram Manager: Spectrum StrategiesLandscape Architect: Gustafson Guthrie Nichol, Ltd., Robert Israel, Terry Guen Associates, Inc.Contractor: Walsh ConstructionExelon PavilionsProgram Manager: Spectrum StrategiesArchitect: Hammond Beeby Rupert Ainge, Inc., McDonough Associates, Inc., Renzo Piano Building WorkshopContractor: Walsh ConstructionBoeing GalleriesProgram Manager: Spectrum StrategiesArchitect: Harley Ellis DevereauxLandscape Architect: Site Design GroupContractor: James McHugh Construction CompanyJay Pritzker PavilionProgram Manager: Spectrum StrategiesArchitect: Gehry Partners, LLPContractor: Walsh Construction

Marcia & Eugene Applebaum Surgical Learning

center

Client: Beaumont HospitalsArchitect: Harley Ellis DevereauxContractor: Barton Malow Company

children’s Memorial hospital Design concepts

Client: Children’s Memorial Foundation with a gift from Richard H. DriehausArchitect: Harley Ellis Devereaux

hertzberg-Davis Forensic Science center at

california State University

Client: State of California, Department of General ServicesArchitect: Harley Ellis DevereauxLab Planner: Crime Lab DesignSustainable Design Consultant and Commissioning: GreenWorks StudioContractor: S.J. Amoroso Construction Co., Inc.Construction Manager: Jacobs Facilities, Inc.

Pops for champagne

Client: Tom and Linda VerheyArchitect: Harley Ellis DeverauxContractor: Klein Construction Services, Inc.

Photography Credits:

cover: Justin Maconochie, Maconochie Photographyp 1: Tom Drew, Black, White + Color Photographyp 2, 5: Ryan Southen, Ryan Southen Photographyp 4: Justin Maconochie, Maconochie Photographyp 6: Getty Imagesp 7: City of Chicago/Walter Mitchell (Cloud Gate), City of Chicago (E. Uhlir)p 8: Howard Ashp 9: City of Chicago/Walter Mitchell (Cloud Gate), City of Chicago/Peter J. Schulz (Millennium Monument, aerial), Mark Tomaras (The Lurie Garden)p 10, 11, 22: Steve Maylone, Maylone Photographyp 12, 13: Harley Ellis Devereauxp 14: Getty Imagesp 15, 16: Bennie Chan, Fotoworksp 17: Harley Ellis Devereaux, NBBJ, RIM Architects, Getty Imagesp 18-21: Tony May, Anthony May Photographyp 23: Air Quality Solutions, Ltd.p 24: Raffi Alexander, Spiderbox Photography, Inc.

UP NEXT:

BIM: The Ultimate Digital Model

Trends in Education Design

Offices That Work

...and more

S ince the second grade, Peter Devereaux knew he wanted to be an architect. At that incredibly young age, he envisioned creating wonderful places. But it was not just about the architecture; it was about creating experiences that affect the quality of peoples’ lives. Fast forward to 2008, the Yale grad is now president of Harley Ellis Devereaux Corporation and his vision is as clear as it was back then. NEXT caught up with him to learn more.

“My focus at Harley Ellis Devereaux centers around three words: vi-sion, opportunity, and authenticity. Our vision is to distinguish ourselves by offering unique value propositions to all of our clients. Our clients represent the world of today, but through the single act of designing a building are embracing their idea of the future. We can bring to life what our clients envision, but that is only the beginning. Through the power of great design, we hope to enhance their business by creating memora-ble experiences which are uplifting to the human spirit. Sounds lofty, but it’s the ability to express the intangible, ‘soft’ solutions which enhance peoples’ lives that will help give our clients an edge in the world market.

The opportunities to focus on the experience, not just the place, are endless. Going beyond the prescribed requirements, the schools we de-

NEXT: viewpointJ. PETEr DEvErEAUX, FAIA, LEED APPrESIDENThArLEy ELLIS DEvErEAUX cOrPOrATION

sign must contribute profoundly to the educational experience, hospital design should enhance the healing process, and commercial projects should create a special experience for the shopper, resident, or worker. Our goal is to capture the experience, seize the opportunity within it, and align it with peoples’ lives in a meaningful way.

Authenticity is the thing that pulls it all together. Influenced in college by Lionel Trilling’s book, Sincerity and Authenticity, I was struck by his concept that our global consciousness has transitioned from a pre-in-dustrial age that valued sincerity to the more demanding concept of au-thenticity. Interestingly, one of today’s bestsellers is devoted to the same principles. James Gilmore and Joseph Pine, authors of the Experience Economy, have just released their new book, Authenticity, What Consumers Really Want. In it they explain that the more contrived the world seems, the more society craves experiences that are ‘engaging, memorable, and, above all, authentic.’ The challenge they issue to businesses today is to craft their brands to be perceived as authentic or risk being deemed fake and become obsolete. As a design firm, we are faced with the same chal-lenge: To design engaging, memorable, and, above all, authentic places that resonate powerfully with our deepest human values… the NEXT logical step.”

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