Creston Avenue Gets Diggy with It

By Ruth Dresdner, AIA, LEED AP, and Marcella Yee, AIA

ESKWA Creston Avenue construction

Hollister Construction

At first glance it may look like a corner of Dante’s inferno—but this is, in fact, our construction team, hard at work at 2865 Creston Avenue in the Bronx.

They drill, excavate, clear rock, and pour concrete. At right, they are forming what will become the bottom of an elevator pit.

They’ve been working nights to make up for time lost to an unusually harsh winter (but this is a dedicated bunch, and we worked through it—proof below).

 

ESKWA Creston Ave siteESKWA Creston Ave rockESKWA Creston Ave

When completed, the building will sit directly adjacent to the neighboring bedrock (see below right). The team is taking great pains to keep the awesome rock outcropping. The rock, like much of NYC’s bedrock, is gneiss (pronounced ‘nice’). On this site, rock hardness ranges from NYC bedrock classification 1B (medium hard rock) to weathered portions classified as 1D (soft rock). Hardness is a crucial attribute of rock because a building foundation can be supported on hard rock, while soft rock may not have the capacity to take the load. Also, when excavating rock, the softer it is, the faster it goes.

Bedrock at this site is mapped as the Proterozoic-Eon Fordham Gneiss, which is typically a banded gneiss to schistose gneiss with pegmatite intrusions. During the Pleistocene epoch, a series of glaciers advanced and retreated across the New York City area, initially scouring soils down to the bedrock. In the Bronx, bedrock is often exposed at the ground surface or covered with a thin layer of glacial soil such as glacial till or outwash sand. Since the retreat of the last glacier, roughly 20,000 years ago, exposed and near-surface bedrock has been subjected to weathering, particularly along joints and foliations in the rock. (Information in the preceding paragraph came from Geotechnical Report dated 12/17/2015 by Mueser Rutledge Consulting Engineers.)

At the other end of the site, a gabion wall is rising. It is made of steel wire baskets filled with pieces of rock excavated on site. Not only is it beautiful (at least in our opinion), but it is made of natural material, and by using what was already onsite, less material will be carted away, and less has to be trucked in. When finished, the gabion wall will be a 20-foot high retaining wall at the rear yard of the building.

ESKWA Creston Avenue gabion wall

Creston Avenue gabion wall

Stay tuned for more updates!

ESKWA Marcella and Ruth

Marcella and Ruth

Ruth Dresdner, AIA, LEED AP, has been an architect at ESKW/A for almost a year and has taken on two of our largest new housing construction projects. She is project manager on both 2865 Creston Avenue for Project Renewal, and the School Street Residences in Yonkers for St. Joseph’s Community Medical Centers.

Marcella Yee, AIA, has been with ESKW/A since 2014 and has been a lead team member on the Creston project since the design phase. She was an instrumental architectural team member on the successful RFP for Archer Green with particular focus on façade development and detailing during design and construction documents. She is also project manager on shelter renovation projects for BRC.

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Meet the Team

ESKW/A has added several new team members over the last year or so. Get to know them in a series of meet-and-greet interviews.


Ruth Dresdner, AIA, LEED AP 

Ruth headshot.jpg

Ruth lunching in Florence

ESKW/A: Where did you grow up?

Ruth: I was born in the Bronx, but my parents are Israeli. I went there at age 3. I returned after my first degree and studied architecture here.

 

ESKW/A: What led you to us?

Ruth: I was aware of Judy [Edelman]’s work on behalf of women and admired it from a distance. I also knew about the New Settlement Campus in Mt. Eden in the Bronx. I’d spent several years in healthcare design and I wanted to do something different and new. Always I try to do work with redeeming social value for the public.

 

ESKW/A: What NYC buildings or spaces inspire you?

Ruth: There are so many places in New York I love. Just picking from the slides in my head, one of them is the FDR Four Freedoms Park on Roosevelt Island. It’s an incredibly crystallized, modern architectural design. It does everything right. The memorial is also outside, with no ceiling, so it creates these outdoor rooms, if you will. The official designer is Louis Kahn, a very important American architect—however ,the original concept came from his mistress, a landscape architect. Just another in the long list of uncredited women!

 

ESKW/A: What is your favorite place you’ve visited?

Ruth: It is very difficult to pick a favorite. I travel a lot, and I’ve never been to a place that I haven’t been interested in. My next planned big trip is to Siberia, but who knows what will happen now with Putin?

 

ESKW/A: What makes you laugh? Or alternatively, gasp or shriek (in fear or disgust)?

Ruth: Trump! That’s the all-purpose answer.

 

ESKW/A: Which celebrity or historical figure, alive or dead, would you want to have dinner with?

Ruth: That’s also difficult to pick only one. Someone I always admired is Susan Sontag, a writer. I wanted to learn more from her, but sadly she’s gone.

 

ESKW/A: What do you do on weekends?

Ruth: I do what everyone does. I do my laundry! But no, that’s not a hobby. Of course, I also do some shopping, cooking, reading, meeting friends, going out.

 

Ruth has been an architect at ESKW/A for almost a year and has taken on two of our largest new housing construction projects. She is project manager on both 2865 Creston Avenue for Project Renewal which is under construction, and the School Street Residences in Yonkers for St. Joseph’s Community Medical Centers.


Michael Kowalchuk 

MK headshot

Michael traveling in Vicenza

ESKW/A: Where did you grow up?

Michael: Manchester, New Hampshire.

 

ESKW/A: What led you to us?

Michael: I always wanted to end up in New York. I started working at a small firm in Portsmouth, New Hampshire, and one of my bosses there worked at ESKW/A prior to starting their own firm.  I’ve also always been interested in affordable housing, so it was a match made in heaven.

 

ESKW/A: What building or spaces in New York inspire you?

Michael: There are two spaces, both by Renzo Piano. The New York Times Building because of its atrium with the birch trees. It’s a very surreal juxtaposition of environments right in the middle of Manhattan. And the Whitney. It has so many vantage points for viewing the city, and it kind of makes you feel more like you’re a part of it all. I was also an English double-major in college, which informs my approach to architecture pretty significantly.

 

ESKW/A: What is your favorite place you’ve visited?

Michael: Havana, Cuba. It’s a really bizarre mixture of old-world architecture in the middle of the Caribbean, and there’s the political history too. It’s like no place I’ve ever been before.

 

ESKW/A: What makes you laugh, or shriek?

Michael: McMansions for both! Also I just saw The Little Hours, and it was really funny.

 

ESKW/A: What famous person, architect or not, and alive or dead, would you like to have dinner with?

Michael: My architect answer is Oscar Niemeyer. He lived through so much—most notably the military dictatorship in Brazil—and was instrumental in adapting Modernism to a regional/national context at a time when the “International Style” was being crudely exported to the Global South. My non-architect answer is Simone de Beauvoir, because she did so much for 20th century politics and feminism, and she’s kind of overlooked here [in the United States]. She’d certainly be an interesting dinner date.

 

ESKW/A: If Heaven exists, what would you like to hear God say when you arrive at the pearly gates? (Credit: James Lipton of Inside the Actors Studio)

Michael: I think God (or St. Peter—he guards the pearly gates, right?) would say, “A for effort.”

 

Michael joined ESKW/A in September 2016. He has been a team member on 2865 Creston Avenue for Project Renewal, 3500 Park Avenue for the Bridge, and has managed several projects for Clinton Housing Development Company. Michael is an inaugural member of the ESKW/A’s book club and frequently lends his second degree in English to promotional efforts for the office.


Gary McGaha 

Gary

Gary at a wedding in Virginia

ESKW/A: Where did you grow up?

Gary: Frankfurt, Kentucky—I was born there and went to high school there. Then I went to undergrad in Georgia at Southern Polytechnic State, and did grad school here at Columbia.

 

ESKW/A: What led you to us?

Gary: There was a building on my street that I passed by pretty frequently (892 Bergen Street in Crown Heights), and I thought it was fascinating. My girlfriend did some consulting for ESKW/A on 233 Landing Road, and she was the one that told me the building was theirs. She connected me with the firm.

 

ESKW/A: What building or spaces in New York inspire you?

Gary: In New York, spatially and from an urban standpoint, I’d have to say Four Freedoms Park and the High Line, but there are so many. The High Line is so unique and there’s not a prototype for that type of project. It takes elements of a dense urban condition and stitches them together to create moments that wouldn’t exist otherwise. The scenic factors augment these spontaneous activities and adventures.

 

ESKW/A: What is your favorite place you’ve visited?

Gary: I think it’d be between Paris and Vienna. There are so many layers between the contemporary and the medieval. And there are lots of monuments, boulevards, and the same kinds of opportunities for social interaction and surprise.

 

ESKW/A: What do you do on weekends?

Gary: Well, when I’m not busy with home repairs, a lot of biking around Prospect Park where I live, or we’ll go to events and exhibits that are opening. And there’s the occasional travel upstate or to a close city like Philly—a little weekend train getaway.

 

ESKW/A: What makes you shriek or gasp in fear or disgust?

Gary: Kind of like a pet peeve? Cars that get in the bike lane.

 

ESKW/A: What famous person, alive or dead, would you like to have dinner with?

Gary: I might have to do a dinner party. Nina Simone, Martin Luther King Jr., Le Corbusier. That’s a good balance—or combination—of genius, visionaries, and just the greatest citizens or examples of humanity.

 

ESKW/A: What superpower do you want?

Gary: Teleportation. There are lots of moments where the biggest constraint on reality is time and space. And in New York, so much time is taken just getting from point A to point B. So if you could skip that, you’d have more time for everything else. Also I probably wouldn’t need a passport or a hotel reservation.

 

ESKW/A: If Heaven exists, what would you like to hear God say when you arrive at the pearly gates? (Credit: James Lipton of Inside the Actors Studio)

Gary: “Neat or on the rocks?” Or maybe it’d have to be “How do you take your coffee?”

 

Gary has been an architectural designer with ESKW/A since August 2017. Bringing a mix of experience with both institutional and smaller scale interior work, Gary is project manager for the Lucile Palmaro Clubhouse renovation for the Kips Bay Boys & Girls Club and an affordable housing renovation at 1772 Second Avenue. Gary also embraced the Revit challenge by being a team member on the School Street Residences in Yonkers for St. Joseph’s Community Medical Centers.


Jon Mark Bagnall, RA 

Jon Mark Bagnall

Jon Mark at the Sailors Ball, which raises money for a kids sailing program in New York Harbor

ESKW/A: Where did you grow up?

Jon Mark: We moved around a lot, because my dad was a minister. So I was born in the South Bronx but moved to Long Island, then New Jersey, and so on. My mother was a social worker as well, so we’d go where the need was greatest. That’s where I found my motivation to work with nonprofits, institutions, and people who need someone to look out for their interests.

 

ESKW/A: So is that what led you to us?

Jon Mark: It’s kind of a small world so I was aware of firms doing this type of work. When you look at what we do, it’s exactly in my wheelhouse. I’ve ventured outside—I’ve done hospitality, even a casino!—but these often have specific design formulas, and I wasn’t feeling challenged. Here, I care about the work we do, and you can’t put a price on that.

 

ESKW/A: What motivates you creatively, in general?

Jon Mark: I think the reason I’m an architect and not an artist is that I need a client [laughs]. I mean I find that the client inspires and challenges me. I like to solve problems. When you have very specific needs—working with the elderly, or those with mental health issues or specific physical needs, or even sharks—and at the same time limited budgets, those provide a framework. Rules make it easier, because you can move around within them. They’re a starting point. It’s a creative problem that needs solving.

 

ESKW/A: Are there any specific buildings or spaces in New York that inspire you?

Jon Mark: For me, New York is less about specific buildings and more the overall texture of a city—going from neighborhood to neighborhood and experiencing the different patterns and scales.

 

ESKW/A: Do you have a favorite place you’ve visited?

Jon Mark: The Yucatan really stood out for a couple reasons. We drove south through the jungle to Calakmul, a temple site which was still being uncovered. The largest pyramid of the Mayan period is there, and climbing to the top, you look out over the trees and see these little hills, and you realize that each hill is another temple that has yet to be uncovered. A landscape architect once told me that if everybody left New York, in a decade the city would be overrun with plants, and that’s exactly what happened to these sites.

Another thing is that the Yucatan peninsula is all limestone, very porous and soft, and it sits on top of the Gulf of Mexico, which flows around and under it. So you come across these huge sinkholes, or cenotes, where you can climb down to what looks like a little island in a shallow pond. You put on snorkeling gear and look down into the water, expecting it to only be a few feet deep. But it actually goes down 100 feet or more! I got vertigo as if I was looking down from the top of a skyscraper.

 

ESKW/A: What do you do on weekends?

Jon Mark: I enjoy sailing in the little sloop I’ve fixed up. My favorite sound in the world is the whoosh of air I hear after the hubbub of the outboard motor is silenced. I also like building things on a smaller scale. I built a small weekend house on Long Island without any drawings—intentionally! I just stood at different locations on the site, and again later in the rough framing of the house, and said, “I’m going to put this here and that there.” I also can’t help making suggestions to anyone who invites me to dinner and risks asking my opinion on their kitchen. I love seeing how other people live and finding out how they want to live. Maybe I’ll have a good idea. Then, of course, they want me to build it!

 

ESKW/A: What superpower or special ability would you want?

Jon Mark: To go back in time and just stand anywhere and see what a landscape or a city looked like 100 years—2,000 years ago… because we live on top of all these layers—of other people, their lives, what they felt, and what they built. It’s incredible.

 

Jon Mark joined ESKW/A in September 2016 and brings many years of new construction experience with him. As the project architect for the office’s largest housing development, he is a critical part of the Archer Green team for Omni New York LLC. He is also the enthusiastic leader of the office’s Building Codes Working Group and makes keeping up with codes a ton of fun.

Public Housing & Corduroy Pants

By Frank Ball

If you ask anybody from the undergraduate program at the Pratt School of Architecture who Donald Cromley is, they will have a story for you. I started asking this question to fellow Pratt alumni here at ESKW/A, and their stories spanned the length of his career. He was once the right-hand man to modernist architect Marcel Breuer. At Pratt, Cromley was the department chair, building technology coordinator, and still works as a professor in both history and design. Most are surprised to learn not only that he is still teaching, but that even now in his late seventies, he still leads a walking tour through New Haven. Recently I went on this tour and was moved by what I saw.

On a Saturday morning in March, Donald Cromley’s students gathered at Grand Central. Even though I had graduated, I reached out ahead of time and asked to tag along. We took a New Haven-bound Metro North train to the end of the line and departed at Union Station.

Image by Frank Ball

We stood outside the station and looked at a stocky concrete apartment complex across the street. It was called the Church Street South Housing Project, completed by the late architect Charles Moore in 1969. Moore had been dean of Yale’s Department of Architecture (later the Yale School of Architecture) from 1965-1970, and would be remembered as a pioneer of post-modernism.

At the time when Moore designed Church Street South, his work was experimental. The façade obeyed a classical system, but with new materials. What would later be known as post-modernism essentially borrowed iconography from traditional architecture, mixed it together with modernism, and then reassembled everything into something new. The result was refreshing, and in a conceptual way, elevated Church Street South above a level of just basic housing.

Photo credits clockwise from left (collage by Frank Ball): clipgoo.com | Elliot Brown on Flickr, via the National Trust for Historic Preservation at savingplaces.org | The Museum of the City of New York at collections.mcny.org| Larry Speck at larryspeck.com

“Modernists liked this, you see?” Cromley pointed to the façade and tugged at the leg of his corduroy pants. Like his modernist contemporaries, Cromley also wore a bowtie (because a regular necktie could fall on his drawings and smudge.) Anyway, his point was that Moore used a ribbed block. To be more specific, ribbed block was applied throughout the exterior, except where classical details belonged. The top of the façade is smooth to express a cornice, corners are crisp with reversed quoins, and windows are cleanly trimmed. Everything else is rough and textural ––like corduroy pants.

Image found at newhavenurbanism.org

Once upon a time, the complex was painted with bright super graphics; there were architectural follies and sculptural elements, all early characteristics of Moore’s work. Today, the Church Street Housing complex is scheduled to be razed. We happened to visit on a day when the demolition crews weren’t working, and some buildings waited patiently to be torn down.

Paul Rudolph’s Temple Street Parking Garage

Image by Frank Ball

We continued on our tour. New Haven has an abnormally high number of parking garages. One such garage is Paul Rudolph’s Temple Street Parking Garage.

Image by Frank Ball

“Pay attention to the fenestration.”

We gathered around an elevator vestibule in the parking structure. Rudolph’s office designed the glass wall with simple off-the-shelf parts. The system doesn’t hold up to modern energy codes and has been replaced in other parts of the garage. But because the space inside the vestibule is actually unconditioned, it was allowed to stay. Cromley said these window mullions were originally used in other Paul Rudolph projects, including his namesake: Rudolph Hall.

Image by Frank Ball

One corollary of the modern movement was the use of as few materials as possible. As we walked out of the garage and looked back, the concrete streetlights on the upper deck were visible. Yes, concrete streetlights.

Paul Rudolph

Image by Ezra Stoller

Iconoclast Paul Rudolph, refusing to wear his bowtie.

“Thank God he didn’t try concrete mullions!”

So why were there so many modernist architects working in New Haven anyway? Cromley told that it was an example of the town versus the gown. In the 1950s the president of Yale, Alfred Griswold, decreed that all significant construction on campus would be avant-garde, freeing Yale from the collegiate-gothic tradition. The amount of courage that it took for an Ivy League president to suggest this, let alone to convince a board of trustees to go along with it, is remarkable. Not to be out done, Mayor of New Haven Richard Lee said the same of municipal construction. Because so many modernist architects were already working on projects at Yale or were in the academic circle, they enjoyed easy access to New Haven projects. As Cromley put it, Griswold simply gave his list of approved architects to Lee.

There are examples of this quirky reciprocity throughout the City of New Haven:

Architect

Yale

New Haven

Paul Rudolph Rudolph Hall, 1961-1963 Temple Street Garage, 1961
Marcel Breuer Becton Engineering and Applied Science Center, 1968-1970 Armstrong Rubber Co, 1968
SOM Beinecke Library (Gordon Bunshaft), 1961-1963 Conte School, 1962
Charles Moore Dean of Yale’s Department of Architecture, 1965-1970 Church Street South, 1969

Please make no mistake, there are plenty of examples of architects working in New Haven before working at Yale, and by no means did an architect have to build in either locale to be considered successful. It also didn’t hurt that New Haven had been designated a “Model City” and benefitted from federal funding for urban renewal.

Yet I found other examples of the relationship between buildings at Yale and New Haven that are more complex. For example, the ribbed block on Charles Moore’s Church Street South Housing Project was invented by Paul Rudolph’s office. The concept had essentially been prototyped on Rudolph Hall. This was also a nice homage on Moore’s part, as he became dean immediately after Paul Rudolph but ran the department very differently.

Image by Gunnar Klack

I couldn’t help but reflect on another part of my education while thinking about Donald Cromley’s tour. At about the time when I graduated, Reinier de Graaf, an architect and partner at the firm OMA, published the ominously titled article, “Architecture is now a tool of capital, complicit in a purpose antithetical to its social mission.” The title pretty much sums up the point I’m trying to make, but what happened?

Moore, whom I mentioned earlier, was hardly the first famous modern architect to take on housing for the social good. To name a few, Frank Lloyd Wright, Alvar Aalto, Le Corbusier, and Louis Kahn all stamped their names to various forms of housing for those who could not otherwise afford it. In a way, low-income housing was a perfect corollary to the adage that “less is more,” because these architects had to work with less.

Today it’s hard to escape the feeling that architects primarily serve a privileged class (and that’s part of why I’m so proud to work where I do), but I want to see architecture at large return to its humanitarian past.


Frank Ball is a graduate of the Pratt School of Architecture and currently an architectural designer at ESKW/A. Among other things, he is currently working on the new construction of 76 units of supportive and affordable housing at 1921 Cortelyou Road.

It’s National Poetry Month and Throwback Thursday!

WhitneyAtHerDeskCirca2009

Whitney at her desk, 2009

In 1996, the Academy of American Poets designated April National Poetry Month to increase awareness and appreciation of the art form. In keeping with that spirit—and in honor of #throwbackthursday—we’re sharing the poetic, aesthetic stylings of our former office manager Whitney Merritt. She dedicated a poem to the office on her 25th anniversary and even abridged it for her retirement 16 years later. It appears below.

Whitney was the glue in this office for many years. She was truly an ESKW original, having joined the team at age 20 in 1965. She retired in 2011 after 40 years keeping this place together. She loved her family and treated each of us like one of her own. Whitney passed away in August 2013 but will always be a part of our legacy.

 

 

 

TO THE OFFICE 

(abridgements italicized)

ESKW/A Office Photo 2008

25 years! Has it been that long?

Remember how I drove you crazy with the old Sinatra song?

After 41 years, most of you have never heard that old Sinatra song (“Strangers in the Night”).

 

In the beginning the copier was in the closet, sitting on a shelf,

And all the typos errors had to be erased—in triplicate—by myself.

Specifications were written with the usual zealous haste,

Then in would come the corrections—I was the queen of cut and paste.

Now the computer prints out the specs and the copier does the collating,

The telephone is much improved, and the fax keeps no man waiting.

25 years! Has it been that long?

After 41 years—and I say this with love:

There is an app for all of the above.

Cut and paste is on the menu while the fax is considered old school,

Because email, Twitter, and Facebook, now the airwaves rule.

 

The office staff used the go fishing, well off to Montauk I sped,

But I didn’t have any sea legs, so my day was spent in the head.

There are some things though in which I am quite steady,

The first that comes to mind— “Anything for Ever Ready” …

I’ve tried to keep up with the times, but often I could scream,

Because I find it disconcerting talking to machines.

Our clients use us repeatedly, that’s what our bid will say,

And I like to think I’ve played a part in making it that way.

25 years! Has it been that long?

After 41 years, I’ve stayed on land and added FedEx as my evening call,

Though sometimes I think nobody hears me at all.

Electronic conversations are still not my best zone,

But some of our clients are glad to hear I’m still manning the phone.

 

We’ve sat around this table, a hundred times or more,

When things were on the up and up, or the wolf was at the door.

We’ve shared our lives in many ways—our hopes, our joys, our sorrows,

So now I’ll just propose a toast to many more tomorrows.

After 41 years these sentiments still ring true,

And even though I’ll miss you all, I’m looking forward to something new.

I’m leaving you my contact info; I’m sure email will be your choice,

But truth be told, I would rather hear your voice.

ESKWA Whitney Randy Andrew 2012

Whitney with Randy and Andrew

Her heartfelt words meant the world to those who worked with her. Though perhaps less poetic, here are some of our own about her:

  • “I was amazed that someone who had been working at the same company for so many years would take such care to do everything perfectly. Besides being someone we could all rely on, she was a great entertainer. Whoever sat at the desk next to her could count on some fun. Once she told us that on her day off she would spend time at Orchard Beach in the Bronx and do some people-watching. She had us in stitches telling stories of people she had seen and doing some imitations.” (Lucille, bookkeeper)
  • “When I was hired as the new office manager, it did not take me long to realize that Whitney was a treasure and that I would have very big shoes to fill. She knew everything about the company, and she played an integral part in making it the successful firm it is today. Whitney had a love of life and even though she was strongly opposed to “modern machinery” her curiosity and interest in everything around her made her a wonderful person to spend time with. As she sang and laughed her way through her day at ESKW/A, she imparted knowledge and wisdom that helped me transition into my new role.” (Lauretta, office manager)
  • “With her high spirit and strength, Whitney had a way of making me feel closer to home although I was thousands of miles away from my family. I loved her old-fashioned way of doing everything, from typing on her electronic type writer placed in front of her computer, ordering items from JCP catalog, and calling internet the intraweb. She always had a needle and thread to patch something and anti-static spray for skirts! She was truly a special lady.” (Tatjana, former project manager)
  • “I feel like she will always be nearby.” (Daughtry, senior architect)
ESKWA Halloween Whitney

Whitney at Halloween

Mother featured in Esquire

Mother Industries, the quirky yet stylish advertising agency, is a hub for all things creative. Esquire recently profiled Paul Malmstrom, the co-founder, in their recently completed Hell’s Kitchen office. Working with designer Steven Sclaroff, ESKW/A was the architect for the conversion of this former warehouse to fit the office’s needs: flexible spaces, better access to light, and unexpected nooks all harbor the firm’s creative spirit.

photo-1-combo

As Esquire notes, the offices “could easily be confused for an art gallery, a museum, a furniture shop and perhaps even a construction site.” We’ll take that as a compliment. Windows from the street look into a casual gathering space leaving the passerby wondering exactly what goes on inside this “office”. The centrally located “kitchen” and the bleachers are all untraditional yet effective spaces for the ad-agency. At the client’s request, we kept the rough-hewn floors to preserve the tactility of the old structure, allowing the new furnishings to create an unexpected found object-type aesthetic – a principle that Mother is known for.

photo-3-combo

The central Skylight and the open communication stair is the anchor for the space and projects the ethos of the office. As Malmstrom says, “We wanted to make the building feel open where you could see and hear each other clearly,” and the skylight achieves this. We truly appreciate the talent at Mother and appreciate their aesthetic and creative eye. We especially applaud their long-term goal to have miniature cows grazing on their roof deck. This city needs more cows.

Architect: ESKW/A; General Contractor: Vanguard Construction and Development Co., Inc.; Owner’s Rep: ProjectConsult.

Photos from Esquire.