Tag Archives: architecture

The Wigert Residence

December 5, 2017 by
Photography by Bill Sitzmann

On a winding drive, in the northwest Omaha neighborhood of Hidden Creek, sits a residential showcase of contemporary green architecture. The newest addition to the neighborhood is Christine and Ben Wigert’s sleek home.

Designed by award-winning architect Randy Brown, the structure angularly unfolds down a grassy lot with the cookie-cutter designs of suburban Omaha strategically nestled behind a grove of dense foliage.

For seven years prior to building this residence, the Wigerts had been living in a starter home. By 2015, they were ready for a change—“to start the next chapter of our adventures,” Christine says. Thus began their hunt for the perfect new home. Having green space with a view was a priority, and this quickly took them from looking downtown to Dundee to further and further west.

One day Ben saw a home that Brown, his friend, had designed in a new neighborhood called Hidden Creek (near 134th Avenue and Fort Street, close to Standing Bear Lake). They had seen images of this neighborhood before and heard it was out of their price range. However, Christine says they reached out to Brown on Facebook, and “he replied almost instantly and was excited to hear of our interest.” The design process began almost immediately. “After a few e-mail exchanges and sharing of prototypes he designed,” she says, “we were hooked on the idea of working with him.”

After the initial messages, Brown presented several designs with floor-to-ceiling windows for views onto the creek and a rooftop deck. Then one day, Christine says, “Randy surprised us with an entirely new blueprint for a very unique home. He said that after working with us for a few months, he had created a new vision for our home based on getting to know us.” Hidden Creek and their soon-to-be neighbors were also “perfect because the modern eco-living captured both of our favorite design styles and united us around our love for modern architecture.”

Dark wood floors wrap the space while compact nooks, angular supports, and wall cutouts are scattered through the spaces. There are few, if any, 90-degree angle walls— even some of the floors are ramped. The residence is one large open floor plan with the living room attached to both the kitchen and dining room.

The result is a 4,000-square-foot one-of-a-kind structure clad in vertical charcoal-gray siding. It is not only user-specific, but site-specific. Cantilevered spaces and open-ended decks complement the fusion of outdoor and indoor space. Strategic views are emphasized with a flood of indirect and natural light, and a 2,000-square-foot rooftop deck (with space for future gardening boxes) looks onto the wild grasses, forest, and creek adjacent to the building.

The interior design matches and extends many of the tropes found on the exterior. Every space in the two-bedroom home is unique, and nothing is left unconsidered. Dark wood floors wrap the space while compact nooks, angular supports, and wall cutouts are scattered through the spaces. There are few, if any, 90-degree angle walls—even some of the floors are ramped. The residence is one large open floor plan with the living room attached to both the kitchen and dining room. The open concept and high- lofted ceilings “allow us to share the space at all times,” Christine says.

Although the home is now complete and they have moved in, with Brown’s open-ended design, the Wigerts say that there is still “lots to dream about” on both the interior and exterior of their contemporary home.

 

 

 

Visit moderneco-homes.com to learn more about Hidden Creek.

This article was printed in the November/December edition of Omaha Home.

Neil Astle

September 17, 2017 by
Photography by Bill Sitzmann

It is not often that an Omaha architect is featured in The New York Times and Architectural Digest, but the reputation of Neil Astle is noteworthy for much more than mere publication clippings. His local homes and buildings remain architectural treasures in the Omaha metro.

Daniel Naegele, associate professor of architecture at Iowa State University and co-author of the soon-to-be-published Astle & Omaha, says his buildings are “highlights of architecture.” Bruce Wrightsman, assistant professor of architecture at Kansas State University and the other co-author adds, “Astle had a profound effect upon architecture in the state of Nebraska.”

Tollefson House (Wausa, Nebraska)

In 2008, Astle was posthumously awarded the Harry F. Cunningham Gold Medal for Architectural Excellence in the State of Nebraska—the highest honor that the regional chapter of the American Institute of Architects can bestow in recognition of distinguished architectural achievement. This path to praise was laid in a dedication to material detailing and modernist ideologies.

Astle was born in Salt Lake City in 1933 and earned a degree in architecture from the University of Utah in 1958. The next year, he earned a Master of Architecture and Planning from Massachusetts Institute of Technology. The department was then chaired by Pietro Belluschi, designer of many high-profile buildings, including the Pan Am (now MetLife) Building in New York City. At MIT, Naegele says, “Astle would have been seduced by Eero Saarinen’s extremely popular Kresge Auditorium and Chapel and by Alvar Aalto’s Baker House auditorium.” The concrete-and-glass structure auditorium and brick dormitory with a large S-curve would later be reference points to many of his projects in Nebraska.

In 1964, Astle moved to Ralston; in 1965, he founded Neil Astle and Associates and began teaching architecture and community design at the University of Nebraska–Lincoln.

Benedictine Mission House (Schuyler, Nebraska)

From 1968–1981 his Omaha-based firm received six AIA Nebraska Design Awards, five Central State Awards and two Architectural Record Awards of Excellence. In 1983, he became a fellow in the AIA. Then in 1999, Astle received the Lifetime Achievement Award from the Utah Society of Institute of Architects—the first and still only Utah recipient of this award. Astle died in 2000, receiving the Cunningham Gold Medal from AIA Nebraska posthumously eight years later.

Why such lingering admiration for this Omaha-based architect?

Astle’s architectural style, now known as midcentury modern, confronts the expansive nature of suburbia with a counter solution: intense material and spatial investigations, along with honed detailing. As Naegele says, “The transition from man-made suburbia to Neil-made suburbia is one of Astle’s great accomplishments.”

Searching for authenticity in materials, Astle’s architecture was primarily fabricated in cedar and concrete—aging with the landscape of the site—finding continuity of interior and exterior space. Through their specific placement, these structures cascade on their sites. Like other architecture of the period, searching for simplicity was not simple.

The DeSoto Wildlife Center (Missouri Valley, Iowa)

With a focus on micro details (for example: hinging on cabinets and closet cladding) and using natural light and architectural space, many of his projects (including several Omaha-area homes and the DeSoto Wildlife Center in Missouri Valley, Iowa) strike an uncompromising balance of form, function, and the environment. 

In 1980, Architectural Digest described Astle’s award-winning work as “an architectural gem” and “unmistakably modern.” This respect continues to be felt by many of his contemporaries. Ross Miller, architectural designer at HDR, speaks to Astle’s legacy by simply stating, “he is a true architect.”

Visit aiane.org for more information about the regional chapter of the American Institute of Architects.

This article was printed in the September/October 2017 edition of Omaha Home.

Learn about two Neil Astle homes for sale recently in Omaha in this article’s companion piece: “Two Homes, One Architect”

Ball House (Omaha, Nebraska)

A Fresh Homemade Kitchen

August 28, 2017 by
Photography by Bill Sitzmann

Out of all the genius quotes from world-renowned architects and designers, Kylie Von Seggern’s favorite comes from a celebrity chef.

Her profile on Alley Poyner Macchietto Architecture’s website lists the words of Anthony Bourdain as her favorite quote: “Find out how other people live and eat and cook. Learn from them—wherever you go.”

The mantra manifests itself throughout the architect and interior designer’s professional work and private life.

Von Seggern prefers adaptive reuse to high-profile mega projects, and she embraces community engagement and activism. Her responsive ideology is likewise evident in the renovation of her home in the Hanscom Park neighborhood.

Kylie Von Seggern

While house shopping in 2015, she wanted to find an older home with built-in character. That’s exactly what she found in her current residence, built in 1908.

The previous owner had lived there for 50 years. The warm gray interior featured dense wood trim, exquisite detailing, and the creek of wood floors. It was the perfect combination of good bones and room for updates.

For the interior remodel, she proposed “more of a modern upgrade” than a total overhaul. The kitchen, however, lacked the rest of the house’s inherent character.

She recently renovated the kitchen to achieve a crisp, airy gathering space. She replaced the limited cabinetry and floors. But she kept the kitchen’s existing plaster walls.

For Von Seggern, the kitchen is important because everyone is always there—regardless if there’s a party or not. Part of the reason stems from her roommate being a chef.

Throughout and beyond her home, Von Seggern’s approach to design and architecture resonates with creative culinary instincts: Like a great homemade meal, “It tastes so good because you made it,” she says. 

Growing up in Lincoln, design-oriented interests eventually led her to the architecture program at the University of Nebraska-Lincoln.

While at UNL, she participated in a 2010 study abroad program to Guatemala where she learned vernacular cinder-block building techniques.

In Guatemala, she began hypothesizing the duplicitous meanings of a home. Von Seggern ultimately realized, “Not everyone wants a McMansion,” and more importantly, “functionality over aesthetics” takes precedence.

She also studied abroad in Germany before completing her degree in Nebraska. With such international experience, her attraction to the Bourdain quotation becomes obvious. The preceding sentence of the full direct quote is: “If you’re [young], physically fit, hungry to learn and be better, I urge you to travel—as far and as widely as possible. Sleep on floors if you have to.”

She began working at Alley Poyner Macchietto Architecture after completing her Master of Architecture in 2013, and she began lending her voice to local architectural advocacy efforts as a volunteer at Restoration Exchange Omaha.

Von Seggern’s volunteer work allows her to have a direct impact in Omaha while developing skills in navigating city bureaucracy and finding ways to remain responsive to older architecture instead of reactively always looking for the new.

Back in her home on the edge of Hanscom Park, her kitchen is a perfect example of her finding this balance on her own terms.

Visit alleypoyner.com/kylie-von-seggern for more information.

This article was printed in the July/August 2017 Edition of Omaha Home.

Two Homes, One Architect

August 23, 2017 by
Photography by Bill Sitzmann

Scanning any architectural periodical or blog, there are endless examples of buildings with clean lines, simple spaces, and minimal material pallets. Contemporary architecture owes much of this ethos to the modernist architects of the mid-20th century.

Architect Ludwig Mies van der Rohe encapsulated the design philosophy with his famous quote: “less is more.” While turn-of-the-millennium McMansions of suburban Omaha represent the antithesis to the minimalism of midcentury modernism, the Omaha metro is home to several notable modernist residences designed by architect Neil Astle.

Two local homes designed by Astle came available on the market over the summer: the Flansburg Residence (located at 2205 S. 111th Circle) and the Ball Residence (located at 2525 S. 95th Circle).

Ball Residence (2525 S. 95th Circle)

Flansburg Residence (2205 S. 111th Circle)

Astle lived in Omaha between 1965 and 1981. During that time, he completed many award-winning architectural commissions, only a handful of which were homes. For his residential work, Astle said, “It is all part of refining a design in a complete way so that clients have few decisions to make—even about furnishings.” Dan Naegele, associate professor of architecture at Iowa State University, says, “They are more than houses. They are dwellings and are to be valued, cared for, basked in, and appreciated.”

Theoretically, Astle was challenging something greater with his suburban homes. Naegele explains that the architect “removed the garage from the house, allowing its presence as a separate entity to create a complex. The remote, innocuous, naturally clad garage, though convenient to the house, was not part of the house itself. It allowed for the house to be low, and to be stretched across the site, rather than piled up in one place.”

The Flansburg Residence, located in the Rockbrook neighborhood, is a 2,500-square-foot home completed in 1969. Nancy Flansburg Novak, senior designer and partner at Alley Poyner Macchietto, grew up in the home and recalls her parents commissioning Astle to build the structure. She says, “my newlywed parents [Steve and Mildred Flansburg] were looking at homes, drove past Neil’s house, and stopped to ask who the architect was. He said it was him.” After a short exchange, the Flansburgs became Astle’s first residential clients. They also became lifelong friends.

At the end of cul-de-sac, the split-level home sits surrounded by foliage. A carefully crafted foyer between the garage and home creates the first of many spectacular spaces. The patina of vertically clad western red cedar, a favorite material of Astle, fully wraps both units. According to Naegele, “[Astle’s] houses are all wood and because of this, they seem to exude authenticity.” This darker space sits in contrast to the light-filled living spaces.

Entering the front door, creamy wool carpet and gray slate blanket the first level, which contains the living room and kitchen. An angular ceiling, clad in horizontal knot-free cedar, fills the entertaining areas with natural light. While the space is incredibly simple, phenomenal woodworking details by Bill Hayes are still in place. Subtle surprises are omnipresent.

Astle once said, “I try to get into families’ needs and express them thoroughly.” Going up or down a half or full level in the Flansburg Residence, Astle’s design philosophy becomes clear. Flansburg Novak recalls the home being “her jungle gym,” with plenty of nooks and crannies for her and her siblings. “It always felt big and open,” she says.

While Astle had free reign on the home’s design, the tight budget necessitated creative design solutions that come off as effortless. The efficient floor plan unfolds with neatly tucked away bedrooms, storage areas, exterior patios, and library. On the lower level, the ceilings were raised to allow the home’s patriarch to practice table tennis—many of his trophies remain in the library. The Flansburg’s home went on to win several awards, including a 1969 Residential Design Merit Award with the Nebraska chapter of the American Institute of Architects.

Less than two miles away on the edge of Towl Park, the Ball Residence extends many of Astle’s architectural tropes. Built in 1975 with the same cedar, owner Tami Doll (co-owner and vice president at Doll Distributing LLC) calls the home “a work of art.”

The 3,900-square-foot home features a detached garage, which contributes to the dramatic view of a courtyard where cedar and brick wrap the exterior and interior planes.


“When I walk in, there is a peacefulness about the home,” Doll says.

Upon entry, light fills the space, pulling full-scale picturesque views inside—suggesting continuity between human, architecture, and nature. Three bedrooms and entertaining spaces are neatly organized in an open floor plan and the same cedar covers much of the interior.

The original homeowners, Dale and Sylvia Ball, were quoted as saying, “The single most important decision in the whole process was selecting Neil as the architect.” Their instincts rang true when the home won the Honor Award for Distinguished Accomplishment in Architecture in 1975, as well as being written about  in many national and international publications.

Recently featured in The New York Times (June 14) and academic literature, it is obvious that Astle’s work is significant, but as Doll notes, “I don’t think people realize homes like this are in Omaha.”

Astle’s works are “rare gifts to Nebraska,” Naegele says. These two residences—the Flansburg and Ball residences—offer a chance to reflect and remember how good his work was (and continues to be).

This article was printed in the September/October 2017 edition of Omaha Home. Learn more about Neil Astle’s work in the Omaha area in this article’s companion piece: “Neil Astle: Omaha’s Midcentury Modern Man”

Bringing Meaningful Design Conversations to Omaha

August 13, 2017 by
Photography by Bill Sitzmann

Architecture as an intellectual endeavor extends far beyond brick-and-mortar structures. For designer Andrew Conzett, architecture is a form of problem-solving and way to rewrite immediate questions about the built environment through a culturally sensitive lens. Early in his career, he positioned his curiosity at one of Omaha’s most creatively focused firms, developed numerous discipline-blurring projects, and helped curate a robust series of lectures with the Omaha chapter of the American Institute of Architects. This fusion of localized projects and international discourse is one that not only pushes his own practice forward, but also challenges existing norms and perceptions of regional architecture.

Conzett grew up in Omaha. Since a young age, he was inspired by his father, a civil engineer at a large international firm, and his mother, who was consistently involved with social service and nonprofit organizations. As a soon-to-be licensed architect, Conzett is a cocktail of both. He has always been keenly interested in art and landscape, both of which were influential in his childhood years and helped to inform his atypical response to the “I-always-wanted-to-be-an-architect” story ubiquitous amongst peers (many say it was from building with LEGO bricks as a child). During high school, a design competition piqued his interest. This community-focused extracurricular project, which combined multi-disciplinary teamwork and a design-based approach, prompted him to apply to the College of Design at Iowa State University.

While at Iowa State, his intense studio assignments were mixed with conversations and projects with artists and creative thinkers. Working alongside a diversity of artistic studies pushed him to see the multiplicity of architecture. During his final year in the architecture program, one of Conzett’s classmates responded to his non-binary projects by asking, “Do you want to be an installation artist or architect?” Conzett did not know how to respond; however, this prompt of either/or has now become a defining feature of his practice.

While studying, Conzett diversified his architectural coursework with internships at the Omaha Public Library and the Bemis Center for Contemporary Arts, where he interned with artist Sean Ward and curator Hesse McGraw. After graduating in 2010, he moved to Omaha and was soon commissioned to design an office pod installation at the headquarters of Bozell. The project resulted in a spatial intervention that was recognized by the AIA Central States Region’s Excellence in Design Awards for “Detail Honor and the Interior Design Best of Year Award for Budget Interiors.”

His interests in a diverse range of project types brought him to his current position at Alley Poyner Macchietto Architecture in 2011. At the collaborative open studio in north downtown where architects work alongside interior designers, graphic designers, artists, and engineers, Conzett is staying busy outside the office as well.

His CV for research-based and experimental projects is dense. Stepping one foot outside the firm, Conzett has worked collaboratively on award-winning projects with Emerging Terrain, the Anti-Defamation League, and the Council Bluffs Park System, including River’s Edge Park. Each project allows him to intensely research form, material, and site. They also provide an instant design-to-built-project process that allows ideas to come to fruition faster than with traditional design-bid-build projects, which often take years to complete. These research-based projects also speak to his interest in architecture as built form that has the ability to blur lines between disciplines and methodologies.

For Conzett, “contemporary architecture practice requires thinking about new methods and materials, and thus inspires me to seek out unique project types as a way to expand my knowledge of design and the built environment.”

His most recent endeavor, the AIA Omaha lecture series, conflates his efforts in community activities and intellectual pursuits. Organized in collaboration with Ross Miller and other AIA Omaha members, the 2017 lecture series is a thought-provoking forum for design thinking. Bringing in award-winning international and national architects, such as Mike Nesbit of Morphosis in Los Angeles and Kai-Uwe Bergmann of Bjarke Ingles Group in Copenhagen, the role of these lectures are two-fold. First, they are an opportunity for professional architects and the general public to participate in architectural discourse. Secondly, the lectures provide a voice for a range of architectural practices that are advancing disciplinary boundaries.

While the series may seem hyper-niche, the visiting lecturers produce a diverse range of project types. These architects discuss the scholarly and tactile impact of design beyond simply making buildings. As award-winning content creators, the lecturers stimulate the public and challenge architects to aim their work to an elevated level of design excellence.

“It is always good to hear professionals talk about their design process and work,” says Emily Andersen, owner of DeOld Andersen Architecture. “But it is even more important to have lecturers come to Omaha that are truly challenging assumptions. The lectures bring the potential of a meaningful conversation that allows us to see into the creative process of other design professionals. And so I really appreciate the work that AIA does, as well as Design Alliance Omaha to help bring that discourse here.”

In all of his work, Conzett is running against the boundaries of the discipline with a keen understanding that traditional definitions of architecture and the built environment deserve to be challenged and pushed forward. “Opportunities such as professional work with [Alley Poyner], design-build exhibition and installation commissions, and the AIA Omaha lecture series are all ways for me to continue to experiment with and better understand the practice of architecture,” he says.

Visit aiaomaha.org/lecture-series for more information.

This article was printed in the Summer 2017 edition of B2B.

Nathan Miller

August 6, 2017 by
Photography by Bill Sitzmann

Nate Miller is changing the world of architecture. It is hard to imagine, looking at the bald, bespectacled 30-something wearing clean, dark jeans and working quietly in a coffee shop.

“I think the business industry and the world of construction is ripe for disruption,” Miller says.

He is disrupting this industry through data mining. The building industry comprises several professions—architects, engineers, construction managers, and more. Creating buildings involves using software for computer-aided design, conceptual modeling, building information, and many other components. While software companies have complete packages for the building industry, the separate industries often prefer one software over another, so an architecture company that designs a building using Revit (Autodesk’s CAD program) may not be able to connect their information with an engineering company that uses Bentley’s Reliability, Availability, and Maintainability program. The result is a lot of time spent translating programs. The software companies aren’t interested in creating translation programs—that’s where Miller and his company, Proving Ground, comes in.

“[The building industry] is shifting into much more integrated practices. Nate’s role is in developing new techniques,” says Jeff Day, professor and director of the architecture program at UNL as well as principal at his own firm, Min | Day.

“A lot of softwares already have connection points built into them. Ways in which, at a programming level, you can begin to access a document, or part of a document, and extract data,” Miller says.

Proving Ground builds tools, often in the form of plug-ins, that tap into those connection points. They customize their products for individual architecture clients based on their needs, such as having a business client with a lean budget or needing access to daylight.

This ability to connect systems is helping to drive the world of design by data. “There are so many ways that one can, whether with data and tech, or fabrication concepts and prefabrication, use data,” Miller says.

Miller discovered this passion by learning. He graduated from UNL with a master’s in architecture in 2007 and began working for NBBJ Design in Los Angeles. As he built a design portfolio, he became interested in how to leverage data to help his own computations and design processes.

His ability to prove this came when he worked as the lead designer on the stadium at Hangzhou Sports Park in China. The shell was created in a series of aesthetically pleasing steel flower petals, which used less steel than a more traditional steel cover. The bowl was created from concrete. The company liked that this progressive design also reduced costs by using 2/3 less steel than a stadium of comparable size.

That progressive project proved to Miller that data-driven design worked well. He began thinking about implementing data-driven design on a wider range of products—just as CASE Inc. in New York, a building information and technology consultancy, called him with a job offer.

Miller wasn’t thinking about the Big Apple. He was thinking about the Big O. He wanted to come home. CASE agreed to let him work from Omaha, and Miller continued learning, and using, data-driven design as director of architecture and engineering solutions.

CASE’s clients at WeWork were also using data-driven research for a specific area of architecture and real estate. They focus on subscription-based co-work environments for startups.

WeWork learned their eight-person conference rooms were frequently booked for groups of four or five people. They researched why people were meeting in smaller groups, and discovered what those people needed—number of electrical outlets, club chairs vs. desk chairs and a table, etc. WeWork then started providing less space for conference rooms and more space for desks.

WeWork acquired CASE in 2015, and Miller, who now discovered he enjoyed consulting and working on the tech side, decided to create Proving Ground.

“I think he has a good sense of where the opportunities are in his practice,” Day says. “He’s more like a tech startup than an architect, so he’s coming at this as an architect, but in a tech way.”

Visit provingground.io for more information.

This article was printed in the Summer 2017 edition of B2B.

Designing and Building a Life in Omaha

June 6, 2017 by
Photography by Bill Sitzmann

Wanted: beautiful minds.

Omaha architectural and engineering firms continue to hang the “help wanted” sign, roll out the welcome mat, and host job fairs, looking to snag that rarest of breeds: an employee who uses both sides of the brain equally, combining the practicality of a physicist and mathematician with the soul of an artist. In other words, young architects and architectural engineers are hot commodities in a leading job market.

Low interest rates and demand for new development (which shows no signs of ebbing) keep employers busy looking for qualified applicants. Where do they find the necessary numbers? Right in their own backyard.

“Certainly the job market in Omaha within architecture and engineering is very, very, very strong,” emphasizes Christopher Johnson, a vice president and managing principal at Leo A Daly, part of the big three of Omaha architecture firms, along with DLR and HDR. “Even when you look locally at the University of Nebraska-Omaha, PKI (Peter Kiewit Institute), or Nebraska-Lincoln, the interns and the graduates are secure in their employment by the holiday season, before they go home for their holiday break. That’s a lot earlier than what we would normally see.”

Top-notch schooling—the College of Architecture and the College of Engineering on the University of Nebraska-Lincoln campus, and the Kiewit Institute and the Durham School of Architectural Engineering and Construction on the university’s Omaha campus— provides Omaha firms with a locally grown crop of well-grounded, technically advanced job candidates who work well with others and possess problem-solving skills.

“In Omaha, we typically hire between 10 and 12 architects and engineers every year,” says Johnson. In addition, Leo A Daly’s internship program places about four students on the architecture/interior side and the same number on the engineering side. 

How do the salaries compare?

“Entry-level job salaries are competitive in the Omaha market because we have a very competitive spirit among all the private firms here,” Johnson says. “But when you look at the national picture, you might say they look a little lower.”

According to the Bureau of Labor Statistics, the median wage for architects nationally is $76,100. Omaha’s lower numbers reflect a geographical lower cost of living.

While many graduates take their sheepskin and leave for larger salaries in larger cities like Chicago, Boston, or Dallas, an impressive percentage chooses to stay close to family and friends. Two young professionals who made a conscious decision a decade ago to stay rooted in Nebraska have seen their stars ascend on a local and national level.

Stephanie Guy, project and resource manager at Alvine Engineering in Omaha, and Andrew  Yosten, managing engineering principal and director of mechanical engineering of HDR’s architecture practice in Omaha, both found their calling early. In many ways, they mirror each other’s lives.

“My uncle owned a construction company and I enjoyed building things, but I was always pulled toward engineering,” Yosten, 34, says of his teenage years growing up in West Point, Nebraska. “I happened to stumble across a pamphlet on architectural engineering. None of the other engineering fields really appealed to me until I read that pamphlet.”

Guy comes from a place even smaller than West Point. In fact, Mullen, Nebraska, population 492, is the only town in Hooker County, nestled in the state’s beautiful Sandhills. Like Yosten, she became more interested in how a building functions than in its design.

“When I was a junior or senior in high school, I thought about architecture, but I leaned more towards the math and science rather than the creativity,” says Guy, also 34 and president-elect of the Architectural Engineering Institute. “So I thought engineering would be a natural fit.”

Guy and Yosten earned advanced degrees, two years apart, from Durham on the UNO campus, one of the few schools in the country offering a five-year program combining a bachelor’s and master’s degree in architectural engineering. Each specialized in mechanical engineering, obtaining a breadth of knowledge of a building’s structural aspects, plus its lighting, electrical, heating, cooling, and ventilation areas.

Guy opted to work for a company that focuses strictly on engineering, although she still works closely with architects. Her portfolio with Alvine includes renewable energy projects at Creighton University, renovations at Duchesne Academy in Omaha, a new school of nursing at the University of Michigan, a 50-story residential high-rise and a 50-story Class A office building, both in Chicago.

“There’s something about this Midwestern location and Midwestern work ethic that allows us to be successful,” Guy says. “We’re just a flight away from both coasts. HDR, DLR, and Leo A Daly all started here and are still here, three of the largest architectural and engineering firms in the world, with offices around the globe.”

Yosten, who interned at HDR while in school, felt at home with the company’s global reach from the get-go, especially in the field of health care.

“My mom is a physician assistant in West Point, and my wife is a nurse, so I have a true appreciation for what they do,” Yosten says. “So when I learned how much HDR’s portfolio is geared towards health care, that was a big drive for me to
stay here.”

Some of the notable health care projects Yosten’s teams have guided include the Fred and Pamela Buffett Cancer Center in Omaha, set to open soon, and a $1.27 billion replacement for Parkland Hospital in Dallas, best known as the hospital where President John F. Kennedy died. They’re also designing a new tower for Omaha’s
Children’s Hospital.

What keeps HDR’s 952 employees in Omaha and Lincoln, Leo A Daly’s 130 local employees, over 50 architectural firms, and more than two dozen engineering firms anchored here? The ability to balance a high-powered job and a personal life in an area that avoids getting caught up in the rat race plays a huge role.

It allows Guy and her husband to raise four daughters, who range from an infant to age 9, while pursuing a career that has garnered her numerous professional awards.

It allows Yosten time to play with his 18-month-old twin boys, who he says are “really ornery and a handful” but the light of his life, along with his wife, Jill.

Development may be booming in Omaha, but sometimes the intangibles prove a greater lure for employees.

Stephanie Guy, project and resource manager at Alvine Engineering

This article was printed in the Summer 2017 edition of B2B.

From the Editor

May 24, 2017 by

I’m the first to admit that I’m not the most feminine of women. Yet I have one ritual that falls into the “girly” category—I love polishing my nails. My favorite polish brands cost about $3 to $5 and include a component that is made right here in Omaha.

NAGL Manufacturing creates the bottle brushes for nearly all major polish brands. Their work includes custom designs for Essie and Christian Louboutin, among others.

Design. It’s all around us, and it’s the theme of this issue.

Did you notice the Wienermobile roll through the Old Market on April 24? This now-classic car features an intriguing design—all based around a hot dog theme.

Omaha is a great place for architects and engineers to live, but many new graduates already knew that. Oftentimes, UNL and UNO graduates choose the quality of life that can be found here over larger cities and jobs with higher salaries.

Other graduates leave Omaha and return with big ideas. Nate Miller worked in Los Angeles and for a New York City firm. He now runs his own Omaha-based company, Proving Ground.

Check out Fair Deal Marketplace in North Omaha when you have a chance. The new shopping area is home to several micro businesses—and the entire structure was made from shipping containers.

Omaha is home to a lot of great design.

Daisy Hutzell-Rodman is the managing editor of B2B, a publication of Omaha Magazine LTD. She can be reached at daisy@omahamagazine.com.

This letter was printed in the Summer 2017 edition of B2B.

Colorado Modern

January 22, 2017 by
Photography by Tom Kessler, Kessler Photography

How do two people, each with an appreciation for very different tastes in design, come together to build their perfect dream home?

When our client came to us, the husband leaned more towards a contemporary, midcentury modern look, while the wife loved a Colorado-inspired design. We knew the challenge of marrying these two concepts would be great. But the final product would be even greater.

Lisa Cooper, Allied ASID, and Kris Patton, ASID, feel there is no higher compliment than to obtain new clients by referral from a previous client’s friends and family. This new home construction project was no exception. In order to realize the clients’ multipart vision, we teamed with Marshall Wallman, vice president of design at Curt Hofer & Associates, and his team to create this dream home.

Colorado2

Our clients enjoy the topography and ambience of Colorado and the architecture of that region. They also like things a bit more contemporary, so we tried to meld together a vintage Colorado midcentury modern look for their new home. While the home itself was meticulously planned to achieve this design, the lot the family selected was just as important. A space with abundant trees would set the perfect tone for a woodsy, private residence.

The home’s curb appeal sets the tone for the design elements that wait inside. The entrance—with its vast windows and incredible sightline from the workspace all the way to the dining room—makes a strong introductory statement.

Main and lower levels of the home feature similarly strong design conceptualization in the fireplaces. They aren’t located on exterior walls, as fireplaces typically are; rather, the hearths are positioned in the centers of the rooms (to be more architecturally integrated into the spaces). Carefully placed windows allow for ample natural light to pierce the space. Not having a fireplace in a traditional placement, flanked by windows, adds interest.

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Powder rooms on each level also provide an opportunity to get creative, and they incorporate high-end elements such as a stainless steel vessel sink, which perforates a quartzite countertop, and walls tiled in a 3D relief.

A color palette of natural tones with blackened steel blue, fern green, aged ore, slate gray, and metallic burnt merlot creates an ambience that possesses an elusive balance between vintage and modern appeal. We relied upon myriad materials to achieve the design our clients desired. Natural stone, used in both the exterior and interior of the home, gives a rugged, earthy feel. A mix of concrete, weathered and reclaimed woods, organic natural stone surfaces, and quartz work symbiotically. Wood ceiling details, a kitchen backsplash fashioned of fern gray subway tiles with a vintage pattern, and handcrafted wall coverings all add to the unique flavor of this home.

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Perhaps one of the most striking elements of the home’s design scheme is the incredible use of light fixtures as art pieces. In an effort to avoid a predictable sea of sameness, we used a multitude of finishes from bronze to antique brass, to polished nickel, creating an acquired look in which each piece can be outstanding.

People oftentimes look at lighting as functional, and they forget that light fixtures can be beautiful, artistic pieces in the home. For this project, we used sconces in the hall to transform industrial design into artful sophistication. The dining room fixture is a chandelier crafted of Cupertino wrought-iron branches, each supporting a delicate chain adorned with a single crystal bead. The entry pendants are made of distressed mercury glass, dressed in antique brass chainmail. And the nursery fixture is feminine and fresh, suggesting a vintage flower design with its glass petals and chrome detailing.

The challenge of melding our clients’ appreciation of contrasting aesthetics of design proved to be a thought-provoking opportunity to create a true standout of a project… and their enthusiasm encouraged our efforts. They seemed to truly enjoy the process, expressing energetic and positive feedback on every aspect of their new home construction. The end result was a dream home with a cohesive design and a unique look…and two very happy homeowners.

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This article was printed in the January/February 2017 edition of Omaha Magazine.

Visit asid-neia.org for more information.

MEET THE DESIGNERS

Cooper

Lisa Cooper

The interior design industry is fast-moving, challenging, and multifaceted.  I love that I have the opportunity to be creative and technical, all in a day’s work. Our clients are amazing people, and the projects that I’ve had the chance to work on have been extraordinary.

Patton

Kris Patton

Design is my passion, and to have the opportunity to receive an education and the experience it takes to gain knowledge and expertise in this industry is such a privilege. I have amazing clients and have had the chance to work on incredible projects.  I wouldn’t trade this career for the world!

 

Emily Andersen & Geoff DeOld

October 13, 2016 by
Photography by Bill Sitzmann

Emily Andersen and Geoff DeOld’s two-story storefront/residence on Vinton Street is an ongoing study in public and private space.

The husband and wife duo of DeOld Andersen Architecture began their courtship in Nebraska while studying architecture at the University of Nebraska–Lincoln. They completed their postgraduate degrees in 2001 and moved to New York City that same year—a week before September 11.

deolds4While living in New York, they each worked at architecture firms, and in 2010, they began developing their own architectural practice. Their theoretical interests focused on ideas of suburbia, big box stores as civic centers, and the concept of “Walmart as a city.” New York City, while full of inspiration, was not an ideal location to study these topics.

“New York is a highly constructed place, a place where every block has been theorized and studied,” says DeOld.

In 2012, Andersen and DeOld began working with Emerging Terrain and its founder, Anne Trumble, on projects in Omaha. Seeing the progressive and critical dialogues fostered by Emerging Terrain made the idea of leaving New York an easier decision. For them, rogue conversations about urban relations could take place in Omaha. Additionally, Omaha provided a lower cost of living, making it possible to own a domestic space with a private outdoor area complete with a dog.

After deciding to relocate to Omaha in 2012, Andersen and DeOld began sharing a rented office space with Emerging Terrain on Vinton Street. One day, Trumble took her design fellows on a research trip, and the couple was able to be alone in the space in its totality. They thought, “This could be a great apartment!”

As it happened, their intuition became reality. The architects now fully occupy both floors of the storefront, their live-work architecture studio and private apartment with an exterior courtyard at 1717 Vinton St.

Willa, their spunky dog, acts as a doorbell, announcing visitors and clients. She is usually perched at the large bay windows on Vinton Street, sitting in the crisp northwest light. This same light blankets a curated selection of furniture and cascades upward to the original tin ceiling tiles. Andersen acknowledges, “The best thing (about the storefront) is the light.”

deolds5Immediately inside the voluminous white studio, large flat tables are stacked with the latest architecture periodicals and design paraphernalia. A well-stocked bookcase of architecture monographs separates this front entry space from the open office behind. Each workstation, for the couple and their intern architects, is decorated with an iMac, a tornado of tracing paper, physical architectural models, and their subsequent renderings and construction documents. The fervor of design-in-the-making is palpable. At the rear, more windows fill the functional office with warm southern light and views into an in-process patioscape.

There is an aspect of sustainability that they enjoy living above their office—the morning and evening commute is literally a flight of stairs. A cerulean stairwell ascends into their private apartment above the storefront’s 12-foot ceiling. The hike establishes mental and spatial distance between work and home. “Once we go upstairs for the evening, we usually do not go back down,” says DeOld.

Upon entering the 1,200-square-foot apartment, a sense of the couple’s studied aesthetic is at the forefront. Remnants of their lives punctuate the space. There’s a silver metallic curtain in an ultra-simplistic kitchen and an almost haphazard collection of modernist furniture. Space-defining arches give the apartment “a weird personality we would have never added,” says Andersen.

deolds2Populating the airy apartment is a long blonde wood table adjacent to a glossy white fireplace, which splits the kitchen from the living room. A set of graphic prints pulls the eye into the living room, where a complementary mustard-colored chair and merlot-colored sofa face a wraparound bookshelf. It is also from the living room that the angular nature of Vinton Street is most apparent. Two windows bounce northwestern light onto the wooden floors. As with the studio below, Andersen explains, “Watching the light daily and yearly is one of the joys of the apartment.”

Renovations have been ongoing throughout the entire structure, with Andersen and DeOld first focusing on the envelope of the building, then the workspace below, and now concentrating on the apartment and exterior courtyard.

At first, much of the apartment did not work. But after rapid construction and precise wall removal, the once-segmented apartment has been opened into one clean volume for public entertaining areas and compact private spaces.

“We can’t live in a typical house,” say Andersen and DeOld. Their nearly complete live-work space mixes ephemerality with distinct design features, a continuing investigation into their notions of hybrid domestic-work tranquility.

Visit d-aarch.com for more information. OmahaHome

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