Treetide Office Building

The design approach for this 11,000sf office building responded to the historic 49” Live Oak tree on the property, both literally and figuratively. The “L” shape footprint wraps the tree allowing for a strong visual connection for the building occupants and a passive outdoor gathering area under its limbs. The building facade explores repetition of understory trees through the repeating brick pilasters and weaves abstract patterns and textures of bark and leaves into the detailing.

Aiding in the study of biophilic design, the prominent tree on the property served as the main driver of decisions related to the site design, landscape architecture and building design. An effort was made to ensure that the building and its occupants be able to engage with the tree in a meaningful way. This engagement began with a metaphor of the canopy trees and the understory trees. As the proverbial understory trees, the building attempts to embody patterns, textures, rhythms, and filtered light as a way to connect the building and those inside to the natural landscape while preserving the historic tree.

The resultant design evokes a solidness and sturdiness as well as vast amounts of glass allowing all of the interior workspaces to be visually connected to the outdoors. Chevron details in between the brick pilasters are derived from patterning found in nature while wood elements bring a warmth to the structure.

General Contractor: Harbor Contracting

Civil Engineer: Seabrook Engineering

Landscape Architecture: The Tomblin Company

Architecture: Rush Dixon Architects

Structural Engineering: ADC Engineering

MPE Engineering: Charleston Engineering

Rotational Symmetry | What it is and why we love it

If you went to architecture school, you may have had that professor that liked to take your drawings or cardboard models and flip them upside down. While it may have been insulting at first, the forced change of perspective often did result in unforeseen and hidden moments of inspiration. It's amazing how often the "flip” finds its way into our daily design process. "Rotational Symmetry" is one such flipping technique that is all around us. You’ll see it in graphic & logo design, industrial design, product design, and even the occasional building. Sometimes the solution is purely aesthetic and symbolic: think of the Yin & Yang symbol or the Recycling logo, each element wrapping around itself. Sometimes the solution is purely functional: think of the repeated blades of a wind turbine or the cogs of a gear. We find the notion of repeating a single component in a not-so-obvious way to create whole new forms, geometries, or spaces to be endlessly fascinating.

Examples of Rotational Symmetry in 2D graphics and 3D objects:

Craighill’s Venn Puzzle is a die cast stainless steel example of rotational geometry.

Examples of Rotational Symmetry in Architecture:

Symmetry and balance have been revered as architectural tenets for centuries, going back to Vitruvius’s Ten Books on Architecture circa 1st century Rome and before. When people say something has symmetry, they are usually referencing the use of an implied “Line of Symmetry” where each side of the object is a mirror to the other. Rotational symmetry goes one step further with repeating a form or mass around a fixed point. Intrigued by the notion of ‘complexity within simplicity’ and creating a measured dynamic, we studied historical precedents that inspired many of our recent designs.

DAYFIELD PARK

The design approach for Building B at Dayfield Park, a soon to be commercial destination in the award-winning Nexton Community, is rooted in strong massing, innovative detailing and creating an inspiring place to work and do business. The program included providing space for offices and retail tenants in a single story building while creating a unique and modern business park that engaged with adjacent green spaces and supported the current day work place expectations. The resulting design used rotational symmetry to leverage the square footprint by creating a central courtyard and through two overhead ‘thresholds’. The dynamic suggestion is amplified by angled walls and highly textured surfaces. Click here for more about the project.

RDA’S SUBMISSION FOR THE NORTH CHARLESTON FLAG

Earlier this year, the City of North Charleston launched a public design competition to select a new City flag. One of the symbols used in our submission was a reference to Park Circle (a derivative of a Garden City urban plan). By deconstructing the graphic and using rotational symmetry, we were able to invoke dynamics as if in rotating motion. Click here for more on our flag design.

CAMP HALL PARK PAVILION

Santee Cooper’s Camp Hall is a next generation commerce park where “people, nature and productivity connect.” With state-of-the-art manufacturing in a setting of vast natural beauty, the design concept of “Nature and the Machine” permeates the built environment. Like the vehicles and machines produced in Camp Hall, the Architecture is intended to embody precision, sleekness and innovation. The building forms are abstract interpretations of the patterns, colors, and figures found in nature. Specifically, the Park Pavilion uses rotational symmetry to create a subtle dynamic-ness of the roof planes. Click here for more on the project.

FIREFLY DISTILLERY GIFT SHOP FIXTURES

Part of our scope when we were designing Firefly Distillery’s new facility in North Charleston, SC was to carry the building’s design concepts to the gift shop merchandise fixtures. Using barrel lids, steel pipes, and rotational symmetry, a simple solution was created.

Dayfield Park Buildings A + B

Dayfield Park is a soon-to-be, modern day office park and commercial destination in the award-winning Nexton Community, in Summerville, SC. The design approach for these two commercial buildings is rooted in strong massing, innovative detailing and creating an inspiring place to work and do business. The development will ultimately include multiple buildings by several local architects (like our friends at Bello Garris) creating a varied interpretation linked by the same departure points: relevant and marketable commercial spaces, innovative yet locally inspired architecture and connecting the buildings with the thoughtful site design focusing on outdoor gathering areas for patrons and workers.

The project was subject to the Nexton community design guidelines which prioritize the following:

• Architecture, land planning and landscape drawn from local and regional traditions but look to the future regarding specific design.

• A commitment to sustainable design focused on protecting what we are here to enjoy and the creation of an overall healthier living environment.

• Architecture - purposeful building designs that incorporate new and innovative building materials, systems, technologies and architectural expressions.

• Use materials in innovative and unexpected ways.

• Use clean, simple shapes in both massing and details.

• Emphasize the relationship and flow between indoor and outdoor environments.

View of Dayfield Park B from the central gathering space

So what is a modern interpretation of a suburban office park? Today’s workforce wants to be connected to multiple uses, amenities, food + beverage options and outdoor space. Outdoor space can be passive, specific or flexible for all ages, uses and times of day; this also provides the ownership with an amenity to use for special events if desired. The blending of inside and outside is a strategy to allow patrons and workers to feel connected to the outdoor environs. Sidewalks and bike parking are important to offset the needed parking and vehicular pathways. During our research we found this interesting article from the New York TImes “The Suburban Office Park, an Aging Relic, Seeks a Comeback” which speaks to some lessons developers and designers could learn from the past. (The 80s might have been great for some things but not urban planning.)

View of Dayfield Park A from office park interior

The architecture for the buildings cosigns a minimalist approach with materials familiar to the area. Exterior materials include a modified board and batten wall system with varied batten spacing, cypress wood accents for warmth and standing seam metal roof panels for durability on the high slope areas. Angling the walls at the building’s entrances create a dynamic experience and covered areas. Special thanks to our clients for allowing us to be a part of this endeavor and the design team members we collaborated with:

Site Design: Seamon Whiteside

Structural Engineering: ADC Engineering

Mech, Elec, Plumbing Engineering: Charleston Engineering

Branding: Obviouslee

View of Dayfield Park B from the central gathering space

What Modern Design Means to Us

We are passionate about design, work hard and have fun along the way. Over the years, we have leaned more and more toward minimalism and a modernist approach to our designs while keeping eyes wide open to the environmental and built context. Add in the end user’s programmatic requirements to complete the march towards form following function. Historically, the term ‘modern architecture’ describes an architectural style lacking ornamentation and embracing minimalism, usually by incorporating the use of glass, steel and concrete. The Mid-Century Modern era emphasized bringing nature inside, a contradiction of materials and textures, bold and geometric forms among others. Modern design to us means functional, empathetic, sustainable, and edited design. Our derivation of this movement is ever changing with the needs of our clients, construction materials and sustainable strategies. We feel there is power in simplicity and continue to evolve, refine and explore with each design opportunity.

Entryway at a custom home in Mount Pleasant with floor and ceiling materials carrying through from inside to outside. Photo: Tripp Smith

The offices in Coastal Fertility Specialists’ Nexton location benefit from full height glass bringing natural light and views as well as a respite from the clinical areas. Photo: Chris Smith

Brighton's Court at Nexton

The vision for Brighton’s Court, a pair of commercial buildings on Brighton Park Boulevard in the Nexton community, is to create a welcoming retail and office environment through deliberate architecture and site planning. The buildings engage the street and benefit from a central courtyard gathering area envisioned to have specialty trees, seating, and catenary lights to create an inviting outdoor room for employees and patrons.

The general architectural direction is informed by the client’s neighboring building, Coastal Fertility Specialists, and strives for clarity in form, varied textures, and engaging entrances and spaces. The buildings are “book-matched” along the courtyard axis and are massed so that the outer ends of the buildings are weighted “bookends” to the overall composition. The heavy masonry forms gradually erode toward the courtyard, enhancing the connection between the indoor and outdoor spaces. Composite wood and glass becomes more prevalent toward the courtyard emphasizing this gradient concept.

This project is under the purview of the Nexton Design Committee and thus their design manual. Per the architectural guidelines, “Garden offices should combine materials thoughtfully and offer an opportunity to explore and blur the boundaries between discrete inside and outside experiences. The temperate climate should be exploited through development of exterior spaces. Forms and architectural devices should be developed to emphasize the human scale of these workplaces.”

Project Team

• Harbor Contracting - General Contracting

• Empire Engineering - Civil Engineering

• ADC Engineering - Structural Engineering

• Charleston Engineering - Mechanical, Electrical + Plumbing Engineering

• Belk Lucy: Leasing Agent

Bird’s eye view of the two “book-matched” buildings and central courtyard.

Diagram showing the gradient concept For building massing from heavy to light - blurring the line between inside and outside

Firefly Distillery Wins National Architectural Woodwork Institute Award of Excellence

Thanks to the Architectural Woodwork Institute for recognizing the Firefly Distillery’s interior woodwork design and execution with a 2021 Award of Excellence. The purpose of AWI’s award is to “honor the Architect for design of product, the Owner’s support of the design concept and the Architectural Woodwork Manufacturer for the faithful execution of the design and quality criteria.” Firefly’s new facility certainly had this hat trick of criteria but with a side of craftsmanship, clear communication and trust among all parties; basically, an architect’s dream. The project was featured in the spring issue of AWI’s Design Solutions magazine which can be found here. Thanks to the teams at Lowcountry Case + Millwork and Trident Construction and to our client, Firefly Distillery, for trusting us with your brand and new facility design.

“We wanted to have a rustic feel to stay true to the authentic nature of our brand. Our architect spent a lot of inspirational time at the distillery and brought us many samples of wood from which to choose.”

Jay MacMurphy, General Manager, Firefly Distillery

“We have a great, long-standing relationship with Rush Dixon Architects. Over the years, we have worked on many projects together throughout the Charleston area. We have developed an excellent relationship of collaboration and trust. It was very refreshing to have such openness and flexibility from the architect, general contractor and the Owner on this project.”

David Stasiukaitus, CEO, Low Country Case + Millwork

“Low Country Case + Millwork proved, once again, to be master craftsmen for this project through suggesting detail improvements and impeccable execution.”

Rush Dixon Architects

The Offices at Belle Hall

Commercial office design doesn’t often start with details; it begins with big picture math - proformas, core factors, totals of leasable space, parking calcs, etc. While all of these formulas came into play early and often during the design of this speculative office building, we were able to focus equally on the small design moments that seek to make a building and space unique.

Glass guardrail system with stainless steel hardware.

Warm walnut paneling contrasts the white terrazzo stair treads and tile flooring.

Tenant entrances each have frameless glass doors with walnut surrounds.

Exterior entrance introduces you to the wood and slat elements in conjunction with charcoal painted steel.

Metal wall panels and brick are the primary exterior materials - balancing a sense of permanence with a contemporary aesthetic.

S. H. Kress + Company

When we first landed in Charleston, SC one of our favorite buildings we discovered downtown was the S.H. Kress Building on King Street. At the time, (mid-1990s) it was vacant and unloved - like much of King Street, which is hard to imagine now - yet its quality, proudness and Art Deco details shown through. The massing of the building struck us with the depth of what often is a flat facade, materials including yellow brick, terra cotta, and gold accents work together to form a structured ornamentation. As fate would have it, the architectural firm we worked for was hired to do a feasibility study for its adaptive re-use as a Barnes + Noble. (Spoiler alert: it apparently wasn’t feasible.) Being eager, young intern architects, we set out with measuring tapes, graph paper and flashlights, tasked with field measuring and documenting this architectural and cultural gem. There is something equal parts exciting (like when your flashlight illuminates the original ornate plaster work on the ceiling through a gap in the 1980-ish faux ceiling) and creepy (evidence of critters) about walking through a vacant building that reeks of days gone by, especially one so grand.

Kress Building in Charleston, SC circa 2000. Click here for link to see original press on the Charleston Kress building on the Historic Charleston Foundation’s website.

It was only a short time after that, when in New Orleans, ANOTHER Kress building was discovered. “You mean there is more than one?” How we got this far in life without knowing about this retailer and its commitment to a quality built environment, we will never know. Research mode found what is now one of our beloved books, the National Building Museum’s “America’s 5 & 10 Cent Stores - The Kress Legacy” by Bernice L. Thomas. Now, every time we explore a new city, we look for the Kress Building.

The period between the turn of the century through the 1930s was a prolific time for this new type of American architecture, aligning with a new type of retail - the five-and-ten-cent store - along with the advent of the chain store. There are most certainly systemic negatives to chain stores in general, their encroachment on small/local businesses, the standardizing of America’s towns and as of the last 50 years the uninspired and cookie-cutter designs; this architectural blog focuses on how S.H. Kress invested in and ultimately elevated retail and commercial architecture. Click here for a list of Kress buildings in the US.

“Kress stores are more than pretty designs. They are commitments to a better everyday world, to civic pride, to the bounties of democratic society. The modernist canon has helped make us more cynical. There is much to be gained from taking a few steps back in time and understanding the sophistication as well as the civility of our forebears.” Dr. Richard Longstreth, GWU