HOK Creates a Streamlined Office for a Freight Rail Operator in Atlanta

Transportation company Norfolk Southern Corporation traces its history back to 1827. But today it’s firmly rooted in the 21st century. Its subsidiary, Norfolk Southern Railway Company, which oversees 19,000 miles of train tracks across 22 states, relies on technology to ensure safety, move goods efficiently, and reduce fuel emissions. But to be innovative and nimble—and attract top coders and engineers—NS needed to consolidate into a state-of-the-art headquarters. For decades, the corporation was based in Norfolk, Virginia, but its operations and technology teams were in Atlanta. In 2018, NS decided to bring everyone together, and HOK won the bid for the interiors of a new 750,000-square-foot complex in Midtown Atlanta’s Tech Square.

“The client didn’t want this to be treated like a train museum,” HOK firm-wide director of interiors Tom Polucci begins. “The existing buildings had beautiful models of locomotives, but NS said, ‘No, we’re more sophisticated than that.’” Betsy Nurse, HOK Atlanta’s director of interiors, adds: “Norfolk Southern sees itself as a tech company, not a railroad company.” The client envisioned a timeless concept where track workers and administrators alike would feel at home, with ample flex spaces to help the 3,000 on-site employees meet and collaborate. Robust amenities—fitness center, food hall, game room, childcare center—would help the company compete for talent against the likes of Google.

With architecture by Pickard Chilton, the ground-up headquarters is composed of two office towers (10 and 17 stories tall) joined by a five-story podium, which houses the lobby, amenities, and parking. HOK was at the table from the beginning and helped shape some of the architectural solutions, especially in the podium. The parking deck constrained the volume that would become the lobby, which could have been one to three stories high. “We studied different options and how the floors wove together,” Polucci says. The team landed on a 32-foot-high lobby that’s open to loungelike collaboration zones on the second floor and creates energy and buzz. This gave HOK the opportunity to create a monumental circular stair, the defining element of the interior.

The firm conceived of the stair as an iconic sculpture that would make the headquarters unique. Its ribbon of Corian-clad steel twists from the ground floor to the fourth, but the white-oak treads only begin on level two. In the lobby—detached from the stairs for security reasons—the Corian curls to wrap the reception desk. “Our goal was a pure form,” Polucci says. “The ribbon is consistent all the way up; it doesn’t flatten out at each floor.”

The stair grew out of the idea of movement, the guiding theme of the project. “Norfolk Southern was looking to celebrate the idea of motion in subtle, special ways,” Polucci notes. Outside the building’s entrance, a site-specific sculpture evokes tunnels and curved tracks in weathering steel. Nurse points out that the artwork is right outside the lobby, where you can see its relationship to the stair: “One is super refined, the other is raw.”

Artwork populates the interior, as well. In the ground-floor café, which is open to the public, there’s a 19-foot-high mural by HOK’s Experience Design team of a train on a track under a golden moon. Nearby, a painting by local artist María Korol hangs at the end of the main elevator lobby.

On the fourth floor, the stair terminates in front of the network operations center, which is like an air-traffic control room for trains. “From a visitor experience, it tells a story, because you land at the heart of the facility,” Nurse says. The room vividly channels the concept of motion with angular pendant fixtures and 2,000 feet of recessed LED strips that streak across the ceiling and down the walls. The center, which operates 24/7, also glows with blue lighting chosen to be soft on the eyes of dispatchers staring at screens all day.

Employees come together in the fifth-floor canteen that doubles as an all-hands meeting space. Designed like a food hall with six different vendors, it sits between two outdoor terraces; one has a retractable glass wall so the spaces can flow together. Totaling 55,000 square feet, the outdoor areas include another terrace by the gym on the floor below, where employees can do laps on circular walking paths. “Movement is also important to Norfolk Southern from a health and wellness perspective,” Nurse states. Glass-walled stairs in both towers further encourage physical activity.

While the array of amenities might seem like a post-pandemic bid to lure workers back to the office, the program had already been in place. The headquarters was mid-construction in March 2020, and Norfolk Southern stuck to the plan—even keeping a permanent desk for each employee. “That was a key tenant from the beginning,” Annie Adams, Norfolk Southern’s chief transformation officer, says. “It was important that everyone have a space to call their own.” The company, which had a phased move-in that began last fall and was completed in April, had always planned on accommodating hybrid work; meeting rooms are wired to connect remote participants seamlessly. Adams estimates that the headquarters is typically at 80 percent capacity. For her, the project’s success goes well beyond its anticipation of flexible work schedules. “The design reflects who we are and where we’re going,” she says. The future of freight rail, it seems, is right on track.

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HOK: danielle schmitt; kay sargent; diana stanisic; vivien chen; richard saunders; weronika cichosz; francesca meola; crystal latham; valerie roosma; irina sai; erin ezell; emily payne; bethany foss; claire pellettiere; matt mcinerney

HKS: architect of record

OJB: landscape consultant

HOK Experience Design: custom graphics

one lux studio: lighting con­sultant

uzun + case: structural engineer

integral consulting: mep

onsite woodwork corporation: custom fabrication workshop

hitt: general contractor

masland carpets: rug (lobby)

hbf: sofa (lobby), chairs (café)

luum: sofa upholstery (lobby), chair fabric (lounge)

shaw contract: lvt (break room); rugs (break room, lounge), carpet tile (daycare)

Courtesy of Davis Furniture: tables (break room)

jamie stern design: custom banquettes

pollack: banquette upholstery

mortensen woodwork: custom screens (lounge)

curry sawmill co.: custom table

Andreu World: chairs (lounge, café)

Holly Hunt: chair (reception)

art & associates: custom light fixtures (gym entry), custom wallcovering (gym)

wolf-gordon: wallcovering (gym entry)

Bentley Mills: carpet tile (conference center)

russ bassett: workstation (operations center)

lambert & fils: pendant fixtures (café)

nydree floor­ing: floor tile (canteen)

martin brattrud: tables

sandler seating: stools

ton: chairs

nanawall: folding glass wall

atomic 50: ceiling panels (game room)

flor: carpet tile

CB2: ceiling fixtures

hightower: red chairs

ofs: ping pong table

big ass fans: fans (gym)

pliteq: floor tile

flos: track fixtures (daycare)

ef contract: lvt

Dupont: corian

basaltite: stone flooring

kährs: wood flooring

axis lighting; genled brands; hubbell; led linear; 3g lighting; usai lighting: lighting

decoustics; ritz acoustics; usg: acoustical ceilings

benjamin moore & co.: paint

Johnson Favaro and Diane Lam Design Eschew the Expected for the Riverside Main Library in California

America’s postwar suburbanization has not been kind to its downtowns. But some U.S. city centers are staging a quiet comeback. In a certain Southern California city with a population of 326,000, the new Riverside Main Library by Johnson Favaro is catalyzing the turnaround of a downtown now aimed at more business, greater walkability, and increasing residents in more sustainably designed buildings.

The handsome, sculptural library, its squared mass raised two stories over a public plaza, is the first part of a 2½-acre, mixed-use development with high-rise housing and retail stores, all of which the firm master planned after winning a 2017 competition. At the turn of the last century, the City Beautiful movement used beaux arts buildings to shape dignified public spaces; now Johnson Favaro is using modernist design to create comparably grand structures to dignify the civic environment.

Just down the street, Riverside already boasted the sprawling Mission Inn, an extravaganza of Spanish revival styles built over several decades in the early 20th century. The imaginative building, a designated national historic landmark, elevated expectations for the 38,670-square-foot library. “But the city had seen enough knock-offs, so we emphasized the need for something authentic that would contribute a statement of our time and could match the stature of the buildings they love,” notes principal Steve Johnson, who met co-principal Jim Favaro when they were both students at the Harvard University Graduate School of Design.

The full-block site, occupied by an old police station and parking lots, had deteriorated. “There was no there there,” Johnson observes. “We sought to make a downtown neighborhood.” To integrate the library and mixed-use buildings into the adjacent business and Mission Inn areas, Johnson Favaro proposed a paseo running down the middle of the development, connecting the avenues on either side. A shaded plaza under the elevated library would serve as a general event space for a farmer’s market, book and food fairs, and festivals. The ensemble would become a destination for the entire town.

The architects maximized the library’s presence by designing the front facade as a bold, declarative block surfaced in porcelain tile printed like marble, all lifted on blocklike concrete cores housing the building systems. They wrapped the blocks with smaller structures—aluminum-and-glass boxes or red metal–clad rectangular prisms containing a friends-of-the-library bookstore, the city archives, a community room, and other complementary facilities.

The 50-foot-high, 200-foot-long facade acts like an Old West storefront behind which the building transforms into arching prows that scoop out a wide, landscaped terrace and a long balcony overlooking the future paseo. The squared, straight-edged facade, centered on a distorted, parabolic view window, is a foil and datum for the scalloped rear facade, which reads as a monumental piece of public art pedestalized on its base like an elevated Henry Moore sculpture.

A glass-enclosed elevator takes visitors from the plaza to the library entrance on the balcony. The adult reading section occupies the upper floor of the lifted volume, and the children’s and young adult section, the lower. A generous, open interior staircase connects the levels, domesticating the interior as if it were a two-story house. Traditionally, libraries are organized around a large reading room, but Johnson Favaro turned the interior inside out, like a sock, placing seating and study carrels in the double-height perimeter for viewing the spectacular San Gabriel, San Bernardino, and Box Spring mountains to the north, and Mt. Rubidoux to the west.

Because libraries no longer simply warehouse books but also act as community centers, the firm broke up the stacks into a landscape of neighborhoods devoted to different activities for various age groups. That suggested different approaches for each of the spaces to Diane Lam, principal of her eponymous studio specializing in library design, a frequent collaborator who led the interiors team. “I looked at each room individually,” Lam says. “I placed tangerine Panton chairs at the end of the visual corridor in the children’s area to complement the explosion of orange, yellow, blue, and green in that whimsical space. In the entrance ‘marketplace,’ the white shells of the lounge chairs echo the soft curves of the window and the white exterior. Furnishings that picked out architectural details made the spaces feel more complete.”

The handsomely designed stacks are generously scaled with wide corridors, some furnished. The clean detailing of the white, gently vaulted upper-floor ceiling sails over the space, unifying sections. The lower-floor ceiling is painted with rectangles of bright colors that refer to the different cultures of Riverside’s diverse constituencies. The architects and the designer have fused form and program inside and out to coalesce a sense of community and urbanize the library with activity. The programming and physical placement on the site help create a connective social and urban tissue with nearby Market Street and the Mission Inn.

“The challenge was to design a building of stature that still adheres to a public budget—to defend things like double-height spaces and porcelain tiles against value engineering,” Favaro observes. “Our goal was to accomplish something as good as those old beaux arts buildings, but in a modern vocabulary.”

To see more about the design process from planning to opening, watch the full video.

Johnson Favaro: brian davis; kevin geraghty; dexter walcott; hongjie li

linda demmers: library consultant

EPT Design: landscape consultant

Randy Walker: graphics consultant

darkhorse light­works: lighting consultant

Antonio Acoustics: acoustic consultant

Englekirk Institutional: structural engineer

interface engineer­ing: mep

sherwood design engineers: civil engineer

cima west: woodwork

yamada enterprises: furniture supplier

MGAC: construc­tion manager

icon-west: general contractor

davis: sofa, chairs, low tables (entry), black chairs (innovation)

arper: white task chairs (entry)

naughtone: GRAY lounge chairs (ENTRY, children’s)

Steelcase: white side tables (ENTRY, children’s), furniture (terrace), tables (children’s)

bloom lighting: custom ceiling fixture (children’s)

Arcadia: modular bench

TMC: gray ottomans

Bentley Mills: rug

urban accessories: tree grates (terrace)

Bega: sconces, in-ground floodlights

vitra: side chairs (chil­dren’s)

delray lighting: pendant fixtures

ocl architectural lighting: pendant fixtures (innovation)

designtex: wallcovering

Mannington Commercial: floor tile

bernhardt design: lounge chairs

momentum textiles: chair upholstery

herman miller: table

stonepeak ceramics: exterior tile

sto corp.: exterior limestone finish

kawneer: curtain wall

alpolic: exterior panels

pyrok: acoustical ceiling plaster

estey shelving: custom book­shelves

worden casegoods: custom carrels

umenwerx; philips light­ing: lighting

vista paint: paint

CannonDesign Swaps Old for High-Tech for the Cboe Global Markets in Chicago

Like their fellow practitioners around the world, floor traders at the Chicago Board Options Exchange have long communicated vital information via shouts and hand signals, the color and detailing on their jackets identifying their role, employer, and other crucial information. Behind the often raucous scene, however, predictive mathe­matical formulas—algorithms—play an increasingly important role in electronic trading. That paradigm shift prompted Cboe Global Markets, owners of the options exchange, the largest in the U.S., to replace its longtime home in Chicago’s financial district with a state-of-the-art headquarters. The company tapped CannonDesign to identify a suitable site for the new digs and design them. “Cboe sought a transformational environment,” begins design principal Mark Hirons, who led the com­mission with Meg Osman, Cannon project principal, “one that reflects its strength, global leadership, and pioneering innovation within the marketplace.”

After carefully evaluating several nearby locations, Hirons pitched the Old Chicago Main Post Office, once the largest in the world. Built in 1921, the facility underwent a massive expansion in 1932 to handle the avalanche of goods shipped by mail-order-catalog companies such as Sears, Roebuck and Montgomery Ward. Empty since 1997, the landmarked art deco colossus recently underwent an $800-million renovation by developer 601W Companies and Gensler. Comprising more than 2.5 million square feet of multiuse office and event space, the project, which claims to be the largest historic redevelopment in the nation, is poised to become once again a central hub of the Windy City’s commercial life. “Both the USPS and Cboe were pioneers in different ways, disrupters that had huge impacts on the economy,” Hirons notes. “The context of the old post office served as a rich canvas to tell the future of Cboe’s story with a unique and authentic Chicago icon.”

The 185,000-square-foot headquarters encompasses three connected floors that straddle the original building and the later addition. The interior spaces create a dynamic, undeniable modern milieu that coexists smoothly with protected historical architectural elements, such as a mezzanine that now features a pair of glass-cube meeting rooms cantilevered over the reception area, a nod to the observation boxes above the trading floors of yesteryear. In fact, a trading floor is not part of the new workplace (Hirons and his team are designing a new one for Cboe in the historic Board of Trade building, site of the company’s original trading pit), which, along with the educational Options Institute and amenities for hosting international guests, includes open work areas, private offices, electronic trading support facilities, innumerable meeting rooms, cafés, and flexible lounges.

A sense of verve, along with the algorithmic patterns that underlie today’s financial exchanges, inspired much of the angular design. Most dramatic is the 140-foot-long white stretched ceiling extending from the elevator lobby down the length of reception, a shiny multilevel feature that incorporates LED stock ticker feeds while bringing reflected light and views deep into the office. Beneath it, the angular motif is echoed in a blue-and-white area rug as well as in light fixtures, bronze-painted metal screens, and furnishings throughout the project. “Cboe thrives on intense and volatile energy,” Hirons says. “It was essential that the space created moments within that translated that experience.”

Indeed, a colorful installation of neatly folded traders’ jackets in a conference room speaks to the company’s storied past. The equally colorful cables that enable lightning-fast electronic trading are likewise celebrated in the elevator lobby, where 30,000 linear feet of multihued cords dangle from the soaring ceiling. “It creates a sense of immersive chaos,” Hirons notes, as do the many artworks that enliven the surroundings. “The extensive art and environmental graphics were designed to tell a story: the history of the organization,” Osman adds. “They celebrate, in a modern way, the company’s beginnings, unique place in the industry, and overall trajectory.” A good example is a two-story wall sculpture that animates one of two new staircases linking the floors in the different buildings. Hundreds of highly polished yellow, blue, and green stainless-steel fins create a vortexlike arrangement that changes with the viewing angle. “It’s alive and interesting, almost like a gallery that draws you from one floor to another,” Hirons comments, noting the rhythmic pattern is inspired by the wind on Lake Michigan, the colors of the sky, and the prairie.

While the pandemic has delayed the return of many employees to the office, more appear by the month. Their response, Hirons says, has been universally positive. “This a memorable environment with Instagram moments, but it also reflects their culture and tells their story in a way that feels fresh and engaging,” he explains. “Cboe has an incredible history of having foreign dignitaries and leaders visit and is excited to continue that lineage going forward.” And once the new remote trading floor is completed, an interactive monitor display will livestream the action to the new HQ, furthering a sense of connectivity that links the company’s past, present, and future.

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CannonDesign: kay maines; noelle kinyon; angela furman; kevin miao; taeko sato; raisa shigol

patti gilford fine art:

studio a: art consultants

parenti and raffaelli: woodwork

pepper construction: general contractor

newmat: stretched ceiling (reception)

bernhardt design: swivel chairs

the rug company: rugs (reception, interview area, skylight lounge)

arper: armchairs (reception, stair lounge, town hall), sofas (reception, stair lounge), lounge chairs (interview area)

decca: tables (reception, sky­light lounge)

banker wire: balustrades (stair)

keilhauer: bench (interview area)

vibia: pendant fixtures (interview area, break-out booth)

berhardt design: coffee table (interview area), tables (social hub)

object carpet: rug (stair lounge)

offecct: tables (stair lounge, town hall)

nevins: tables (break-out booth, town hall)

stylex: banquette (break-out booth), sofa (town hall)

rulon: slat ceiling (town hall)

shaw contract: carpet tile

gabriel: curtain fabric

davis: side chairs

turf: baffle ceiling (options institute)

Bentley Mills: carpet tile

designtex: curtain fabric

Andreu World: chairs (options institute, social hub)

the bahr co.: plank flooring (hallway)

coelux: ceiling fix­tures (skylight lounge)

tuohy: seating

lapchi: rug

sonneman a way of light: pendant fixtures (social hub)

national ceilings and partitions: wood ceilings

api signs: custom installations

scuffmaster:

sherwin-williams company: paint

Studio Plow Designs a Meditative Headquarters for a Startup in San Francisco

Born in rural Oklahoma, and a graduate of Kansas State University, Brit Epperson’s Midwest roots run deep. But the architect is now based in San Francisco, which is where she founded Studio Plow, the firm name an homage to her heritage, five years ago. Her small team has been busy during the pandemic, including, perhaps surprisingly, with workplace projects, namely the 70,000-square-foot, three-story headquarters for Faire.

The office marks Plow’s second go-around for the digital platform, which connects makers with local and global retailers. The earlier project, completed in early 2019, “was a Craigslist special—a vanilla shell for a maximum capacity of 126,” Epperson recalls. Fast forward less than a year. The Faire office 2.0, prompted by “massive employee growth,” is the antithesis, thanks to the site, Epperson’s response to it, and her client’s vision toward a collegial change in how people work.

Faire now occupies a 1910 brick-and-timber former warehouse. After the architect of record addressed the necessary seismic and infrastructure upgrades, Epperson embraced the building’s rich, architectural history with the maxim: “Let’s lean into it.” Work spaces, mostly benching configurations, span the three levels. Nothing is crowded: Epperson made sure to limit neighborhoods to 25 employees and intersperse them with amenities. Lounges, a total of 22 throughout, are rife with seating options, beckoning as alternative work zones. Ad-hoc meeting areas can be cordoned off with textile partitions. Dozens of conference rooms plus a boardroom offer more traditional gathering outlets.

There are also multiple spots for recharging. The airy commissary, which doubles as the all-hands space, is populated with minimalist white steel picnic benches and pendant globes along with warmer Windsor-style ash chairs and round teak tables. Just past reception, again warm with a sectional sofa upholstered in brassy velvet, is Petit Faire, a French bistro–inspired coffee bar with a white-oak communal table and accessories from Faire wholesale vendors. Pantries, one per floor, are well-stocked, and live interior landscaping by a local LGBTQ-owned business is everywhere. (There’s also a pop-up with rotating Faire merchandise.)

But the real recharging happens in the dedicated meditation room, a tidy brick vault that Epperson transformed into a restful aerie with built-in oak benches, plush cream meditation cushions and carpet, and integrated speakers for staff to tune into Headspace or Breethe. Employees started trickling in last April, first at 5 percent, then up to 25 on a reservation basis in June. “We gave them lots of places to gather,” Epperson comments, “but it’s all so open that everything feels safe.” Calming indeed.

Add tag via side panel: sconces (meditation room)

to market: carpet

sage meditation: cushions

Bentley Mills: carpet (lounges, conference room)

rh contract: coffee tables

urban outfitters: chairs (corner lounge)

West Elm: side table

eq3: sofa (corner lounge), rug (lounge), chairs (commissary)

armadillo: rugs (corner lounge, reception)

workstead: sconces (reception)

menu: sofa, table (reception), pendant fixtures (coffee bar), chairs (meeting area)

Blu Dot: sofas (lounge)

triple seven home: sconces (coffee bar)

ann sacks: floor tile

ceasarstone: bar top

skagerak: stools

klein agency: custom tables (coffee bar, meeting area)

alcon lighting: pendant globes (commissary)

muuto: white benches, tables

kave home: round tables

designtex: curtain fabric (boardroom)

hpl contract: custom table

laura furniture: chairs

molo: partition (meeting area)

carnegie: curtain fabric

through minton door company: doors

mission glass: windows, storefront

benjamin moore & co.: paint

wac lighting: leds

huntsman architectural group: architect of record

murphy burr curry: structural engineer

plant fairies: interior landscaping

commercial casework: woodwork

nova partners: project management

bcci construction: general contractor

These Pale-Toned Products Make for a Serene Office Environment

These seven products with pale tones are a welcome addition to any workplace.

1. Jill Malek’s Halcyon Hillside TPO nonwoven thermoplastic olefin and recycled glass wallcovering by Carnegie Fabrics.

2. Radii painted-steel caddies by Allsteel.

3. LW ottomans in urethane foam and cotton-poly fabric by Okamura.

4. Kith and Kin textiles in polyester with acrylic backing and nanotechnology stain resistance by Designtex.

5. Daytripper Gallery Hop, Pop-Up Shop, Free Day, and Expo Hall broadloom and tile carpet in nylon by Bentley Mills.

6. BuzziCee seating in acoustic foam by BuzziSpace.

7. Compose Echo workstation system in fabric, steel, wood, glass, and markerboard by Haworth.