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Design by process: Architecture firm expands intellectual capital


Author: Stefan Schumacher
Date: Oct 1 2009 12:00AM
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At Cottam Hargrave, a small architecture, construction and fabrication f rm in Austin, Texas, the design approach is what founder Jay Hargrave calls “a philosophy based on process.”

“Our process is an organic development of our intellectual capital; it is the product of our broad scope of activities,” Hargrave said. “We are designers, general contractors, fabricators and artisans.These resources are generally applied to building projects, but on occasion we use our skills to create commissioned art and installations. These varied but related activities inform the way we perceive what we do. As architects, we use our knowledge as builders and fabricators; as builders, we consider how the details affect the experience and perception of the space.”

Hargrave chose not go to a conventional firm after architecture school. During school, he rented a small shop and learned to weld, producing architectural specialties for customers in Austin and San Antonio. After graduation, he spent four years pursuing independent projects, doing much of the work himself and consulting for general contractors along the way. In 1995 he founded Cottam Hargrave to provide architectural services, act as a general contractor and perform fabrication services.

“I guess I got into it because I like to build,” Hargrave said. For the past three years he has partnered with Beth Engell and to run the 10-person operation, and while his motivation may have been relatively simple, Cottam Hargrave isn’t afraid to take on complex projects.


Custom Made

One of the company’s specialties is custom homes in the $1 million to $5 million range. Cottam Hargrave also works on smaller office buildings and specialized commercial projects—a restaurant connected to a fresh foods market, for instance.In addition, clients have commissioned the firm to work on sculptures.

Cottam Hargrave’s fabrication shop is capable of producing structural steel, both exposed and unexposed, that can be architectural in quality if necessary—stairs, guardrails, gates, doors and monumental art. In order to keep prices competitive, Cottam Hargrave uses subcontractors on a regular basis as well.

Its buildings are typically structural steel or light-gauge metal framing with aluminum window systems.

“We try to minimize the amount of wood that’s in the structure and on the exterior for life cycle cost reasons,” Hargrave said. “Doing light-gauge over wood framing, you definitely need to know what you’re doing—what are the strengths and weaknesses of both systems. It’s certainly not the cheapest way to build but we make those choices for the life cycle costs and I think we get a better building out of it.”

Hargrave said his company’s familiarity with a variety of systems and materials allows the firm to understand its limitations.

“When we design something, we design it with a certainty that it’s going to work and work like we anticipate,” he said. “Our projects are fairly customized. There’s a lot of variety in the way that they look. I don’t know that we have a style; it’s more our process. We put our hands on pieces in the buildings and that’s what creates our intellectual capital that differentiates us from other architectural firms.”


Being a Better Architect

The question is whether or not wearing multiple hats makes the designers at Cottam Hargrave better architects. Hargrave said the answer is yes.

“Part of the preliminary design process involves a constructability test if it’s a difficult site. We know what our limitations are as far as getting it built within the budget. From a project management standpoint it makes us better,” Hargrave said. “I’ve had people ask me, ‘If you’re the architect and the fabricator and the general contractor, aren’t you concerned about your increased exposure?’ I feel we have less risk because we’re on the project every day. We know what’s going on; we’re much more likely to catch an oversight. There’s financial risk or risk of a client being dissatisfied, but I feel like we have a better opportunity to know everything rather than the traditional delivery process.”

Every schematic design begins with research and a series of informal meetings with the client. The designers at Cottam Hargrave get to know not only what their clients want in a given project,but also their personalities—how they interact with each other, personal ideologies, things they might forget to say. It’s only then that Cottam Hargrave begins its design process that results in a model and a plan.

In fact, Hargrave said, he is confident enough in the process that Cottam Hargrave offers only one solution for a fixed fee. Hargrave believes that if he and his staff have done their research, they will arrive at the right solution during a focused design exercise.

“We have a very strong interest in making sure things are right because we don’t get to blame it on anybody,” Hargrave said.


Wine Grotto, Austin, Texas

The Wine Grotto, located on the top floor of a privately owned residential tower in downtown Austin, catalogs a 1,500 bottle collection within a 100-square-foot (9-m2) space. The custom racking system is composed of CNC laser-cut steel plates and local mesquite blocks and jambs machined by a CNC router. A combination of LED fixtures and electroluminescent tape provide efficient lighting at cool temperatures without ultraviolet rays common in other lighting sources. The EL tape adheres to the backs of the steel racks to accentuate a modern steel grotto fit for the penthouse. Cottam Hargrave conceived the initial concept, fabricated all of the pieces and constructed this installation.


Redbud House, West Lake Hills, Texas

This contemporary family residence uses high-quality materials and systems on a difficult site. The systems include a concrete and steel structure, commercial glazing systems and a low-maintenance exterior. Self-performed work and in-house fabrications include architectural metals such as handrails and architectural structural steel, architectural concrete foundation, cantilevered swimming pool and a stone stair tower with a carved stone window system.


Clear Link House, West Lake Hills, Texas

The 2,800-square-foot (260-m2) additional space provides expanded living spaces that unite indoor and outdoor living. The project is located in West Lake Hills, a community a few minutes from downtown Austin with large wooded lots and winding streets that follow old goat trails. The community was founded and populated by cedar choppers and professors roughly 50 years ago. Because of its proximity to downtown and its natural beauty,West Lake Hills is struggling to maintain its original natural charm during a period of redevelopment and increasing values.

Local architect Heather McKinney designed the original 950-square-foot (88-m2) house. Cottam Hargrave liked the design of the original house and believed it was an asset not only to the owners but also to the community. Maintaining its integrity was important. In addition to attaching 2,800 square feet,which included a large living and office area, two bedrooms and three baths, Cottam Hargrave sought to take a positive position in the new West LakeHills paradigm by embracing the original design and minimizing the visual impact from the street.


The addition complements the original building gable with a roof form that was a direct response to the program of the upper level, opening up to views of the hills of the backyard while the existing gable serves as the formal entry to the project.The two roof forms are separated and connected by a transparent bar that functions as living and office space. The new bedroom wing engages the transparent bar to provide separation between the living and the office space.


This project utilizes a structural steel frame, which allowed Cottam Hargrave to execute details that would not be possible with wood. A rigid frame not only facilitated the execution of the derivative roof shape of the bedroom volume, buit allowed Cottam Hargrave to express that shape on the interior unobstructed by collar ties or bracing that would have otherwise been required. Steel was also a critical component in the execution of the lower roof as well with 7-foot (2-m) overhangs that taper to almost nothing and are supported on just a few columns with no lateral bracing in the column line. To get to the very point of the taper, a structural stainless-steel soffit and roof termination system were used. From stainless, the soffit transitions to cedar and then to drywall over a 1-inch(25-mm) reveal, which is used for the supply of conditioned air. Lighting and mechanical is integrated into the drywall ceiling, keeping the cedar soffit free from registers and fixtures. Surrounding nature, light and motion are drawn inside to create an expansive feel with three sets of 10-foot- (3-m-)wide doors that open the room to the breeze an sounds of the pool waterfall.

The downstairs master bedroom and upstairs guest suite are stacked to respond to a steep site and to provide enclosure to the pool courtyard. Both bedrooms have balconies that overlook the hills. A wading pool outside of the master bedroom captures water falling from the upper pool’s negative edge.
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