interiors+sources: How do the graphic elements help to
enhance the overall design objectives and the mission
of the clinic?
DAVID LYNN MCLEMORE: When you think of being underserved
by healthcare, we refer to it as “healthcare coverage,” right?
So all of these immigrants in the community—they’re not
covered by healthcare. We wanted this building to signify
that you can come here and through the new Affordable
Care Act there are many more people who are eligible for
healthcare now. If you look at the big, bold tree graphic
that’s on the main feature wall, that is symbolic of Legacy
with its deep roots because it’s been in the community for
a very long time serving the underserved. And within its
canopy and its branches reaching out, it is helping to cover
the community, if you will.
i+s: Which products or materials were used to create the
graphic elements in the interiors?
DLM: The large tree graphic is a vinyl wallcovering; it’s a
custom, digitally printed graphic by Level Digital Wallcoverings.
Joel [Kalmin, facilities design manager at Legacy], our client,
worked with Level Digital Wallcoverings and he really took
our color palette of the building and played with that, looking
at different ways to utilize the colors within the graphic. It’s
not cheap but digital wallcoverings [have] come down in cost
from where they were at five years ago, so you can do a lot
more with less money these days. I think that is so awesome
because it has given us more opportunities [to be creative]
i+s: What was the thought process behind using such
bold graphics throughout the facility?
DLM: One of the goals of the project was getting the
public involved in this building. If you look at the exterior
graphics, we have these wonderful murals of handprints
on the outside.
We were tasked with designing a backdrop, an exterior
building material, and a building wall system that would be
a suitable canvas for them to [create] semi-permanent art
that can be changed out. We used a HardieBacker panel
system—sheets of cement board that don’t rot and are very
dimensionally stable that are really great for priming and
painting or adhering. They go on with exposed fasteners so
you can disassemble them in theory, depending upon how
the mural is put together, and take it down and reassemble
it at another site if you wanted and then in five years commission
a new mural.
[Adams] held these art days where they got together
kids and families and, tile by tile, assembled those pieces
that are within the handprints. The community literally has
made its handprint on the building; you can see their involvement. It’s so bold and bright, so that’s why we really worked
on the building itself—there’s a lot going on with some of
the brickwork on it but we wanted it to be kind of understated
so that the community’s involvement would really stand out,
loud and proud.
RIGHT A bright,
on the exterior
also ties into the
to put their mark
on the building.