CHICAGO STUDIO S14
CHICAGO STUDIO Spring 2014 A collaborative design process encompassing multiple points of view within academia, the profession and the broader community.
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The CHICAGO STUDIO creates a neutral platform for the discussion of architectural and urban strategies, and the curriculum is guided through the collaboration of Chicago’s leading visionaries in an effort to generate potential innovations for the City of Chicago. This powerful mechanism directly integrates education and practice by embedding A+D students within some of Chicago’s leading A+E firms. The program operates in a virtual campus where university facilities are recreated throughout the city in design firms and organizations made available from the program’s vast network of supporters. Its distinctive structure and curriculum promotes a collaborative design process encompassing multiple points of view within academia, the profession and the broader community.
A special thanks to: CannonDesign for hosting Randy Guillot Peter Ellis John Steverson Iker Gil Carl D’Silva Brian Basset Winn Chen Dominic Galagos Geoff Walters Kelly Folts Luis Monterubio Tim Swanson Drew Ranieri And all other supporters of the CHICAGO STUDIO program.
CHICAGO STUDIO S14
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TITLE OF SECTION
Table of Contents 6
CONJECTURE no.1 Tabula Rasa
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CONJECTURE no.2 MegaBLOCK
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CONJECTURE no.3 Cartographic Architecture
CHICAGO STUDIO S14
40 Cermak Road Analysis Anomaly Study
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McCormick Place An Intervention
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Professional Practice Lecture Series and Interviews
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Urban Mapping Studies on the city fabric
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Photography
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TABULA RASA
CONJECTURE no. 1 : Tabula Rasa Transplant Chinatown from it’s existing context and create Chinatown Island in Lake Michigan
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“you are (on) an island” Alicia Eggert
“...we can only add to the world, where we believe it ends, more parts similar to those we already know (an expanse made again and always of water and land, stars and skies).” - Umberto Eco, The Island of the Day Before
INTRO: Chicago’s Chinatown is shaped by boundaries and rigid infrastructural conditions. It has been found in past CHICAGO STUDIO research that this had positive and negative effects on the area. On the one hand, it has provided a barrier where culture can internally thrive, but on the other, it has resulted in a neighborhood sprawl from the central point of Chinatown. As noted in the research, the Chinatown Triangle is not only the cultural and business center of Chinatown, it is home to the social/immigration services which are some of the core assets that created the concept of a “Chinatown”.
PROMPT: Transplant Chinatown from it’s existing context and create Chinatown Island in Lake Michigan. The extent of Chinatown should be determined and selected based upon one’s reading of the area, research and intuition. What is Chinatown without boundary?
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TABULA RASA
These boundaries condensed Chinatown into several dense centers of business, residential, and commercial.
How can the densities of Chinatown be retained while still providing expansion?
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TABULA RASA
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CHICAGO STUDIO S14
S MICHIGAN AVE
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PR IN TO
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HE
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CERMAK RD
CERMAK RD
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The highway cuts Chinatown off to the south. Residential areas have now spilled off to the south.
Rail lines enclose Chinatown from above and on ground level. It also provides quick transport directly to downtown.
Based on typology, Chinatown has strong industrial, commercial, residential, business, and parks.
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The river bounds the western part of Chinatown. Its a heavily industrial area.
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TABULA RASA
CHICAGO STUDIO S14
Taking these strong typologies and spreading them in elevation allows for a study of how they will being to stitch themselves back together,
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Similarly, a layering already y occurs within the city of Chicago.
TABULA RASA
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TABULA RASA
Using the typologies, the stitching together of residential and business districts are built together.
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TABULA RASA
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MEGABlock
CONJECTURE no. 2 : MEGABlock
http://www.designboom.com/wp-content/uploads/2013/01/filip_dujardin_05.jpg
Reimagine the Cermak Corridor from Damen to McCormick Place as a unified MEGABlock.
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MEGABlock
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“...we can only add to the world, where we believe it ends, more parts similar to those we already know (an expanse made again and always of water and land, stars and skies).” - Umberto Eco, The Island of the Day Before
INTRO: The Cermak Road Axis is a very diverse corridor, traveling through Pilsen, a strong Hispanic neighborhood, the south industrial area, Chinatown, social housing from the 1950’s, historic Motor Row along Michigan Avenue, and McCormick Place. Each of these areas have a distinctive feel, yet they all reside on the same 2 mile stretch of Cermak Road.
PROMPT: Reimagine our site (Cermak Corridor from Damen to McCormick Place) as a unified MegaBLOCK. The proposition must fit within the ratio of a cube (1x1x1) in an imaginary and isolated state.
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MEGABlock
Sound Intensity Smell Intensity Sight Intensity
Walking the site, a recording of senses we taken. Reconfiguring the site and placing similar sense responses together allowed visitors to understand the site differently.
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MEGABlock
ty
Sm Sight Intensity
S ou
si nten I d n
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In te ns it y
Mapping the data within the 1x1x1 ratio space resulted in a series of points which were then translated into a surface.
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MEGABlock
The surface then was recovered with the respective typology creating a high sense experience at the very top with areas of Chinatown and Pilsen and low experiences at the bottom with industrial and highways.
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Cartographic Architecture
CONJECTURE no. 3 : Cartographic Architecture Map the Cermak axis using only one senses and design a workshop for the cartographer.
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Cartographic Architecture
Act I : Recording & Mapping: In groups of 2,3,4 or 5 students….* Record the Cermak axis, from Pilsen to McCormick, using only ONE of the five senses: sight (ophthalmoception), hearing (audioception), taste (gustaoception), smell (olfacoception or olfacception), and touch (tactioception). How do the senses, or the limitation of senses, remap the perception of space and place? How much can a single sense Make: Create a representation of the findings in the form of a map, accompanied by a 3-minute digital presentation (slide show, animation, or film) of the process of information gathering. Act II : A Place of Sensory: Imagine a cartographer’s workshop that uses only one sense to gather and record his or her findings. What is the organization and atmosphere of the space? How does it relate to the body and the senses? What devices, maps or information stored? Considering it was constructed by the cartographer, how can the absence of a sense be used to amplify the other senses for an unexpected spatial condition? How does the space inspire the work? How does the work inspire the creation of space? Make: scaled plan, section, and perspective-or-physical model of the workshop at a location on Cermak. Place specific emphasis on the spatial relationship to the cartographer’s method/means of recording.
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Waltercio Waltercio Caldas’ Japao
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Cartographic Architecture
The site was mapped by a group member through only touch. He was blindfolded and noise canceling headphones blocked all noise. Recordings of how he experienced it was taken as well as verbally through his explanations.
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Cartographic Architecture
The studio space was designed based upon how greg experienced the site and how the cartographer would construct these maps in the same feeling as he has mapping them.
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Cartographic Architecture
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Cermak Corridor Research Analysis
Cermak Corridor Research and Analysis Gaining a stronger understanding of the relationships between neighborhoods
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Mapping the Cermak Corridor based on typology resulted in 6 distinctive areas.
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Cermak Corridor Research Analysis 42
S PRARIE AVE
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MCCORMICK
SOCIAL HOUSING
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HISTORICAL CHINATOWN
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Cermak Corridor Research Analysis 44
R ST
The typology of Pilsen is small row homes with schools and other community buildings between. The area is a thriving community.
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The street structure follows 4 main corridors where the business and commercial areas are.
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Cermak Corridor Research Analysis 46
ND
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Cermak Corridor Research Analysis 48
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The industrial corridor used the river as a backbone for shipping. This district was home to a coal power plant which is now closed due to a change to green manufacturing.
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VACANT LOTS
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IN PLANNED MANUFACTURING DISTRICTS
81%
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The area now has a high vacancy. Building plans for the area call for a higher density of manufacturing based in green industry,
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Chinatown has several smaller districts within the small area. The majority is residential with a strong business core.
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COMMUNITY
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MIXED USE
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SCHOOLS
MUNICIPALITIES COMMUNITY
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INDUSTRIAL
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SINGLE FAMILY RESIDENTIAL
BUSINESS/ COMMERICAL
MULTI FAMILY
RESTAURANTS/FO SERVICES
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Cermak Corridor Research Analysis
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BLUE ISLAND AVENUE PILSEN COMMERCIAL ROAD CERMAK RD
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ARCHER AVENUE COMMERCIAL AXIS Along the diagonal streets within Pilsen and Chinatown large portions are business and commercial. In the old photos, the wide streets and street fronts follow Daniel Burnham’s plan for the city of Chicago.
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“MORE DIAGONAL STREETS!”
RESIDENTIAL
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HILLARD APARTMENTS COMPLETE
CONSTRUCTION OF ICKES HOMES
1966
1954
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Cermak Corridor Research Analysis 56
R ST
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DEMOLISH ICKES HOMES
2009
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Cermak Corridor Research Analysis
R.R DONNELLEY PRINTING PLANT HISTORIC PRESERVATION S WOLCOTT AVE S MORGAN ST
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LEXINGTON HOTEL AL CAPONE’S HEADQUARTERS The historic district is home to some of the larger brick buildings and the historic motor row. Some of these buildings still stand and have been repurposed to data centers and such.
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ACTIVE NOW
ACTIVE 1930
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2,600,000 FT 5 FLOORS
2
2,799,973 FT 100 FLOORS
2
4,477,800 FT 108 FLOORS
HANCOCK CENTER
WILLIS TOWER
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UNOBTRUSIVE S DAMEN AVE
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McCormick place stands out as the last area. Based on its square-footage, scale, and inward focus it turns its back on the surrounding area.
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61 CHICAGO STUDIO S14
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McCormick Place Interventions
McCormick Place: An Anomaly A series of studies and interventions around, in, and through McCormick Place
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Based upon McCormick Place’s lack of a sense of place it becomes a non-context. It can be placed anywhere and the same reading occurs anywhere.
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McCormick Place Interventions RESIDENTIAL
The typology of the surrounding area creates clear boundaries between the tourism in McCormick place, the social housing areas, and the historic district.
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The way McCormick Place is experienced is directly from the airport or directly from downtown to the front door. Little of the surroundings is experienced by visitors.
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ANNUAL CONVENTIONS
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68 CONVENTIONS USE A SINGLE BUILDING 14 CONVENTIONS USE MULTIPLE BUILDINGS ONLY 2 CONVENTIONS USE ALL BUILDINGS
39% OF THE YEAR MCCORMICK PLACE IS UNUSED
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The usage of McCormick leaves it vacant the majority of the time and only 2 conventions all year use the entire building. 74% of the time the lakeside building isn’t in use.
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Currently our observations through our studies found that visitors don’t explore the surrounding context and locals don’t use McCormick Place even though it’s vacant a large portion of the time.
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Our goal is to reverse this relationship by bringing locals in and through McCormick Place and push visitors out to the surrounding area to make McCormick a viable part of the community.
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The city is investing in the area with the introduction of the new Depaul Stadium, the Northerly Island purposal, and other investments.
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Connecting the nodal development in the area will promote growth and exchange between each piece.
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The programmatic model shows how the repurposing of the lakeside building will take on new program to bring locals in and then a path of interventions will guide visitors out.
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A few precedents set the table for how these interventions will be structured.
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First ideas of interventions occurring in the landscape.
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Analyzing the region from Michigan Avenue to Lake Michigan reveals the idea that McCormick place is an anomaly. BUS STOP RESIDENTIAL
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Focusing specifically on the defined path, more specific interventions can be created.
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Offices
Vacant Offices
Bar
Vacant Vacant Vacant Vacant Vacant
Jewelry
Residential + Parking
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Historical Vacant
DePaul Stadium
Cafe Theater
Auto Body
Hotel Retail
Residential Bus Stop
Bar Gallery
Restaurants and shops
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Outdoor Market
MedCenter Vacant
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Mech
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Cleaners Business
AT&T
Historical Data
Vacant Vacant Vacant
Hotel Parki Hotel
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Gym
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The site went through a reprogramming where the street was moved and narrowed and new program was filled in.
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Previously, the area was car oriented and squeezed the pedestrian off the road.
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The introduction of a market area and more pedestrian friendly areas makes the site more walkable.
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The plaza is currently out of scale to the rest of the building and pedestrians don’t use the plaza.
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With the addition of a farmers market and more usable green space it returns the plaza to the public and locals.
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The grandconcourse is currently out of scale and spreads the long distance.
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A series of spaces pushes and pulls visitors through the long space.
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The lakeside center currently is under utilized and a loss for the area.
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Repurposing the building to a park that references surrounding program helps pull visitors out and provides a space for locals to be during the winter.
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There is no connection from the lakeside building to Northerly Island except a 2 mile path north and south again.
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In conjunction with Studio Gang’s purposal a bridge would connect the lakeside building to the island via a bridge following northerly island’s hexagonal motif.
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Professional Practice Manual A series of interviews, lectures and critical responses
http://www.are-advisor.com/are-construction-documents-exam/
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PROFESSIONAL PRACTICE LECTURES
RANDY GUILLOT Principal, CannonDesign
February 2nd, 2014
ABSTRACT: From early in the lecture, Randy Guillot began with “this talk isn’t about architecture, at all. This is about getting to architecture. This is a talk about engaging and communicating and how eventually those skills and those emotions translate into great work.” This was a great beginning to understanding how each firm would operate and how these experiences compare to the others. It begins to create an understanding of what type of firm you see yourself in for the rest of your career and what a firm has to offer you. Boiling it down to the top ten things that are meaningful for the profession begins with build meaningful relationships through hard work. Dominic and Max, two junior architects within the firm, who were both with Randy today have been doing exactly that. The people who are innovative and hardworking are in higher demand because that path isn’t as clear. It takes a person who is willing to go the extra mile to accomplish those things not many others will. You have to be there and be ready and maybe you’ll have an opportunity to do something. You have to take that leap and work harder than you’ve ever worked in school. It makes you work harder to connect and seek out people that are doing what you want to do and do what they tell you and want you to do and work harder than they expect you to. They begin to trust you for that hard work that you’ve done for them in the past and that you’re someone with character and integrity. When you are ready and show others that your ready, you’re communicating to them that you’re excited and open. What fundamentally architects do is represent things, we communicate things. Our ability to communicate with and convince people that we are any good is what the profession rely on.
“Be ready for whatever someone asks you to do and be working hard to contribute.” -Max Surrounding yourself with broad influences and mentors is one of the steps towards the last point. These mentors will show you how to take these steps and give you those opportunities. They know more than you and by following them and taking those steps with them, you will learn more on the fly. By embracing the mentors and the knowledge they share with you, you’ll learn more. Seek those people out. Part of what Chicago Studio is about is managing your own time to achieve goals and concepts because if you never understand whats important to pursue then those ideas will never come to full realization and people will be let down. The only way to improve these skills is to fail at this and fail around people that want to help you. When working with a team, you understand roles and when certain people lead and others follow and when those roles switch. You need to understand this shift and get on the same page so you don’t get left behind. Your client is your design partner. Your working for that design partner. The client is meeting with the person that is paying you to do what you do. Your ability to connect and communicate with people is extremely important to get things done at a high level. That’s why most buildings aren’t carried out in a complete manner because the groups and influences don’t always get along. Ultimately, making sure that the design process isn’t diluted through this is the goal to have a successful project. Next, when someone tells you to do something, listen. When getting things done through a process of A to Z, listening to complete this is key to get through this section. But the catch to this is listening and taking this in your own direction through your intuition to a new direction that is different and better while maintain a linear direction. There are a very little amount of people that actually do this. From this intuition you want to set yourself up for discovery. There’s always going to be people pushing to get things done and the important thing is to not skip steps because those steps are where creativity and innovation take place. These are all opportunities for you to show your strengths but it relys on you to show those strengths. But once you’ve been hired no one remembers that but you have to show them again. They always will want to know, “why do I care?”. By answering that question every single day, it allows for those strengths to resurface. You have to cheerlead for yourself because if you don’t, no one else will. Generosity and courage goes a long way. As you figure out in your own path, the word generosity shows up over and over and over. Making sure that you show people exactly why they care and that your generous which translates into a connection between people which in turn translates into work and business. Lastly, there is always more than one right answer. It’s in the gray that we thrive. By building meaning and arriving in the gray area, we are able to create a series of answers that we can choose from. NOTES: Take the extra effort to keep in contact with the influential people that have made an effort in your life. Returning the effort makes a lasting impression. If you make the effort for those people they will remember what you have done and the hard work you’ve put forward because that work ethic is something that isn’t taught, everything else can be learned.
CHICAGO STUDIO S14 109 CRITICAL RESPONSE: Having this opportunity to listen to Randy talk about his role as a design principal was beginning to answer the question of what it takes to make it in the profession. Who he surrounds himself with, how he conducts himself around others is important to understanding how he has made to where he is today. The opportunity he had early in his career to show his hard work carried through to the day he was nagociating the merger of OWP|P. It was key in so much more than just that moment. A lot of what happens in the professional world goes back to making those positive relationships and maintaining communication with those people. Another thing that has really struck me is that the idea of failure and that those mentors will be the ones that help you through that. No one likes to fail but surrounding yourself with those who will help you better yourself from those failures is important. It teaches you how to use your time more efficiently. For me, entering this semester I had no concept of this. I produced drawings that did not convey the same kind information to my project as I wanted. Through critiques and meeting with mentors, I have been able to change that and better communicate my work.
“Know what you don’t know.” I’m still a little challenged by how to obtain the initial opportunity to showcase my hard work and dedication. I guess through becoming my own cheerleader while avoiding arrogance is key which I’m not particularly good at doing. If given the opportunity, I will do whatever it takes to get the job done and be there day after day. So how do you show that? Does the integrity and character of a person show through in the short amount of time for an interview? Or even a portfolio?
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PROFESSIONAL PRACTICE LECTURES
DREW RANIERI
Associate Principal/Vice President, Solomon Cordwell Buenz (SCB)
February 19th, 2014
ABSTRACT: The responsibility of an architect extends beyond the design stages. Drew Ranieri explains how architects are accountable for the lives and safety of those who inhabit these structures which means contracts, overseeing every phase of the project, and careful design choices. Through these contracts he explains what are included, what protects the architect, and other logistical details. Contacts include scheduling, money, roles, expectation, risk responsibility, and so on. The scope of work is critical, it becomes the framework what is all going to occur. These Contracts become the overall agreements between architect, contractor, and owner. Operating without a contract is dangerous. Stipulations may not follow through because there was no agreement to begin with. So establishing these for all three parties to agree usually requires a series of debates and of course each party is trying to see a profit. Contracts are signed at all phases of the project due to changes and constant negotiation. Lawyers will sometimes rewrite entire documents. There are 4 standard stages within a design, schematic design, design development, construction documents, and construction administration. Sometimes there’s a phase before schematic design called programming. Also, another major portion of the phases is the bid phase between construction documents and construction administration. Quickly, you have to create a basic understanding of what is possible or where problems may occur from the clients wishes in a efficient and clear manner. Some buildings may take months others fly right through the process. The problem is how you account for this time. Through defining a clear idea of what will occur at every phase protects certain things. Billing a project is something that also creates a problem due to the fact of how do you bill a line within a drawing. Typically with in the design phases, programming, schematic design and design development take a third of the overall fee which is where the majority of firms lose money. Construction documents take another third, and construction administration makes up the last third of the fee of an architect. Now days, digital design has blurred the design phases because a model is taken through the entire project early on. Some smaller firms have design and construction split 50/50 for the fee. With this model, it allows for more trips to be taken to the site and information that was not detailed to be explained and mocked up when the time came. Overall, construction documents take the most time. Early, pricing needs to happen. Architects are expensive and the pricing of a building may increase without one. But hiring an architect saves money down the line. Their knowledge of the process allows things to be sped up and cut the amount of money spent for zoning documents, legal documents, and other important steps in the process because the architect has done it before. You’ll get more for your money. For a developer they only start making money in the last 7%. They have to sell 85% to 90% of the units until their money is made back. For developers, the quicker a project is complete, the quicker they are able to start paying back money and construction loans. So as an architect, making sure things are completed on time is one of your duties to enable them to pay their loans. In this process of scheduling, as an architect you aren’t making the choices but presenting what the choices are. Furthermore, scheduling also poses a risk for an architect. If a project is held up which has been quoted at a certain amount, these fees are now no longer up to date with the current market and costs of living when they resume. By introducing clauses that allow renegotiation of these fees if a project is put on hold protects an architect.
“You can lie on page one and retract it on page 6.” All of this comes back to risk responsibility. You cannot leave blanks within the process. There is continuous series of shop drawings that are gone back and forth with between the architect and contractor until it ultimately gets to the final way it is to be built. Everything is spelled out from the glue to the kind of nail to be used so when a 2 million dollar lawsuit comes up, looking back to the specifications, the architect is protected. Although not everything can be overseen and accounted for, hence why architects carry error and omission insurance. There are now more design-build firms out there. This ensures a level of quality across the board but this blurs the line of responsibility and often they are taking on more liability to reduce the risk of flaws in the whole process. OAC, owner contractor architect, relationships is a system of checks and balances. Although issues may arise in a balance of power if an owner is also the contractor or if the owner pins one against the other which enveitably goes back to reputation. All in all, the role of an architect is carefully positioned within all the documents. There is always a level of risk and responsibility for all parties. Making sure that your covered for all the specifications within the design. A contract locks you in to all of the details. After it’s signed, it’s done and you have accepted it how it is in the contract.
NOTES: There are so many different loopholes within the profession. It’s all details and stipulations that keep you safe and not liable for mistakes made in the field. Billed at 3 times the rate for overhead.
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With the design build model, the architect has the contractor working under them. This give the architecture office the opportunity to take on more risk and liability for the project to cut those down situation where miscommunication can result in a defect in the built project and provides single source management. This situation can also provide a situation where the architect can take too much control.
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In this situation the architect works under the contractor and owner. This provides a limited amount of risk for the architect but limited amount of control. This can result in defects in the project or the architect being squeezed out in the later phases of the project. Often if a project moves forward without the construction administration phase by the architect, the architect may withdraw from the project and whatever the construction documents don’t cover is not held to the architects responsibility.
CRITICAL RESPONSE: Drew’s important lecture gave a perspective into the work of an architect broken into phases. Of these phases, its important to understand the role it plays in the overall path of a project. Through schematic design, design development, construction documents, and construction administration a project is constantly changing. Each phase has a certain budget and very particular things that need to be accomplished with the collaboration of the owner, contractor, and architect. Without agreement from one of these groups, the design can come to a complete halt or result in the lack of integrity in a project. Also an architect can be squeezed out of a project. If the contractor and owner limit the amount of involvement the architect has on the site, it doesn’t allow for the architect to make sure that the details that may take a little more information to be worked out completely are done. That goes back to the fact that architects and drawings can’t draw everything for a project. It’s a set of instructions which require overseeing.
“Only 15% of homes are designed by architects.” Hearing about all these little pieces that go into an architecture project sounds like a headache. Even early its an architects job to predict how much time, money, and effort it will take to complete. This even sounds like something that is impossible to figure out in a week, let alone a few hours. After the project has begun, the different path for fees, between hourly and fixed rates, follows the structure of the project. In this phase, the project loses the most amount of money. Renegotiation of fees also creates a whole new delema. With all of the discussion and different changes, its a merical that anything gets built at all.
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PROFESSIONAL PRACTICE LECTURES
BRIAN LEE
Design Principal, Skidmore, Owings & Merrill
February 26th, 2014
ABSTRACT: Brian Lee has been a part of SOM for 35 years, he has found the firm’s resources, diversity, and innovation to be continuously inspiring. It has always been a place where designers have made it their own over a course of generations of designers. SOM uses a continuous reinvestment of money and time to take a look at things and see how they can be improved upon. With the office’s diversity, projects ranging from medical to commercial are done. SOM’s projects contain a lack of authorship from any one individual. This enables an open discussion on the design and keeps architects honest. This, in hopes, creates something new, innovative, and inspiring while becoming an architecture of many scales. So how do you address an architecture of many scales? What is the psychology of spaces? How do you express program? Through daylighting, bringing the nature and views into the building, and how a building relates to the city is how a project is best expressed and communicated to the public. You’re creating an atmosphere for people to inhabit and how does change or enhance the users perception. These are all questions that SOM tries to address. Creating a grain and an experience in a city makes something that a lot of cities in the world and country are lacking these days. For example, the Chinatown library, which is 16,000 square feet, begins to express how its smallness effects its larger condition of the area. These libraries become hub for social interaction and community gathering. It becomes a larger impact, with how great the small building can make such large change for social and civic life in the area. This little building answers a bigger calling. Remaining on budget for this project is another challenge. You can just build how others are building and looking into past technologies but by trying to find those moments of innovation that are taken with care, how the landscape plays a role, and special articulation of space, it begins to create that niche within the city. It becomes a question of humanizing an experience. It’s something architecture has to pay more and more attention to. Through parts of entry and smaller scale interventions, a building becomes more engaging with certain things and activities like food and gathering while other spaces are focused on gathering. The buildings ability to change and adapt to house new and different functions is something that brings new light to these spaces. These projects address basic human needs and responds to those.
“You’re not trying to sell people on ideas, you’re trying to convince them on the good ones that you have.” Working on a campus center at UCSD, the concept was about connection to the existing campus structure and create a porous filling but also tried to have a bigger presence. For this project, they created a porch that would become part of an entry experience and protect people. In addition to that, it became an outdoor room with the perfect climate. Surrounding this is classrooms and collaborative spaces. The building adapts to the user or group and spaces changed based upon that. Also addressing existing site conditions and context joins the fabric of them all together. Trying to think about how you can bring people together and connect people to the things they do is how you engage and how a building can really personify the qualities of people inhabiting it. How do you really develop a significant meaning that is carried all the way through a project. By framing certain views or creating different spaces can add to the overall building idea. Texturing, materials, color and form all play Discovering different ways that a building responds to the landscape, social factors, inhabitants, context, and program are all part of the way that buildings are crafted. Through using technology to serve an idea and engineering to facilitate those needs, you can create something that is new and influential and crafting a building that is interconnected to its surroundings to create a larger fabric between them. Finding those innovative solutions to problems that are unique to their specific context is something SOM cares about. Vertical buildings and new typologies and how projects that respond to certain question while still remaining within the budget and respecting the needs and views of the client. Sometimes simple ideas are started with, so the question becomes how do you begin to craft and articulate those ideas? Sometimes a building doesn’t need to be gymnastic and do different contortions to be significant.
There are so many different loopholes within the profession. It’s all details and stipulations that keep you safe and not liable for mistakes made in the field. Billed at 3 times the rate for overhead.
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United States Air Force Academy CCLD | North South Section
1 Honor Board Room | 2 Honor Board Room Skylight | 3 Skylight Oculus | 4 The Forum | 5 Ceremonial Stair | 6 North Entry Courtyard | 7 Hamon Hall (Administration Building) | 8 Arnold Hall (Social Building)
“Sometimes buildings sometimes don’t need to be gymnastic and do different contortions to be significant.”
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PROFESSIONAL PRACTICE LECTURES
NATASHA KROLL MAUSKAPF Engagement Manager, McKinsey & Company
March 5th, 2014
ABSTRACT: Natasha first told us to record a block by circle a block twice and record it. This is an understanding of how we judge an understanding of something by our means of perception. The understanding of what we want to be should be a question how do we want to engage with the world and what we want to do day to day. For her, the way she wanted to engage with world wasn’t within a hospital setting working with patients. She then took a step back to attempt to understand how she wanted to engage with people and the world. A friend suggested architecture, since it had always been something she really enjoyed. Returning to school, she studied architecture and urban design but with a heavy background on psychology of spaces and how we experience space. Graduating, she began working at the Mayor’s office in the public policy department but by happenstance ended up working at McKinsey. Initially this simply wasn’t an option to her. Working for corporate America wasn’t something that Natasha wanted to do for a job, but the father of kid she baby sat in college worked for McKinsey and gave her a case study. The case study is a short problem that you have to address which she scored very high on and enjoyed doing resulting in her current job at McKinsey.
“I wanted to do the things I’ve always done with a different medium.” Often when she is asked what she does, she used to say that she is a doctor for businesses. She comes in and analyses what is going on by talk to people and understanding the situation. Through that, a short report is produced with solutions that McKinsey knows are tried and true and leave the client with these solutions. But now, she sees her role as facilitating people to solve those problems. Going to back to the example of having us walk around the block she compares it to her job. It’s not just about going to the site and experiencing it, but really engaging with the site and talking to people which we don’t do that much. Its really about engaging with people, understand what they’re feeling and what drives them to enjoy or dislike something. Architecture for Natasha is much more about a mode of thinking, a certain design thinking. There’s a way of engaging with the world that is very inherent way of engaging with the world. For example, I wanted to do the things I’ve always done with a different medium. Thats what this artist did (Image on right). Thinking about who your audience is and what your trying to communicate is important to tell you what kind of tools you should be using. Again, its transferable to who am I gathering for and how will they best receive it? Better describing her role, she is paid to facilitate collaborative thinking. Within this real world where we will be primarily working in groups, Natasha has found that it means a whole lot less if you have the best idea and a whole lot more your ability to influence people and create a combination of everybody’s best ideas.
“I’m paid to facilitate collaborative thinking” Her job at McKinsey isn’t that different for what she has done in architecture school, design systems, recognize patterns, etc... She has found that she talks to a whole lot more people and projects have a larger impact, sometimes on a country wide scale. This is interesting to her. It’s the main reason why she switched from tactile architecture to McKinsey. For example, some of her work involves projects like eliminating polio in Nigeria and helping governments to avoid bankruptcy which she finds herself using her architecture education to create solutions. She has learned to think creatively about where other people have come from through interviews that understand why people do things rather that what they are doing. Similarly, we work within our sketchbook but to communicate that and understand what it means we are making models and experimenting different ways to get input from people about those ideas but instead of a physical way of doing this, McKinsey does it through words. From all of the analysis, the outcome is ability training and capability building programs. Often these businesses are in turmoil, what needs to happen is serious change and people don’t like to change. They help build programs or stories for them to create change.
Think about what your job is and how that is constantly changing and evolving. How will everything you do set you up for where you want to be.
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CRITICAL RESPONSE: Natasha helped me understand the role of an architect and design thinking in the world. Using our abstract problem solving we are able to come up with solutions to everyday problems. The innovation that we are constantly thinking about keeps new answers the same and new problems. In the job world today, creative people are in demand. It comes back to the idea if more of our education should be based on the design thinking mentality. I think a lot of what I learned from Natasha is also about thinking about your own job in constantly new ways. Instead of viewing what you do everyday as a same old same old, think about how its constantly evolving and what you’ll be taken too or how you can take yourself to the next stage of your career. Also understanding where to look for things. She said that when she first starts a job, she wants to speak to the person that is the loudest, most upset person in the group. This opens her up directly to the problems because they are often the person that hears about all of the issues from the others in the group. There has to be a way to address this same situation in the profession of architecture. When conducting a project, you must find the strongest stakeholders and make sure that you do your best to satisfy all needs of the group. I don’t know if I could see myself as anything other than an architect but in the future hopefully I will be guided in the correct direction.
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IKER GIL
Editor in Chief, MAS Context | Director, MAS Studio
March 17th, 2014
ABSTRACT: Trained as an architect for undergraduate, graduate, and currently working on a Ph. D, Iker’s work reflects work between architecture and city and how those two components work together and are always present. Orginially from Bilbao, He moved from there to Chicago when he began his graduate degree at IIT. After school Iker spent some time working at SOM until 5 years ago when he opened his own office, MAS Studio, which deals mainly with architecture, and MAS Context, which is a quarterly publication where designers and others alike can come together to create a book of interviews, essays, and photos based around a certain idea or area to generate discussion and organize events. Also Iker is the co-director of the Chicago Expander, where it encourages people to challenge their perception of Chicago to challenge those ideas and present them. Across the things that he does, there are two common themes. Bilbao, when he was growing up was rundown, post industrial wasteland. In 1983, a flood covered the entire area in 18 feet of water, including all the drainage from the industrial areas, destroying the city. Within a span of 10 - 15 years the city completely changed. The metro project in 1995, the Guggenheim in 1997, and all other rebuilding efforts transformed the city. From this transformation, Iker’s interest lie in discovering what assets cities have or what can they do to propel themselves to the future. Even if things don’t look good or a city is crumbling, it has the ability for it to rebuild itself in a short amount of time. Also how do you trade these goods and services so they could get the things they needed.
“I only do projects I’m interested in” Through precise intervention of public space the city is able to be choreographed that the social element is engaged and sharing the work of other people. With selecting unselfish clients Iker is able to work together with them for a larger change and clients that are interested in things he’s interested in as well. With Iker’s Work. Cut. Play. project he was able to create innovative ways for the public to reclaim parking lots and vacant lots. The project allows for people to create their own space for gardening or gathering. The best part about it is that it’s a framework to approach a problem, not a 100% solution. This framework, in hopes, will allow for more people to come together and collaborate to have a greater solution and more permanent to the beginning problem. It helps people start a conversation and change the perception of the space and idea and initiate the change to happen. Another example in Iker’s work is the Pedway. It’s a space that needs change. It’s currently not meant to be enjoyed, so the question becomes how do you create the same framework to initiate the change to happen.
“Everybody has a preconceived idea about it.” Also Iker uses his publication to have the open discussion about these issues in the design world today. The end goal in it all is how you can be proactive about things instead of saying how something sucks and not doing anything about it. The recent publication Iker has done about Marina City is supposed to show the character and diversity that exists in the tower today in a very real and domestic way. By choosing to print on a news paper the publication itself takes the domestic feel. Each unit is different even though they are all the same framework. Iker initiates conversation to happen among some of the greatest design thinkers of the time and through this change is started.
Means of representation. Domestic -> Newspaper Initiation that makes the change happen, not searching for the right answer.
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CRITICAL RESPONSE: Understanding Iker’s development and early interest in architecture and its role in cities set the table for how he works today. Having those experiences with the city of Bilbao early interested him in cities and how they change over time. Out of necessity it required the city to change and evolve. Iker’s way of initiating the change to happen through his work and publication is amazing. It’s a way to get the public involved in things that they think are important and really come to a solid solution that its correctly thought out over time. Instead of rushing a solution, the correct one at that, to a permanent project is next to impossible. I think there is a social element to all this that Iker is addressing that I’m interested in.
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GEOFF WALTERS
Director of Quality, CannonDesign
March 18th, 2014
ABSTRACT: Geoff’s role at CannonDesign is the Project Quality Director and Technical Director. He has to report the standards and make sure the quality of the overall project is upheld. His interest in the technical side of architecture and how each part comes together for the overall project come together in 3 main steps, process, performance and documentation. Process, for Geoff, starts with a deep early engagement with the client. Here you are able to establish goals before you even begin design. All of the things are established about the project like program, durability expectations, acoustics, performance, costs, etc.. This stage is important to be collaborative. No one can accomplish all of these tasks and every single person has something to bring to the table. With the client, engineers, city planners, urban designers, architects, and the general public a project can meet the needs of everyone in the group. Performance is then a question of how a building and provide all of these needs while preforming at the highest standard of energy efficiency, water efficiency, and material use. The newest standard is Passivhaus which is making sure that buildings are reaching the highest level of sustainability over time even while in use. Currently energy modeling happens even before buildings are completely build and all specifications can be placed in.
“We can absolutely get to ultra low energy buildings at no premium�
Lastly, the documentation through revit or BIM modeling can get you down to tiny specifications but it all comes back to how much detail a model can hold. The delivery of this documentation is also important. It needs to become a ledgeable set of drawings. With the documentation a bid is made which is ultimately built. So it comes down to what needs to be resolved to get the building built. At some later phases the foundations may be poured while still designing which means little to no changes in structure can be made. There are numbers and numbers of bid packages made so it comes down to making sure that each is a conscience set of documents. It all begins with surrounding yourself with good mentors, resources and asking questions.
How much detail is too much detail? What needs to be resolved in a project?
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Today Need for Building Efficiency
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LAURA FISHER FAIA
March 26th, 2014
ABSTRACT: Laura spoke with us about alternative careers for architects and how the things you’ve learned can be applied to may other fields. She received her B. Arch from Virginia Tech and her MBA in Finance from Chicago and she’s a licensed architect in Texas, New York, and Illinois. During her 4th year of architecture school she Co-oped for SOM and worked under Adrian Smith. Here she learned the vocab of architecture. Later she learned about the business and architecture as the business. After her time at SOM she worked for a shitty firm which after hearing about opportunities at banks she began working at a corporate real estate bank helping small tradesmen and a small architecture office. Laura eventually went to Huston and was helping them select an architect for a 75 story building for a bank. 2 years after joining the selected I.M. Pei.
“Make real connections” After her time there she worked for McDonald’s retail with running, leasing, designing, and interior designing some of their flagship stores. She learned a lot about getting a team together, hiring people that you want to work with you and coreigraphing it all. There have been situations where it doesn’t all come together that easy. For example, a small charter school needed 26 classrooms to be built over the summer and the architect had produced everything and the contractor that the owner hired wasn’t doing his job so he was fired and therefore let the architect to turn the project into more of a design build where the architect hired the contractor under them.
“Know what your skill set is” Several other examples Laura told us about were all troubles that you may encounter in the profession. It was all helpful in understanding how to present yourself when getting your first job to how to package your work and maintain a solid documentation of it all.
Name giving leads to more work. Keep a good reputation Contracts with payroll, invoicing, bookkeeping, and delivery of services.
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Don Copper Principal, GREC
April 17th, 2014
ABSTRACT: Using one of his recent projects to guide the conversation, Don explained the process of completing an adaptive reuse building and working with the client, contractors, and many other people in the process. Also the difference between building in Chicago, where permits and buildings are fairly easy to construct, and California, where permits are next to impossible to receive and stricter building codes are difficult to follow. Overall, there are stages in the process that bring up difficulty. The Ace hotel project in Los Angles began with working in a historic district on the old United Arts Theater. The building had been built in 1927 by Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith to be used to produce their own art and films will full control of the artists so that nothing was lost in production. It was intended to be the flagship theater for artists of the time. Later in time, the distribution of film and profit made from it eventually led to the group dissolving. The building was then converted into a church for a period of time until recently when the stretch from 3rd and 9th Streets has become an area for redevelopment. Currently, of the 18 movie palaces that are along the same stretch, 3 are active and renovated. This stretch was the original downtown LA but after WWII it became more of a skid-row street. It’s close to convention centers, downtown LA, and other key locations making it a catalyst for redesign. With the rich history of the building, the reuse strategy has been quite extensive. The plans for re-purposing involved using the first floor as the entry, check-in, restaurant, and movie entrance, the second floor was used as other services and employee space, and the 3rd through the 13th floor are the guest rooms with a rooftop pool and cocktail bar area. In attempting to solve accommodate this program and reuse, the seismic code for the building needed to be retrofitted into the building. The entire front wall needed to have a complete concrete grid cast in the satisfy these requirements. Working with the existing facade and floor, the building was modified to comply. In addition to these other building codes, the landmark codes for this particular district are even more difficult because it is on the local, state, and federal register for landmarks. Unfortunately, one does not supersede the others. California also has special specifications for VOC compliance and absolutely no carcinogens for the building process. The theater was to be preserved but based on the landmark status of the building, the only thing that could be done to it is cleaning the room and replacing the chairs. All of these stipulations made it difficult to complete the project. The reason architects are needed for this are because we have the ability to stand within a plan drawing and understand space. We are able to see how spaces will be organized before they are built. Also we need to answer as many questions as possible before they encounter them on the job site. Realistically, that will never be accomplished because there is just too much to detail. Through constant conversation with the architect these things are able to be worked out. Through the construction process, it isn’t the architects job to catch all the mistakes but observe and monitor. Through shop drawings that occur during construction, all details are correctly assembled.
“Every mistake costs someone something.” Although this process catches a lot of the mistakes, other things can go unnoticed. The construction documents are typical drawings and fairly generic. The architect is not liable for the special cases and things that need to be worked out when problems arise. Furthermore, if there is a failure to communicate and certain parts of the building come to a disagreement between the owner, architect, and/or contractor, the set of documents becomes the reference for liability. If it is correctly specified within the documents but the contractor has not followed them correctly, it becomes the contractors mistake. Also, if something is incorrectly specified within the documents but was contributed by an outside consultant, liability lies there which must go through the architect. If things go wrong, go directly to the owner. Maintaining a level of honesty, integrity, and character is important to make sure the entire process go smoothly.
“Every mistake costs someone something.” “The documents are what the client is buying from the contractor” “All the consultants, engineers, etc... Are under the architect. We put everything together.” “We are responsible for the product, quality, safety, etc... The architects name always comes up. The documents are legal documentation and the initial response is to blame the one with the name on the document.” There are so many different loopholes within the profession. It’s all details and stipulations that keep you safe and not liable for mistakes made in the field. Billed at 3 times the rate for overhead.
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Carl D’Silva Principal, JAHN
April 18th, 2014
ABSTRACT: Carl talked to us extensively about the Bangkok International airport. Through early design phases, detailing and constructive drawings and then through the construction process. Each part was about a give and take of certain departments to accomplish the end result. Beginning with the design phase, they paid attention to site considerations with heat gain and thermal comfort resulting in the large canopy entrance where it provided shading and the concourses’ shape to create air stratification. From this large canopy, they required a large “mega-structure” This large mega-structure held up the glass box that served as the entrance. It was based upon the structural necessity of the beams. These beams were welded together in sections on the ground and then through a process of hydrolic jacks they were raised up and slid into place one by one. A few concepts clearly drove the project and they were carried out throughout the entire part. Using lighting, openings, transparency all helped passengers with their orientation, location, and awareness of everything around. The extensive, in depth talk about the project really helped me learn about the whole process and in the involvement as an architect there will be.
CA phase is extremely important. Figuring out how things actually go together in a project.
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Peter Ellis
Principal, CannonDesign
April 22th, 2014
ABSTRACT: Peter Ellis’ story about the progression of building cities and restructuring of American cities brings up bigger questions of how to accomplish this without tearing them down. Many of these “moving parts” need to come together and work collectively. Living in India for 6 months of 110 to 120 degree weather and 3 months of monsoons, which is the only difference between where he is and Dubai, took him to 2000 B.C. land. Elevators of 8 story buildings and electricity failed several times a day. Plumbing would leak and sewage would drain into the streets. It becomes the meeting between this old country living area and the 21st city of Dubai. His client, Mr Gaur, he wanted to build the best in India and put the country to the best standard. For this to happen they needed a huge amount of money and biggest elect supplier. Most lots are divided into less than one acre plots and it could be an entire life’s work to get 20 acres. 15,000 acres were donated from the government because Mr. Gaur built the first superhighway going towards Delhi. With the alloted land, they began master planning. The plan contained a 17 km long public park that pulls people along throughout the city. Also it acts as an “urban sponge”. This ‘urban sponge”uses green open parks to soak up and capture all the monsoon rains and replenish the aquifer. Some of the important things about draining storm-water at grade is its cheaper, easier, and the greenery increases real estate value. This long strip of parks allows for BRT routes, bike paths, and structures the city off of it. The parks are designed to have high and low spots that capture rains and can store and drain monsoon rains that can then be drained in a period of 2-3 hours. Certain areas like the “monsoon lake” retain the water for recreational purposes. The secondary structure of the city is based off of a series of boulevards that are shaped by the climate. Streets are oriented south east to provide shading, and the parks are structured along the south east to bring winds through that cool the city. Between these parks and boulevards, individual neighborhoods are structured. Each neighborhood has decentralized utilities which are more efficient and lower costs from pumping elsewhere.
“Urban Sponge” The culture is totally different where 900 million people live off of $1 a day. This creates a demand for progress. Also with such extreme poverty it creates different values. Such as public transit was seen as things that you would never use because no one took care of it. Parks were seen as a place for squatters and that the homeless took over. This in turn made society think that living on the edge of a park is bad because this park is bad. Translating this back to US cities, understanding how we can transform the infrastructure over time. This infrastructure is the heartbeat of the city. The way Chicago processes its storm-water is through a vast tunnel system that mixes sewage and runoff into the large storage areas. The way to change this is through capturing storm-water at grade through bioswales and parks to save all the energy and providing greenery that cleans the air and water and also provides more walkable cities. By recapturing the 19th century infrastructure we are able to increase public space and the overall enjoyment of the city. The New York Highline is a perfect example of what nature was all ready doing, reclaiming the old infrastructure. Nature is the new city infrastructure. Daniel Burnham had it right with his plan of Chicago. With the green connectors every fourth street around the emerald necklace and finer grain green within that, it produces a walkable, enjoyable city to live and work in. This all begins with water. Today, Chicago dumps all of its water out, down the Mississippi and eventually into the gulf of mexico. This requires treatment and needs a lot of energy to maintain. The goal is to create regenerative cities. Through Zipcar, Uber cabs, BRT, Light rail, and demand responsive transit we can help create a cleaner more connected city and eliminate parking. Parking takes up 30% of our cities and 1,000,000 sf of built space requires 500,000 sf of parking. Eliminating these, bike lanes, bioswales, and pedestrian ways can take over more of the street space.
With the introduction of bioswales, Philadelphia is on its way to becoming the greenest, most walkable city in the US.
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CRITICAL RESPONSE: Restructuring American cities sounds like a challenging opportunity. Taking existing infrastructure and using it to promote future growth sounds like the way we need to progress. These outdated amenities and transportation are costing a large amount of money to just keep up to date. An infrastructure that allows a city to change freely and make the most regenerative and efficient choices it can is the way of the future. Cities that become cleaner, more walkable, and healthy allow them to grow. All things should be responsive. A city that can grow with the population and then shrink again as needs change will allow for all needs to be met while still having an efficiency. We as people living on the earth have a responsibility to live WITH the earth and grow with it. The resources we are taking are at an alarming rate and damaging the systems that are already in place. I guess the bigger question with accomplishing this is how we can restructure the cities that are already built. Similar to how Team 10 was “humanizing modernism�. This all needs to happen in the future by one of two methods. By force, like Philadelphia creating the bioswales out of necessity because the regulations of pollution. Or by choice and wanting for the change. Philadelphia has now taken a large step into the future in becoming a newly green, walkable city.
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David Wilts
Associate Principal, Arup
April 24th, 2014
ABSTRACT: David’s story really began with following what he loved doing. His psychology studies have always interested him but the music business was where his interests lie. He worked on building music studios. These music studios were always something he wanted to perfect since he was a musician himself. He then found himself designing more of these studios himself and the complicated systems that go into it. There are 25 - 30 systems that go into music and broadcasting studios and making sure they all work together was enough of a job. For cameras and relay systems they all need to be fed at the exact same time and clocked together instantly. But looking into the built world, buildings don’t operate that way and David’s question was, why not?
“Forsake the past” Don’t look to the past on how buildings were built, think about how buildings should be built. When it comes down to it, clients don’t know what they want. What they really are about is what they are really after. If Henry Ford never built a car people would have always asked for a faster horse. We need to create the things that aren’t out there yet. In order to create these new smart buildings it needs to be carried through all phases. The things that these smart systems can bring are improving the users experiences for all user groups, improving productivity, reducing the cost of operations, reducing the cost of energy and utilities, and empowering sustainability and stewardship goals.
“Delightful experiences” Its up to this age of architects to create these new innovative buildings for all of those reasons and be proactive. Thomas Edison said, “waste is worse than loss”.
Think about these technology and how things can be changed and pushed in the field of technology.
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John Syvertsen
Senior Principal, CannonDesign
April 24th, 2014
ABSTRACT: John told us about a period in his life where he didn’t know how to say no. He was working and teaching and putting himself out to all the opportunities he could but he tried to stay interested in everything he could. But he realized that he was interested in the advancement of social and environmental innovation. Through probono work and young designers, your able to connect to with people. Open hand studio was something he created to improve peoples lives and create a vehicle for social impact and the lives of people. But through this work he was about to connect people to opportunities and increase influence to other firms. With engagement from anyone and everyone, it multiplies your knowledge and multiplies your impact. For example, working in Brownsville they did work for public interest and why should the university stay and grow within the city. Downtown already has cheap shops, buildings, and just across the border is a larger city to connect to. But the city had grown poor, unhealthy, and the border have made a tough relationship. They made the argument for the university to stay and grow with the city back. 3 months later they were short listed for the project and they participated in the site selection process. When they made the case for the downtown they posed it for saying that for the social, cultural, and economic benefit of the city and everyone it needed to go downtown. More importantly, the fact that they were doing all this work for the site out of pure generosity they gained the trust of everyone which allowed them to have such a strong impact in the decision for the site.
“Brownsville - A daunting challenge meets radical opportunity” The project was meaningful for everyone including them. They showed them how much it meant to them and gained the trust which was important to them in the end, It ultimately resulted in them getting the job. Just be able to carry beliefs and values you care about across all stages of your career. Weave in what you believe in. Personally for you as an architect, John believes there should be a Hippocratic oath, you should give service, there shouldn’t be a primary concern of cost, take risks, the resilience of people, and ask what is the reward in it all.
“Never don’t meet”
Measure profit differently. Give service. Take risks.
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CRITICAL RESPONSE: Where do you see yourself in the highpoint of your career? 35 years down the road I could find myself anywhere. I think one of the main things I need to take and understand from John is how to remain humble and take everything that I will have learned and pass it to the next generation, much of the way the visionaries of today are passing to us. Giving people the opportunity to do something great and investing in them shows that you’re valuing their education and development. It promotes their self image and confidence to push it further and challenge themselves to a level they haven’t before. I want to be someone that, through my hard work, dedication, and interest, is respected and support people to do their best. I think the ability for someone to provide that encouragement for people to do their best work and facilitate that, you bring the best out of people. From hearing different stories of how John has done this it inspires me to do the same. This doesn’t need to wait until I’m higher standings in the office either. By continuously inspiring people through work I produce and by having a constant presence in the office, hopefully it challenges others to do their best. Currently in academia, I work a little bit of a chip on my shoulder after not being directly accepted into the architecture program. This has been a constant driver in my work and my passion with keeping a competitive edge to everything that I do. I’m wondering how I can begin to carry this competitiveness across into the profession. Working in a team environment and keeping a the same intensity as I hold in school may be difficult.
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WINN CHEN
Junior Designer, CannonDesign
April 8th, 2014
ABSTRACT: Within the profession, seeing the intersection between design, drawing and imagining and rationalistic approaches is where Winn Chen has found himself. That same curiosity he had as a child translated to a profession. Winn provided important insight into delivery of a project, importance of maintaining a quality of life balanced with work, and how you begin to match a set of skills to a specific firm. During Winn’s 3rd year of attending Washington University in St. Louis, he took on the task of paying much more attention to the delivery of a project and how a clear project presentation can be much stronger than using that time to draw a detail or polish a render because, “purity without explanation is a loss.” If you cannot guide a critic or peer through the project in a continuous linear progression of layered meaning then all of the architecture created is significantly less sound. Building that meaning and presenting it in a correct clear manner allows each space that is defined to be carried out completely to the detail. Since Winn is in the early stages of his career, he has important choices that are going to effect the rest of his life. Choosing a firm, social life, traveling, and developing skills are all things that need to be considered. To Winn, CannonDesign is a perfect opportunity. It’s a firm that is invested in Winn and what he has to offer as well as teaching him new valuable skills. This involves a huge amount of responsibility that the firm is relying on him which is extremely important. Allowing him to talk directly to engineers and managing BIM modeling for an entire project gives him invaluable experience when it comes to his future in leadership. Through this, his applied skills are much broader and he is able to become more specialized in the entire process rather than just detailed drawings and CD’s. Currently, he is working within the healthcare department at CannonDesign where designing within the hyper constraints is the norm. Although he enjoys the detailed oriented the design, there are other parts that he would like to change his focus to. Clients within healthcare are very strict and particular as well as the equipment and organization which produce the hyperconstrants make healthcare one of the toughest area’s to work in. This experience and his strong background in understanding of details and construction of a building makes especially good at the position of Project Architect. He’s hopeful that in his future he will be able to operate in a smaller firm where he can play that role but still have a strong presence and possibility of being a Project Designer. Although his time at Washington University was great to obtain a more artistic and conceptual design experience, graduate school is necessary for him to obtain his degree. He still battling the question of presentation and professional experience and how within education it is greatly overlooked. Winn plans to continue working in the field for a few years to gain more knowledge before returning to graduate school to learn more about the technical details and obtain his degree.
Randy Gulliot
Principal, CannonDesign
April 8th, 2014
ABSTRACT: Randy operates on a crazy schedule. He runs around like crazy and always has to jump from one thing to another. And he says he does it because he likes it. CannonDesign teams are small which helps them feel more empowered but its more critical to generate more right ideas compared to SOM where theres a hierarchy and an endless supply of ideas. But when it comes down to it, the only way it all happens is if Randy is engaged and is helping and pushing them along. The calendar doesn’t reflect what he does on a daily basis. Meetings come up things change and he is always doing something new. Always networking to get more projects. Young people that make a difference on day one are understanding of the process. They are able to carry the red thread through a project and know that a project is consistent. Maintaining that skill is important for the project to hold a clear story. To Randy scale doesn’t matter. “As designers if you haven’t done something before, that’s ok, that’s what we do”. Its not that different. Randy says that inspiration is easier now than ever to get. Through technology it’s so easy to get inspiration. You have to be looking at the internet. Get inspiration outside of architecture. Looking at art and other means you’re able to pull new inspiration in. Design is hard. Its not as simple as just knocking out dwgs based in fear of what can be done.
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LUIS MONTERRUBIO Urban Planner, City of Chicago
April 10th, 2014
ABSTRACT: Luis’s journey to ending in the planning department started with his education in Mexico. His thesis project was based in south works and after presenting to the city of Chicago they offered him an internship position. After a few years he became a full time employee. He had a lot of insight about how he always stayed engaged and that his part specifically can be on a much finer scale and needs to be. He thinks the more interaction, the better. The more you talk to people that don’t think like you do the more information that you get to inform your decisions. Through this engagement Luis thinks that architects will value the profession even more. Another thing that Luis thinks is important for young designers is to get a job and do IDP hours and get licensed and don’t just stop right after school. Luis said, “The day I stop learning is the day I’m dead, and I’m not dead.” Just be able to progress your career and yourself to do all you can. Some important things he told me are: Just be curious. The more curiosity you can bring up the better and more you’ll learn. Travel. See everything you can and take it all in. Show your stuff. The more you can talk about your work and get feed back the better the work will be and more connections you will have made, Take pride in what you do. Get engaged in your work and other pro bono work.
Emily Reusswig
Associate Development Director, Redmoon
April 22th, 2014
ABSTRACT: Emily works on getting the proposals together for fundraising for Redmoon. Just in the last year, their budget went from $2 million to $4.5 million. And understanding how they are able to fundraising and get different money for the non-profits. Just figuring out the financial end of Redmoon sounds ridiculous. But how the fire festival uses corporate sponsors which means money in and national attention with sponsors. Also Redmoon for Hire brings in a lot of money. Emily talks to different sponsors and how they all help sponsor the shows and it gives back.
David Rariden
Architect, Adrian Smith + Gordon Gill Architects
April 8th, 2014
ABSTRACT: David is a Virginia Tech Grad and he focused a lot on rendering right out of school. Right when he graduated he was hired directly to Adrian Smith and Gordon Gill Architects. It was a big wave of when students graduated so a lot of how the firm operated was like school and it had a really innovative feel to it. His role changed a few times over the course of his career at Smith GIll from the bottom doing Rhino modeling to competitions and eventually Construction administration. The most important things David says for young architects to do is have internships to bridge the gap between practice and school. Hopefully what David hopes to do in the future is to gain a smaller scale understanding of projects and actually have things built and leave the larger complexity of a big firm behind.
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Tim Swanson
Urban Designer, CannonDesign
April 14th, 2014
ABSTRACT: The intersection between social change and design and the dependence on each other to make a holistic good design. But also nothing evolves without money or interest. The social aspects of design go hand in hand. Without design, social things won’t effectively change and without social change or need design has less of an impact. Looking into social impacts, a perception about things shape the responses people have. For example, a plot of land that has been perceived as a dump will always remain as a dump until the perception of that lot changes from the social aspect so it comes back to the design aspect of this. Nashville has done this in a certain way. They have shifted their ideology away from just a country music town to a music town and now Jay-Z has a recording studio there. Philly has been a master of this over time, constantly reinventing itself over and over again. They have taken giant steps to preserve the past as an intrinsic part of its modern character. Tim had a very clear understanding of how things function and how social impact really works with design.
INTERVIEW RESPONSES: All of the interviews have been amazing to hear and learn from and it has helped me grow as a young designer. A lot of what I’ve heard from the interviewers is about pro bono work and how its important for architects to give back to the community and hear as much as they can. Through that giving back you learn a lot more than staring at a computer screen. Pro bono work has a bad connotation to it.
CODE OF CONDUCT INTERVIEW
John Syvertsen
Senior Principal, CannonDesign
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April 24th, 2014
CRITICAL RESPONSE: John is a highly respected figure within the architecture community and with his recent honor of becoming a chairman for the American Architectural Foundation his personal views on the code of ethics is one that has been carefully crafted personally to him. It becomes even more important with the collaboration between the AIA and AAF. These two groups will hopefully begin to share experiences and work together to shape how the profession progresses. John’s views on ethics within the profession stem from a short essay by Mack Scogin Harvard’s previous Graduate School of Design Dean, based on 4 trusts for professional practice. Two invested in architects, one in the art of architecture, and one in other architects. First, clients are trusting us to be the stewards of their interests. For architects we have the ability to apply the knowledge and expertise to satisfy the necessities of the client through program, budget, technology, and time. This trust clients invest in architects is part of the code of ethics and our responsibility to fulfill our profession to its fullest. The second trust is one the public has in architects to fulfill their interest as well. Engaging with the public on the process of design in essential to make sure that we successfully complete our job of supporting public welfare with public health and safety in mind. Third, architects are entrusted by the general public to with a responsibility to art. Making sure that we carry out the knowledge, transformation, and reinvention of history, technology, culture and technique is the beginning of our job. Imagination, vision, and innovation are all tools that we use to ensure this trust. Lastly, we are entrusted with a responsibility to the profession. This trust means that we have the obligation to maintain and progress the profession collectively through mutual respect. These trusts are how we ensure that we are accomplishing the goals in our profession. Each of them provide a basic framework to conduct yourself from that helps move the profession forward. What John’s position on this is that each code of ethic is about as basic as possible. Allowing for as little or as much engagement in each as you wish to interpret. More specifically looking at probono work, the code of ethics says, yes, you should participate in probono work. “The problem with it is it’s wimpy, it needs to
“The problem with it is it’s wimpy.” become endemic across the profession and how we give back to the community.” As architects we should have something similar to the Hippocratic oath, a way that we can ensure that all the public interests are taken as our own. Currently, the code calls for as minimal as possible and has no real regulation for it. If our job as architects is to unite and advance culture we need to take public interest work to a new level and engage with those existing conditions. After John had spoke with the AIA president and other officials they came to the conclusion that they need to work together to accomplish their goals.
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Urban Mapping A study of city planning and analysis of Cermak Axis
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138 Principle #1: Sustainability
Urban Mapping
Heather Rosen Maru Padilla
The first principle of the book City Building: Nine Planning Principles for the 21st Century is sustainability. It is chosen to head the list because it is an overarching principle which impacts all the others. It is crucial for urban planners to consider the sustainability of a project throughout the entire design process. The principle of sustainability does not only refer to environmental factors, but includes social and economic issues. Sustainability is a holistic design approach. Sustainable urban planning can be broken down into two main efforts: conservation of the natural environment and smart city building. The natural environment needs to be carefully considered whenever designing a city. It is important to calculate the environmental carrying capacity of the land, manage the land use in an area, maintain clean air and water, conserve open natural space, and use local resources. The built environment must also be constructed in a smart way. Strategic plans include using energy efficient systems, making dense developments, implementing efficient infrastructure, and utilizing local building materials. Designing and building dense cities is a critical step towards achieving sustainability. Dense developments allow for maximum conservation of natural landscape and results in more livable spaces. In order to realize this condition, there needs to be cooperation and collaboration between regional and local governments. These groups working together can implement zoning and land use policies, inter-city transit infrastructure, economic sufficiency plans, and building code standards. Combining these elements will result in the planning of economically, socially, and environmentally sustainable cities.
BUILDING A CITY
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Planned vs. Unplanned
Density vs. Sprawl
Guiding Populations
Intercity Transit
Urban Infill
Energy Efficient Materials
140 Principle #2: Accessibility
Urban Mapping
Kelsey Dressing Andrew Economou
Accessibility is about facilitating ease of movement and maximizing circulation. In order to design a more accessible city, one of the most important aspects to consider is the concentration of density within an efficient transit network. Compact developments can aid in reducing travel time, discouraging automobile use and encouraging walkability. By connecting concentrated pedestrian-friendly destinations with mass transit systems, the use of cars is reduced. In order to better serve the pedestrian, breaking down large areas into small blocks and streets can provide safer and easier crossings, while also giving the road system redundancy. If a breakdown occurs, parallel routes can provide traffic alternatives. When designing transit systems, having the ability to handle multiple modes of transport is beneficial. Transportation, circulation and access corridors should be considered when designing a city. Setting aside areas as land reserves for future transportation use can prevent possible demolition of buildings. Transit corridors should be located at the boundaries of districts without blocking important views to create more walkable areas. By reducing the size and radius of turns, traffic is forced to slow down, which makes the area safer for pedestrians. Another way to increase pedestrian comfort is to consider the street types and design treatments. Wider sidewalks, designated mass transit, automobile, and bike lines, and landscape treatments can all work together to create a more pedestrian-friendly area. In conclusion, considering the needs of pedestrians and transit requirements in design can lead to a more accessible city.
Multiple Modes of Transportation
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Small Blocks & Streets
SMALL BLOCKS AND STREETS
EASE OF MOVEMENT
Concentrated Destinations
CONCENTRATED DESTINATIONS
EASE OF MOVEMENT
Geometry & Scale
GEOMETRY & SCALE
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Principle #3: Diversity Anna Knowles-Bagwell Aaron Williams
Diversification of a place occurs within two main categories; the built environment and the residents. The built environment can be varied through the conservation of natural landscapes or significant historic buildings, allowing for the character of a place to develop over time and authentically reflect its history. When developing new structures, design variation is important because it helps to increase visual variety. This can be accomplished by breaking larger parcels of land into smaller parcels and allowing different design approaches to take place. Design variation may be influenced by zoning laws, which over time vary building stock, or by simply allowing multiple design languages to be implemented. These strategies combine to create an urban landscape which is visually dynamic and representative of the people who inhabit it. However, simply creating an interesting and diverse building stock is not enough to keep people living and thriving in an area. Mixed use can be used as the umbrella strategy for diversifying the cultural elements which draw people to a place, allowing them to find their niche and stay there. In this case, mixed use means more than just variation in the amenities and program of a development. Instead, it incorporates a larger scale of thinking, including accessible transit and practical proximity between amenities. This concept of immediacy reduces the amount of sprawl, creating communities which are overall more viable for residents. It is also important to retain multiple levels of affordability within a mixed use development, thus maintaining economic diversity and combating social stratification. When all of these elements are brought together, in combination with other proven urban strategies, the result is a place which is rich in character as well as visual and intellectual interest.
MIXED USE TO REDUCE URBAN SPRAWL
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144 Principle #4: Open Space
Urban Mapping
Bryce Beckwith Adrienne Milner
The presence of open space within an urban environment is imperative for reasons pertaining to human health, natural habitats, and the quality of living environment. Open space should take into account the preexisting habitat and natural systems. When designing large open spaces surrounding wildlife, migration corridors should be preserved. The ground plane needs to remain porous to accommodate watersheds that often exist surrounding flood plains, rivers, and drainage corridors. The isolation of park spaces should distance habitat from human contact, creating various spaces of sensitivity to natural habitats. Recreation and urban landscape is an important type of open space for the health and quality of life within dense living conditions. Open space intended for recreational use and human activities should be programmed accordingly. The urban landscape should contain green spaces for environmental purposes that improve the quality of life such as cooling air, filtering polluted runoff, and absorbing carbon dioxide. Various scales of open spaces should be distributed within an urban fabric in accordance to easy accessibility. Lastly, open space is a crucial element of any built environment for the visual and spatial relief that it offers. Conserving man-made and natural landscape such as hills, rivers, parks, and skylight strengthens contextual characteristics. Views should be preserved, providing visual relief from the built environment, and highlighting landscaped contextual characteristics. Physical connection to these preserved views are important as it creates a release from cities and prevents the applicability of the island effect on the built environment.
INDUSTRIAL
INFRASTRUCTURAL
INDUSTRIAL
Programmed open spaces for human activities versus open spaces that accommodate industrial and infrastructural needs.
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QUNLI PARK, CHINA
NEW YORK, NEW YORK
PHOENIX, ARIZONA
TOP: Large open spaces for habitat and natural systems such as water runoff and watersheds. MIDDLE: Different scales of open park spaces for recreation in proximity to living areas. BOTTOM: Dense living conditions surround open space creating islands that isolate wildlife.
146 Principle #5: Compatibility
Urban Mapping
Isaac Currey Lindsey Currey
“In deciding whether buildings are to stand out or fit in, the principle [of compatibility] suggests that elements of similarity are just as important in establishing a recognizable, identifiable sense of place as elements of singularity.” Throughout the process of design, context should constantly influence a project. This means checking the proposal against current conditions, and looking at it as a part of the whole of the city. Designers should reference not only the surrounding urban landscape of today, but also the city’s historical context. In addition, designers should try to account for future conditions, even postulate as to what changes their project might spark in the urban fabric. At the resolution of individual buildings, scale is a major factor in establishing compatibility. Parcel size, as well as height and setbacks can be regulated to form an urban consensus. However, allowances should be made for some variation, interest and relief. If desired, a height difference of up to two times can create a landmark building, but anything much above that will seem out of place and “freakish.” Likewise, over large parcel sizes break the continuity of the city. “A building should be respectful of its surroundings and of its time.” Beyond scale, designers are confronted with the temporal matter of style. In many ways, the built environment is a visual timeline of history. Every architect or planner of a new project has to ask themselves how much they want to reference and reflect the context, “respect [the] surroundings,” and how much do they want to deviate, in order to be “of [the] time?” How should the character of the building sit in this timeline? These questions are answered primarily through decisions of material and detailing, color and historical preservation. Compatibility is about the broader sense of place; about both similarity and difference. Seeking to respect the existing character and qualities of a site, compatibility in design makes way for the values of today and the possibilities of the future.
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148 Principle #6:Incentives
Urban Mapping
Patrick McMinn John Sturniolo
Incentives for expanding or building a city generally focus on areas that have underused land, infrastructure or buildings, such as spaces that are in economic decline or brownfields. This development is commonly carried out by governmental or private organizations to facilitate further investment. The most common incentives are: tax reductions; subsidies for land costs; site assembly and preparation; new infrastructure for transportation and utilizes; health care, education, and public safety services; open space and landscape beautification; and additional density allowances. A growing, livable city is an attraction for talented individuals who in turn will accelerate the success and expansion of the city life and attractive spaces. This develop process is found, planned, and defined through master planning and infrastructure improvement. The master plan provides a strategic approach for attracting new investments, city growth and development, and a defined focus for the future of the city. The master plan is designed around development quality, beautification, and value enhancement. Development Quality focuses on circulation, open spaces, and phases of building construction as a framework for potential investors. Landscape Beautification of streets, parks, and waterfronts are one of the main methods of attracting investments to a particular area. Value Enhancement consolidates existing land parcels and adds additional density to the plot which in turn adds further value to the property. The second direction for city development is through infrastructure improvements, which are done through access improvements and the creation of public facilities. By improving the infrastructure of a space to facilitate the ease of access into those areas, transit oriented development follows these constructs; malls, restaurants, hotels, and other like facilities being commonly found near a major access point such as a subway station. This can be accomplished through transit and street redesign, new bicycle paths, pedestrian walkways, parking, and other access improvements. The creation of public facilities such as airports, convention center, ballparks, museums, performance halls, cultural and educational facilities all create new jobs and draw in visitors and economic revenue. These facilities can also add value and revenue to one another, such as a new convention center attracting new hotels which attracts new restaurants and entertainment venues.
SOCIAL CENTER
MAIN TRANSIT AXIS
RESIDENTIAL
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UNUSED DEVELOPMENT RIGHTS TRANSFERRED
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150 Principle #7: Adaptability
Urban Mapping
Rachel Montague Gregory Dalfonzo
Adaptability, as framed by Kriken, is focused on the goal of creating cities that are flexible over time. More flexibility enables designers to conserve resources and history as a city ages. Designers are expected to take into account the needs of a progressive urban landscape, while maintaining the vibrancy of the built environment. The main points of adaptability are centralized expansion, smaller modules, conservation of open space, and viability of communities. All of these topics overlap in their effects and intentions, developing a balance between adaptation and innovation. Centralized expansion supports an efficient and understandable cityscape. By maintaining focal zones of established areas, both the sense of incompleteness and debris from new construction are separated from daily life. The finished center serves as an orientation device for visitors. Planning with smaller parcels of land encourages the most efficient use of valuable space that centers on the pedestrian. Parcels can be combined to create distinct programmatic groupings that can later be reallocated as uses change. A high degree of walkability, supported by maintaining accessible walkways through larger buildings, connects these disparate elements of the city and supports collaboration. Open space is a precious commodity in the city. For urban dwellers to receive a share of wind, sun, view, and green spaces, cities must prioritize the maintenance and development of flexible open spaces. The economics of the city are such that the supporting elements of daily life must be integrated into every community. Shops, gyms, residences, and businesses can be developed in a mutually supportive way. The viability of communities also relies on simple spatial decisions. Engaging the street and pedestrians results in a more comprehensive use of buildings, which can support a change in program later in time. Most of the moves that support adaptability are common sense, but they are also often overlooked, as designers seek to develop their personal ideas. While the expression of concept is important in the success of a design, the awareness of and engagement with more general issues is just as crucial. Adaptability will make any design much more valuable, especially as cities become more crowded and adaptive reuse becomes mandatory.
DIRECTION OF EXPANSION
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RENOVATE ADD
DIRECTION OF EXPANSION
MIX
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CHICAGO STUDIO S14 General Practice
Optimal Practice
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COMPLETE CORE
INCOMPLETE NEIGHBORHOOD
DEVELOPMENTS DEVELOPMENTS
PERMANENT PERMANENT OPENOPEN SPACE SPACE
GENERAL PRACTICE GENERAL PRACTICE
OPTIMAL PRACTICE OPTIMAL PRACTICE
PARKPARK
SCALED CITY PLANNING SCALED CITY PLANNING
OPEN SPACE
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152 Principle #8: DENSITY
Urban Mapping
Ethan Bingeman Alec Yuzhbabenko
Density is defined by the number of people living or working on a given unit of land. It varies based on many factors, but culture is the most influential. Developing countries tend to have a density of about 100 square feet per family while more developed countries have about 1,000 square feet for every 2 people. Another determinant of density is the terrain in the location of a place. Mountains, rivers, oceans and other natural boundaries impose limits and dictate the urban fabric. When dealing with city design, there are three elements to consider in an effort to achieve a livable city: + Integrating transit with shopping, business, and entertainment with residential areas to support efficient transit and encourage walking. + A suggested density of 300 dwellings per acre to maximize views, sunlight, and adequate open space. + Establishing amenities (recreational, cultural, and supportive services) to activate the street at all times. Implementing these elements, higher density, mixed-use corridors connect areas by means of public transportation. Strengthening neighborhoods provide a base for the density to form. Protecting landmarks, parks, and industrial areas, which are essential to a city and neighborhood character, bring economic benefit for the density to thrive. Lastly, expanding open spaces begins to make the higher density more enjoyable for residents. Sprawling development destroys irreplaceable land, wastes energy and infrastructure, and causes millions of hours lost in commutes. Through transit oriented development, careful planning, and providing adequate amenities, these densities are sustainable, livable, and achievable.
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Establish Grid
Green Space
City Fabric
Infrastructure
Sensible Growth
Brownfield Sites
FINANCIAL DISTRICT
FINANCIAL DISTRICT
RESIDENTIAL
Financial Districts
Establish Neighborhoods
Residential Districts
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Principle #9: Identity Erin Young Catherine Ives
Identity is creating and preserving a unique and memorable sense of place. The primary sources through which cities achieve identity are natural features, climate, culture, and design. Because each one of these elements can vary, it gives uniqueness to cities because of the infinite combinations. The greatest challenge for modern city builders is designing fast-growing, yet livable cities. Such fast development can hinder builders from recognizing and utilizing attributes of a specific city, causing these elements to not have time to develop into rich and deep ideas. On the other hand, generic components of a city can stitch together the urban fabric in an otherwise dense area with too many variables. The generic then becomes the background for specific landmarks and cultures to develop a sense of place. A good city must involve the public interest to protect and enhance the city’s uniqueness over the private interest that threaten it. However, the development of identity can be inhibited by conflicting interests, such as too many monumental icons that don’t respect their existing context. Establishing identity within a city is difficult and can be faced with many challenges. Many of the issues are common among cities, such as environmental sameness, repetition of elements, places that are hard to comprehend, a sense of being lost, and a lack of natural features. By utilizing existing conditions and recognizing a city’s potential, it is possible to create a sense of identity.
Balance between generic and unique
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Issues: environmental sameness, repetition of elements, places that are hard to comprehend / sense of being lost, and lack of natural features
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