Chicago Studio Spring 2014

CHICAGO STUDIO SPRING 2014

CONTENTS INTRODUCTION

4

DEFINITION WITHOUT BOUNDARY

6

PROGRAM FRAMEWORK

RADICAL CONJECTURES URBAN PROPOSITIONS

4

8 18

CANNON DESIGN INTERNSHIP

74

PROFESSIONAL PRACTICE

96

HARPER COLLEGE

LECTURES AND RESPONSES PRACTITIONER INTERVIEWS ETHICS INTERVIEW

74

98 116 122

URBAN MAPPING

124

PHOTOGRAPHY

144

JOHN KRIKEN’S CITY PLANNING

MINNEAPOLIS MILWAUKEE CHICAGO

126

146 152 162

CHICAGO STUDIO creates a neutral platform for the discussion of architecture and urbanism in Chicago, and the curriculum is guided by the collaboration with Chicago’s visionaries in an effort to generate innovative ideas for the city. This powerful mechanism directly integrates education and practice by embedding students within some of Chicago’s top architecture and urban design firms. Real voices, real problems, and real stakeholders inspire the curriculum to create real opportunity by using Chicago as the design laboratory where students test ideas.

The program is structured in a virtual campus — the design lab and lecture halls are located within a network of shared spaces in design firms, civic institutions and other private companies. The program has active partnerships in the public and private sector, ranging from global leaders in practice to the city government to the local community. The process intentionally takes the university, the profession and the city out of a familiar setting to drive true creativity and broad communityfocused architectural solutions that are relevant to the contemporary city.

CHICAGO STUDIO has established an amazing network in Chicago — directly engaging some 500 professionals, more than half of them local architects and urban designers (many VT alumni) that are enriching the students experience.

Together, we are making Chicago a better place through the collaboration of these passionate students and established leaders. This collaboration engages the city — from the Mayor to local Chicagoans — to confront real issues that architecture and design can help solve.

DEFINITION WITHOUT BOUNDARY

RADICAL CONJECTURES

9

URBAN PROPOSITIONS

18

TABULA RASA MEGABLOCK CARTOGRAPHIC ARCHITECTURE

ANALYSIS LIMINAL CONSTRUCT MCCORMICK PATHWAY

10 14 16

20 44 60

RADICAL CONJECTURES The Spring 2014 CHICAGO STUDIO will commence with a series of short, rigorous and exploratory projects, called Radical Conjectures. A conjecture is an opinion or conclusion formed on the basis of incomplete information. The projects will challenge existing conventions and assumptions without enforcing new ones. They seek to explore new possibilities and liberations. Most importantly, they will enable one’s own creation of the contextual reality.

“I’m not interested in living in a fantasy world. All my work is still meant to evoke real architectural spaces. But what interests me is what the world would be like if we were free of conventional limits. Maybe I can show what could happen if we lived by a different set of rules.”

- Lebbeus Woods

GREGORY DALFONZO

Pedestrian bridges in three dimensional space in order to create a multitude of pathways around the new island.

“...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

10

CHICAGO STUDIO COMPILATION

TABULA RASA

CHINATOWN ISLAND 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”.

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?

11

GREGORY DALFONZO

12

CHICAGO STUDIO COMPILATION

CHINATOWN ISLAND way to connect other neighborhoods as well.

This led to the grey line, a loop around Chicago that only stops where it intersects with the other “L� lines. This would act as a high speed connector between new transport nodes, encouraging growth. I also proposed a direct connection from Grant Park, one that would focus on creating a experience in the journey out to the island. By twisting four strands of transit and embedding them into the water, each strand only presents a few times in the journey, and each view would be unique.

For this project, I decided to focus on both the island and how to get to it. In Chinatown, there is a split between residential and commercial, so I carried this split over into the island.

Commercial buildings and civic park space create the top of the island, while the residential hangs from the bottom. The center core is set aside for infrastructure and transport.

In getting out the the island, I thought about how to connect the island to the mainland in a

13

GREGORY DALFONZO

CERMAK MEGACUBE Cermak road is a long linear stretch of road, but it is impossible to experience it as a single space.

Because of the myriad of overpasses that cross perpedicular to Cermak, as well as the Chicago River, it is divided into several distinct areas: Pilsen, the industrial zone, Chinatown, a no man’s land, McCormick Place, and the Lakefront.

My proposal is to divide this portion of Cermak into 6 zones based on those areas, rearrange them slightly into a specific pattern, then fold them into a cube. Placing Cermak on the inside of cube creates two advantages: each section is now connected to 4 other sections, rather than 2, and each section now has a visual connection to the other zones. Both of these encourage greater connection and therfore greater movement between the zones. This will revitalize ech section in a synergistc way.

14

CHICAGO STUDIO COMPILATION

MEGABLOCK

CERMAK CUBE

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.

15

GREGORY DALFONZO

16

CHICAGO STUDIO COMPILATION

CARTOGRAPHIC ARCHITECTURE THE CARTOGRAPHER’S STUDIO

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 reveal?

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?

17

S MORGAN ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S HALSTEAD ST

S CARPENTER ST

S MAY ST

S PEORIA ST

S MAY ST

S RACINE AVE

S PEORIA ST

S RACINE AVE

S LOOMIS ST

S THROOP ST

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

Typology map

E AV ND ISLA UE S BL

S PAULINA ST

R ST

S WOOD ST

S WOLCOTT AVE

S DAMEN AVE

TE UL

S WOOD ST

S DAMEN AVE

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CERMAK RD CERMAK RD CERMAK RD

S ALLPORT ST

UE ISLA ND AV E S WOLCOTT AVE

S BL

“THERE IS NO DOUBT WHATSOEVER ABOUT THE INFLUENCE OF ARCHITECTURE AND STRUCTURE UPON HUMAN CHARACTER AND ACTION. WE MAKE OUR BUILDINGS AND AFTERWARDS THEY MAKE US. THEY REGULATE THE COURSE OF OUR LIVES.” - WINSTON CHURCHILL

RESIDENTIAL

SINGLE FAMILY MULTI FAMILY

BUSINESS/ COMMERICAL RESTAURANTS/FOOD SERVICES S PRARIE AVE

S INDIANA AVE

S MICHIGAN AVE

S CANAL ST

S JEFFERSON ST

S WABASH AVE

S STATE ST

S CLARK ST

OFFICES MIXED USE CIVIC SCHOOLS MUNICIPALITIES COMMUNITY TOURISM

HOTELS CONVENTION CENTER

INDUSTRIAL

HISTORICAL

VACANT

S S CALUMET AVE

S PRARIE AVE

S INDIANA AVE

S MICHIGAN AVE

S WABASH AVE

S STATE ST

E

AV

S CLARK ST

E

AV

S WENTWORTH AVE

ON CET

IN

PR

S CANAL ST

S JEFFERSON ST

R

HE

RC

SA

CERMAK RD

CERMAK RD S WENTWORTH AVE

S PRINCETON AVE

URBAN PROPOSITIONS ANALYSIS

Analyze the typical typological aspects of the Cermak Road Axis, then analyze the atypical aspects of the Cermak region between Michigan Avenue and Lake Michigan.

S

S PRINCETON AVE

MIXED USE

S STATE ST

S WABASH AVE

S MICHIGAN AVE

S INDIANA AVE

S PRARIE AVE

OFFICES S CLARK ST

INDUSTRIAL

S

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON NCE PRI

AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S CARPENTER ST

S MORGAN ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S WENTWORTH AVE

S PRINCETON AVE

S BLU

AVE

INDUSTRIAL

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

MULTI FAMILY

RESTAURANTS/FOOD SERVICES

CONVENTION CENTER

AVE

NEW MANUFACTURING IN MODERN TECHNOLOGIES

TON

FUTURE PLANS

NCE

PRI

ND

AVE

S JEFFERSON ST

PILSEN

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S ASHLAND AVE

AVE

S CANAL ST

S PEORIA ST

S CARPENTER ST

S MAY ST

S MORGAN ST

S MAY ST

S ALLPORT ST

S RACINE AVE

S CARPENTER ST

S RACINE AVE

S THROOP ST

S LOOMIS ST

S ASHLAND AVE

S PAULINA ST

S LAFLIN ST

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S WOOD ST

S LAFLIN ST

S LOOMIS ST

S THROOP ST

S ALLPORT ST

S MORGAN ST

S HALSTEAD ST

E ISLA

S WOLCOTT AVE

S BLU

S WENTWORTH AVE

S PRINCETON AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

HISTORICAL

AVE

AVE

S BLU

AVE HER S ARC S DAMEN AVE

COMMUNITY

S ASHLAND AVE

ND

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S WABASH AVE

S STATE ST

S CLARK ST

S WENTWORTH AVE

TON

NCE

PRI

S DAMEN AVE

MUNICIPALITIES

S PAULINA ST

E ISLA

VACANT

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ND

HISTORICAL

AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S WABASH AVE

S

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

SCHOOLS S WOOD ST

AVE HER

MIXED USE

S STATE ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

MAJOR SCHOOLS ROADS PER AND TYPOLOGICAL THEIR TYPOLOGIES ZONE Through mapping, it is apparent that Pilsen’s commercial district exists on Blue Island Ave, 18th Street, and Cermak Road, which are highly traveled.

OFFICES S CLARK ST

COMMUNITY

S CANAL ST

MUNICIPALITIES

S PAULINA ST

S WOOD ST

BUSINESS/ COMMERICAL S WOLCOTT AVE

20

SCHOOLS S WOOD ST

S WOLCOTT AVE

E ISLA

ND

S ARC

S DAMEN AVE

ORIGIN AND USE

The industrial corridor, extending from northern Chinatown to Pilsen along the Chicago River, is slowly being redeveloped to bring modern manufacturing and industrial jobs to the area.

ST LTER

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

CERMAK RD CERMAK RD CERMAK RD CERMAK RD

CIVIC S DAMEN AVE

E ISLA

ND

COU W

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

E ISLA

AVE ND

AVE HER S DAMEN AVE

ST LTER

ST LTER

S ARC

CIVIC S DAMEN AVE

COU W

COU W

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

VACANT

S BLU

GREGORY DALFONZO

MULTI FAMILY

INDUSTRIAL

CONVENTION CENTER

S BLU

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON NCE

AVE

S WENTWORTH AVE

S PRINCETON AVE

MIXED USE

S STATE ST

S WABASH AVE

S MICHIGAN AVE

S INDIANA AVE

S PRARIE AVE

OFFICES S CLARK ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

HISTORICAL

AVE

PRI

COMMUNITY

S CANAL ST

MUNICIPALITIES

S PAULINA ST

ND

VACANT

ND S BLU E ISLA

HISTORICAL

AVE

S STATE ST

S

S CANAL ST

S JEFFERSON ST

S HALSTEAD ST

S PEORIA ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

SCHOOLS S WOOD ST

E ISLA

S MICHIGAN AVE

S INDIANA AVE

S PRARIE AVE

MIXED USE

S WABASH AVE

S JEFFERSON ST

S HALSTEAD ST

S PEORIA ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

6 TYPOLOGICAL ZONES

TYPOLOGY

Through mapping and diagraming typologies, 6 separate zones are defined.

MCCORMICK SOCIAL HOUSING

OFFICES S CLARK ST

COMMUNITY

S CANAL ST

MUNICIPALITIES

S PAULINA ST

S WOOD ST

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

S

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON NCE PRI

AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S CARPENTER ST

S MORGAN ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S WENTWORTH AVE

S PRINCETON AVE

21

AVE

S DAMEN AVE

PILSEN

ROW HOME & SCHOOLS

Through mapping typology within Pilsen, a dense neighborhood of residential and mixed use row houses was apperent. Supporting this heavy residential area are several schools and community programs.

S ARC

HER

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

SCHOOLS S WOOD ST

S WOLCOTT AVE

E ISLA

AVE ND

CIVIC S DAMEN AVE

E ISLA

AVE ND

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

S DAMEN AVE

ST LTER

ST LTER

AVE HER

CIVIC S DAMEN AVE

COU W

COU W

S ARC

HISTORICAL CHINATOWN INDUSTRIAL PILSEN

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

VACANT

S BLU

CHICAGO STUDIO COMPILATION

INDUSTRIAL

S BLU

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

MULTI FAMILY

INDUSTRIAL

CONVENTION CENTER

S BLU

MULTI FAMILY

CONVENTION CENTER

GREGORY DALFONZO 1 WENDNAGEL & COMPANY WAREHOUSE

2 HOYT BUILDING

3 THOMSON & TAYLOR SPICE CO. BUILDING

4 THE WESTERN SHADE CLOTH CO.

GROCERY DISTRIBUTOR

TANK AND WATER SAFETY MANUFACTURER

HOME GOODS DISTRIBUTOR

WINDOW SHADE FACTORY

4 3 1

2

“From the day the very first settlers came to what is now the city of Chicago, the place was a central depot, a distributing center, of provisions. Its location at the head of navigation on the Great Lakes, and the crossroads of the routes followed by the coureurs du bois, gave it great advantage over all other points.”

HISTORIC BUILDINGS

INDUSTRIAL

RESIDENTIAL

SINGLE FAMILY MULTI FAMILY

S WOLCOTT AVE

BUSINESS/ COMMERICAL RESTAURANTS/FOOD SERVICES OFFICES

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

S WOOD ST

S DAMEN AVE

RESIDENTIAL

MIXED USE CIVIC SCHOOLS MUNICIPALITIES COMMUNITY TOURISM

AVE S BLU

E ISLA

ND

HISTORICAL

VACANT

S S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

AVE

CERMAK RD S WENTWORTH AVE

S PRINCETON AVE

BUSINESS/ COMMERCIAL

S WABASH AVE

AVE

S ARC

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CERMAK RD

S CLARK ST

TON

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S WENTWORTH AVE

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AVE

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S LAFLIN ST

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S ASHLAND AVE

ND

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S BLU ST

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S DAMEN AVE

CERMAK RD

CERMAK RD

HOTELS CONVENTION CENTER

INDUSTRIAL

COU

COMMUNITY

TYPOLOGICAL GROUPS

CHINATOWN

22

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON

NCE

PRI

AVE

S WENTWORTH AVE

S PRINCETON AVE

MIXED USE

S STATE ST

S WABASH AVE

S MICHIGAN AVE

S INDIANA AVE

S PRARIE AVE

OFFICES S CLARK ST

S LAFLIN ST

S LOOMIS ST

S THROOP ST

S ALLPORT ST

S RACINE AVE

S MAY ST

S CARPENTER ST

S MORGAN ST

S PEORIA ST

S HALSTEAD ST

S JEFFERSON ST

S CANAL ST

COMMUNITY

S ASHLAND AVE

HISTORICAL

AVE

S

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

MUNICIPALITIES

S PAULINA ST

ND

VACANT ND S BLU E ISLA

HISTORICAL AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

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S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

SCHOOLS S WOOD ST

E ISLA

MIXED USE

S PRARIE AVE

OFFICES S CLARK ST

COMMUNITY

S CANAL ST

MUNICIPALITIES

S PAULINA ST

S WOOD ST

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

S

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON NCE PRI

AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S CARPENTER ST

S MORGAN ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S WENTWORTH AVE

S PRINCETON AVE

23

SCHOOLS S WOOD ST

S WOLCOTT AVE

2009

1966

1954

AVE S DAMEN AVE

DEMOLISH ICKES HOMES

HILLARD APARTMENTS COMPLETE

CONSTRUCTION OF ICKES HOMES

S ARC

HER

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

BLUE ISLAND & ARCHER AVE

THE DIAGONAL STREET Both Pilsen’s Blue Island Avenue and Chinatown’s Archer Avenue act as a commercial axis. These diagonal streets mimic the Chicago River and provide a more direct path between 2 areas.

CIVIC S DAMEN AVE

E ISLA

AVE ND

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

E ISLA

AVE ND

AVE HER

S DAMEN AVE

ST LTER

ST LTER

S ARC

CIVIC S DAMEN AVE

COU W

COU W

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

VACANT

S BLU

CHICAGO STUDIO COMPILATION

“MORE DIAGONAL STREETS!”

BLUE ISLAND AVENUE PILSEN COMMERCIAL ROAD

INDUSTRIAL

S BLU

TIMELINE

SOCIAL HOUSING

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

MULTI FAMILY

INDUSTRIAL

CONVENTION CENTER

S BLU

ARCHER AVENUE COMMERCIAL AXIS

MULTI FAMILY

CONVENTION CENTER

S CALUMET AVE

S PRARIE AVE

S INDIANA AVE

S MICHIGAN AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON NCE

AVE

S WENTWORTH AVE

S PRINCETON AVE

MIXED USE

S STATE ST

S WABASH AVE

S MICHIGAN AVE

S INDIANA AVE

S PRARIE AVE

OFFICES S CLARK ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

HISTORICAL

AVE

PRI

COMMUNITY

S CANAL ST

MUNICIPALITIES

S PAULINA ST

ND

VACANT

INDUSTRIAL

HISTORICAL

ND

AVE

TOURISM

S BLU

AVE

AL CAPONE’S HEADQUATERS

LEXINGTON HOTEL

GENTRIFICATION

INDUSTRIAL

VACANT

S

S CALUMET AVE

S PRARIE AVE

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S INDIANA AVE

S STATE ST

S WABASH AVE

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S WENTWORTH AVE

TON NCE PRI

AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S CARPENTER ST

S MORGAN ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S WENTWORTH AVE

S PRINCETON AVE

S BLU

AVE

USE OVER TIME

HISTORICAL

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

MULTI FAMILY

RESTAURANTS/FOOD SERVICES

CONVENTION CENTER

SINGLE FAMILY RESIDENTIAL

HOTELS

CONVENTION CENTER

$ S BLU E ISLA

S INDIANA AVE

S MICHIGAN AVE

S STATE ST

S WABASH AVE

S

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

SCHOOLS S WOOD ST

E ISLA

MIXED USE

S PRARIE AVE

OFFICES S CLARK ST

S LAFLIN ST

S LOOMIS ST

S THROOP ST

S ALLPORT ST

S RACINE AVE

S MAY ST

S CARPENTER ST

S MORGAN ST

S PEORIA ST

S HALSTEAD ST

S JEFFERSON ST

S CANAL ST

COMMUNITY

S ASHLAND AVE

S PAULINA ST

BUSINESS/ COMMERICAL S WOLCOTT AVE

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MUNICIPALITIES

S PAULINA ST

S WOOD ST

ACTIVE NOW

ACTIVE 1930

AVE S DAMEN AVE

E ISLA

ND

HISTORICAL

With the introduction of Henry Ford and the newly established Motor Row, the area attracted automobile repair shops and wealthier residents moved into the area along Michiagn Ave.

CIVIC S DAMEN AVE

ST LTER

S ARC

HER

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

SCHOOLS S WOOD ST

S WOLCOTT AVE

COU W

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

E ISLA

ND

AVE

S DAMEN AVE

ST LTER

S ARC

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CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

CIVIC S DAMEN AVE

COU W

S BLU

GREGORY DALFONZO

HISTORIC PRESEVATION

R.R DONNELLEY PRINTING PLANT

MULTI FAMILY

S

PRI

S CALUMET AVE

S PRARIE AVE

S INDIANA AVE

S MICHIGAN AVE

S WABASH AVE

S STATE ST

S CLARK ST

S WENTWORTH AVE

TON NCE

AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S WENTWORTH AVE

S PRINCETON AVE

MIXED USE

S STATE ST

S WABASH AVE

S MICHIGAN AVE

S INDIANA AVE

S PRARIE AVE

OFFICES S CLARK ST

MUNICIPALITIES COMMUNITY

S PAULINA ST

S ASHLAND AVE

S LAFLIN ST

S LOOMIS ST

S THROOP ST

S ALLPORT ST

S RACINE AVE

S MAY ST

S CARPENTER ST

S MORGAN ST

S PEORIA ST

S HALSTEAD ST

S JEFFERSON ST

S CANAL ST

SCHOOLS S WOOD ST

HISTORICAL AVE

VACANT

ND S BLU E ISLA

HISTORICAL

AVE

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S MORGAN ST

S CARPENTER ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

ND

S INDIANA AVE

S MICHIGAN AVE

S WABASH AVE

S STATE ST

COMMUNITY

S PAULINA ST

S WOOD ST

E ISLA

MIXED USE

S PRARIE AVE

OFFICES S CLARK ST

MUNICIPALITIES

S CANAL ST

SCHOOLS S WOOD ST

S

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CLARK ST

S WENTWORTH AVE

TON NCE PRI

AVE

S CANAL ST

S JEFFERSON ST

S PEORIA ST

S HALSTEAD ST

S CARPENTER ST

S MORGAN ST

S MAY ST

S RACINE AVE

S ALLPORT ST

S THROOP ST

S LOOMIS ST

S LAFLIN ST

S ASHLAND AVE

S PAULINA ST

S WOOD ST

S WOLCOTT AVE

S WENTWORTH AVE

S PRINCETON AVE

25

2

2,600,000 FT 5 FLOORS

2

2,799,973 FT 100 FLOORS

2

4,477,800 FT 108 FLOORS

MCCORMICK PLACE

HANCOCK CENTER

WILLIS TOWER

AVE

S DAMEN AVE

E ISLA

AVE ND

S ARC

HER

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

OBTRUSTIVE UNOBTRUSTIVE

CIVIC S DAMEN AVE

ST LTER

S WOLCOTT AVE

COU W

BUSINESS/ COMMERICAL

RESTAURANTS/FOOD SERVICES

S WOLCOTT AVE

E ISLA

AVE ND

AVE

S DAMEN AVE

ST LTER

S ARC

HER

CERMAK RD CERMAK RD CERMAK RD CERMAK RD CERMAK RD

CIVIC S DAMEN AVE

COU W

VACANT S BLU

CHICAGO STUDIO COMPILATION

INDUSTRIAL

S BLU

MCCORMICK

SITE OVERVIEW

INDUSTRIAL

S BLU

MCCORMICK

SQUARE FOOTAGE COMPARISON

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

MULTI FAMILY

CONVENTION CENTER

HOTELS TOURISM

SINGLE FAMILY RESIDENTIAL

MULTI FAMILY

CONVENTION CENTER

GREGORY DALFONZO

S CALUMET AVE

S MICHIGAN AVE

S PRARIE AVE

S WABASH AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S WABASH AVE

S STATE ST

S INDIANA AVE

S STATE ST

S PRARIE AVE

CERMAK RD CERMAK RD

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S INDIANA AVE

S MICHIGAN AVE

S WABASH AVE

S INDIANA AVE

S WABASH AVE

26

S STATE ST

MCCORMICK PLACE

AN ANOMALY

Analyzing the region from Michigan Avenue to Lake Michigan reveals the idea that McCormick place is an anomaly.

S STATE ST

S PRARIE AVE

S CALUMET AVE

S INDIANA AVE

S MICHIGAN AVE

S PRARIE AVE

S MICHIGAN AVE

S STATE ST

S WABASH AVE

S INDIANA AVE

S STATE ST

S WABASH AVE

S CALUMET AVE

S PRARIE AVE

S MICHIGAN AVE

S PRARIE AVE

S MICHIGAN AVE

S WABASH AVE

S INDIANA AVE

S WABASH AVE

S STATE ST

S INDIANA AVE

S STATE ST

CERMAK RD CERMAK RD

MCCORMICK

INTERNAL FOCUS

CHICAGO STUDIO COMPILATION

COMPLETE ISOLATION

McCormick place is a self-sustaining entity that lacks a strong connections to its context. If you remove that context does it make a difference at all?

EDGE CONDITIONS

50 MILES SOUTH OF CHICAGO

ADJACENT TO O’HARE

DOWNTOWN DETROIT, MICHIGAN

WEST-END OF 22ND STREET ANTI-CONTEXT

Do the surrounding blocks substantially support McCormick place? If the convention center was transplanted elsewhere, would there be any significant effect on the success of the convention center?

EDGE CONDITIONS 27

GREGORY DALFONZO

RESIDENTIAL

COMMERCIAL

TOURISM

PROGRAM, USE, AND USER

The commercial zone which sits between the residential area and McCormick place has the potential to create a relationship between the residents and visitors.

EDGE CONDITIONS

DOWNTOWN AREA O’HARE AIRPORT

MCCORMICK PLACE

MCCORMICK PLACE

TRANSPORTATION

Travelers often travel directly to McCormick place without taking advantage of what the immediate surroundings have to offer.

ARRIVAL CONDITIONS 28

CHICAGO STUDIO COMPILATION

IMMEDIATE CONTEXT

What are a few of the specific conditions within the immediate context which further encourages this lack of relationship?

EDGE CONDITIONS

ZONES OF RELATION

Six different zones offer insight into a highly varied and strange disregard for the surroundings.

EDGE CONDITIONS 29

GREGORY DALFONZO

CERMACK ROAD

There is an obvious scale difference. The wide street and large set back emphasize a lack of connection with the other buildings on Cermack.

EDGE CONDITIONS

INDIANA AVENUE

The street is narrower; however the incredibly permeable facade of McCormick greatly contrasts with the boarded up, neglected, historic buildings across the street.

EDGE CONDITIONS 30

CHICAGO STUDIO COMPILATION

STEVENSON HIGHWAY

As Stevenson Highway runs tangentially to McCormick place, the two mega powers of Cermack Road merely abut each other. One does not nod to the other.

EDGE CONDITIONS

MARTIN LUTHER KING DRIVE

The area is completely encompassed by McCormick Place. This heightens the contrast with the surrounding historical neighborhood.

EDGE CONDITIONS 31

GREGORY DALFONZO

LAKE MICHIGAN

The narrow stretch of lake front adjacent to McCormick is separated from the raised terrace of McCormick, creating a disconnect.

EDGE CONDITIONS

LAKESHORE DRIVE

Where Lake Shore drive usually creates a barrier between the lake and the city, here McCormick bridges that gap.

EDGE CONDITIONS 32

CHICAGO STUDIO COMPILATION

METRA

LAKESHORE DRIVE

WALKABLE STREETS

CERMACK TO LAKE MICHIGAN

Lake Shore Drive, Metra and freight tracks, McCormick bus way, and other non-walking streets act as a barrier between the Cermack Corridor and Lake Michigan.

BARRIER CONDITIONS

MCCORMICK, CHICAGO

DETROIT, MICHIGAN

NEW YORK, NEW YORK

FORT LAUDERDALE, FLORIDA WATERFRONT PRECEDENTS

In these other cities, the street is less of a barrier between the urban fabric and the water. At McCormick, these conditions are absolute.

BARRIER CONDITIONS 33

GREGORY DALFONZO

THROUGH MCCORMICK

The most efficient to travel from Cermack Road to Lake Michigan is to walk through McCormick Place.

BARRIER CONDITIONS

CROSSING LAKESHORE DRIVE

To reach Lake Michigan while avoiding McCormick Place requires walking several miles north or south. In Contrast, at Millennium Park, there are crossings at every block.

BARRIER CONDITIONS 34

CHICAGO STUDIO COMPILATION

ANALYSIS SUMMARY Our analysis of our site between Michigan Avenue and Lake Michigan is that McCormick is the atypical in this site. McCormick Place, with 2.6 million square feet of exhibition space and another milllion or so square feet of support space, dwarfs the surrounding buildings by several orders of magnitude. Additionally, it is a closed loop system, compeletely self sustaining. Finally, McCormick Place and Lakeshore Drive act as a barrier between Cermak Road and Lake Michigan.

35

GREGORY DALFONZO

Cermak Road

McCormick West, Cermak Road

36

CHICAGO STUDIO COMPILATION

McCormick Place Grand Concourse

SITE PHOTOGRAPHY CERMAK AXIS

McCormick Place West Building

37

GREGORY DALFONZO

Grand Concourse

Grand Concourse

38

CHICAGO STUDIO COMPILATION

Lakeshore Drive Bridge

Lakeshore Drive Bridge with view to lake Michigan

39

GREGORY DALFONZO

McCormick Place East

Lake Michigan and Northerly Island`

40

CHICAGO STUDIO COMPILATION

Burnham Harbour and the Lakefront Trail

McCormick Place East Terrace looking towards The Loop

41

GREGORY DALFONZO

Vietnam Veteran’s Memorial

Parc De La Villete

42

CHICAGO STUDIO COMPILATION

Richard Serra Sculptures

PRECEDENTS

Vieux Port Pavilion

43

URBAN PROPOSITIONS

LIMINAL CONSTRUCT-MCCORMICK PATHWAY Use the prior analysis of the Cermak Road Axis to formulate a response that serves the area. Cermak/Lake liminal construct - through, into and out of, to the other side of, to the far side of

GREGORY DALFONZO

MCCO

CO

223 DAYS

39% OF THE YEAR MCCORMICK PLACE IS UNUSED

J

F

M

A

M

J

J

A

S

O

N

18

15

16

22

17

27

22

17

24

19

16

46

CHICAGO STUDIO COMPILATION

ORMICK PLACE

82

ANNUAL ONVENTIONS

68 CONVENTIONS USE A SINGLE BUILDING 14 CONVENTIONS USE MULTIPLE BUILDINGS ONLY 2 CONVENTIONS USE ALL BUILDINGS

D

22%

9

40%

42%

47

26%

FE BR U

RCH MA

OCTO BER

R BE M

JANU ARY

BER M E C DE

Y AR

NO VE

GREGORY DALFONZO

BER

APR

IL

SEPTEM

MCCORMICK PLACE DAYS OF USE

AU

ST

A

Y

G

U

M

JUL

JUN

Y

All of McCormick

48

E

CHICAGO STUDIO COMPILATION

39% 74%

PERCENTAGE OF TOTAL USE

61%

Lakeside Building

49

26%

GREGORY DALFONZO

50

CHICAGO STUDIO COMPILATION

NEW PROGRAMMATIC ELEMENTS PROPOSED BY THE CITY

51

GREGORY DALFONZO

PRAIRIE HOMES

HILLIARD HOMES

GREEN LINE STATION

CHINATOWN

RED LINE STATION MOTOR ROW

HIGH DENSITY HOUSING

52

CHICAGO STUDIO COMPILATION SOLDIER FIELD

PARKING

LAKEFRONT TRAIL

DEPAUL STADUIM

NORTHERLY ISLAND

MCCORMICK PLACE EAST

MCCORMICK PLACE CENTER MCCORMICK ROOF GARDEN

BIRD SANCTUARY

THE CERMAK ROAD NODE NETWORK 53

GREGORY DALFONZO

The first attempts at an intervention on Cermak Road

54

CHICAGO STUDIO COMPILATION

55

GREGORY DALFONZO

The first attempts at an intervention in McCormick East

56

CHICAGO STUDIO COMPILATION

57

GREGORY DALFONZO

The first attempts at an intervention at McCormick West

58

CHICAGO STUDIO COMPILATION

59

Current Situation: McCormick Place is self sustaing, repelling locals and keeping conventiongoers inside.

Proposed situation: Locals are drawn into and through McCormick Place and conventiongoers are coaxed out to the surroundings.

URBAN PROPOSITIONS FINAL PROJECT PROPOSAL

Our project is focused on McCormick Place, the largest convention center in America, located in the Near South Side of Chicago. When we analyzed the greater context, we realized how out of place McCormick is. The scale of the buildings is several orders of magnitude larger than the surrounding neighborhoods, and it acts a barrier between these neighborhoods and Lake Michigan. Then we looked at the surrounding building typologies, and determined that there are a multitude of disparate elements that are individually strong but have no relationship to each other. We began to question what if these elements were connected? How would this impact the activity in the neighborhood?

Currently, locals don’t utilize McCormick, even though it is public space that easily crosses Lake Shore drive to get to the lake. And the convention-goers don’t explore the surrounding neighborhoods, despite a wealth of local culture. Our project goal is to reverse this, integrating McCormick Place into the local neighborhood in order to create a vibrant and active community that stretches from Motor Row to Northerly Island. Locals from this neighborhood will be attracted to new programmatic spaces, especially those in the East building, and visitors will be coaxed out to the newly active surrounding areas. Our project takes a series of moves to fulfill this goal: First is a proposed developmental master plan designed to activate unused plots of land on and around Cermak. Second is the renovation of the Lakeside building into public park space. Last is the creation of a connective path running through the newly created elements, ending in a bridge from the Lakeside to Northerly Island. Combined, these elements will create a cohesive neighborhood around that unites McCormick Place and the surrounding areas.

GREGORY DALFONZO

Urban Master Plan and the new programmatic pathway

62

CHICAGO STUDIO COMPILATION

63

GREGORY DALFONZO

BUS STOP RESIDENTIAL

RETAIL

DATA CENTER

PARKING

HYATT HOTEL

MCCORMICK NORTH

MAIN ENTRANCE

MCCORMICK SOUTH

GRAND CONCOURSE

400’

A section showing the new interventions along Cermak Road and through the convention center

64

ROTATE

200’

HISTORICAL

ROTATE

100’

HOTEL

ROTATE

25’

OUTDOOR MARKET

LOCAL BUSINESS DEPAUL STADIUM

CHICAGO STUDIO COMPILATION

PATH WITH PROGRAM

INDOOR PARK MCCORMICK EAST

65

BRIDGE BURNHAM HARBOR

NORTHERLY ISLAND

GREGORY DALFONZO

An axonometric showing the new pathway from Michigan Avenue to Northerly Island

66

CHICAGO STUDIO COMPILATION

67

GREGORY DALFONZO A section through McCormick Plaza showing the new plaza enagaged at a human scale.

68

CHICAGO STUDIO COMPILATION

69

GREGORY DALFONZO

BRIDGE CLOSED 70

CHICAGO STUDIO COMPILATION

BRIDGE OPEN

The new bridge to Northerly Island, composed of a series of floating hexagonal platforms. In order to not disrupt boat traffic into the harbour, the platforms take advantage of the tesselative properties of hexagons to curl using a pnuematic actuator up to allow ships to pass. The bridge can open fractionally depending on the size of the ship, allowing for quick opening an closing.

The hexagons reference the Studio Gang proposal for Northerly Island, designed around a haxagonal grid. When open, the bridge forms a new island that can be used for a variety of new programs.

The platforms use light galvanized steel framing for structure, foam floatation, wood sides, and a glass top. At night the platforms are lit from below, gently illuminating the bridge.

71

GREGORY DALFONZO

72

CHICAGO STUDIO COMPILATION

73

INTERNSHIP CANNON DESIGN

Work completed as part of the Cannon Design internship.

I participated in design discussions, prepared solar shading and solar radiation studies, built a 3D site model, and created a file from which to render up to date versions of the Revit model with little to no additional effort.

GREGORY DALFONZO

76

CHICAGO STUDIO COMPILATION

SHADING STUDY: SUMMER SOLSTICE

77

GREGORY DALFONZO

78

CHICAGO STUDIO COMPILATION

79

SHADING STUDY: WINTER SOLSTICE

GREGORY DALFONZO

80

CHICAGO STUDIO COMPILATION

SHADING STUDY: FALL OR SPRING EQUINOX 81

GREGORY DALFONZO

March

July

82

CHICAGO STUDIO COMPILATION

May

September

SOLAR RADIATION STUDIES: EAST FACADE 83

GREGORY DALFONZO

January

March

July

September

84

CHICAGO STUDIO COMPILATION

May

November

85

SOLAR RADIATION STUDIES

GREGORY DALFONZO

January

March

July

September

86

CHICAGO STUDIO COMPILATION

May

November

SOLAR RADIATION STUDIES: SOUTH FACADE 87

HARPER COLLEGE SITE MODEL

GREGORY DALFONZO

88

CHICAGO STUDIO COMPILATION

89

GREGORY DALFONZO

90

CHICAGO STUDIO COMPILATION

91

GREGORY DALFONZO

92

CHICAGO STUDIO COMPILATION

93

GREGORY DALFONZO

94

CHICAGO STUDIO COMPILATION

95

PROFFESSIONAL PRACTICE LECTURES RANDY GUILLOT DREW RANIERI BRIAN LEE NATASHA KROL CARL D’SILVA IKER GIL GEOFF WALTERS LAURA FISHER DON COPPER CARL D’SILVA PETER ELLIS ADAM WHIPPLE DAVID WILTS JOHN SYVERSTEN

PRACTITIONER INTERVIEWS DREW RANIERI LUIS MONTERRUBIO LAURA FISHER JOHN SYVERTSEN TIM SWANSON CASEY RENNER

ETHICS INTERVIEW

98 100 102 103 104 105 106 108 109 10 111 113 114 115

116 117 118 119 120 121

RANDY GUILLOT

122

INTERVIEW RESPONSE

123

Randy Guillot Principle at Cannon Design

GREGORY DALFONZO

“Together we create design solutions to the greatest challenges facing our clients and society.”

Who is he?

Randy is the Principle in charge of proliferation of a healthy design environment at the Cannon Design Office in Chicago.

-

The top 10 things he’s learned - Build meaningful relationships through hard work.

• There is no substitute for hard work.

• The valuable people are people who are creative, innovative, and hard working.

• The path is no longer linear or written in a book.

• The relationships you build right now are incredibly valuable and can shape a large part of your future.

• Do whatever it takes to show people that you have the integrity and dedication and people will trust you.

- Communication is everything • You have to get what’s in your head out into the world. That takes communication.

• We don’t build stuff, we represent things.

This is a form of communication.

• You are as good as your ability to convince people you are any good - Have broad influences and mentors • Embrace the mentor • You will be assigned mentors. That’s great.

They may not be the mentor you need. Go out and find the mentor that you need who will push you and help you the way you need it.

- Surrender to your time management demon (used to say Architects suck at time management) • Architecture is non linear.

• If you cannot determine what things are important to continue exploring and what things are not, your ideas will never be as strong as they could be.

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-

-

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98

• You will fail at this. And hopefully you’ll fail surrounded by people who want to help you learn from that failure.

• It takes 3-5 times longer than you think it will.

• You need to figure out how your team works.

Who is leading when and who is following when?

Your client is your design partner • The client (the person who pays you) is integral to the design process.

• Institutions are very difficult because there are so many different stakeholders • Communication is key in order to be able to create the best architecture you can.

Listen (to me and ignore me) • Listen>Do>Make it your own to the best of your ability • When a boss asks you to do something, do it.

• Listen, but take it in your own direction. But don’t forget that there is a method to the madness.

• Huge opportunities exist when you’re young to come in and make a great impression.

Don’t expect the outcome, set yourself up for discovery • Don’t skip steps because of time pressure • The most valuable thing in companies is creativity. You don’t get there by skipping from A to G • Need to find the balance between a flexible creative process and a linear corporate model.

Promote your strengths • Start by telling, then go to showing • You have to have to have to show it.

• What can you do to make X better?

• What can you do for this project? What can you bring to make this a better place?

• Be your biggest cheerleader (but don’t be arrogant) • If you don’t promote yourself, who will.

Be generous and courageous • Pro bono-not free work, but work for good.

• Genuine generosity translates into a connection between people and the ability to engage with people.

There’s always more than one right answer • It’s in the grey that we thrive.

CHICAGO STUDIO COMPILATION

• There’s always room to approach a design task from another equally brilliant angle Bonus point: An impression is ongoing.

Response:The importance of personal integrity in architecture and business Randy’s lecture is, to me, centered on the idea that an architectural practice is more than just making good architecture. Architecture, and business, requires personal integrity. In school, we are taught that all we need to do is make exceptional architecture that is functional and beautiful and meaningful, and that if we can manage that everything will work out. Haha all we need to do.

As if that weren’t skating near to impossible.

But the truth is that this impossibility isn’t the be all end all, it's merely the necessary beginning. An architectural practice has to do all of this while managing client needs, structural necessities, building codes, employee relations, and a host of other complex realities. And they need to do all of this while at the same time being able to turn a profit in order to stay alive.

The key to doing this is to have personal integrity.

As architects, we need to be true to our designs.

We need to make our designs more than just pretty shapes and nice materials. They need to positively impact the human experience. We also need to have integrity with our boss. They need to be able to trust us to do good work, quickly. And they need to trust us to trust them in what they are doing. That when they tell us to do something, they have a reason for it. And we need to have integrity with our clients. They need to be able to trust us to help hem create a building that fulfills their needs rather than our whims. All of these things come from holding oneself to the highest standard. When you make yourself into someone with the highest ethics, others will trust you.

99

Drew Ranieri Associate Principle at SCB

GREGORY DALFONZO

• Leave no gaps-this is where legal disputes come in - Design build and owner build blur the traditional lines of responsibility - Architects don’t make buildings. We make a set of instructions to make a building.

- Once you sign a contract, you have to live with it. Be very careful and specific.

- Important questions • What am I doing?

• How am I doing it?

• Why am I doing it?

- The triangle of major entities in a project • Owner • Architect • Contractor - The digital world has changed the consumer’s (owner/developer) appetite • How do renderings fit into the contract?

• Are architects required to make a building that looks like the picture/visualization they show?

- There’s a lot of dull work to be done that is incredibly important!

R esponse: The importance of specificity and reputation:

Contracts - Key Aspects of a Contract • Scope • Money • Roles • Risk and Responsibility • Expectations • Work Product (and who owns Intellectual Property Rights) • Schedule - Never work without a contract - Your reputation is what you live and die by • Social Media has changed how a reputation works • Architecture Blogs - Any architect can make it look pretty-Architects help people get more for their money - Perfection is impossible - Stages of a project • Conceptual design • Schematic Design-SD • Design Development-DD • Construction Documents-CD • Bidding • Construction Administration-CA - Schedule • Your Schedule • The Clients Schedule • Time is literally money-buildings are financed by loans, so for every day that the building is under construction and non revenue generating, the developer is losing money to interest.

- Fees need to take into account time and inflation-if your do a 5 year project and all your fees are based on value at the start of the project, due to inflation they are worth less at the end of the project.

- Work product • What is the end result used for?

• What happens to this after the project is complete? Drawings, sketches, models, BIM • Who owns the IP? - Risk/Responsibility • Spells out for everyone involved

A contract, once signed can be either a shield around or a lead weight around your neck. A good contract will protect all parties, assuming that they follow through on their responsibilities. A bad contract leaves ambiguous risk assigned to none of the parties, creating disputes and drawn out legal fights. A good contract leads to fair fees and acceptable building costs. A bad contract cane cost any one party a lot of money. A good contract ends with all parties satisfied.

Contracts are essential to the work that an architect does. Contracts specify what is required, when it is required, how much it will cost, and so on and so forth. Because a contract is so specific, and architectural contracts involve such huge sums of money, specificity is incredibly important.

Contracts should spell out exactly what is required from each party and take into account what could go wrong, so as to make provisions for it. They should also seek to be fair and unbaised.

100

CHICAGO STUDIO COMPILATION

However, while a contract spells out legal requirements, a reputation is a far more valuable thing. An architect’s reputation is what he lives and dies by. It is how he gets projects and hires contractors and consultants. A good reputation is hard to get and harder to keep. A reputation comes not only from following through on your contractual obligations, but in going above and beyond them. I believe that a good reputation come from always putting in a good faith effort to do your best at all times.

101

Brian Lee Principle at SOM

GREGORY DALFONZO

- “ We shape our buildings and they shape us"Winston Churchill - Create urban buildings that interact with the city - How does a building relate to the city?

- What is human scale?

- How do human relate to the building?

- Humanize the experience of a building • Scale • Natural light • Tactile materials • Link to the landscape - You need to convince people of your good ideas-this is not the same as salesmanship. It all comes down to the user experience.

- Advice • Don’t be afraid to test out non traditional ways to use your education • Branch out if you want-there are tons of other ways fields that your skills are in high demand for • Your work becomes who you are • Do everything you can to be an interesting person • What do you have to offer?

• Pursue excellence for yourself

102

CHICAGO STUDIO COMPILATION

Natasha Krol Analyst at M cKinsey and Com pany

can know how to help others, you must first know yourself. Introspection and meta thinking leads to asking and attempting to answer questions like “what is my process?” What am I uncomfortable with and why?”. It also leads to learning to listen, first by learning to listen to yourself, then by learning to listen to others.

- Background • Started out studying Neuroscience • Switched to architecture (with a concentration in neuroscience and psych) • Started at the Mayor’s office • Then moved to McKinsey via Serendipity - McKinsey is a “doctor for corporations” - It helps clients solve their own problems - Architecture is defined by how you arrive at it - How you engage the world is more important than the topic you study - What is the problem?

- Who is having the problem?

- How will they best receive your help?

- What matters is not having the best idea but finding a way to communicate and influence - Think about how you think. What is your process?

- Social network analysis • Who do I talk to when I have a question?

• This method highlights the people who are key to a given network (company, government, etc.)

- Listening to people is incredibly important • “I walk through the world with my eyes wide open” - Get comfortable-make room for the uncertain - Draw your own box before stepping out of it - Question everything but ask “what if?”

- Listen and adapt-approach the world with eyes wide open - Build community to scale impact.

- Do you-How do you approach the world - Do something abnormal or unexpected every day - Empathy takes time, listening, and silence - Design your own life - Know your own story-spend as much time on it as your work - Try to think radically

In understanding yourself better, you will be better understand others and their needs, so that you can better help them. By learning to listen to yourself means that you will know how to listen to others and to empathize with them. Through listening comes the ability to identify the problem Learning about your process will make you more efficient at solving the problems that you have identified.

The other major takeaway from this lecture is the value of empathy and compassion. Solving problems, whether it be an architectural problem for which you need to understand the client and their needs or a world scale problem like polio eradication that entails understanding whole culture, requires empathy and compassion.

Without these skills, you can never truly understand someone else, and without understanding someone else, how can you ever hope to understnad what they need help with?

Response: The importance of introspection Every single airplane I’ve ever been on has the same message. “In case of emergency, secure your own oxygen mask first, then assist others”.

Natasha’s lecture has a similar theme. Before you

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Carl D’Silva Vice President at M urphy/Jahn

GREGORY DALFONZO

• Glass cable wall - 9m O.C. vertical columns with horizontal truss between - Horizontal truss at the top to hold up the glass - The facade is only pinned to the roof - An architect makes something feasible and a contractor makes it happen

The Bangkok Airport - Timeline • 1960-1990: Planning • 1995-1996: Preliminary Design • 1997-1999: Redesign and Final Design • 1999-2001: Bidding • Fall 2001: Start of construction • 9/29/2005: Planned opening • 9/19/2005: Military Coup • 2006: Actual opening - Typical Project structure • Owner, architect, and contractor exist in a triangle, with a project manager coordinating - Actual structure • Way more complicated and political - Project site-East of Bangkok, in a rice paddy field • Active drainage required to keep the groundwater low - Project included planned areas for expansion - Huge column free space-allows for flexibility in the check in procedure - There is a split between terminal and concourse - High Tech skin juxtaposed with a traditional interior structure.

- Energy efficiency • Shading to reduce heat gain • Chilled radiant flooring and air cooling at ground level to only cool where people are • Fritted glass to reflect the sun • Low E coating to reduce solar gain - Lighting • Blue lights call out the superstructure • White lights reflect off the ceiling to light up the main space.

- Structure • Supertruss- 3 bowstring trusses combined to create one massive span over the main terminal • Concourse- 5 pin elliptical truss • Fabric concourse roof-3 distinct membranes - Weatherproof teflon - Polycarbonate sheets (for soundproofing) - Finish layer-open weave fabric with aluminum sun shading

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Iker Gil Director at M as Studio

CHICAGO STUDIO COMPILATION

• Online and in print • Exhibitions-4 so far

Response: The use of radical ideas as a testbed

- Biography • From Bilbao • Studied at IIT • Worked at SOM • Founded own firm-Mas Studio • Works between city building and building scales - Common themes • What are the assets that a city has that can propel it into the future? This is based on the building up of Bilbao after the flood of 1983 • Public space in Barcelona-Precise interventions to create an urban network • Knowing more about what other people are doing and how to best communicate - “Nothing I do is linear... I do projects that I’m interested in - If you don’t have all the information, don’t create a project, create a different way of looking at the problem. then you can solve the problem in the framework that exists - Projects don’t need to be final, but they can influence and change how people think.

- Data is objective, but analysis is subjective - The Pedway- How do you emphasize and utilize what’s there without destroying the street?

- There are unique aspects to the Pedway (there are no cars and very little natural daylight) - Use conceptual ideas as a soft way of testing ideas of how to reimagine certain spaces.

- Don’t complain, just think about how to use what you have - Marina City • A high rise that has a sense of pride in the building as a whole • A very diverse community - Shanghai Transforming • How do you show a city in transformation?

• 1980-2010 • By showing the old, the new, and the people • Gather a lot of information and then simplify • Essays from people of different disciplinesboth academic and personal - Mas Context • Quarterly publication • Looks at one topic in depth • 20 issues so far

In this lecture, Iker Gil talks about the use of conceptual ideas as a method of testing proposals.

I think of it as similar to our radical conjectures. By creating radical concepts, the merits of an idea are easily teased out. They need not be constrained by the details, and instead allow us to focus on the central theme of the project. Sometimes, the more radical the idea, the better. This idea serves especially well when trying to create a discussion for among peers. While a reasonable idea might get a few nods or some halfhearted questions, by creating something truly out there, you create a host of extreme critics and extreme supporters.

This leads to excellent discussion and development of strong concepts that can be applied to feasible projects.

I also thought Iker’s lecture was incredibly powerful for the methods of communication that he uses. He uses any and every method he can think of in order to convey his ideas, and he has a repertoire that enables him to always choose the right communication method for the project. The pedway project uses low detail axons to correctly express the spatial and programmatic qualities about a project without getting bogged down in the details. In contrast the modular garden project used something more akin to a rendering to show an experiential quality to the project. My one big takeaway from this lecture was to always continue to experiment with the representation and communication for each new project. What is right for one may be wrong for another. The surest way to present you project in its best light is to be constantly trying new approaches so that your repertoire of representation is the strongest it can be.

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Geoff W alters Director of Quality at Cannon Design

GREGORY DALFONZO

- Director of Quality • In charge of: - Standards development (firm wide) - Chicago office quality - Mid East Region quality • Lots of interaction with Specification Leaders - Technical Aspects of Architecture • The profession is a three legged stool - Design - Technical - Business and management • The technical deals with - Process - Performance - Detailing - Documentation - Delivery - Process • Clients complicate things-figure out their needs as early as possible to avoid complications late in the process • This can be cost, program, durability, acoustics, adaptability, and many others • Some clients are more savvy than others (especially institutions that do a lot of building) • The demands of the profession are so great that no one can do it all • Process needs to be multi disciplinary at all stages • Process needs goals - Performance • Caring about energy use started in the mid 70’s (oil embargo) and has been increasing steadily ever since • Architecture 2030 challenge-all [new] buildings need to be net zero by 2030 • CBEX-Commercial Building Energy Index • EUI-Energy Use Index (by project and region) • 2015 goal: 70% less energy than CBEX (70%80% leads to net zero when renewables are taken into account) • There has been an intense professional commitment • AIA Professional Sustainability Scan-Core and emerging issues - Core-Energy and Materials

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- Emerging-Resilience and Public Health • Sustainability needs to be fundamentally ingrained into a buildings DNA. This integration means that it can never be removed or value engineered out • Energy modeling is not absolute. It allows comparisons between different design decisions. This is comparative, not predictive • Sustainability can never work as an add on.

• We can get to ultra low energy buildings with no cost premium • Energy disclosure law-Buildings must release their energy usage. This will affect property values.

Detailing• Barriers and Relationships Documentation • BIM and Revit-Extremely complicated software-The 3D construction of a building in a virtual environment • To use BIM, you need to know how buildings are put together • Revit is a documentation tool, not a design tool (as opposed to Rhino) • Where is the line between design software and documentation software (and how do they interact) • Disconnect between BIM model and CD sheets-Architects need to be extremely thoughtful and deliberate in the transition.

Contractors (as of yet) have little experience with building from BIM, and therefore CD’s are vital for proper communication.

• CD’s are a narrative for how to build a building • In order to create great CD’s, start with a cartoon set (mock up) • How detailed and precise does a BIM model need to be?

Delivery • Used to be bid/build • Now time is money, so urgency adds a huge layer of complexity • Often construction starts before CD’s are complete When you get your degree, you are at the start of a process - Degree - IDP - License Exam (20% done)

CHICAGO STUDIO COMPILATION

- Continuing education • Manage your own development - Find mentors that you connect with - Study resources that you are interested in (books and online resources) - If you don’t know what you are drawing or modeling, you’re probably doing it wrong. Find out how to do it right.

operates on the principle of “something goes boom”. Surely architecture, in conjunction with creating net zero buildings, can push for the research and investment into new sources of energy like wind, solar, hydro, and fusion?

Response: Sustainability is possible, the difference between design and documentation I have always been interested in the idea of process in a digital age. Process is so intriguing because there is no right answer. It is also inextricably tied to mediums, the stuff in which we as architects think and communicate. Mediums have grown so much in the last 30 years, with the advent of computer design. Now there are all the old style mediums like sketching and drafting, as well as an uncountable number of computer programs, each with a slightly different focus.

AutoCAD for line drawings, Rhino for 3D modeling, Revit for BIM, the Adobe Suite for presentation. I am always interested in how other architects use these programs in conjunction with hand drawing in order to create their own process that works for them and their clients. Geoff posits that Rhino is a design program and Revit is a documentation program. What does that mean?

Should you only switch to Revit when you have a concrete idea of your building? After SD? Or is it DD? Maybe only for CD’s? I think it really comes down to which program you are most comfortable with using in each stage, and crafting your own process, one that works for you, your design team, and your client.

I have also always been interested in sustainable technologies and design. It is an amazing design challenge to create a building that uses almost no energy, while retaining cost parity and design integrity. But I also wonder about the other possibilities in sustainability. The architecture 2030 challenge is great, and every professional architect should abide by it. But it only covers new construction and some renovations. What of the older buildings which are highly energy inefficient? What about vehicles and manufacturing? We still use a power source that

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Laura Fisher M anaging Director at IPM

GREGORY DALFONZO

Alternative Careers

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- Biography • Bachelors of Architecture at Virginia Tech • MBA at University of Chicago • Licensed Architect, Interior designer, and Real Estate Agent • Corporate bank architect • Now works on the consumer side of architecture - Management - Leasing - Construction - Development - Zoning - Business-Architecture is a business. We tell other people how to spend their money - Need to know how something would actually work rather than how it looks - She works on contract-she is a one person business • This means she does everything (from payroll to taxes) • There’s a lot of recycling of business documents. Reuse and adjust - Know your actual skill set and what you are worth • Make sure you can deliver a good product - There are a myriad of places for an architect to work that are not architecture firms - Volunteer prospects can lead to opportunities.

Do things you are interested - How do you present yourself • Look to the leaders, not your peers.

• What is the culture of the place?

• How do you feel about it?

• How do you fit in?

- Professional Behavior • Think about and always practice it • Meetings with client, bosses, peers • In the office • In all forms of communication (and stick to professional communication methods) - Referrals are incredibly important • It’s not who you know, its who knows of you

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• Laura has never applied for work, it comes to her from people who know of her and refer her to others who need her skills Resumes • Easy to read • Correct-don’t overstate • Don’t lie, but don’t share all of the details.

Highlight successes and minimize failures • Buzz words-Managed, led, directed, prepared, performed, assessed, researched • Tell a story! A resume stands on its own but a cover letter is more specific (avoid the objective line, because it can eliminate options you hadn’t thought about or included) Start a career folder • Keep track of any relevant information that may be helpful later on • All work, talks, conventions, publications, and a living personal statement Make real connections • Don’t just hand out cards. Keep in touch and get involved. Follow up. Follow up. Follow up.

Keep learning Be sincere Distinguish yourself Ask for help when you need it Don’t get buried by architecture Be curious. There are a wealth of opportunities Be genuine. Be interesting. Be rememberable.

Don Copper Principle at GREC

CHICAGO STUDIO COMPILATION

The ACE Hotel, Los Angeles, California - Old downtown Los Angelos - Historic Renovation - The city started a revitalization in this area 10 years ago with a live/work rezoning - 1 block away from the center of the revitalization - United Artists Theatre-Office Tower and huge theatre built in 1927 - Project • Renovate tower as a hotel • Lobby • Restaurant • Conference • Renovate Theatre (very little changes due to historic designation) - Had to update to the current seismic code - 3 Different levels on the historic building register - Renovations need more planning and finesse than a greenfield site - Good CD’s make thing go smoother later. The more you tell the contractor up front, the better. This leads to fewer RFI’s - Door Scheduling, Windows, and hardware is a first stab at cost estimation - Every mistake costs somebody something. The contract determines who and how much.

- CD’s are part of a contract. They are what a client buys from the architect and gives to the contractor to build.

- CD’s are a legal document - The design team is to monitor compliance to the CD’s. They are not there to catch all mistakes.

- With mistakes, the best policy is to admit to the owner the mistake and then work to fix it in a good faith effort.

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Carl D’Silva Vice President at M urphey/Jahn

GREGORY DALFONZO

The Glass Lecture - Glass-There are a myriad of different types - Basic glass-Annealed Float Glass - Low E-Coating • Silver Compound • Visually transparent • Long wave reflective • Goal-lots of natural light with not a lot of heat.

- Float glass-Glass Manufacturing process • 1/4 mile long factory • Glass made by floating it on a vat of molten tin • Types - Clear - Low Iron-Less green, more blue - Tinted - Glass Strengthening • Increases safety • Decreases structural costs due to lower weight • Chemical • Heat Strengthened • Tempered/Toughened - IG Glass-Insulated glazing unit • Air barrier for thermal performance • 1” standard - Laminate-PVB layer holds multiple panes of glass together • Safety glass • All skylights are laminated • Hurricane zones are laminated (or tempered) - Coatings • Hard coat-baked onto the surface. Pyrolitic • Soft Coat: Room Temperature, soft, needs to be inside an IG Panel for protection. More cost efficient - Sound-More mass is better for sound reduction.

Lamination also reduces sound transmission.

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Peter Ellis Principle at Cannon Design

CHICAGO STUDIO COMPILATION

- Green infrastructure is an integrated network of water, energy, waste, and all other processes that make a city run.

- Futuristic Transit-Shared individual transit • Bus Rapid Transit • Light Rail • Car Sharing-Uber and Zipcar • Self driving cars • Self driving cars+car sharing+Electric Cars=individualized, efficient, and sustainable transit • 30% of land is parking (500,000 sq ft parking for every 1,000,000 sq ft built space) - We can create a city in harmony with nature • Everything that is needed is happening somewhere, but nowhere is everything happening at once - Transit oriented development • Built up density around transit stops - Architecture, other than the one in a million monumental building, should try to weave into the city fabric-not everything needs to be a special flower

Restructuring American Cities - How do you restructure American cities that were designed in the 19th century?

- Background • Peter Ellis New Cities was founded to design a 1 million person city in India • Tabula Rasa-Blank Slate • American Cities are not a blank slate • There was lots of exploration • They really wanted to build what they design - India • Super hot for 6 months of the year • 3 Months of monsoons that account for most of the yearly rainfall • Developing world- 200 B.C meets the 21st century • Uttar Pradesh-250 million people in and area the size of Kansas • Red line-highway between Dehli and Agra.

The first major highway • Urban Sponge-integral green space that absorbs monsoon rains and sends it to aquifers • Open space is the center of the city. the primary structure • The city is shaped by climate and must respond to sun and wind • The city is designed to draw winds into the city.

• It is better to have more small roads than fewer larger roads • Decentralized utilities are cheaper and more versatile that centralized-Less travel distance means less infrastructure and less energy - Restructuring American Cities • Transforming infrastructure over time • Rather than tunnels, use plants and soils to collect storm water at grade and purify the air • Chicago: The Bloomingdale trail and reclaiming the river in the loop • Chicago needs and urban sponge • Nature is the new city infrastructure - Every 4th street becomes part of the green infrastructure

R esponse: Living in harmony with nature This lecture came a quite a shock for me. For the longest time, I had always wanted to design a centralized city, reasoning that with all utilities centralized and away from the end user, the majority of the city would be better for it. I was operating under the idea that infrastructure was bad, and therefore it should be compressed and sequestered as far away as is feasible.

Imagine my shock when Peter Ellis said that this is exactly the wrong way to build a city. Instead, infrastructure should be spread out, closer to the end user in order to decrease the distances traveled between source and user. It makes sense.

Why should I use a huge amount of energy and a ridiculous amount of piping to send my sewage across town if it could be treated a block away? It also makes sense when it comes to having multiple systems for a more resilient and redundant system.

In fact, when I used to think about cities, I would always think in what a very traditional modernist sense. I wanted to control the city, to create a

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GREGORY DALFONZO

perfect utopia where everything just works.

Instead, the more that you try to control a city, the more problems is creates. Peter points out the stormwater management systems in Chicago as highly symptomatic of this. They control the natural processes in the city, but they are a self perpetuating system. Their very existence allows for more and more impervious systems to be created, until the tunnels need to be upgraded to move more stormwater. Then the upgraded tunnels then allow for more permeable surfaces.

The more you try to control it, the worse the system gets. All the while while thousands of gallons of water are being wasted.

Instead, city design needs to be about harmony and living with nature and a little bit of disorder.

Cities are inherently messy places. They’re never finished, they’re crowded, and they’re full of humans. They’ll always be chaotic, as there is no perfect system that can take into account the whole of human behavior. Instead, as designers, we need to create cities and buildings that react to changing conditions and work with nature, rather than against it.

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CHICAGO STUDIO COMPILATION

Adam W hipple Project M anager at Newcastle Lim ited

pursuit of our goals. But we are also not experts in any of these. In architecture school, we are given a broad overview of everything that is needed to make a building work. Detailing of how a building goes together, structural calculations, material types, acoustics, etc. Realistically, we learn enough to be dangerous. We could make a stab at any one of these things and do pretty well. But why do just pretty well, when there are people out there who can do spectacular? The reason we are taught these things during our formative years is not so that we can be experts, but so that we can interface with the true experts in order to make our projects happen. Without our skills, we could not accurately communicate what we are trying to do with our consultants or engineers or contractors. Without their skills, we could not build.

Project Management and a Broadened Field of Architecture - Skills of a trained architect • Problem solving • Presentation and communication • Coordination and teamwork • Breaking down of complex ideas • Technical expertise • Spatial understanding • Creativity • Broad secondary skills - Project management • All projects are unique and need a: - Budget - Schedule - Scope • Project management in architecture firms is responsible for making the building happen - The broadened field of architecture includes • Architectural practice • Education • Real Estate • Construction • Government • Urban Planning • Facility Management • Building Products - How do you apply your skills from architecture?

- Who needs people with these skills?

- Code of ethics-Architecture should have one • Improve the public domain • Protect the public welfare

As architects, we are required to work as a team, both with other architects and with experts from other fields. We should remember to be humbled by our skills, so that we can use them to communicate and collaborate with people who are experts in their field to create the best possible project.

Response: Be humbled by your skills Adam brings up the point that, as architects, we have an amazing and unique skill set. We are skilled at problem solving, presentation, communication, teamwork, spatial understanding, creativity, and so much more. We truly do have a unique and special skill set. We should be proud of it.

But we should also be humbled by it. Yes, we have all these skills. And yes, we are trained in such a way that we can use them synergistically in the

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David W ilts Associate Principle at Arup

GREGORY DALFONZO

something, say a rendering computer. You know how to set up a render and make it look really nice. But it takes forever. You don’t know how it works, and therefore, you can’t optimize it. Your computer is only using half of it’s available computing power. By learning how the program works, you can tweak it so that you are using the full range of your computer and do the same render in half the time. Another example would be creating panoramas in Photoshop. Set software has built in programing to auto-align photos. If you didn’t know any better, you could waste hours doing something that the computer could do in 15 seconds. This is the power of education in learning to fully utilize what you already have.

How to change the world: Designing for Net Zero - How to get building to work as a single system • A process of conceiving, constructing, commissioning, and operating buildings which leverages technology to optimize the goals and objectives of the built environment.

• How much information is too much? When it gets in the way.

- How do you pay for integrated building systems?

• It’s bought already-systems already include the necessary features.

• All that is needed is to add the data exchange between systems • Reduce the cost of construction - Less materials - Shorter billable time for expensive laborers • Government or Utility Company grant • Manufacturer offset cost difference (in exchange for a demonstrable example) - Dynamic automation that is proactive rather than reactive - CSI-Construction Specification Institute • Division 25-Automation

The other solution, sharing, is a bit more complex.

We’ll use the rendering computer again. Lets say you are a rendering expert. You have the best computer and know exactly how to optimize it.

You do a few renders a week for projects, and the rest of the time the computer idles. This is wasted resources. During the idle time, the computer could be doing any high intensity computing task for someone else without wasting your resources.

Another example would be a hammer. I live in an apartment in Chicago. If I have a hammer, and so does everyone in my building, then there’s about a hundred hammers that rarely ever get used.

Instead, we could have one hammer for the building that would fulfill everyone’s needs.

Response: The power of utilizing what you already have to the fullest

Architects should focus on being more efficient.

We have the tools we need to make sustainable, integrated buildings already. We simply need to learn how to use them and to share our expertise.

While explaining the methods of paying for completely integrated building systems, David mentioned that almost all building systems have the capabilities built in already. The problem is that there isn’t anyone who knows how to activate them and combine them all into a single coherent system. This in turn highlights a more widespread problem in the world at large. Often times, the information, materials, or expertise that we desperately need is already within our grasp, we just don’t know how to utilize it fully. Conversely, we could have something that others need siting idle at our desks. There is a power to fully utilizing what you already have to it’s fullest potential.

The solution to this problem is twofold: learning and sharing. First is learning. Lets say you have

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CHICAGO STUDIO COMPILATION

John Syversten Senior Principle at Cannon Design

Response: The role of architecture is to improve the human experience and elevate human dignity.

- Open Hands Studio • Drive public interest into the core of the practice • To able to better peoples lives, you need to know about their lives. To do this, you need to get out of the office and into the city - Our job as architects is to bring attention to the power of design to transform people’s lives - Brownsville, Texas • The college had to move • It was supposed to leave the city center for a cornfield.

• The project was to make a case for using the college to revitalize the city center - Building trusting relationships • Starting with an act of pure generosity can only lead to a relationship of trust. But it has to be genuine.

- Corporate social responsibility-Philanthropy, not business - Corporate shared interest-Doing good can build the community, which in turn builds the business. This model is becoming more prevalent - An architectural code of ethics • Give to those who need it • Do good without mind to the cost • You’ve got to take risk, even personal risk • There is an incredible energy that comes from this work • The reward is knowing you’ve made the world a better place. Even if only a little bit.

- Never don’t meet - People John Syvertsen looks up to • Team 10-They tried to humanize modernism.

Aldo Van Eyck - Space in the image of man is place. Time in the image of man is occasion.

• Louis Kahn - The way he thinks about buildings. Human interaction - Books everyone should read • My Struggle by Karl Ove • Snow Leopard by Peter Matheson • Biography of John Adams • Team of Rivals

John Syvertsen is amazing. His gentle but absolute emphasis that architecture is a force for creating and elevating human dignity is inspiring. I especially appreciate his view of pro bono. It is not free work, but literally work done for good. It is the architects job to create design that is for good, in each and every project. This does not mean that each project needs to be for free, or even for a reduced fee. Instead, the idea is that each project he works on creates at least some small good in the world. It can be as simple as making a wheelchair bound person’s life easier by incorporating a better ramp.

So often in this studio I have heard the phrase “embedded in the DNA of the project”. I think it is an incredibly powerful idea. The idea is that something should be so intrinsic to a project that it cannot function without it. And it is specifically powerful when talking about the parts of a project that create societal good, as these are frequently the first things to get value engineered out. But by embedding it into the project, not only is in non removable, but it functions in such a way as to better the design overall. There is a certain synergy between projects that do good and the surrounding community.

From this interview, I have a much deeper understanding of what architecture is, and a much richer sense of what or role is as architects. We are not just artists. We don’t only make pretty pictures We are in charge of collaborating with a series of amazing people in order to create something that can change the human experience. We have a moral obligation to create designs with meaning and purpose. We need to create work that bestows human dignity. This needs to be woven into the DNA of a project to the same degree that design excellence, sustainability, and aesthetic beauty must be. These are not mutually exclusive properties. A project that combines all of them will be far stronger than a project with only one.

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Drew Ranieri Associate Principle at SCB

GREGORY DALFONZO

- What do you like about your job?

• Got exposed to a type of architecture that he hasn’t before-large scale • In 14 years he’s gotten 15 projects built - What do you find difficult in architecture?

• Getting past yourself - He wanted to be a famous architect - Realized that that doesn’t really happen - Instead he focused on being the best he could be - What do you have to offer?

- It's not about you or your staff, it’s about this thing that you’re making - How do you use technology in architecture • Digital design allows you to see things more quickly and with more options • You can also get a better idea of the spatial qualities of the project • You can make a better educated set of decisions • Digital design is immediate - What do you wish students learned in school?

• How to listen-clients, program, other designers • How to figure out what to do on their own • The right mindset • The importance if section in an experience of space.

- Where do you see architecture in the next 10 years?

• Not much in the next 10 years. More of the changes we’re seeing now. More 3D design and advanced fabrication.

• A return of architecture as being central to human life - Do you have any advice for my generation of architects • Make things. Anything really. Just make things • Give yourself time to think. Be introspective

- How did you become an architect?

• The show of “Changing Manhattan by the New York 5 when he was 12 • Career Aptitude Tests always said he should be an architect • Went to Virginia Tech for master’s degree.

Studied directly under Olivio Ferrari. Very unusual situation. He did not take any classes, but just worked and learned until he was ready.

- Worked for Mario Botta in Europe, along with two other architects, then moved to Chicago - Got a project built in Chicago within a year.

- Why did you decide to open up your own firm?

• He was tired of having to execute other people’s ideas • Opened his firm during a recession, and had a project in three days • His firm lasted for 7.5 years • Did mostly single family houses, with some larger residential - Joined SCB in order to make more money to pay for his daughter to go to college - What’s different between being an owner and a principle • There’s a lot of personal stress in running a firm and having other people to support • You’re always working for someone else, whether it is a client or a boss • At the end of the day you know how hard you worked, but your boss may not get it • At a small firm you will be exposed to more aspects of a job.

- Don’t be worried about proving yourself.

Instead focus on doing good work and you’ll do well - Architecture is about communicating. You have to be able to get the idea out of your head and on to paper or whatever.

- Single family houses are great • The client is intrinsically invested in the project • Its the biggest purchase anyone will ever make • Every square inch matters to the client • You can know, as the architect, every detail in the project, unlike in larger projects

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CHICAGO STUDIO COMPILATION

Luis M onterrubio Departm ent of Planning and Developm ent for the City of Chicago

• The Chicago Housing Authority has a very detailed plan - The future of urban planning • Not as much technicality • Urban planning technology is focused on data acquisition, but there is still a need for professionals to make it all happen • Crowd sourced data is incredibly important to this movement - A synergy of professions is required to make things happen

- His job is to make sure that everything in Chicago fits into the city plan - Background • Licensed Architect in Mexico • Did his Thesis in Chicago • Turned it into an internship • Turned the internship into a career - Neighborhood division-Manage projects, especially land allotment and design (how does it fit into the area) - Had to learn a lot of new things: real estate, land value, legal issues - “A good project is one that works with other disciplines” - Walking existing survey-use existing tools to make positive changes • For example: too much commercial zoning too spread out. The solution is to concentrate it in one area in order to create a continuity between businesses.

- Not everything needs to be constructed.

Sometime planning and programming is more important - The best part of his job-Seeing a community thrive in person. Explaining to community members that the city is trying to help them, and seeing them believe it.

- The long term best part of his job is getting to talk about Chicago on a global scale and in seeing results as neighborhoods thrive.

- Chicago has a very diversified economy - TOD-Transit Oriented Development-Reduction in parking for developments within 600ft of a train station.

- The most difficult part of his job: • Dealing with politics • Having good recommendations ignored - “You cannot be an expert in everything” - Artists move around in a nomadic way, looking for lower rent closer to where they work.

- Public housing • There is a move away from blocks of high density ow income housing to mixed income residential.

• There needs to be a mix between different classes

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Laura Fisher IPM Consulting LTD

GREGORY DALFONZO

- Background • She started IPM to work for Disney as an independent contractor - IPM: International Project/Program Management - President/Managing Director • She never hires employees because she doesn’t hold liability insurance.

- Her contracts always include her employer indemnifying her (legal protection) • Being non affiliated allows for neutrality between competing parties - For example, when working for the 7 Pritzker family corporations, she was one of the only parties that was trusted by all.

• She’s used to working for large companies - Running her own business • She enjoys the providing service part of the job • She doesn’t enjoy the routine management part - She not an expert, so she needs to focus on these tasks in order to do them right - Yet these are crucial for keeping the business running • She gets all her work via referrals - It all comes down to networking and being involved in your profession • The scope of work-larger Projects - Replacing all of the windows on a project - Replacing all of the fire systems - Large corporate headquarters - By Doing volunteer work, you learn a lot that transfers to professional life - A companies second biggest expense is real estate. This needs to be managed • Architecture degrees are very helpful in this.

Architects understand what makes a building work and how it all fits together.

• MBA’s are also really helpful for the day to day management systems • Laura understands both worlds - Advice: Take electives that expand your skills and make you more interesting

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John Syvertsen Senior Principle at Cannon Design - Background • Grew up in a design background • Grandfather designed engines for Harley Davidson • Father was an interior designer • Grew up in a culture of design excellence • Undergraduate in Philosophy at Georgetown University • Masters in Architecture at Princeton • Originally from Milwaukee - Taking a break from school made everything click - Thesis: Special Education School • Studied learning environment, Aldo Van Eyck, and Louis Kahn • Humanizing Modernism • Kahn-The fundamental meaning in space - Avoiding sameness • Be conscious of it • Emphasize each project’s unique purpose - Los Angeles • Thom Mayne vs. Raphael Moneo • A public building vs. a church - Getting to Cannon Design • At one point he had his own small practice • He then collaborated with OWP/P (specifically Len Peterson0 on a school project.

• After the project, he closed his office and joined OWP/P, eventually becoming President • OWP/P merged with Cannon Design due to shared values and complimentary service areas - As President of OWP/P • He wanted it to be a short term thing (about two years) • It lasted for 10 years until the merger • Being President led to a shift from project based design to civic engagement - Now he is reengaged with projects with the city design and education groups.

• His focus is getting and doing work for these groups - Pro bono work • Pro bono means work for good, not free work

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• Pro bono is not either work for the full fee or no fee, but a spectrum in between, based on what the client needs Open Hands Studio • It began with a conversation about social responsibility • They wanted to do something that goes on forever - Connect people in the firm with people outside the firm - Take on pro bono work, but only with people who really need it. It must have a formal contract - Increase the impact by creating a practice wide discussion • Cook County Hospital project • Integrate the idea of social responsibility into the DNA of the project for maximal lasting impact Finding balance • He never learned to say no • Saying yes more than no is very important to the world What is rewarding?

• When your work has great positive impact What is challenging?

• Making positive impact is really hard • It is hard to balance conflicting forces How will architecture change in the future?

• It is evolving slowly into what the city design group is doing now. Architecture that responds to human needs and the environment in a coherent system.

• There will be a broadening of scale and context on all levels.

Tim Swanson Urban Strategist at Cannon Design

GREGORY DALFONZO

- Start with dignifying the human experience - Creating ownership and buy in incredibly important - Foster mutual respect and empathy - Design is for everyone - Choice is for everyone - Learn how to listen, not just hear

- Background • Started as a theoretical physicist • Then macroeconomics and sculpture • Then architecture and the urban core • Worked at SOM with Peter Ellis - Didn’t know the context of the projects he was working on, which he didn’t like - “The city is worthless if there’s no one in it” • Left with Peter Ellis to form Peter Ellis New Cities - Aesthetics • Aesthetics are important to city design • Brownsville,Texas is a community in change, and yet there were people who wanted to use traditional Spanish colonial design.

• Can a community without willingness to change its look really change itself?

• Aesthetics have a role in shifting perception - Working with Peter Ellis in India • Amazing, but… missed a huge opportunity • New city was really designed for a wealthy gated middle class • Did not address the reality of the majority of the people in India.

• There is low construction quality in India.

What if instead of using unskilled labor, they built trade schools to create higher quality and invest in the community at the same time?

• Could have done a better job for the client by working to help him understand how to build up the community.

- Design and Policy need to interact.

• Prut Igo is an example of what happens with only one. It fails horribly - Architecture is losing control of the building process-Because we decided that we are in charge of drawing pretty pictures • How to we get this back?

• We focus on design as a way to enhance and dignify the human experience AND on making beautiful buildings • They are not mutually exclusive - In order to make clients understand why they should make projects, you need to be able to justify them. Cost and business is extremely helpful

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Casey Renner Associate at SOM

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• Leads a team of 3-5 • Fluid-Sketching to setting up files - Advice • Be able to generalize what you are working on and understand the broad diagrammatic level first • Software-Don’t be a slave to it. Think about the concepts and ideas in the program and be able to evolve.

• Understand abilities and drawbacks to a program • Know the right medium for the job - Shifts in the profession • “The death of the midsize firm” • A move toward small boutiques and large specialized firms.

- Background • He got into architecture by looking at house plans • Did his undergrad at Minnesota State • Worked with Ralph Rapson (and met Andrew Balster here) • Studied in Denmark • Worked at Vincent James - Balanced idea driven architecture • Grad School at MIT • Went to SOM to make a change from smaller boutique architecture firms - SOM • He works on large scale mixed use projects.

Mostly competitions.

• He is on the design side of things - “Never live with a person you work for” - SOM Culture • Need to navigate multiple personality and work types • Need to manage many different goals and expectations • Designs vs. Metrics • Rigid hierarchy • Levels start as Architect C and go down the alphabet for higher seniority - Built work-22 floor tower in Hong Kong, 210,000 square feet - Works abroad • Hong Kong is not China • Beijing • Shanghai • Dubai • Saudi Arabia • 75% Asia, 20% Mid East, 4% Domestic, 1% Australia - Country vs. Culture • Hong Kong and Australia has almost no culture gap • There is familiarity and shared experience - There’s always a spectrum in clients - India is hard to design for • Lots of Red Tape • Lack of infrastructure and construction experience - Role Junior Designer • Dedicated to one project at a time

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Randy Guilot Principle at Cannon Design Ethics Interview: Canon III Obligations to the Client

GREGORY DALFONZO

- A lot of the code of conduct shows up in the standard contract - Contracts must be based on mutual trust • Architects shouldn’t make more work than there already is • However, the scope of work does change because projects are non linear - Architecture is not black and white - Trust is important, as both clients and architects can fire at any time. But what happens afterwards is very complicated.

• Who gets the work product?

• How does the owner move forward with the project?

• How is the severance fee determined?

- NDA-Non disclosure agreement • Very common for projects - Intellectual Property • Can’t take drawings or other IP without permission • Don’t abuse it, but claim all team participation • Partners leaving need a negotiated agreement in order to take work product and credit - Fundamental disagreements between clients and architects lead to either bad projects or incomplete projects - Performance based contracts • Bonuses for good building performance (energy use, employee performance, etc.)

• Very hard to do • Clients prefer liability rather than reward - Foreign projects don't always get built, therefore fees need to be front loaded.

- Accountability is key.

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everyone. Drew, when talking about designing a single family home, talked about the fact that, to the client, this is the biggest purchase of their life.

Every square inch matters to the family. They experience this house that you design with them, every day of their life. Luis, said that the best part of his job is to watch a community thrive in person, and to know that you helped it happen.

And to know that you can help that happen in other communities. Tim is so very proud of the work he did in India, yet he wished that it could be applicable to more ordinary citizens.

Throughout the interviews with different practitioners, I was consistently impressed with the range of this profession I have chosen. To begin, there is architectural practice. Even within this relatively small slice of the profession, there is a huge range. Drew Ranieri owned his own firm for seven and a half years, and it ranged in size from just him to seven people. On the opposite end of the practice spectrum, Casey Renner works for SOM, one of the largest architecture firms in the world. There is also a huge range in the focus of different practice. Some firms tend to focus on residential, others commercial, and still others institutional.

And I was most impressed with John Syvertsen.

His commitment to doing good was highly apparent in his work and his interests, but also in Tim’s interview as well. Much of what John said in our discussion about Open Hand Studio came through in Tim’s interview as well. I attribute this to the inspirational quality of the work that Open Hand Studio does. It is not a sensational project, but it instead is rooted firmly in the idea of an architectural code of ethics focused on the idea that if you can do good, you should do good. I am also impressed by the commitment to take this idea practice wide, for a lasting impact.

Outside of architecture firms, there is a still greater range of potential. Laura Fisher is an extreme example of this. She has worked in many different capacities through the years, mostly on the consumer side of architecture. As a licensed architect, she works with other architects, on behalf of a client, to create and manage a project.

Luis Monterrubio is another great example of other career paths. As a part of the Urban Planning Department at the City of Chicago, he is not strictly involved in architectural design, but he uses his architecture skills to further the goals of the whole city. He is involved in creating plans for whole neighborhoods at a time in order to revitalize them. Tim Swanson also uses his architecture skills in more of an urban planning sense, but working on a more commercial side. He is also more focused on design rather than policy.

From these interviews, I have a much deeper understanding of what architecture is, and a much richer sense of what or role is as architects. We are not just artists. We don’t only make pretty pictures We are in charge of collaborating with a series of amazing people in order to create something that can change the human experience. We have a moral obligation to create designs with meaning and purpose. We need to create work that bestows human dignity. This needs to be woven into the DNA of a project to the same degree that design excellence, sustainability, and aesthetic beauty must be. These are not mutually exclusive properties. A project that combines all of them will be far stronger than a project with only one.

With so many possible career paths, choosing the right one comes down to a combination of self introspection and a little blind luck. Introspection leads to understanding of the self, and therefore understanding of what career path is the right one. The little bit of blind luck leads to finding a career path that fits with who you are, and finding a job opportunity to match.

One of the greatest things I saw in common between everyone I interviewed was a desire to create something that is great. Architects wanted to create something that benefits their clients; urban planners want to create a better city for

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PRINCIPLE #1: SUSTAINABILITY 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

Urban Infill

Guiding Populations

Energy Efficient Materials

Intercity Transit

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PRINCIPLE #2: ACCESSIBILITY

GREGORY DALFONZO

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 pedestrianfriendly 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

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PRINCIPLE #3: DIVERSITY

GREGORY DALFONZO

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 combatting 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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PRINCIPLE #4: OPEN SPACE

GREGORY DALFONZO

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.

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Programmed open spaces for human activities versus open spaces that accomadate industrial and infrastructural needs.

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QUNLI PARK, CHINA

NEW YORK, NEW YORK

PHOENIX, ARIZONA TOP: Large open spaces for habitat and natrual 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.

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PRINCIPLE #5: COMPATIBILITY

GREGORY DALFONZO

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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PRINCIPLE #6: INCENTIVES

GREGORY DALFONZO

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.

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PRINCIPLE #7: ADAPTABILITY

GREGORY DALFONZO

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.

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PRINCIPLE #8: DENSITY 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

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City Fabric

Infrastructure

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Brownfield Sites

FINANCIAL DISTRICT

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PRINCIPLE #9: IDENTITY

GREGORY DALFONZO

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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PHOTOGRAPHY MINNEAPOLIS MILWAUKEE CHICAGO

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MINNEAPOLIS, MINNESOTA Our visit to Minneapolis took place in the dead of winter, the end of February. As such , it was continually frigid. With only a parka, a sweatshirt, long underwear, pants, gloves, a hat, and a scarf, frostnip was assured within about 8 blocks.

Freezing temperatures aside, the city was pretty cool. We saw the Guthrie Theatre during the day for a backstage tour, which really showded of an amazing design by Jean Nouvelle. Then we went back at night to see the play Trisen and Yseult and truly experience the theatre. We explored the Minneapolis skyway system, using it to avoid the cold on a cross town walk to the Walker Art Museum. Overall a great trip to Minnesnowta, but one I’m not inclided to repeat again in winter.

GREGORY DALFONZO

148

CHICAGO STUDIO COMPILATION

149

MILWAUKEE, WISCONSIN Our day trip to Milwaukee was a whirlwind. We hopped the amtrak from Chicago’s Union Station to Milwaukee, then went straight to the Harley Davidson Museum. They have a fanstatic collection of Harley History contained in an amazing museum. The industrialarchitecture fits with the mechanical nature of the Harleys.

After the Harley Museum, we wandered over to the Milwaukee Art Museum, with its Santiago Calatrava addition. The dreary grey weather set the stage for the monolithic atrium to rise out of the mist with its wings outstretched. The atrium made for a wonderful place to eat lunch on overlooking the lake and the art was somewhat interesting. After exploring the museum, it was back to the train station to head home to Chicago.

CHICAGO STUDIO COMPILATION

157

GREGORY DALFONZO

158

CHICAGO STUDIO COMPILATION

161

CHICAGO, ILLINOIS Chicago really became my home while I was here. Over the course of a semester, I put down some pretty deep roots and attachments to this city, to the point I want to live here when I graduate.

There are so many amazing place, sights, and moments in Chicago, but here are some that matter the most to me: The Hancock Tower is, for me, the symbol of Chicago to me.

Perhaps it’s due to living in it’s shadow, but I love the dark and aggressive exposed structure and the fact that you can see it from anywhere on the north side. I love sunrise over Lake Michigan while catching the express bus to Lakeview in the morning to go swimming. Dusable Bridge became important to me when I started crossing it every day to get to work, and moreso when I’d walk on nice days and grab a frappuccino onthe way.

It was bittersweet to watch the city fall behind from an airplane window, but I know someday I will return to Chicago to make a life for myself.

GREGORY DALFONZO

164

GREGORY DALFONZO

174

CHICAGO STUDIO COMPILATION

175

GREGORY DALFONZO

176

CHICAGO STUDIO COMPILATION

177

GREGORY DALFONZO

178

CHICAGO STUDIO COMPILATION

179

CHICAGO STUDIO COMPILATION

181

GREGORY DALFONZO

182

CHICAGO STUDIO COMPILATION

183

GREGORY DALFONZO

184

GREGORY DALFONZO

188

CHICAGO STUDIO COMPILATION

189

GREGORY DALFONZO

192

CHICAGO STUDIO COMPILATION

193