Professional Practice | A Manual by James Burns Willis

Professional Practice | A Manual James Willis | Cannon Design

Virginia Tech College of Architecture and Urban Studies

PRACTITIONER LECTURES 5

Randy Guillot

Drew Ranieri

Natasha Krol Mauskapf

Geoff Walters

Carl Dâ&#x20AC;&#x2122;Silva

10 Chip Von Weise

Owner|Von Weise Associates

11 Iker Gill

Owner|Mas Studio

12 Peter Ellis

Design Principal|Cannon Design

13 Adam Whipple and Laura Fisher

VP|Newcastle Ltd. | Managing Director |IPM Consulting Ltd.

14 John Syvertsen

Design Principal|Cannon Design

INTERVIEWS 16 Wynn Chen

Junior Architect|Cannon Design

18 Chip Von Weise

Owner|Von Weise Associates

20 David Bibbs

Structural Engineer|Cannon Design

22 Luis Monterrubio

Coordinating Planner|City of Chicago Department of Planning

24 Raquel Morales

Interior Design|Cannon Design

INTERVIEWS ESSAY 27 Embracing Individuality

CODE OF ETHICS ESSAY 29 Walking the Line

DIAGRAM OF A TYPICAL PROJECT SCHEDULE 32 Coordination and Evaluation

Professional Practice A Manual

Practitioner Lectures

Randy Guillot

Design Principal | Cannon Design

The Life of Design. Randy Guillot, Design Principal at Cannon Design, described eleven canons, which he believed to be the most important principles guiding a designer’s life. He explained that accepting these principles would prevent oneself from resisting the inevitable roadblocks that arise in the collaborative design environment. He prompted us to structure our strengths and weaknesses within his canonical framework. How one chooses to operate in and around these canons is what makes each of us unique, and this, he explained, must be embraced. The lecture liberated us because it asked the students to accept adversity and progress forward by focussing on the things that are under our control 1. Build meaningful relationships through hard work. 2. Communication is everything. 3. Have broad influences and mentors. 4. Accept that we suck at managing our time. 5. Your client is your design partner. 6. Listen to me and ignore me.

7. Don’t expect the outcome. 8. Promote your strengths and resources. 9. “Don’t be an ass-hole” and do things for others. 10. There is always more than one right answer. 11. Don’t be certain of anything.

Response: Most people have heard similar advice before, however, Chicago Studio was the first time that we as students had ever experienced a true collaborative work environment. Randy’s principles foreshadowed the types of struggles that would arise while working in teams throughout the course of the semester. Having received Randy’s advice early, we had a lens under which to review and understand challenging situations as they came. It was important for us to learn how to embrace the struggles common to our profession because, as we saw working in our offices, they continue to characterize the field even after academia. Randy explained that years may pass before we as young professionals will fully understand how to excel in a collaborative environment. Despite this, his advice was timely, and it has given us an advantage over other professionals that are entering the workplace. He prompted us to stop resisting the things that we cannot control in life, and instead, progress by focussing only on what is under our control. By embracing adversity early, designers can immediately begin to construct strategies to move through and around difficult situations. Hard times help us recognize the development and formation of our individuality. As one focuses on the things that are under his or her control, he or she will develop the necessary problem solving strategies, and this, Randy believes, is the only way to truly overcome adversity. By establishing a method of working early, we will be more likely to avoid conflict down the road. As we become adept at recognizing the areas where conflicts are likely to arise, we will be able to recall our past experiences to aide us in structuring solutions in a progressive way. Randy emphasized the importance of not only focussing on the design objectives at hand but also making an effort to know ourselves better, and the way we tend to work in group situations. One of the primary struggles that students faced in Chicago was learning when to influence or ignore the freewill of others. In the end, we were able to see that there is always more than one right answer. The studio can look back and understand how our Chicago Studio experience was a direct reflection of Randy’s eleven points. Having a foundation to view and understand our collaborative work experience early allowed us to evaluate our strategies for embracing adversity. Whether we handled difficult situations poorly or appropriately, we were all prompted to reflect on our methods so that we could come together and try to move past problems as they came.

01 Practitioner Lectures | 5

Drew Ranieri

Senior Designer | Solomon Cordwell Buenz

What Is a Contract? Drew Ranieri, Senior Designer at Solomon Cordwell Buenz highlighted the importance of contracts in the architecture profession. He explained that contracts are essentially agreements, which outline a project’s fee, scope, liability, work product, and schedule for the owner, contractor, and architect. He explained that an architect’s primary responsibility is to serve the client, and this necessitates precise communication between the primary parties involved so that the project is built as specified. If a party defaults on one of its responsibilities, contracts allow for accountability. Drew explained that contracts are essential in architectural practice because they protect an architect’s most valuable asset: reputation.

Response: Communication between the architect, contractor, and owner has always been strenuous. From the architect’s perspective, written communication is essential on a job because it can be understood as concise, concrete, and legally binding. For this reason, architects are reluctant to give any verbal commitment or explanation due to fear of being misunderstood, and as a result, being held liable. In contrast to architects, contractors tend to pay their wages by the hour, which tends to result in the use of more immediate and less formal means of communication. As a project is built, problems need to be worked out on the fly, and this can be difficult for the architect to navigate. Tensions can elevate as architects hesitate to give immediate responses to questions asked by the contractor, and this can result in lost time and money for the contractor. When the architect does respond, the language is usually difficult to interpret because it is filled with legal jargon, and this can be equally frustrating for the contractor. Architects have a history of describing contractors as schemers. Unfortunately, this reputation may be an unfair judgment that results from the way the two parties communicate with each other. The different methods of communication arrive out of necessity. Drew explained that as these two fields become even more integrated, such as in the practice of design build, successful communication typically results. However, when the contractor and the architect form this integration, the entirety of the risk is placed on the architecture firm. In this scenario, miscommunication can topple an entire project and even shatter a firm’s reputation. Many practitioners desire to integrate the architecture and construction disciplines without first considering the potential consequences. No matter which field a student may enter, the use of contracts will always be the rule and not the exception. Although detrimental to the interest of time, contracts are a form of communication that allows the parties involved to speak clearly and legally. Without this level of clarity, it is easier for parties to not only misunderstand the scope of work but also avoid it. Unfortunately, some companies do not always feel the need to do their best and will even deny doing work that wasn’t absolutely explicit in the contract. This highlights the distinction between what is morally ethical and what is contractually ethical. Architects will always have to be mindful of this because in the end, it is their responsibility to make sure a design is built in the fashion that the client intended.

02 6 | Professional Practice: A Manual

Natasha Krol Mauskapf Engagement Manager | Mckenzie and Co. Consulting

The Value of Design Thinking. Natasha of Mckenzie Consulting prompted the Chicago Studio to acknowledge the powerful asset that we have acquired through our design education. She explained that because of the way architects are educated, they have a particular ability to craft solutions to problems. This ability is becoming even more important to not only the broad field of architecture but to other industries and disciplines as well. Today, design thinking is seen as a valuable asset amongst hiring professionals as it underscores an individual’s ability to discover, chart, present, and express a path to success.

Response: Natasha’s career is based on finding solutions to problems faced by businesses outside of architecture. Her design education has taught her how to ask the right questions, expose where problems lie, and show where a new opportunity is apparent. In this way, she can present a question, an opportunity, and a solution. This lecture gave the students an opportunity to reflect on the earlier years of their design education. Natasha’s lecture helped us understand our schools’s methodology, which in turn, allows us to capitalize on its teachings. With these techniques, one can see how architects have the potential to excel in a variety of different professions separate from the field of architecture. Many of us have goals but struggle to achieve them. Being able to successfully navigate a problem relies on investigating the questions that allow opportunities to reveal themselves. When solving problems using this method, the old unsuccessful system must be documented and charted so that a new path may be constructed. Natasha explains that for change to take hold in struggling businesses, the entire organization must be on board, which necessitates that problems and their solutions are presented in clear and exciting ways. This lecture made apparent that presentation is one of the architect’s most valuable skills. Having an entire team exited and able to visualize change is what makes design thinking so successful and valuable. Jack Davis, Dean of Virginia Tech’s College of Architecture and Urban Studies, related a common area where designers struggle to develop during their education. He explained that prior to college, our teachers have prompted us to “think outside the box”? Unfortunately, designers are not always given a box. Constructing new parameters based on the foundations of a problem is at the foreground of design and creativity. Students must define actions that by-pass old problems. The beauty of design thinking is that solutions are created from a place where nothing originally existed. Through this process, self-expression and uniqueness are inherent. Outside of architecture, this methodology is extremely attractive for businesses that seek to formulate expressive solutions for their industry, which results in the progression of their brand.

03 Practitioner Lectures | 7

Geoff Walters

Director of Quality | Cannon Design

The Pursuit of Architectural Education. Architectural practice requires expertise in three primary areas: management, design, and technical ability. Geoff Walters, Director of Quality at Cannon Design, argues that contemporary architectural education lacks a thorough investigation of the technical and management sides of practice. He expressed the importance of maintaining a dedicated pursuit of the knowledge and education found in these two areas upon leaving academia. Geoff explained that building projects are most successful when a collaborative effort is exchanged between all three sides. For this to occur in practice, students need the appropriate foundations.

Response: Geoff’s lecture presented that the educational foundation for architectural practice needs to be much broader than simply design. The lecture was inspiring because it demonstrated how individuals who may not be the most gifted designers can still make a great contribution to the field. In light of this, success demands coordination, teamwork, and knowledge of all of design’s constituent parts. Employees are not only expected to specialize or develop a level of expertise in a particular area but also engage in the dialogue held by the other workplace disciplines. An employee’s ability to respond to and engage a diverse range of professionals will help him progress in the field. Geoff highlighted the expectation managers have of young professionals to work hard in acquiring the knowledge necessary to communicate across all of design’s constituent parts. Geoff continued by explaining that graduation is in fact where your architectural education begins. Our time in Chicago showed that our profession is reliant on many individuals whose backgrounds are completely separate from design. Success in the workplace lies on our ability to share and communicate ideas, which necessitates a continued effort from young professionals to obtain the pertinent knowledge. Discovering how to work as a team allows designers to accomplish the best design results. According to Geoff, the best teams are in fact composed of diverse individuals. If these diverse individuals are capable of offering something more in each area, then the group will progress even further. Our education in college leaves one to think that one’s ability to design describes his or her relevance to the profession, and it is exciting to see that there are deeper levels of specialization in which architects can engage in order to fulfill their interests and progress the discipline. In addition to pursuing knowledge in the management and technical sides of design, Geoff explained that the area of sustainability is becoming increasingly relevant to our generation. Geoff expressed that this will require us to put forth an even greater effort into researching the fields of material sciences, environmental building systems, and the accompanying technical details that teams need to achieve acceptable levels of building performance. Not only is this area of knowledge enormous, it is also constantly evolving, and this makes it even more important that students participate in the dialogue. Geoff concluded that ultimately, this generation has a responsibility to not only the field of architecture, but to the planet as well.

04 8 | Professional Practice: A Manual

Carl D’ Silva Design Principal | JAHN

Glass 101. Carl D’ Silva, Design Principal at JAHN, a firm notorious for its innovative use of glass façades, spoke to Chicago Studio about the material’s history, use, and inherent properties. The importance of glass to the architecture profession is unlike any other building material, Carl explained. Glass is unique because it is in high demand for almost every project. Additionally, it is one of the most complicated, expensive, and maintenance heavy components in existence. Due to its prevalence, complexity, and constant evolution; it is essential that architects pursue an understanding of the material.

Response: Glass first made its appearance as a very homogeneous and simple material. Today, however, the range and complexity of glass products makes understanding its science and tectonics an extremely complicated but invaluable process. Glass is one of the best examples of how a material’s inherent properties dictate the result of a building’s form and construction logistics. Simultaneously, the material can be both fragile and pristine as well as extremely strong and structural. Often, these qualities demand that glass construction adheres to its own form language and specialized structural system. It is no wonder that the product is constantly under development to enhance its usability. Additionally, Carl prompted the studio to pursue an understanding of the material because of the extreme level of engineering expertise required for its use. Carl explained that glass is guaranteed to be on a project’s material schedule. Even though it is commonplace, the complex material has inherent properties that make it extremely deceptive and challenging to use. Unlike other prevalent building materials, this extremely utilitarian material has the potential of having an enormous influence over a project’s structural design. Glass’s material properties are consistently changing overtime, and with this comes original and new forms of architecture, areas of expertise, and structural mechanisms. Because of this versatility, architectural expression will continue to evolve radically. There are numerous ways glass can be detailed, which can make the material’s expression unique. Engineering expertise tends to be the rule and not the exception during the design of glass systems. The architect’s ability to communicate with engineers becomes an essential skill in order to participate in progression of new glass designs. Architectural practice has always needed to respond to the properties and technology of the materials being used on a project, and he argued that architects must be eager and ready to utilize these constraints as a resource versus allowing the material to impede a design’s development. For example, understanding that glass is inherently modular will benefit a building’s design, but its modularity will always place huge limitations on the building’s structural presentation.

05 Practitioner Lectures | 9

Chip Von Weise Owner | Von Weise Associates

The Employee Handbook. Chip Von Weise, owner of Von Weise Associates, presented 14 principles, which he regarded as the “New Employee Handbook” for working in the small office environment. He explained that following these guidelines will initiate the level of communication necessary for an office to be efficient. As the owner, Chip related his perspective on management as well as the expectations he has of his staff members. Chip began by describing the framework that his office creates each time a new job begins. He then described the mind set that new employees should adopt so that they take ownership of the tasks at hand. Chip explained that by entering the workplace with a level of ownership, one will develop as a manager much quicker and be more likely to succeed in the discipline. 1. Become the first source of project information. 2. The contractor is not your friend. 3. Ask questions and do not assume anything. 4. Manage your boss. 5. Manage the budget pro-actively. 6. Be excited about the project. 7. Don’t rush.

8. Everything is designed. 9. Manage deadlines internally. 10. Anything Design or Budget goes through Chip. 11. Knowing what you don’t know. 12. Keep in touch with your secretary. 13. Most importantly, understand your client’s objectives. 14. Leading your client.

Response: Often, small architecture offices are strained for resources, expertise, and money. The lead manager cannot be present for every employee’s inquiry. In this scenario, a typical employee becomes a do everything man, and he or she must be capable of responding to a variety of problems. Inevitably, an employee’s abilities will be stretched thin across a plethora of responsibilities, and this tends to present his or her weaknesses. Chip explained that in small offices, such a dynamic requires a network of support that marries the diverse skill sets of all of the employees. His lecture highlights the relevance of Chicago Studio’s emphasis on the development of solid communication skills and the ability to function as a team. Also, Chip pressed upon us the importance of thinking like your boss, because this person also has limited capabilities. Managing your boss as well as thinking like him or her places an employee in the position of taking ownership of a project’s demands and responsibilities. Chip explained that understanding your boss’s motives will also help you make informed decisions, which can ultimately make the firm run quicker. Despite this, it is always important to pass everything Design or Budget through your manager before it leaves the office. Employees who take an assertive approach to the problems or opportunities at hand will not only be a great asset to the firm, but will also stand out as leaders. Like an employee handbook, these guidelines and assumptions are the precursor for succeeding in the job-place. Ultimately, employees will get more out of a job if they work in this fashion. Chip explained that those who embrace this methodology will quickly develop as managers and this mentality will allow them to transition between big or small offices. Chicago studio has done a great job of presenting a variety of perspectives to the students. This has allowed us to have an idea of what to expect as well as what we want to achieve as we embark on our individual career paths. No matter what a student chooses to do, Chip’s advice seems pertinent to any career. It also highlights that we as individuals are not superstars. We always need to be cognisant of the strengths and weaknesses of the people around us as well as remember that success is not achieved by any one individual alone.

06 10 | Professional Practice: A Manual

Iker Gill

Owner | Mas Studio

What Is a Career Path? Iker Gill presented the evolution of his architecture practice: Mas Studio. The studio’s development and past experiences present an unusual yet exciting story of how a successful architect came to be. The lecture challenged our assumption of the word ‘career-path’, and his firm’s development is a testament to the fact that a designer’s life cannot be planned out. The contrast between the firm’s early work and its more recent ventures demonstrates a willingness to evolve as well as maintain an open mind, which is ultimately what allowed his practice to reveal unforeseen opportunities and achieve success.

Response: How exactly does one define his or her career path? For Iker, this question is difficult to answer. When I asked him where he saw himself in forty years, he did not wish to imagine an ‘ideal future’. Only two things were critical to his life’s work: his first principle states that “you must always serve”. Secondly, he believes that one must search for intellectual sustenance rather than physical sustenance. He does not hold himself to preconceived ideals because these tend to be materialistic. By following these principles, Iker’s career has been organic; he is always ready for a new opportunity regardless of whether or not it aligns with his past experiences or expectations. As long as he pursues his passion for design, regardless of the project itself, he remains intellectually satisfied and happy. Surprisingly, his philosophy actually seems to be the reason for his constant success. Iker sees his entire life as a process in which all endeavors interrelate and develop off of one another. Iker is living design: he knows that great ideas are often sacrificed for even greater ones. He explains that discovery and opportunity are the most fundamental and attractive components of our profession. The nature of these two forces is precisely why the concept of career path is invalid. Iker allowed a brochure on Marina City, Chicago to transform into a successful periodical that depicts contemporary lifestyle. Eventually, that project came to inspire the design of an art exhibition that portrayed the way humans co-habitate and interact. Subsequently, these successful projects inspired the theme of his noteworthy book: “Transforming Shang Hai”. All of Iker’s developments were in the name of intellectual progress rather than architectural progress, and this allowed the firm to not only gain experience in many different aspects of the broad field of architecture but also achieve notoriety and success. Iker explains that having goals that are too specific might prevent you from acting on a not so obvious but extremely rewarding opportunity. Iker’s lecture was very captivating because it allowed the students to imagine a wide range of possibilities that an architect can engage in as he embarks on his career path. The lecture was refreshing because it corrected our desire to become the next architectural superstar. Career path is simply not in Iker Gill’s vocabulary, and instead, he chooses the path that is most fulfilling and humanistic; the search for knowledge is his primary focus. This quest is ultimately what gives him security; happiness; and not surprisingly, success. One comment made by Iker that I found extremely enlightening was: “I don’t wait for the phone to ring”. Iker feeds his design appetite without interruption...whether he struggles to put food on the table or not, he will continue a quest for humanitarian purposes as well as the projects that sustain him intellectually.

07 Practitioner Lectures | 11

Peter Ellis

Design Principal | Cannon Design

A New Method for City Evolution. Peter Ellis, Design Principal at Canon Design and the former owner of the city-planning firm Peter Ellis Building Cities, spoke to Chicago Studio about his current initiatives to redevelop the campus at the University of Texas Brownsville. His studio promotes sustainable infrastructure as the primary tool to help cities develop over time. Peter aspires to demonstrate how regional planning challenges can be overcome through the implementation of smaller more site-specific systems, which can be built adjacent to each other in modular fashion. Peter believes that modular sustainable infrastructure has the ability to spread across cities, and eventually, entire regions. At this scale, all of the systems can be unified under the same regional net-zero energy and water grid.

Response: Peter Ellis claims that net-zero energy and water infrastructure is most effective when implemented at the community planning scale rather than the regional scale. He explained that reforming regional scale infrastructure is challenging due to complicating factors such as unique local governments, enormous up-front costs, and ecological boundaries. By creating modular systems that incorporate local natural systems, sustainable infrastructure can be more successfully achieved. Like cells to an organism, the development of modules that contain all of the necessary infrastructure to form a fully functioning micro-system can be built upon each other. He stated that the implementation of a single module is much easier to achieve as opposed to full-scale regional development. Overtime, as the modules stack, the system can spread and unify entire regions and their unique ecologies. Peter’s studio has made it apparent that one of the canons of city planning is to understand what assets currently exist on-site. Incorporating these preexisting assets into the module’s operational schema allows it to remain ecologically relevant as it spreads across cities and eventually entire regions. The module at UT Brownsville provides the instructions for water and ecological restoration via the region’s naturally occurring ‘resacas’, which recycle water and promote diverse ecology. In this way, modules can easily interact and connect because they are all benefiting from the same natural system. Modular development is so successful because it allows for a little bit to be built at a time, and this gives individual localities the ability to work at their own pace and capacity. A community’s desire to maintain its individual cultural identity is a major challenge facing regional planners. Despite this, Peter’s methodology can actually be used as a tool to strengthen a community’s identity because it takes advantage of the site’s true ecological character. Peter explains that nothing is more appropriate for a community’s identity than its ability to be in tune with its natural setting. It is unlikely that community members and government officials will challenge a system that works so well with their region’s natural ecology. Once the modules are established, communities will be able to tailor their identity even further by operating on the detail scale. Here, specific interventions such as net-zero buildings can tap into the interconnected system.

08 12 | Professional Practice: A Manual

Adam Whipple and Laura Fisher Vice President | Newcastle Ltd. Managing Director | IPM Consulting Ltd.

If You Don’t Like The Conversation, Change It. Adam Whipple and Laura Fisher claimed that our well-rounded architecture education allows us to excel in a variety of fields. Our education gives us the ability to seek out the career possibilities that interest us most, and the lecturers prompted us to not accept mediocrity upon entering the workplace. No matter which path we take, maintaining a high level of professionalism is crucial for finding these opportunities, especially in new or unfamiliar territory. Additionally, the two lecturers explained the importance of taking on as much responsibility as possible as it will help us uncover our true interests and strengths. They concluded that with hard work and professionalism, new options are always on the table.

Response: Adam wants to prevent us from simply accepting our lives as we arrive into our new jobs. As professionals, we have an obligation to fulfill ourselves intellectually. He stated: “If you don’t like the conversation, then change it”. With a strong skill-set being developed early in architecture school, we have the ability to excel at a broad range of tasks either in or out of the field of architecture. Within a world of so much possibility, we must find our true calling. Project management is a field that not only relies on the skills learned in architecture school but also many others that are not taught in academia. He explained that project management allows individuals to experience much more of the different aspects of the field, which might unlock more fulfilling possibilities. From personal experience, he has found that individuals must volunteer themselves and take on a project’s extensive responsibilities before their company will decide to give them a managerial position. Upon engaging in new opportunities and experiences, one must always make a good impression. We are always at the mercy of the people who have more experience than ourselves. Laura gave us advice on maintaining an acceptable degree of professionalism and explained the ways in which we can not only distinguish ourselves but also work alongside one another in a respectable fashion. Laura advocates that if you want to move up in the ranks of your career, you should dress like your boss and make an effort to think like your boss as well. Acquiring the perspective of your seniors will develop your ability to handle problems as well as make good impressions on new people, which could ultimately open up more fulfilling career paths. This lecture prompted us to go out and define what our career means to us as individuals. We cannot readily accept the job that we land after school because more fulfilling positions are possible, even within our initial workplace. Additional to hard work, professionalism is essential, and it will help to open up more opportunities as one looks for success, especially in unfamiliar territory. If you don’t go out and try to find your interests, you will never discover your strengths or the position that truly makes you happy.

09 Practitioner Lectures | 13

John Syversten Design Principal | Cannon Design

The Qualities of a Leader. With the class in attendance, Andrew Balster, Director of Chicago Studio, chose to hold a personal interview with John Syversten, Design Principal at Canon Design. Andrew’s intent was to generate a discussion about the qualities that distinguish an individual as a leader. The students found John to be a leader not only because he has held countless managerial positions in and out of the field of architecture but also because he has maintained a lifelong desire to comprehend the nature of leadership itself. John explained that although a director may be elected, that person does not become a leader until the people who serve him recognize the qualities of leadership within him.

Response: We have all heard that respect is earned, but John promoted an alternative philosophy: he believes that “respect is an occurrence”. Leadership is not something that is procured, but rather, it is recognized within an individual. People select leaders through a judgment of character. He explained that a leader’s character is far more important than past qualifications or past responsibilities. John’s ideal leader is someone that brings extreme passion to the job at hand and feels a responsibility toward the subject matter. Also, a leader must have the utmost respect for the people that assist him. When a leader cares for the people that serve him, his constituents will put faith in him, and therefore, the whole dynamic becomes more efficient. In John’s eyes, an inspired individual is the most likely candidate to motivate a team to achieve success. John explained that when a team is full of self-motivated people, the result is powerful. Given his past experiences, John has reached the apex of leadership. However, the way he truly demonstrates his ability to lead is through his passion and dedication towards educating and inspiring the people around him. Even as a celebrated individual, he continues to search for the advice of the great leaders who have come before him...John describes himself as a student. Great American leaders such as Abraham Lincoln and John Adams are his mentors. Syversten has chased the discourse of leadership all the way to its pinnacle: he has a passion for reading the diaries and monologues of these individuals. He is constantly trying to understand the nature of leadership rather than trying to own it. John’s admirers easily put faith in him because he is so determined to improve his leadership ability as well as the lives of the people around him. John even describes the people who assist him as his greatest mentors because it is from them that he learns how to lead. He describes the best team dynamic as one where every person leads simultaneously. John chooses to align with men and women who view the improvement of society as their responsibility because it is they who inspire a group to achieve success.

10 14 | Professional Practice: A Manual

Practitioner Interviews

Wynn Chen

Junior Architect | Cannon Design

Beginning Your Career. What is architecture? Our perception of architecture is evolving. Architecture, ultimately, must always be buildable. It is important to never let go of the concept of plausible construction. In education, you often start with something crazy and then push it into something buildable, but in the profession, you start with buildable/real things and let them evolve into the abstract. How important is philosophy to your work? There is a philosophy for working in big teams. You have to always work hard for your team and be there for support when your team needs it. If you could have any mission/position/responsibility in the world what would it be? Get into something where you can travel as well as make more money. What is your current role and responsibility? Currently, I manage the BIM file on our project. Who evaluates your performance? There is a 360 degree review. I am reviewed by my peers and supervisors as well as the people below me. The reviews are held in a constructive manor. It’s not cutthroat. How is Randy’s performance reviewed? His work is reviewed by the people who are around him the most. Describe your day-to-day tasks. Work in BIM to create the project digitally as a digital entity. The deliverable is a packet of documents, which are drawn from this digital model. There is a disconnect between all of the trades, and I help manage this using BIM. Some days, I am fixing other people’s problems. Do you ever get to design? Because errors come up, you get to make your own details and test things out. I try and work out complications that come up in the model. How would you change the dynamic of your studio to make it more effective? We have a very functional team, which we like. My team has been together constantly for 14 months. We stay effective because we are candid and chill. I think when teams develop tension, your team loses its ability to maintain its effectiveness. What gives your job satisfaction?

16 | Professional Practice: A Manual

Well, most of my projects are still being built, but I love the fact that I get to see my work come into existence. I take a lot of pride in acquiring more responsibility…you get to envision your future in a way. What is frustrating about this profession? Feeling like you are not being used to your full potential. There is a lot of dry stuff in a project as well: you still have to number all of the doors etc. As I became the team’s BIM manager, I’ve seen myself move away from design and I am just becoming a software instructor. What could be improved in architectural education and training? Make it tougher. There are three problems: there is not enough emphasis on presentation. Students need public speaking 101. It is too theoretical in culture. Some schools, like the one I went to, are all about socially conscious design…it’s a ‘solving the world’s problems attitude’ that is unrealistic. Related to this, design schools often look down on another school’s culture. Another problem is that there is not enough study into the technical detail side of architecture…how things get built. Where do you see yourself in 80 years/10 years/30 years? Retired. What are you telling your grandchild? No clue. How much of today is worth telling? What’s the future of our planet or stainability? Is stainability feasible? Definitely feasible. People need to realize incentives and also that it is in our best interest. It’s hard to realize the long term gain when you are faced with the up-front costs, which are not available in the budget. As soon as these directions are incentivized, people will move in that direction. How do you manage your work/life balance? It is so much easier when you are not in school, and when you start making money on your own. If you get lucky and you start to view your career as stable, you start to make time for other interests. How would you imagine the balance if you started your own firm? Perhaps, at that point, life will equal work. Your priorities shift even 2 years into it. The things I would like to do… I would like to teach again. That is why I am here [with you]. Teaching is my calling. I would like to work on something that isn’t hospitals…it takes to much patience. Cannon is Okay as a first job. Who is your mentor? Here you see a great deal of specialization. Bryan Bassett is a great example of where I would like to be in ten years. Geoff Walters knows details to a Tee…Randy’s energy. There are bits and pieces that you see. How would it be in a small firm? It’s a completely different form of development. You take on everything and therefore there is less specialization. Can you talk about gaining responsibility? It comes by jumping in. Seize the opportunities as they are presented. Practitioner Interviews | 17

Chip Von Weise Owner | Von Weise Associates

Owning a Residential Firm. What is the greatest part about being a residential architect? The relationship to the client is both direct and intimate. There is always an immediate dialogue. The client can call me up whenever to discuss something about the project and how they are going to like it, and why I think it is the right decision. I am always getting personal feedback, so I know we are making an impact on the project. Residential work is also the right scale for beautiful materials and their coordination. The very imitate connection between the component pieces is very emotional and fulfilling. At the bigger scale, the detail stops or it is harder to achieve. What are the things that you dislike about residential work? We don’t just do residential. Residential is the bulk of our clients, but it is somewhat self-serving to design for the 1%. The fact that it is so emotional and direct is also what makes residential design challenging. No matter what, you have to always be excited for the client…yes sir thank you sir. We are working for very entitled people. You have to like them or get along with the wife’s decorator, even if you dislike her choices, because it is very emotional and close. You have to deal with their dissatisfaction as well. I can’t count the amount of shoes in her closet all day. With schools and commercial work, there is always a business objective or necessity that helps dictate the design; there is less of “I like this or I like that”. I love doing education work because its very interesting… how they learn and interact. For these clients you feel like you are making a difference for them or their organization, and they are always grateful for that. This is less true in residential work. What is the capacity of your office? Where do you draw the line for the scale of projects that you do? We can do anything. We have done high-rises. Even in a big firm it’s a small team. We don’t prefer to do them here but we can. The issue is convincing the client that we can do them. It is very hard to get projects in areas in which you have little experience. Despite this, it is critical that you diversify the market typologies that you design in. This office could not survive if we just did residential. You need business insulation for the different market swings. You can’t be over dependent on any one client. What happens when that market falls? In 2008, when the economy crashed, there was zero commercial work, but the housing market kept our office alive. The markets are always changing. Do you see your work as a service to your community…what is your work’s place on earth? No, not really. I don’t think designing houses for millionaires really does any good for the community. Yes, I am making this one family’s life better, but that’s really it. It is helping the economy a little bit. What could be improved in architectural education and training? Its important to have a discussion about each of the different trades. Understanding how all of these different people work will help you construct different relationships because you will know how everything goes together. School needs to have a better prep course for practice. The schools could also look with an eye towards even larger social issues. Also, making the drawings is always a collaborative effort so schools need to put more emphasis on teamwork. It’s very important to be able to identify the different strengths of the people on a team. What would be the ideal scenario for the people who work for you in your office... we all want to call the shots? We try to do that here. In a small office, you have limited experience. We try to bring them as far along here as possible, and we try to do that quickly. In my office, you will get your IDP very fast. In an office like this, you have 18 | Professional Practice: A Manual

a diverse set of skills. Every individual has skills and weaknesses. Their weaknesses have a limit. How do you provide the support they need in order to marry each other’s strengths and weaknesses? Because every person here is like a project manager, they are handling everything, and you can’t let their weaknesses get in the way. So, you have to set up teams where we all provide for one another where we are needed. That is the challenge in a residential office. We try to let everyone cross coordinate for support. We do things like peer reviews on the drawings to help teams out as well. What are some of the traps young architects fall into when they want to start their own practice? Over promise and under deliver. When you don’t know something, you have to find a way to figure it out, and you have to be deliberate so you figure it out fast. We all see each other as competitors. You can’t go ask Studio GANG for help. Even John Ronan won’t tell me the material he used on the screen on the Poetry Foundation, but I can ask his builder for the information I need. I know the builder well. You have to make ways of getting the information you need. How do you define or redefine the: Bedroom, Dining room, Living room, Kitchen, etc.… That’s not what we do here. That equates to incredible arrogance. How dare I tell my client how to live his life? The whole phenomenon of trying to reconstitute the way we live is one the downfalls of architecture. My client is not my guinea pig for my own intellectual fulfillment. It is not relevant and it is unethical. If you do discover unique relationships in the way that you have structured the architecture, they have to always be on board with the client. My job is to serve the client. How do you manage your work/life balance? It is very tough when you are first starting out. We had to hand draw our first project to pay for the two computers needed to bring CAD in. How did you handle it when you had kids? Well back then it worked out because they were so young. They would go to bed around 7:30. I would be in the basement all day making drawings and when they would come home from school I would go upstairs and spend time with them. I would cook dinner and put them to bed. After that, I would go back down stairs and continue working. What’s the future of our planet or sustainability? Is sustainability feasible? What is its roll in home design? I do feel sustainable design is the future. We do geothermal and we are interested in sourcing local materials for our projects. LEED always comes up in commercial work, but it doesn’t necessarily mean anything…LEED is a bureaucracy. We are interested in the substance of stainability, not necessarily getting LEED credits.

Practitioner Interviews | 19

David Bibbs

Structural Engineer | Cannon Design

The Architect and the Structural Engineer. How long have you been at Cannon? Has it been good? I was with OWP+P for twenty plus years, and I have been with Cannon since the merger. Finding solutions to unique problems is what attracts me here. What is architecture? Architecture is the design of the function of a building. Function should be achieved from the inside out. Too often, we are presented with a render and are asked to make the thing work. Architecture isn’t the creation of something that just looks good. Where do you get your expertise? Architects have lots of expertise when forming a building. Cannon has lots of technical horsepower…here, we have twenty-five structural engineers as well as some technicians. How do you make sure a crazy structural design really works? We use lots of three dimensional modeling and structural analysis tools. Programs allow us to try different scenarios out. It also takes a lot of research. What is your current role and responsibility? I am involved in the early phases of design so things don’t get too out of bounds. The engineers here play a consulting role. We do oversight. We also do quick feasibility studies. How do you keep in concert with the architects? Well, the engineers are the first people on the team to issue drawings. We typically propose a preliminary grid for the structural systems and foundation work. This allows the engineers to keep up with architects. However, this causes problems because the design doesn’t always stay with in those preliminary constraints. How do you guys make those changes? Change orders. We also have to scale back a design based on the necessity of the engineering. Each project has its own draws and project demands. Describe your day-to-day tasks. I oversee projects in each of Cannons five markets. The volume of projects in the various fields always ebb and flow. So, the types of projects and structural problems are always changing. Most of our involvement is in the construction phase: demolition. We do demo drawings. We decide what has to be cut out from a project. Most of our work, however, is in new buildings. What is particularly rewarding and difficult about this profession? I would like to avoid the peaks and valleys of the economy and the construction industry. When money is tight, 20 | Professional Practice: A Manual

there are less structural engineers working on a project, and that puts a lot of stress on us. Architects take all of the time on the design of a project and leave no time for the engineers to make everything work. That is one of the age old arguments. What could be improved in architectural education and training? I wish architects had more technical expertise. I am working on a project with a huge cantilever and they want the building clad in brick. Well, you can achieve the same look with a lighter material. If the architects were willing to change the material, it would save the client millions of dollars. These sorts of things blow my mind. Where do you see yourself in 80 years/10 years/30 years? I would like to be on more large-scale projects with cool solutions. Is solving complicated structural designs what gives your job satisfaction? Yes, exactly.

Practitioner Interviews | 21

Luis Monterrubio

Coordinating Planner | City of Chicago Department of Planning

The Value of Connection. What is urban planning? Urban Planning goes beyond the original scope. Mayor Peñalosa of Bogotá, Colombia had a budget for a new expressway for vehicle traffic in the city. Instead, he took the money and created a bike super highway. He addressed the social disparity of income levels. Urban planning is making decisions that are best for the whole city. Whether rich or poor, you ride your bike everyday. The city is much healthier, and it has a higher level of satisfaction. Why did you become an urban planner? I initially studied architecture for my undergraduate. I didn’t like the scale: (your block your building... that’s it). I got an internship with the department of planning for the city of Chicago in 2001. I liked that urban planning took a wider approach to things. It cares about more…helping has a lot of ramifications. Architects tend to only be concerned about their building itself, and they fail to create a building that integrates itself well into the community. When is a project completed? Only when it has been embraced by its context is a project complete. Buildings going up in downtown Chicago have long term affects on the spatial planning of the city. Buildings are best when they integrate with their context, and when they are not self-referential. Describe the significance of philosophy to your profession? I want to help those existing assets that are vibrant for the community. Describe your day-to-day tasks? Planning has been in Chicago since its inception. We need to have it in government so that the city is fully understood, and so that we can have more effective policy making. Currently, I am collecting all of the master plans that have ever been created for the city of Chicago, and I am trying to compile all of that information to archive how the city has changed over time. This will allow for a comprehensive plan for the city of Chicago. I see how all of the parts of the city are interconnected. We need to understand how the downtown connects with the rest of the city so that everything is understood. It is all connected in some way, but we want to make this the most efficient and effective as we can. When a city is fully integrated, all of its components become relevant. Every piece gains value, and it is seen as an asset. How do you make the city more connected? The CTA Typology Policy makes recommendations around the transit system to make use out of the space that surrounds the stations. We have to constantly increase ridership. It’s a system that makes Chicago great, but it is extremely expensive and hard to maintain, so we have to feed it. Bringing amenities to the transit hubs makes the CTA even more useful for the residents. We also try to connect neighborhoods by making them more biker friendly. How do you make the city more bike-friendly? Significant things come if you use your bike. There are less bike accidents and there is less wear and tear on 22 | Professional Practice: A Manual

the road. The residents are healthier and more satisfied. You need the proper infrastructure to make a city biker friendly. The department of transportation tries to increase bike lanes, and make the existing ones more visible so they are seen, and therefore safer. More people would ride if they felt safer next to the cars. It also tries to establish programs that make bikes cheaper and more available such as Divvy and other bike rental programs. What makes biking great is that there is a direct connection with the environment, and the neighborhoods become more affordable because you don’t have to buy a car. We also try to see what we can do to make the city more enjoyable for walking. Who is the customer that is a seventy-year-old woman and has to carry her groceries in the snow? Less people using cars means the streets are more activated. The ‘pedways’ connect people to different parts of the city, but that is not what we want. Keeping the streets activated connects all aspects of the city. We also have BRT-Bus Rapid Transit. There are fewer stops and it is more efficient. It costs much less than paying for parking. Should architects make more mixed-use buildings? Mixed use is not always a good thing. I used to live in the ‘Viagra Triangle’ on the third floor of a mixed-use building, and I could never get any privacy, which is why we have zoning regulations. Zoning areas are very important. Urban Planners have to maintain the integrity of these zones. The manufacturing core that runs along the river downtown is a very good thing for the city, but as these old warehouses rundown, they are demolished and different buildings like apartments go up. The manufacturing core is a huge asset for the city because these businesses employ thousands of people, and if the core were to disappear, where would they go? You could lose thousands of people that are currently activating the downtown area. How do you control gentrification? Gentrification is both good and bad. Gentrification occurs when a group of people like artists move into less attractive neighborhoods because there, they can find affordable housing. When the artist groups start to make the place their own, and make it more kitsch and attractive, it attracts businesses like coffee shops. The area is seen as much more clean, vibrant, and livable, which attracts people with even higher income. The economic drivers that follow these people are necessary, but it also displaces people who can no longer afford to live there. Higher income families tend to result in the construction of expensive renovations and apartments, which will no longer be affordable to lower income families. So, we have to make programs that allow for lower income families to live there. Gentrification occurs in cycles. When these people are displaced, they locate to more affordable neighborhoods, which will at some point begin to be redeveloped. Likewise, once wealthy neighborhoods grow old and decay, they become more affordable for lower income families.

Practitioner Interviews | 23

Raquel Morales Interior Designer | Cannon Design

The Value of Interior Design. What is interior design? It is the environment, function, and arrangement of space that results from an idea. It takes coordination between architects so that the interior relates to the exterior environment and its form. We have to know how to bring the outside in. We also have to know engineering, plumbing, and lighting. Why do we need interior design? Architects need to know the materials involved in the interior spaces. They have to know the cost of carpet per square foot or the tile on the wall. Keeping track of these things keeps the budget under control. We bring material knowledge and research to the architects. So, we have to know how the materials are maintained, how they are installed, and how to use them. Interior designers know how to turn materials on their heads. For example, a generic material like carpet can have its tiles rearranged in interesting patterns that make spaces better. What are some of your day-to-day tasks? We meet with reps and coordinate material costs with the making of the drawings. We serve a support role. We are constantly networking. Design is coordination. How would you describe the perfect interior designer? The perfect interior designer is creative and knows their products really well. They would know and research everything, and would have ideas on how the materials can be used in interesting ways. They would have an idea for the maintenance and cost of the materials so they are better informed when making design decisions. A good designer knows how to get more out of the products on the market. Has interior design ever influenced the exterior or form of a building? I know I have seen that sort of thing happen. What could be improved in architectural education and training? More real world experience. In school, you are not concerned about the budget or the maintenance of materials. You also have to learn how to coordinate with contractors when you enter the field. Where do you see yourself in 40 years/10 years/30 years? Retired teaching art. I would like to own a residential office or retail boutique.

24 | Professional Practice: A Manual

Practitioner Interviews | 25

Interviews Essay

In the design profession, teamwork and communication are the primary skills that link diverse professional backgrounds, individuality, and expertise. My interviews present a variety of personality types and philosophies, which further demonstrate that collaboration, individuality, and team-unity are essential to the discipline. It is not surprising that the individuals interviewed find the most alarming flaw of contemporary design education to be the lack of training in these areas. Hearing their responses reassured me of the value of the time we invested into Chicago Studio. The purpose of this program was to place the students directly into a dynamic where they can discover rich professional diversity and learn how to execute while working in teams. The atmosphere enabled the students to structure and evaluate their development by comparing themselves to numerous studios and design professionals. There is no escaping the collaborative nature of our profession. Professionals must capitalize on the individuality, expertise, and strengths presented by their team members in order to generate meaningful designs. One must accept that through individuality, conflict is unavoidable, but by embracing this adversity, strategies can be structured early in order to establish a successful design process or method of working. A variety of backgrounds brings fresh perspectives as well as a the necessary range of specialization required for the realization of building projects. Chip Von Weise explained that his employees are tasked to handle many different situations during their daily operations. The area where an individual struggles should not be seen as a hindrance, but rather an opportunity to couple his or her strengths with those of other team members. Chip’s small office can be understood as a microcosm for the profession as a whole. We need diversity to bring expertise and individuality to bring perspective. Understanding the causes of unity and disunity early, before entering the profession, is invaluable. Despite our differences, we are all devoted to the development of our discipline, and we believe that we each bring something to field of design through our uniqueness. This is what drives us as designers, and it must not be disregarded. To accomplish work, professionals are always engaged in a balancing act, which is why the notion of “politics” is prevalent in our field. We all dislike having to yield to one another, yet we all have to benefit from the diverse range of skill sets that each person brings. As much as politics exist, it is still important to align yourself with those of whom you function best. Not only is it important to recognize what you are gaining from the workplace, you must also discover what your work place is gaining from you. This rich network shows that no matter where your interests lie, there is always a way for your abilities to benefit the profession. During Chicago Studio, it was easy to allow yourself to become disappointed with the outcome of a project. Despite this, the nature of design will always be collaborative and the outcome will always be a result of a team dynamic rather than anyone particular individual. Even Chip Von Weise, the sole proprietor of his small firm, has to face the fact that his brand is reliant on the freewill of other individuals in the formation of his architecture. Chip’s employees bring their own flavor to the equation, and he has to embrace that. The interviews showed that the perceived flaws of the collaborative environment dissolve quickly upon entering the professional setting. Despite this, we can be proud of having the opportunity to learn from one another as well as share the experience of bringing structures into reality. Having it your own way simply doesn’t exist in the architecture profession. Chicago Studio has presented that there are many ways that one can assist the design field. Dominick Gallegos for example, started his own magazine and pursued interests outside of the architecture office. He explained that in many ways, subjects that are not exactly architecture can be more educational to one’s ability to design because they too rely on the development of one’s ability to work as a team. Upon entering the profession, one will typically have to coordinate with individuals who are not strictly architects, but this can help an individual thrive in the broader profession. As designers, we are all different, but we all desire to achieve similar goals. As much as we strive to obtain perfection, we can’t become hyper focused on our own ideals. Even in small-scale design, one man or one woman alone cannot accomplish a job. Instead, we must always draw on the resources and expertise of the other professionals and backgrounds in our field in order to create meaningful designs. As much as we gain from one another’s unique personalities, we are also left to accept their weaknesses, and this must be embraced. Enjoyment however, arises from the journey and the opportunity to understand diverse perspectives.

Embracing Individuality | 27

Code of Ethics Essay

Drew Ranieri is one of the more experienced and senior members among the professionals involved with Chicago Studio. He has owned his own residential firm and he currently serves as Senior Designer at Solomon Cordwell Buenz. Through his time in the profession, he has experienced two common violations of the AIA Code of Ethics. Drew’s examples centered on the idea that design is intellectual property, and therefore, architects must be compensated for its production. In light of many violations, the code has proven to be successful at establishing accountability amongst architectural professionals. Although the AIA Code of Ethics has been created to prevent misconduct amongst architects, it offers little protection against the unethical conduct of individuals outside of architecture profession such as contractors and clients. Unethical conduct among these groups would be mitigated if the AIA lent financial resources to the architects fighting litigations. Architecture affects the health, safety and welfare of the public through the development of the built environment. For this reason, ethics in architecture is critical for young professionals to study and practice so that architects remain in good favor with the public. At times, the public has viewed the practice of architecture as a luxury, unnecessary, and even trivial. Architecture cannot be practiced sloppily because the profession has a huge influence over a society’s safety as well as the health of the environment. For this reason, clients demand architects to be of the highest moral and ethical character. It is very important for the profession to remain in good graces with the public so that architecture remains an art that the public seeks for the enrichment of their lives. According to the course reading: “Do The Right Thing”, ethical character is believed to be either learned over time or a trait that is established very early in life. Regardless of this, it is important for architects to develop his or her understanding of the code to establish standards for reference. This education allows architects to be aware of ethical violations before they occur. Whether or not the code of ethics makes people ethical, it encourages professionals to hold violators accountable, and this results in a more ethical profession overall. The need for the AIA is undeniable, however, the AIA’s ability to protect architects from outside professionals reveals places where the AIA can be improved. Drew’s examples describe how clients themselves can become one of the biggest threats to the architect’s reputation. Drew Ranieri was fired while under commission to produce drawings for a new residential tower. By firing Drew, the client gave the rough drawings to his in-house developer so that they could be finished cheaper. In this way, the client was stealing Drew’s intellectual property. The building went up and SCB was never given credit for the work. This example showed that the AIA was unable to offer protection from outsiders like the client. His only option was to fight a frivolous lawsuit in which he would be strained beyond his financial means. Despite this, Drew was able to reach a settlement. Unfortunately, the magistrate said: “how much money do you want”… and the company agreed to give it to him, which was not an adequate form of ethical compensation. Here, Drew had to go through a lot of trouble and no body was punished. It was simply all about money, and not ethics. Drew gave another example of how architects are commonly abused by their clients. Drew’s client, a lawyer, terminated him for going over budget. Despite the client’s right to do this, it was a scam so that the lawyer could employ one of Drew’s former employees to finish the job at a much cheaper rate. As per violation of The AIA Code of Ethics Rule 5.302, members leaving a firm shall not, without the permission of their former employer or partner, take drawings related to the firm’s work. Drew’s former employee didn’t have the right to use his drawings. In this way, the AIA code of ethics offered protection to Drew. Despite this, the code was not able to protect Drew from his client. The client decided to engage in a frivolous lawsuit with Drew so that he wouldn’t fight it due to the amount of much financial stress the litigation would place on his firm. The code of ethics gave Drew the ability to have his former employee disbarred from the AIA. However, this left Drew with a difficult situation: should he or should he not have the member disbarred? Drew sympathized that the young architect’s actions were taken out of stupidity. Despite this, he was in violation of Rule 2.101: members should not, in the conduct of their professional practice, knowingly violate the law. Drew’s employee could be held accountable for copy write infringement. The younger employee explained to Drew that he was not entirely familiar with the AIA Code of Ethics. Despite this, Drew had the ethical responsibility to his profession to prevent the young architect from working alongside other AIA members. This demonstrated how doing the right thing on one level may be seen as acting unethical on another. Drew’s reputation amongst clients could have Walking the Line | 29

been damaged depending on either choice he made. Although the AIA has the power to disbar an individual, unethical actions and violations of the code can still be legal within the countryâ&#x20AC;&#x2122;s judiciary system. In the two examples above, lawsuits prevented Drew from being able to hold his clients accountable. Often times, these lawsuits are frivolous because challenging them strains an architect beyond his or her financial resources. The AIA could serve its members more effectively by becoming more accessible to the architects who would like to use the AIAâ&#x20AC;&#x2122;s wealth for fighting lawsuits. In this way, malicious clients would be less likely to deceive their architects. This again, however, is complicated because such an action might discourage investors and clients from using architects due to fear of liability, and the art could be lost.

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Diagram of a Typical Project Schedule

1PREDESIGN

2SCHEMATIC DESIGN

3SCHEMATIC DESIGN

2-4 WEEKS

4BID

4-6 WEEKS

MEET CLIENT DEVELOP PROGRAM SITE ANALYSIS FEASIBILITY ANALYSIS CHARRETTE DEVELOP PROJECT DESCRIPTION DEVELOP DESIGN CONCEPT SELECT MAIN SCHEME STRUCTURAL CONCEPT DEVELOP PHASING PLAN LIFE CYCLE COST ANALYSIS ESTABLISH PERFORMANCE REQUIREMENTS COMPILE SCHEMATIC DESIGN DOCUMENTS REFINE SCHEMATIC DESIGN SUB-CONSULTANTS BROUGHT ON MECHANICAL ELECTRICAL PLUMBING INVESTIGATE BUILDING SYSTEMS PRICING CODE EVALUATION ISSUE DOCUMENTS FOR BID BIDS SUBMITTED

GENERATE MULTIPLE DESIGNS AND ALTERNATIVES

ESTABLISH CLIENT NEEDS AND PRIORITIES, SCOPE OF WORK

DETERMINE MOST ECONOMICAL USE FOR THE SITE

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STRUCTURAL ENGINEER SELECTED AND CONSULTED

PROJECT NARROWED TO SCHEME AND CONCEPT

CLIENT SIGNS OFF ON DESIGN

ENSURE THAT CLIENTS’S SUSTAINABILITY GOALS ARE BEING MET, CONSULT LEED CRITERIA

PARTICULARITIES OF STRUCTURE, ENVELOPE, AND ENCLOSURE RESOLVED

ADDITIONAL CONSULTANTS SELECTED, OUTSIDE DISCIPLINES RELIED ON HEAVILY DURING DESIGN DEVELOPMENT

CONTRACTORS CAN BE BROUGHT ON, GUARANTEED MAXIMUM PRICE ESTABLISHED (TIED TO CONSTRUCTION DOCUMENTS)

5CONSTRUCTION DOCUMENTS

5CONSTRUCTION ADMINISTRATION

2-4 WEEKS

6-8 WEEKS

SELECT CONTRACTORS DETAIL FINAL DESIGN DOCUMENTS SUBMITTED FOR PERMITTING EVALUATE PERFORMANCE RATINGS QUALITY CONTROL VALUE ENGINEERING SPECIFICATION WRITING PERMIT AWARDED PROCESS SHOP DRAWINGS PROCESS RFI’S AND SUBMITTALS CONDUCT ON-SITE OBSERVATION

CONTRACTOR AND ARCHITECT COLLABORATE ON BUDGET SOLUTIONS

SUBSTANTIAL COMPLETION SUBMIT RECORD DOCUMENTS PUNCHING

THERMAL, ACOUSTIC, AND FIRE RATINGS FINALIZED

IDEALLY OCCURS RIGHT BEFORE CONSTRUCTION BEGINS

TIMELINE: 7 DAYS FOR RFI’S, 14 DAYS FOR SUBMITTALS

RECORD OF SIGNIFICANT DESIGN CHANGES OR RESOLVED ISSUES

BUILDING INSPECTED AND CLEARED FOR OCCUPANCY

OCCUPANCY

Diagram of a Typical Project Schedule | 33