Joanna Brindise - 2015 Chicago Studio

CHICAGO STUDIO SPRING 2015 JOANNA BRINDISE

Chicago

CHICAGO STUDIO OUTLINE

The CHICAGO STUDIO program is offered to 4thyear undergraduate students in the College of Architecture & Urban Studies, for the fall or spring semester.

The program is a semester-long interdisciplinary collaboration in Chicago (architecture, urban design, landscape architecture, interior design, industrial design) in Virginia Tech’s College of Architecture & Urban Studies.

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 community-focused 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.

HOST FIRMS: Skidmore, Owings & Merrill Cannon Design GREC architects, LLC von Weise Associates The spring 2015 Chicago Studio will explore the physical and social impact of increased density around transportation nodes. We imagine that the future town “square” or city center, are the points of mass public transportation. The studio will test current architectural typologies through new locally oriented urban planning & policy, and create a new urban landscape infrastructure that actively shapes the built enviroment and reintroduces naturally sustainable systems. Our goal is to discover new urban strategies for more condensed, walkable and multimodal communities.

CHICAGO

STUDIO

“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 convential limits. Maybe I can show what could happen if we lived by a different set of rules.”

Lebbeus Woods

Chicago

SKIDMORE, OWINGS & MERRILL HOSTFIRM

Skidmore, Owings & Merrill LLP (SOM) is one of the largest and most influential architecture, interior design, engineering, and urban planning firms in the world. Founded in 1936, we have completed more than 10,000 projects across 50-plus countries.

We are renowned for our iconic buildings and our steadfast commitment to design excellence, innovation, and sustainability.

SOM’s unrivaled portfolio contains some of the greatest design achievements in the modern era.

We have deep experience in a vast range of building types, from cutting-edge research facilities to soaring glass office towers. SOM has earned more than 1,700 awards and is the only practice to have twice been named ‘Firm of the Year’ by the American Institute of Architects.

Collaboration is a guiding force at SOM. We believe the best results stem from an ongoing dialogue with all stakeholders. There are no pre-established formulas at SOM. We design each project to meet specific needs and conditions.

SOM Partners and Directors are world-renowned leaders in their respective fields. As design, technical, and management experts, together they form a holistic approach that bolsters the design and construction process and contributes to each project’s success.

HANCOCK

TRUMPH

exploring design options, particularly where the designer is interested in applying “rules” and constraints to the exploration. Parametric modeling and computational modeling are not dependent on computers, but are processes and workflows which can be done with a variety of tools, including just Chicago pencil and paper, or even just in one’s mind. However, computers can assist enormously in this type of design, and some digital tools are designed for precisely this type of exploration.

COMPUTATIONAL MODELING | GRASSHOPPER NEIL KATZ | SOM

Andrew Kudless, Crysalis (III)

Achim Menges, HygroScope

Designefforts Modeling and Analysis: We will and examine how programming and parametrics AExploratory computer programmer’s include defining rules and constraints, and initial conditions, providing a result. Some architects have become quite facile with various programming and exploited, not only be used as a tool Grasshopper / Rhinoceros canlanguages, be further are able to use their programs themselves forof exploratory parametric modeling, or provide theirgeneration, tools to Parametric modeling, a subset “computational for form but also for representation others.

There’s an enormous benefit to being able to create one’s modeling”, provides a powerful design tool in own tools. and analysis. Throughout the course, concepts exploring design options, particularly where the

of computational design and representation will

Grasshopper this tool-creating process accessible to and many people who are not “programmers” designer makes is interested in applying “rules” be presented and discussed to provide students (coders, scripters, etc.), by using a visual, intuitive, and accessible interface to allow most people to constraints to the exploration.

Parametric modeling with a foundation of thought, critical precedent create tools of this type.

and computational modeling are not dependent and continuing research within the architectural on computers, but are processes and workflows community, at large, and within SOM, specifically.

An understanding of exploration techniques (iteration, optimization, etc.), of a variety of mathematical which (geometry can be done with a variety of tools, including factors (sustainability concepts and trigonometry, for example), and of design-influencing just pencil and nature, paper, oris even just in one’s mind. concepts, structures, etc.) extremely helpful in this design process. Because these techniques However, canand assist enormously in that thisthe results should be highly use a system ofcomputers rigidly-defined rules relationships, it may seem predictable, but (luckily) this is often not the case, and the of this process can be interesting, type of design, and some digital tools areresults designed useful, and sometimes process itself can be informative, inspiring, and fun! for precisely thissurprising. type ofThe exploration.

Andrew Kudless, Crysalis (III) Achim Menges, We will examine how programming and parametrics can be further exploited, not only be used as a tool HygroScope for form generation, but also for representation and analysis. Throughout the course, concepts of A computer programmer’s efforts include defining rules and constraints, and initial conditions, and providing a result. Some architects have become quite facile with various programming languages, and are able to use their programs themselves for exploratory parametric modeling, or provide their tools to others. There’s an enormous benefit to being able to create one’s own tools.

Grasshopper makes this tool-creating process accessible to many people who are not “programmers” (coders, scripters, etc.), by using a visual, intuitive, and accessible interface to allow most people to create tools of this type.

An understanding of exploration techniques (iteration, optimization, etc.), of a variety of mathematical concepts (geometry and trigonometry, for example), and of design-influencing factors (sustainability concepts, structures, nature, etc.) is extremely helpful in this design process. Because these techniques use a system of rigidly-defined rules and relationships, it may seem that the results should be highly predictable, but (luckily) this is often not the case, and the results of this process can be interesting, useful, and sometimes surprising. The process itself can be informative, inspiring, and fun!

Chicago

OLD + NEW SKYLINE

The history of Chicago and its architecture was an inspiration to live in.

Urban Environments

WEEKEND ASSIGNMENTS IMAGES OF CHICAGO

The history of Chicago and its architecture was an inspiration to live in.

Urban Environments

WEEKEND ASSIGNMENTS IMAGES OF CHICAGO

The history of Chicago and its architecture was an inspiration to live in.

Geometry of the broken ice in contrast with the surface of the river.

Navy Pier Atrium Enclosed space warmer and livelier than outside.

Maggie Daley Park

Contrast and continuity between the park and the skyline.

Cultural Ornamentation

Urban Environments

ASSIGNMENTS

RESIDENTIAL RENOVATION ONE

TERIOR TERIOR

3,500 214

SF SF

(325 (19

SM) SM)

Bedrooms Bathrooms wder Room

INTERIOR 3,500 SF (325 SM) ExTERIOR 214 SF (19 SM)

REF

DEN 13’7” × 17’2”

4 Bedrooms 4 Bathrooms 2 Balconies Powder Room

BALCONY 107 SF DW

GREAT ROOM 18’6” × 31’3” WC

SIDENCE FEATURES

uilt to pre-war standards with concrete demising walls r ultimate privacy

ustom high-performance acoustic and energy efficient ndows

PANTRY

enerous light and windows with southern, eastern and estern exposures

FOYER

ur-inch wide rift cut, quarter sawn solid oak plank oring

ustom plaster mouldings

W/D

lid doors

ndowed kitchen featuring Viking Professional Series ainless steel appliances with wine cooler, Caesarstone gos Blue countertops, Ann Sacks glass tile backsplash nd custom wood cabinetry

aster bathroom with Sebastian Crème marble, Duravit aking tub, glass enclosed shower, polished chrome tures and radiant floor heating

BEDROOM 4 11’6” × 16’0”

BEDROOM 3 13’9” × 16’10”

WIC

condary bathrooms with Zocalo Crème marble floor, arble or ceramic wall tiles and polished chrome fixtures

MASTER SUITE 18’1” × 14’4”

wder Room with mosaic floor tiles, Kallista Barbara arry vanity and sink, Kohler faucet

WIC

ele washer and dryer

e-wired for Integrated Audio System and Motorized Shades

rizon FiOS ready

BEDROOM 2 13’9” × 11’4”

BALCONY 107 SF

4 BEDROOMS / 4.5 BATHROOMS

8–02

A18–02

Residence A18-02

CEILING HEIGHTS

Ceiling heights are lowered in rooms that are most occupied to create a more intimate space and raised in rooms that are for outside guests.

RE F

BALCON Y 107 SF

DEN 13’7” × 17’2” DW

GREAT ROOM 18’6” × 31’3” WC

Virginia Tech Joanna Brindise 02-05-2015 PANTRY

FOYE R

W/D

BEDROOM 4 11’6” × 16’0”

BEDROOM 3 13’9” × 16’10”

WI C

MASTER SUITE 18’1” × 14’4”

BALCONY 107 SF

WIC

BEDROOM 2 13’9” × 11’4”

CONNECTING THE KITCHEN WITH THE DEN

Virginia Tech Joanna Brindise 02-05-2015

Creating an opening in the wall that divides the kitchen and den creates a larger public area that allows more interation from those cooking in the kitchen with those relaxing in the den. Both are now able to share the TV.

Urban Environments

ASSIGNMENTS

RESIDENTIAL RENOVATION TWO

Urban Environments

ASSIGNMENTS

RESIDENTIAL RENOVATION TWO

R

iconic balcoattern e with letely d iden-

Urban Environments

ASSIGNMENTS FACADE IDENTITY

Urban Environments

ASSIGNMENTS

HEIRARCHY OF FACADE

Lectures

LAURA FISHER FEBRUARY 11, 2015

FAIA MANAGING DIRECTOR IPM Consulting Ltd. 2002 – Present | Greater Chicago Area Strategic Real Estate and Project Management Consulting Services serving Corporations, PK - 12 Education, Law FIrms, Financial Institutions, Condominium Associations and Non-Profit Associations.

University of Chicago Graduate School of Business MBA, Finance Concentration Virginia Polytechnic Institute and State University B. Architecture “Diverse experience worldwide in Corporate/Institutional Strategic Real Estate and Project Management Consulting Services.”

NOTES PREVIOUS EXPERIENCE: Senior Director, Corporate Real Estate McDonald’s Corporation 1993 – 2001 | Oak Brook, Illinois VP, Corporate Real Estate Bankers Trust (Deutsche Bank) 1989 – 1992 | New York City Offered opportunities like working with IM Pei based off of cooperate architecture Real estate – junior bank architect • • • • • • • •

Architecture school is much like business school – learn the language but true experience is based off of doing it in the field.

Setting yourself up to prepare for jobs Advice: find volunteer opportunities – references and networking has referred her jobs Be active in committees Create a Career Folder – organize life so you don’t have to later

RESPONSE

There are many occupational roles that participate for the designer. By taking control of your abilities and documenting them accordingly, Laura has shown us just how powerful networking can be. As a example of successfully achieving multiple jobs by the power of reference, it goes to show that impressions and relationships are crucial to any field.

Laura’s initial goals to her current job as a managing director of IMP Consulting was not linear. However it has led her down a successful path nonetheless.

I have now realized the importance of keeping track of my schedule and organizing my work as I go. In future events, many opportunities appear without notice and you have to be available to be prepared to represent yourself.

By being active, not only in the professional field, but in personal activities, can mutually benefit one another. Several times from Laura was she approached or able to network, from a personal volunteering event. Goes to show that doing good will do good for you as well.

Lectures

GRACIA SHIFFRIN FEBRUARY 11, 2015

ASSET RESOLUTION SPECIALIST U.S. Department of Housing and Urban Development

DePaul University, College of Law Juris Doctor (J.D.) Louisiana State University, College of Design Bachelor of Architecture “As an architect and attorney, I am committed to high-quality buildings and strong neighborhoods.

My work over the last two decades has resulted in the creation and preservation of thousands of low-income housing units and the development of recreational facilities and cultural centers.”

NOTES CITY OF CHICAGO - OFFICE OF THE MAYOR March 2004 – February 2006 Responsible for the coordination of mayoral initiatives requiring unique partnerships among numerous city departments, sister agencies and private organizations. Led a multi departmental effort for the protection of historic water tanks and guided collaboratives with the School of the Art Institute of Chicago and the Salvation Army’s Kroc Center.

Close collaborator with all staff levels including commissioners, agency heads, councilmen, leaders of private entities, community groups and the public. Kept Mayor Daley abreast of happenings in architecture and historic preservation.

• • • • •

Dreamed of parents to design From El Salvador Didn’t feel the desire to design, not content with situation Went to law school, humanitarian approach Find money and apply it to create schools and other public buildings that are needed

RESPONSE

Relationships can be created through most things.

From architect to lawyer, I can not see the boundary that a design background can support you into the next field. Gracia’s humanitarian approach has allowed her to work directly with people.

Gracia’s dissatisfaction with the schedule and process of architectural design, led her to go back to school, this time for law.

I honestly did not know at first how the two fields could be directly related, but sure enough, with Gracia’s background in design, she is able to service a specific perspective and stand firm in decisions because she knows of the construction process.

I always believed that many people have the talents to do many things. I choose architecture because I wanted to solve problems, and it seems that many fields as a collective are trying to address the same things sometimes, just from their own perspectives and at their point in the timeline of process. I have never been so convinced just how collaborative architecture is, and I am glad that if specifically the architecture field may somehow be dismissed, the larger collaborative of problem solving will not.

Lectures

CHIP VON WEISE FEBRUARY 23, 2015

PRINCIPAL von Weise Associates Harvard University Graduate School of Design MArch with Distinction, Architecture Amherst College BA, Fine Arts “We are interested in exploring meaningful relationships between individuals, communities, and the spaces they inhabit.”

Traditional Residential – non profit Hung out with non architects – commissioned projects Work hard to get published because he’s a small practice – legit “good architecture is…”

Lake Geneva | Markos Residence Design Process: Budget - don’t worry about it Landscape – create logic Hold landscape with walkway Drainage is a problem Have to contain own water Richard Sera sculpture precedent Wanted living on one floor Start with hand sketches and autocad -explore multiple massing/ schemes Commission an artist – love the sketch Bid: Schematic design -Get budget Didn’t want to pay – had to redesign Architecture 7-8 million Landscape 4-5 million Dealing with clients – dealing with emotions who want to overbuild Fees: 1.Fixed Fees with budget- additional is extra if client changes their mind 2. Hourly- schematic design -Draw what you want till you’re happy -Cost effective if decisive 3. % -Difficult for client to constrain decisions

RESPONSE

There are many kinds of architecture firms, but to fully utilize the leadership of the top designer, a smaller firm is your best option. Chip moves us through the process where the client explains their wants and needs and how that relates back to a realistic process and budget. While being in school, we easily lose the perspective of the client. More importantly, designing for a residential program is the most sensitive of all. “A home is a formal construct, a house is a status symbol.”

In the example of working on the Markos Residence, the clients with no boundary of budget were open to a rich and dynamic landscape plan, inspired off of a beautiful Richard Sera sculpture. With the conditions of water drainage and keeping the units all on one floor, many schemes were created.

However when this dramatic plan was budgeted, the numbers were not agreeable with the client and there is nothing to do but start over. However because of this, considering what fees you have agreed upon with the client, it hurts the client more than it hurts the architect, because they are still getting paid for their efforts.

Depending on what kind of client you may have, those who are focused and make strong decisions, vs the too flexible and curious kinds, fees and time constraints are a huge consideration to make on each project.

In the end, the architects always has to represent the project to explain to the client that they are overbuilding. Also through artistic mediums like hand sketches and such, clients look forward to these images because they feel like they are commissioning an artist.

The one on ones with clients are sensitive and there are many obstacles to go through, understanding the client and translating their wants and needs into realistic plans is the process we all now need to learn.

Lectures

DREW RANIERI FEBRUARY 25, 2015

ASSOCIATE PRINCIPAL Solomon Cordwell Buenz Virginia Polytechnic Institute and State University M. Arch, Architecture The Catholic University of America B.S. Arch, Architecture Practice since ’79 at every size firm Practice of architecture – how you make a living Contracts: Liability, Timeline, project, scope, schedule, work product, risk / responsibility Relationships: Traditional Design build Owner Client Build to Suit Consultants: Financial, program – project manager, legal, marketing Compensation: Concept 5%, Schematic design 15% Development 20% CD’s 20% Bidding 5% Constr Admin 35%

RESPONSE

By his experience through a variety of different size firms, Drew explains the fundamentals of construct the project has and with who and for how much.

There is responsibility at every stage of the process.

Written documents, contracts, are written to describe every condition from liability to scheduling to risk.

In the event that something were to occur, based off the contracts and documentation provided, responsibility will be managed, and consequences, usually monetary, has to be compensated. It is critical to realize that at every point of the process, on paper and off, an architect’s leadership and active role must be carefully monitored. With one sentence of advice, Drew was faced with the possibly responsibility of a conflict while on sight, however with his understanding, he was able to bring attention to the problem without telling others how to do their job, that may have led responsibility back to him.

As a collaborative team, there are many people who are involved with any project. As an architect, we must seek advice form consultants that will know more of certain areas we are seeking to understand.

Working with varies other fields, we must be able to lead the consultants to push the initial ideas of the architect for a stronger design.

I have never expected so much responsibility in the design process and how many relationships you may build from a single project, but to create the built environment, structures involve many fields, and we must all work together in order to create a holistic project.

Lectures

DON COPPER MARCH 2, 2015

PRINCIPAL GREC Architects Virginia Polytechnic Institute and State University BArch, with Honors, Architecture Architectural Association, London NOTES 20 People Total Small boutique- able to work on cooperate scale Collaborate open projects Smaller firm – partners work on projects all the way through Service Business: Financing a project differs in different countries – Dubai/China Fully financed upfront – do not market until finished VS in the US finance is done by bank to developer In order to qualify, conditions are made – collateral, commitment, sale contracts Offers: High design commodities – medium price level to make more marketable Project Schedule: Programming 2m, Schematic Design 3m, Design Development 3m, Construction Docs 3m, Contractor Bidding 1, Construction 12 m Hierarchy: Principal Project manager Project designer Project architect Intern

RESPONSE

The hierarchy and process of a medium sized firm try to stay as close to bringing the leadership through the design project much like a small architecture firm, but have the power to undertake multiple projects at varies scales. The type of business that architecture firms bring in will change how you do the business simply of where the project site is. Many overseas projects finance their projects completely upfront from wealthy clients vs domestically where collateral and loans are usually used to finance development.

The design philosophy of GREC is to create high design commodities over a medium price level, and what GREC guarantees is their quality. Breaking up the work over a project schedule and assigning the hierarchy from principal, project manager, project designer, project architect and intern create a system of efficient work flow.

By offering high quality efforts, the advertising of GREC exemplifies from word of mouth from the praise of their current and past clients. With the control that each principal is involved at every stage of the process allows a trickling system of learning through the different stages, from principal to manager to designer, to architect to intern. This collaborative effort and environment allows the most efficient system of knowledge and growth from one part of the studio to the other.

Lectures

CARL D’SILVA MARCH 4, 2015

VICE PRESIDENT / PRINCIPAL ARCHITECT JAHN Architecture Virginia Polytechnic Institute and State University Bachelor of Architecture NOTES Process 1.What is your project physically?

2.What is the design concept- architectural design concept Example: Louvre Historic background knowledge, site plan, actual plan state what it is Adaptive reuse for 800 years Design Concept: Central entrance point for underground museum How building is place on site on axis to move through the site Large axis was designed for troops to move through the city Fits with the site without imitating it Concept is that it works on the site, designs that it became – pyramid Pyramid was the icon, not the concept.

“A concept solves the problem, it’s one cohesive answer.”

RESPONSE

Design concepts: we all use it, we must understand what it is.

By using the example of the Louvre, Carl explains the importance of the concept vs the icon that we all now know and love. The initial concept was to design museum space under the plaza so lighting was critical. Also understanding and staying sensitive to the extended axis that the larger plan of Paris is important to contribute to without imitating it. By understanding the site at a local and larger scale, and defining the problem that needs to be addressed and considerations that need to be considered, the pyramid was the icon that represented a solution to the project, however it was not the concept.

Applying this to a simpler prompt, Carl focuses on a rehab building, trying to convert it’s program into retail use and focus on circulation. As retail and circulation are the main concepts to structure the project around, the facade decisions were the final outcome.

Representation of the project is crucial. It’s necessary to present the project through drawings and diagrams that explain to others, architects or clients, what the process of the project is. Being efficient and simple may be better options of representation.

Public Lectures

WINY MAAS FEBRUARY 4, 2015

CO-FOUNDING DIRECTORS MVRDV | Rotterdam, Netherlands DIRECTOR The Why Factory A research institute for the future city, founded in 2008 at TU Delft.

VISITING PROFESSOR University of Hong Kong ETH Zurich Berlage Institute MIT Ohio State Yale University Delft University of Technology Landscape Architecture “One is too precious about the past, the other too hungry for the future. One arm being dragged into the past by the ethics of historic preservation, the other being yanked towards a hopeful (bigger, brighter, better) future.”

Winy Maas is co-founder of the architecture and urban planning firm MVRDV, based in Rotterdam, Netherlands. He is also director of The Why Factory, a research institute for the future city that he founded in 2008 at TU Delft. Since 2013 he is Visiting Professor at the University of Hong Kong, before that he was among others Professor at ETH Zurich, Berlage Institute, MIT, Ohio State and Yale University.

MVRDV was founded in 1993 by Maas, Jacob van Rijs and Nathalie de Vries in Rotterdam the Netherlands with the philosophy of providing solutions to contemporary architectural and urban issues.

MVRDV’s collaborative, research-based design method has resulted in a variety of building, urban planning and installation projects. The most recent project is the Market Hall in Rotterdam (pictured below), which includes a combination of housing and retail.

GLASS FARM MARKET HALL

Public Lectures

IS OFFICE + NORMAN KELLY FEBRUARY 17, 2015

CO-FOUNDER is-office

CO-FOUNDER is-office

Princeton University MArch, Architecture University of Wisconsin-Milwaukee BS, Architecture

Princeton University MArch, Architecture University of Wisconsin-Milwaukee BS, Architecture

Kyle Reynolds discussed the varied design strategies used by is-office, the design firm he founded with Jeff Mikolajewski, showcasing generative Photoshopping, a subversion of Google, plotting with markers, crossbred genres, and a take on the well-curated home.

Thomas Kelley and Carrie Norman will discuss the latest projects from their architectural collaborative Norman Kelley that reexamine and rehearse visual deception by means of the architectural drawing. By appropriating a catalog of drawing conventions and illusory devices, Norman Kelley’s drawings offer an alternative historical account of architecture’s relationship to vision and reveal a set of techniques from which to prey on the naïve observer.

The line holds architectural implications. This project examines the complicit relationship between representation and project, proposing the possibility of a new category of linetypes: “bad lines.” The bad line is defined by its marginalization – it is methodically removed from architectural representation. It is wobbly, chamfered, fat, thin, sketchy, broken, imprecise, or ill-formed. Typically pushed aside in architectural practice, these lines carry untapped potential. In this proposal, an unrefined sketch translates directly into architectural form, generating a not-quite-familiar architecture that vaguely elicits the idea of the minimalist pavilion.

BAD LINES

Norman Kelley’s Wrong Chairs purposefully disrupt the notion of “correctness” through the iconic Windsor chair. The Windsor chair, with its British roots, has become a symbol of colonial America - chairs that are democratic in design, occupying both domestic and public spaces. “At first glance, these are Windsors; they blend into the images we hold of domestic places we’ve encountered at some point or another, but, at second glance, they’re more unreasonable.”

WRONG CHAIRS

Public Lectures

MITESH DIXIT FEBRUARY 18, 2015

DOMAIN FOUNDER DOMAIN OFFICE Washington University in St. Louis Architecture

Mitesh Dixit’s lecture examines the dominant ideologies of vision from Modernity to the embedded violence of our contemporary ocular-centric system.

DOMAIN was founded in 2012 by Mitesh Dixit. With Design Director Sven Jansse, the Dutch based office is currently working on multiple international projects.

Construction recently began for their project, PLANTA, which will be a new headquarters for the Fundació Sorigué outside of Barcelona, Spain. PLANTA was recently an official exhibition at the 14th International Architecture Exhibition of The Biennale di Venezia. In addition to research on the U.S. / Mexico border with TU Delft and DOMAIN’s upcoming book release of Hardcore, their proposed master plan for a 30 hectare site in São Paulo was recently exhibited in City As A Vision at the FRAC Centre, outside of Paris, France.

PLANTA

PLANTA

Public Lectures

WIEL ARETS MARCH 30, 2015

ARCHITECT, AUTHOR, AND PROFESSOR Wiel Arets Architecture Washington University in St. Louis, United States of America Towards a Hybrid Metropolis Dean Arets explored the metropolis of the twenty-first century as a hybrid—connected, automated, and noiseless. Such qualities enable today’s societies, within these hybrid metropolises, to live dualistically: They’re more interconnected, productive, and longer leisured than their predecessors, though capable of the securities that a village once provided.

NOWNESS: 2013-2014 IIT Architecture Chicago

Twentieth-century societies witnessed the rise of major technological inventions and innovations such as the car, the plane, the computer, the phone, and the Internet. Whereas those societies experienced the advent of such technological advances as spectacle, since they were then still new, today they are essential components of our modern lives. And they have begun to evolve. Tellingly, yesterday’s car has already become the driverless car; today’s smart phone seems to do nearly anything; and the Internet will only continue to further cast its reach. The human body and the ‘human’ robot will soon coexist; this double will be the new collective.

AM HIRSCHGARTEN

AM HIRSCHGARTEN

DESIGN

M 1 2 3 4 5 6 7 8 9 10 11 MAKE REVISIONS REQUEST ORDERS

CONTRACTOR BIDDING

PLAN SECTION DETAILS SPECS BUDGET PERMIT

CONSTRUCTION DOCS

DETAIL OF DESIGN SYSTEMS MATERIALS CODE BUDGET

DESIGN DEVELOPMENT

SITE PLAN ZONING DOCUMENTS DESIGN CONCEPT

SCHEMATIC DESIGN

SITE ANAYLSIS ZONING PROGRAM ADJACENCIES CONTEXT

PROGRAMMING

START OF CONSTRUCTION

Timeline

PROJECT SCHEDULE

DIAGRAM

12 13 14 15 16 17 18 19 20

CONSTRUCTION

21

22

23

24 ...

Mentor

PAOLA AGUIRRE APRIL 13, 2015

FOUNDER The Borderless Workshop The BLW is a multidisciplinary and collaborative network focused in the context of the Mexican-American border. This collaborative effort addresses CRITICALLY the border condition by THINKING, but most important, by DOING any related research or project driven by the question: How can design rethink and contribute to a border condition of cities in the 21st century?

Harvard University Graduate School of Design Master of Architecture in Urban Design

WATER BEYOUND THE BOUDARIES

Where do you work?

The University of Chicago has this program called the our simple lived life initiative. That started in 2012 with a director. Usually there with schools, but this initiative is directly to the office, so it’s called a “special project” I love that term because it’s like whatever.. This program has different kind of physical spaces, Logan Center and the Art Incubator, where I work. So it’s super different, in terms of character and philosophy, it’s more community orientated.

It’s more about music for the neighbors, jazz, yoga, kitters, we have this group of knitters and they are awesome. It’s more about connected to the community. There’s another group within play’s lab. And we are more focused on how do you produce more art incubators not strictly, but more or less. How do you reactivate communities with culturally based projects? What is the next art incubator? It doesn’t have to be art, it can be culinary, anything that kind of has this component of rehabbing a building, bringing people together, visitors.

Place lab: do you work with architects?

Architects are part of the team as well as myself, because we have to build stuff. So 3-4 buildings are under the rehab process. One of the people, she has developed her own understanding of rehab, it’s not only rehab, it’s rehab with this budget, and rehab with these resources.

Right now it’s great because the university is backing a lot of these projects and the work budget was cut in half. So we had to think about how to make change in smart and efficient ways, or be able to train someone else. So it’s a lot of these very integrated, so there is help, but you have to train the volunteers. On top of them helping you, you’re giving them a skill, all of these exchanges that happen, them giving you their time, I’m mentoring you with a skill.

It’s this exchange of pedagogy of something.

What brought you to design, urban design?

Working in urban planning without being trained awakened that interest. I was exposed to all of this planning language, and the complexity of it and going to meetings with city councilors, it was very cool to be exposed to, “I don’t have to draw all day” Discovering that you can do more than just drawing and designing and making models, maybe in the future building them, it was opening to me that I can do other things, I can influence built form by talking or by having relationships, or presenting, or influencing how people make decisions and I felt like I had to know more. I felt responsible that if I was in this position, if I was advising someone, I had to at least know what I was advising.

Is there anything from your background or upbringing that shaped your design philosophies and principals?

I think that understanding that design effects everything.

Like how streets are designed influences safety, how safely are people going to walk through those, how are they crossing the streets. Limiting buildings to a certain height influences if people exercise or not. All of those relationships, knowing more about the implication about the design of architecture made me feel more responsible so now I can’t think in one layer. It takes me more time to make decisions on anything because my understanding of space is so layered, from the scale of all the different elements like infrastructure, buildings, complexity of development, it’s like where your computer tries to run every app at the same time and it panics. My mind is trying to understand all of those layers at the same time even though I’m trying to think of one project. Now it’s impossible to think, oh a detail, where the table meets the ground, I can’t think

in one layer. It’s a blessing and a curse. I love thinking that way, but it gets to be a lot. The more you know you can’t avoid that.

Sometimes it’s based off of personality, like another person can just look at the detail, some people see the bigger picture. What I enjoy is understanding the complexity of how things overlap and see how if you move things closer to each other and see if they integrate.

Is there a way that you approach design projects in general or is everything their own story?

I think there is always something about research that is appealing, then you scratch the surface and I want to know how things got to be to the point they are now. So I work in the south side and a lot of the south side stories are from urban renewal, high rises ,and I’m trying to understand how we got here. I think that if you don’t understand the past enough, it’s very different to imagine the future. I had this professor that always said, “do your homework” know what you want to know. If you want to have a conversation about something, at least have the background to have a conversation, and don’t ask the obvious questions, have a smart conversation. Ask for answers you can’t find in books. So I tell students to go do their homework. Let’s have a discussion, not give you information. I’m a historically interested person in general, because the more you know, the more you can imagine. How do you stimulate your imagine, and a lot of it comes from what you know, about a place, about a person. When you buy something for someone, you have to know all of this information about a person to make a decision.

What is your definition of sustainability?

It’s a way of living, it’s a lifestyle. Once I get a concept in my head that I believe has value, it becomes part of my lifestyle and my thinking. It drives me nuts, when an office that, when I was working at SOM, oh sustainability, and they don’t even put their garbage in the bin that you’re suppose to.. We’re aiming to save the world and reduce carbon footprint, and reduce waste and water.. and we can’t even educate ourselves to put the garbage in the bin that is correct. It’s a lifestyle. Once you believe in something it becomes part of your lifestyle and part of your philosophy.

If I’m designing something, you ask how do I make sure that people can walk here, how do I make sure that these people have access of transit, make it more pleasant, how do I improve their quality of life. So if you’re interested in sustainability then you’re interested in the quality of the environment and the people and that is a layer that is there constantly and informs all of your design decisions. So if you want to be sustainability in rehab, oh what can I reuse from the building, what resources from the community can I use, can I generate any jobs out of this, can I save some money from doing so, so it becomes a way of thinking as oppose to adding something at the end and saying “oh it’s sustainable too..” I think it’s embedded, once you know what it’s about and understand it, it’s embedded in your process.

Has there been something through your research that has transformed your perception of what you were originally reaching out for?

I struggled with the scale of the project I chose, like when am I going to get anything done. The ambition is so big, but then the more I learn about how collaborative networks work with this job, I still believe that it has potential.

Because connecting the dots make a difference. Maybe it’s enough to just acknowledge the people and connect

them. I think that my role as an architect and designer is not within the mission of the project, but the connection of all the work that has been done and about having conversations about the work that can be developed. I think it’s very limited, there is so much talent and so many people doing great things, the more I advance in this, I see my role much like Iker. He does very little design but he’s role is so great that he can bring people together to talk about things and gives it back in organized form. There so much thinking and work that goes into that and it becomes a reference and source for someone who wants to learn about something. I think that the role as an architect as a curator or connector, has been underestimated too much.

I have always had my professional practice, so I have to pay my rent, I always have to have a job, and it gives me the opportunity to design to be able to test this kind of role in my project. I still love design, I love making maps, I love doing research, and every project has the opportunity to do a little bit of everything. Every project that you take on gives you an excuse to do many things. It started with a lot of ambition and I’m disappointed that I couldn’t do more, but it’s also a side project that has no funding, so it’s a big question, so I have to put more hours in about how I get it funded, distribute, how do I get others interested to develop work, it’s me assembling a platform in which this thing can survive me. It was my idea, it doesn’t mean that I have to carry it.

We have to change the narrative. The material around the border is all based off of migration and legal stuff, and it’s so loaded with stuff that is going to change over time and I don’t think we’re looking at the problems that are going to bite us very soon. Like where’s the water coming from? I really struggle with the air quality when I visit. If no one is really critically thinking about air, water quality. Access to public space, all the things that a city enables, so I think it’s a time to put different topics on the table. We’re really good at positioning problems but theres very little people who want to talk about the future. Everyone in this generation is thinking forward.

What’s a condition that you would change in Chicago?

Now that I’m in south side, vacancy is a large issue. I think that there is a lot to work with the city, we have to be more creative, government and developers won’t be the only resources so we have to get more creative on how to contribute to rescue those spaces.

A lot of vacant lots were because of the demolished social housing, and the pace of demolition was so fast that the new building projects could not catch up with that pace.

So acres and acres of vacant land have not been redeveloped and it makes you wonder, where did all of those communities and people go? It makes me question, how do you think strategists made these decisions, without an in-between plan. After the recession that the construction pace much more, so we have to be more mindful of the in between solutions, because we aren’t able to build as fast as we demolish.

Interviews

IKER GIL

MARCH 31, 2015

EDITOR IN CHIEF MAS Context MAS Context, a quarterly journal created by MAS Studio, addresses issues that affect the urban context. Each issue delivers a comprehensive view of a single topic through the active participation of people from different fields and different perspectives who, together, instigate the debate.

“We’re based in Chicago, but our reach is global.

We’re a platform for the sharing of relevant proposals, ideas and experiences that help advance the world of design.”

PUBLICATIONS

What particular aspects of your background and upbringing influence how you design architecture?

I think were a couple of things that I either knew or didn’t know at the time. One of the things is that my family isn’t solely an architect. So I didn’t grow up being exposed necessarily to architecture or having a tradition. The city I grew up in, in Bilbao, was very industrial and very engineered. But my parents, my father actually, is very interested in modern design with objects. I was always exposed to industrial design and graphic design and thinking about design. Ive always wanted to become and architect for whatever reason. Its not clear why, but Ive always wanted to. I think everywhere that I’ve been has taught me something in a way. In Bilbao was very industrial and it had a lot of problems, but then it changed and transformed very quickly. So one thing I learned was that even though it looked very bad, every single city has assets, and if you think about it you don’t have to copy any other city, you have to think about whats valuable, what they have. If you think about and you go for it, you’re going to make a huge change. Part of the work that I do is trying to understand the things that city already has but are under appreciate and how you can do something about that. I moved to Barcelona and then from Barcelona. How Barcelona, because of the climate too, how everything. the use of public space, everything is connected with small plazas. how everything is engaged with the city and how do you create those moments where people come together I think there is also a lot of energy in terms of graphic designers and book stores and I really enjoy that energy of people coming together and discussing things. And when I moved here, thats one of the things I wanted to do. And there is not that much of that here. As a designer and architect, how you can see spaces where people can come together and creating those platforms. So I think all this experiences of growing up and moving and seeing some of these things and the people that you work with show you that there is a different way and you just learn from those things.

So what does sustainability mean to you?

I’m not interested in sustainability in that sense… I think that everybody says that, but I think that it can also be socially sustainability, economical, and environmental, so that portion in a way is env. but instead of doing things the old way and just slapping a solar panel, how can you begin to generate things with the least resources. Just make something that is viable and fosters a place for things that are already going on in the neighborhood and the city. You find ways of connecting people. That’s a way, when it all clicks, thats when I think its sustainable. I don’t think that just because its environmental, if the building doesn’t make sense, I don’t care if it has a solar panel, no one is going to be using it. And paying attention to whats there so you can formalize that, but you don’t make something that is alien to people otherwise the people won’t embrace it.

I was wondering what your educational background was in each of these places and how that influences?

My education is strictly architecture. I grew up in Bilbao and lived there for 18 years. I moved to Barcelona to study architecture. I got a scholarship to come to IIT, so I did my last year at IIT here in Chicago, moved back to Spain, go my thesis there, worked there as an architect, and then moved back to the us because I got another scholarship to do my masters here at UIC. but even my masters was architecture. My background is purely architect, but every single project I’ve done, Im very interested in other design disciplines so I go as much as possible to photography

exhibitions, graphic design and industrial design, and Im very interested in those things. So the upbringing is architecture, but I’m interested in other things.

How you interact with all these other disciplines. Do you find that you interact with other disciplines and find that certain ones have certain impact in what you do?

Well I work both here and in the architecture office. I also do other projects with other people. Ive been tweaking this, but depending on the project I put together teams.. so for example, one of the that was mentioned was the documentation of marina city,so we work with a photographer, and it was wasn’t my initial intention or idea, but just combining that. I think if its a good collaboration, it goes somewhere that you didn’t anticipate, and it makes the project better. If we work with photographers, and we work a lot with graphic designers and artists and try to bring them to some of the projects to bring them to the generation of the project. I think from each one of them you learn something.

Do you have a certain opinion with how the method of techniques by which design affect your architecture and the office?

I think all those are tools, that you are the one who has to be driving that conversation. So right now you have an unprecedented array of tools that you can use to present your work. But it’s this concept, the stories of how you wanted to present it, so whats going to make you design.

You want to use this tool, or combine this tool, I don’t think that one is the best way. Maybe one makes a better rendering, or diagram. I don’t think the tools that you have are imposing anything, its just each one is good. You’re writing with a pen or pencil, they’re two different tools, but maybe one of them the strength the thickness is going communicate certain characteristics that the other is not.

In the case of MAS context, when you cater to such a wide range of audiences, how do you tailor the content?

I mean you understand that certain aspects, for example, if you do an essay about architecture that you’ve done, it will probably appeal to an architect. But we try to combine different techniques so that if someone doesn’t read the essay, they can look at the diagrams or look at the photo essays. We understand that not everyone is going to like everything, but if someone that is unrelated to design that would never get an architecture or design magazine all of a sudden gets hooked by that photograph, it makes you question that. You do the photo essay, the diagram, the short interview, you get more chances of getting someones attention. IT has to be accurate, through, and provide new content. It has to be something that someone is willing to spend their time with. when you give them a magazine, you are asking them to read something and asking something of them and you should provide them with something worth reading and their time.

Do you think the mix that you’ve now created between architecture and social issues have interested a larger audence, not just architects and their friends, but a complete non-architect?

Yeah, thats part of whats interesting to me. All of our work... It is great when my father in law who has nothing to do with architecture or when I talk to my father, who is kind of forced to read it, but he is very honest that he was interested in this thing, but not very interested in that. It

engages people who traditionally would not read those magazines. Everyone uses the city, so we are all part of this and people need to see what we can provide and what other people are doing and I think people enjoy those connections.

I know that you have touched that there is a certain interest in the social housing addition that you did. But was there a personal addition that when it was completed it moved you and changed the structure?

I’ve always been very interested in the idea of social housing. The idea of the public and being able to provide the same services to everybody no matter how much money you have or don’t have. So public housing is interesting, but the connotations that it has here and the problems it gets that no one really talks about really bothers me. So if there was a platform where some of those things could be present. So public housing, the use of public space, the investment of quality architecture in the public and in the city and how we can, no matter how many resources you have, you can always aim higher and thats important as a practitioner.

So I guess do you have any advice for us as young architects, or in producing a portfolio?

I think in terms of the portfolio its important to communicate what is important to you. You are in the studio and the brief is exactly the same for everyone. What is going to set you apart, is how you interpret the brief. Out of the 10 things they tell you, what is the one that you think is interesting. When you visit the site, someone might be interested in the social aspect, someone... the shadow, and use that as your tool and they are unique to you. So when you do a portfolio, its has to be well presented and technical and good as possible, but also how you organize the project and how much information you want to present of the project. So maybe you need to produce more afterwards, or redo a piece or do a diagram. So understand what you’re going to say and then creating the information to support that and just that when it gets muddy it gets hard to understand what you’re going after.

Whenever you see that you can add something, just go ahead and do it. If you’re walking down the street and you see an empty lot and you say “oh it would be great if it was a farmers market” and then you go and do it. It doesn’t have to be the most thorough thing, you can just make one image and go to city hall. A lot of times its just a one week project and that changes the way you have a conversation with someone. So you go and say that there is this lot here and that it could be two different things. It could be a house or a farmers market and you go to the person who owns that has control over that and you say “you know what, there is something there, maybe you should consider doing the farmers market or the house and say those are the idea, and they say they can’t do the house because theres no zone for that, but the farmers market could work” so then you’re having a conversation that is proactive instead of just going to them to say “you know, you suck because you are not doing anything with this” you might want the same, but the way you approach the program. My suggestion is you do your things and you will learn about how you want to work, what you like, what you don’t like, so then you can control more of what you want to do in the end.

And use as much as you can while you’re in school while you have instruction, you have professors, resources.

Interviews

DON COPPER APRIL 1, 2015

Why architecture, what drew you to it?

As a kid I enjoyed creativity along with an aptitude for math and science. That combination usually directed towards architecture, engineering, and those kinds of worlds within art and science. When I was a kid they used to publish house plans magazines and I would spend a lot of time just looking at these magazines and they were usually unconventional plans of houses of the future. I used to study those and then I took drafting in high school and one thing led to another.

PRINCIPAL GREC Architects Virginia Polytechnic Institute and State University BArch, with Honors, Architecture Architectural Association, London

GREC STUDIO

While you were in school did you project that you would become a principal of a firm?

Yes and no, I guess I did, like everyone I thought that one day I would have my own office, but I had no idea what that meant and I am still learning what that means and it is completely different from what I anticipated.

Are there any aspects of your childhood and upbringing that you think have shaped how you design, not only in your projects, but also how you format the office structure?

The office structure is deliberately based on the experience of David Ervin and myself when we were at Cowgirl Hall. What struck us about that environment was the open, unpartitioned workspace. In fact, when we were there they used to have lofts. There was a wooden structure around the perimeter of each of the quadrants that had a second level of desks, so it was double decker desks around the perimeter and studio in the middle. There were representatives of each of the five years in the same space, so you were able to see what other people were working on and engage them in conversation about it and David and I thought that was a really valuable model. So once we started working together to figure out what the environment should be, that’s what we based it on.

To continue onto where the office is today, how collaborative is the firm? Do you collaborate on all levels/ disciplines?

Yeah, that is the idea, by having an open office with pin up walls. It’s a little harder now to pin up when most of what people are working on is on the computer. So it’s a little bit harder to see at any given time as opposed to having drawings and models on the desks and walls. We still try to encourage people to share what they are working on with each other and ask each other what they are doing as much as possible because I believe that makes everything stronger.

For the other part of that question about how I personally approach design, I think that artwork has a lot to do with how I approach design because for me it is a lot about experience, and not so much form. To come up with a catch phrase, I would say “form follows experience” which is loosely related to function, but more importantly, the experience of the people who use the building every day.

To me that is what architects can bring to the rest of the world. Everyone knows buildings. Professionals, especially students, know as much about architecture as an architect from a subconscious experience perspective. Architects may focus more on it consciously and may focus on it technically. Everyone is an expert on environment, whether they know it or not. What we have as architects is the ability to focus on it and craft it into something particular, or into a sequence or variety of experiences, control light, control view, control the sound.

Sustainability means a lot of different things as a term by itself and how architects have described it in going green and for programmatic uses. What does sustainability mean to you?

To me, sustainable design should just be a part of what we do. The effects of gravity and form are contexture, the effects of how a building works with energy and light should be the same as that, it should just be inherent, to me its not a separate thing. It’s not a special area of focus.

Honestly, building buildings is inherently not environmentally friendly, both the process of building a building, the construction of a building in terms of the resources that are employed to build a building down to all the laborers driving to the construction site, what it takes to make concrete, what it takes to make steel, what it takes to take products to a site. All those things are highly impactful on the environment, so what we do is inherently not effective, it is much more efficient to use buildings that already exist. But assuming that we are going to continue to build buildings so what you try to do is to try to do it in the most responsible way possible.

Your artwork is very emotional and abstract. When you are talking about actual buildings, which are actual things, how do you translate one to the other?

I’m not sure its possible and that’s why I continue to do the artwork because of the limitations of building a building aren’t present in making a painting and that is what drives me to continue to do that. Having said that, there is no reason that the little discoveries that one can make in making a sculpture or painting a painting or singing a song or doing a dance, there is no reason that those things can’t somehow inform, either directly or indirectly, what you do in architecture.

Translating the way techniques or representation between not just your artwork but to represent your building, what do you think is the most effective way for you or your firm to represent a project and how does representation differ based on who you’re talking to?

There is the client first and foremost and usually, and this is a big part of our job, is to understand what the client’s goals are. Obviously a lot of those are quantifiable, mostly financial, but if you’re lucky to have clients that also have another level of interest and quality in what they’re delivering then a lot of times you have to hear things that aren’t being said so that you can bring those other things into the project and also to inform how you might present things, both in terms of what you actually show them, and how you speak about it. One of the best skills to have is to know how to hear what somebody is saying in a way that when you present to them a solution, you can describe it in the terms that they said, they might not even have known they had said. So in a way, we’re interpreters, which is really kind of the exciting part of the profession. That to me, is the core of pressing something to the client. There are also other audiences. Last night we had a community meeting for the hotel that were designing in the west loop.

So that obviously is a completely different audience and in a lot of cases those audiences are not always friendly audiences. People don’t generally go out of their way to support things, but they will go out of their way to protest things. Now last night was very successful, and it was largely a show of successes, which is great, but I’ve also been to similar presentations where that hasn’t been the case. So then you’re kind of translating again in another language which is understanding how to read the fears

and concerns of the people who are speaking to you and respond to them in a way that you can mitigate those concerns. Usually they’re legitimate concerns, its like the way we already have to much traffic. “We already don’t have enough parking in this neighborhood and your building is too tall and will block our light and if you have a restaurant or a bar or something, will people be stumbling around drunk at 2 o’clock in the morning.” Those are all legitimate fears. Now there are more irrational protests. Like “I don’t want any more development in this neighborhood”, well its just not going to happen. You live in a city and the city is going to continue to grow and change and gentrification.

That one usually bridges the rational and irrational because its natural for people to want things to stay the way they are and yet nothing does ever.

You can’t actually say “well that’s not going to happen”, so you have to try to mitigate their fears and if you can’t you can’t, they have to be a willing audience to hear what you’re saying. It’s a good exercise to think about your work from that perspective. How are you enhancing the neighborhood, how are you not doing more harm to the neighborhood. So you have to think about your work from that perspective. And your clients goals too, ultimately work for the client, so if your project is not going to be beneficial to the neighborhood, then its not.

There was one comment by the traffic or coordinator for Chicago planner and he came to visit. And he said well, if 80% of the bad comments are coming from people 80 and above, then you have to be in the perspective what is your actual audience. People don’t care about more jobs in the neighborhood because that’s that there main concern, they don’t need a job. The greater good is generally to be more economic activity, which floats all boats as they say. It’s kind of the perspective to keep in mind with that particular audience.

What kind of materials did you present to the community?

The client ultimately decided what to show and what not to show. There was a rendered perspective that showed the quality of the project and then a lot of floor plans to show the people what goes on inside that was mostly what it was in this particular case.

In general, what asset do you think you strive in to represent the firm and what does GREC provide as a firm that as their strongest asset to give to the client and design?

We don’t usually phrase it in terms of design. The answer to that question is normally what I present to the client as a level of quality of service. We will touch on design, but design is only one part of all of the things. There is accountability the project has to the budget of the client, compliance with building code, project schedule because time is money, there is the experience that you already have with that kind of project, previous experience, which of course then begs the question of how you get the first one. We’ve been very lucky in that respect, with people willing to take a chance on us. We are working with related Midwest, which is a big developer in Chicago and they do a lot of high quality work. They are known for high end residential development in Chicago and one of the projects we’re doing with them is an 800 ft. tall tower that the design architect is Robert Stern, and were going to be the local architect for the project. Ok so we’re a 20 person firm who hasn’t worked on this scale before, we’ve never done a building that tall, we’ve done buildings in the 2-300 ft. range, so we have nothing comparable to show them.

Interviews

DON COPPER APRIL 1, 2015

What we have to sell them on is the quality of service and the people that they’ll be working with and the attention to the project they’ll get, and the level of management of the project, because we have to manage this starchitect who has no idea who we are and yet, we have to have some level of authority over them in order to make this happen.

So we’ve had a couple of meetings and we met with their chief architect and their chief construction guy and the president of the company and we go the job.

A lot of your projects are local, so are you able to do that often, or is it a transition to pick up these designers who are not in the area?

We like to think of everything as a transition, so yes and yes. This project will be a big project for us, it will be like the Ace hotel in LA in that it will bring a lot of attention because this project is the first Robert Stern commercial building and its going to be super tall, taller than anything around it. It’s not as tall as the Hancock or trump, but its very tall. That will allow us to get more tall projects and it will allow us to get more luxury residential projects. Most of what we do to date is more market rate residential, which is great work, but its a whole different market and to talk about the geographic component. Now perhaps we’ll get to do a luxury high-rise in some other city. Each thing builds and the thing that is really exciting, that I was just thinking the other day, sometimes we get so busy that its hard to focus on what’s right in front of you, but we’re going to be delivering two fairly high profile projects this year, one is the Hilton Garden Inn with the pixelated facade on Wacker Dr. A Hilton Garden Inn in any other place would not get that much attention, but that wall. Another building that is going to go up that is starting to be closed on Division St. is going to get a lot of attention for a lot of reasons, one is the location, its going to be the first tall building in what used to be in the Green location for public housing, and because it’s the first project by this Portland developer who is taking a completely approach to market rate living in Chicago.

Is it important to be published in publications?

We don’t have a firm stance on our public profile. To summarize it, I would say it is more important for the clients to know who we are than the architects know who we are.

They don’t give us any work, in fact they take work away from us. So my position is that it is not as important for the architectural press, unless the clients read it, but clients read business publications. But we’re not ever going to compete with Frank Gehry for a building so that’s fine, if we win awards, that’s fine. I’m not against awards, but it’s not my highest priority. What’s more important to me is that the business community understands that GREC can deliver quality, high performing projects successfully. Also, we don’t have a style, we treat every project as a unique thing, we don’t say, ok how do we bring our brand to the project. Our brand is not visible; it’s more in the services we provide and I like that. I don’t want our buildings to all look alike because I think each project is unique and should have a unique solution. So I like that you can’t really put a finger on what we do. And I don’t even mean to criticize people who have a style, it just doesn’t have any interest to us. And that goes back to the art influence with what we do, because each time we sit down to make something it is its own thing. And it should be its own thing.

So with these projects you have slated in the next few years, do you see your firm growing in a certain way, or is there a certain quality you’re trying to maintain with a certain size?

If we continue to succeed the way were succeeding were going to have to deal with the challenge of how do we grow and maintain what we have which is I think not only for the people who work here, but for the client a unique situation, so in a lot of cases its why people come to us, so it’s important to maintain. I don’t think we want to become a 200-person firm, because then were like the other 200 person firms. So that will probably be our biggest challenge in the near future.

Is there something that is difficult by having this structure, or is there something you would fix ideally?

I think no. There is always some fine-tuning to do, but we prefer this to be an organic thing and I like to tell people that were providing the environment, but they’re responsible for the culture. David, Greg and I are not interested in dictating what the culture should be. Which is kind of an interesting experiment. We’re always having to either dial it up or down, usually up, because it’s hard to keep people encouraged to express themselves. People tend to think of workplace as a place where you have to behave in a certain way and respect certain authority, and to an extent that’s true. We want to be an open forum of communication.

What is your advice to young architects?

I’ll give you my own opinion, it’s just an opinion, but I feel strongly about it. There is going to be plenty of time for you to learn how to work in a firm and what you need to know to build a building and to find out whether a large firm or a small firm is for you, or if architecture, construction, or out of the industry all together, but there is plenty of time for that. I would suggest that in the next year is about you, because unless you find yourself in a really unique situation, it’s the last time you get to do that. So once you’re out of school it’s not going to be so much about you anymore, so I would suggest to completely immerse yourself in finding who you are creatively and not limit yourself to the constraints that you’ll live with for the rest of your career.

For me, you see the real world and the work you’ll do, but that also encourages you to do the things you won’t be able to do it rather than wish you had done it before or hope for the chance to do it later. You’re in a work environment that allows you do to that. There are always advisors that think you should know how to build a building and who want you to learn the profession, but honestly when you graduate and go to a firm, you won’t be given a lot of responsibility and will be given a lot of basic tasks to do and it will be years before you even get into the project management aspect. You’ll gradually pick up technical expertise and how people work in an office, and eventually you’ll learn how the business is run, so trying to learn that now is a little premature, you don’t need to be encumbered by that. I think you should come out of school strongest creative person you can be. People who consider hiring your will probably want to see some level of knowledge of AutoCAD and knowing the tools you’ll be using in the office are very important. Knowing how to put a building together, no one really expects you to know that at day one. We look for people who demonstrate a self-motivated personality and show work that demonstrates a high level of curiosity and interest in looking all over the world and bringing what you see into your work.

Interviews

XUAN FU APRIL 3, 2015

AIA, MANAGING PARTNER Skidmore, Owings & Merrill LLP Ball State University Master of Architecture Beijing Institute of Architecture Bachelor of Architecture

BEIJING DAWANGJING CBD CONCEPT MASTER PLAN

How did you get to be where you are today here at SOM, what have you done to prove and establish yourself as a leader in the design world and SOM? I grew up in Beijing, China. I did my bachelor degree there and came over to the US in 1989 for graduate school at Ball State university. The reason I left China was to see what the other side of the world looked like. At that time none of us could support ourselves unless we got some scholarship and I was very lucky to get an assistantship at Ball State.

When I was at Ball State I interned for SOM over the summer. At that time I hardly spoke any english so I was making copies and modeling, and those types of things.

When I graduated from Ball State, the economy in 1990 was very bad, so I got a job with a very small 5 person firm, called Yamana and I was with that company for a while until it went out of business. After that I went to VOA and did interior design for about two years.

SOM was working on a project in Shanghai, the Jin Mao tower, and they were looking for Chinese speaking architects. I was very lucky to get selected and I returned to SOM since doing my internship. From then, I have worked here for 21 years, and I have to say I was very lucky.

What SOM has offered me are great experiences, guidance and opportunity. I have worked with a lot of senior architects along the way and every single staff member guides you through the process. They taught me, not only how to be a good architect, but also to be a good person as well.

You are able to see people from all over the world, not only from one nation much like the United Nations. You are able to understand different cultures and also different ways to look at things, so we have projects all over the world and because of that SOM had been a lot of places in the world and that had opened up a lot of view as architects and make you open minded. We have done a lot international competitions as well, and through the competitions especially when you go in the final presentation and you hear other peoples work, suddenly you realize how great everyone can look at one thing in different perspective, and thats what SOM had offered me. And talking about leadership, I have to say, I personally believe I was very lucky. I have been in the right place in the right time with the right people. As I said I had so many of those senior architects had trained me all along but also because china market has grown quite a lot and I was able to help in a lot of ways, not only marketing it, but also based on the culture background I have and the network I have. to be able to help the firm to understand that market and developing that market in general, but also I did a job in Russia, I did a lot of projects here too as an architect. If I had any suggestion, I believe in any work you do, every day, theres nothing big, nothing small, everything gets to your desk, you do the best out of it. And also don’t wait for other people to tell tell you what to do you, you always go out to offer what your opinions and tools for different options you never ask a question, “what am I going to do” you always say, ok I did this, this, and this. … I believe that’s what I had learned the most, because no one own you to teach you anything, but you can always grab something out of it by going and offer what you can do. Helping the others to help you. Its work was not only for helping internally, but also externally.

You mentioned about coming from China and I read that you said before that you had planned to go back to China originally to help the people. Is that something you are still interested in or do you feel you are doing that service here?

I feel I am doing that service here, even more. Not only helping in china, but also actually is you building a bridge, you just build a bridge. To be able to have the culture and everything change.

SOM does a lot of international work, how is it possible that you are really in touch with the local culture, despite the distance?

SOM has all those people from all over the world, so in each of our offices, we have employees who understand the culture, but also has been educated in united states as well, so they have both experiences and they are trying to not protect one or take advantage of the other. What we try to do is to try to bring the best out of it for both, so it has to be in general, so everything you do had to be mutually beneficial, it cannot be one or the other, thats the only way you can last longer.

Is there anything about the structure of SOM that you would change if you could?

No, because SOM is very different than most other firms.

I believe, in todays world, theres something so, you have to look at things at a much larger scale, which is our city planning group and all the other.. urban planning and from the city planning point of view and we even do the great lakes, so we cross countries and try to do all those things.

At the same time, after that, thats the vision you give, and for the next 20, 30, 50 years and then each of the parcels, when you start developing, like what we have done in canary wharf, it has been almost 30 years already and start from 0 and you see this. Today on my desk, I have another project coming in and they are interested in developing a parcel. So you are giving a service from timing distance, but also how big how large the scale needs to be. At the same time, when you go into each independent building or site, you really need to understand, not from an architectural perspective, but also engineering perspective, what is the best for it. and for energy and the new technology. So you have to have new innovation in each one of them, to push them and the industry so they get better and better.

And that’s what is a full environmental issue. you can be from large scale, city and country scale, but also each of the buildings, and even in the interior, even the air quality, comfortable for the people, so you have to take care of all perspectives. and thats what SOM has. We have urban planning, architecture, structure, mep, interior design, and also our black box. So we do a lot of research for new materials, new systems, all that. And that giving us much larger scale to really understand what needs to be done so to your question, a lot of other firms, they practice only architecture, only interior, only something. I believe SOM can offer differently and I like the way we offer it.

How would you say your position now differs from the different jobs that have led you to this position?

I came in as a D level architect and I worked on a lot of different jobs, but what SOM has offered. I was able to start from Chinese project, then we work on project in manilla, ?plasarachia.. then we were working on project here, in London, in Russia, and Korea. So with all the experience, you work with very different teams, where you learn, and on each jobs because SOM project is so large, so not one person can learn everything in one. Maybe you

work on the basement on one job, the site plan of another, a core, or exterior walls. So those things you really need to be patient doing things right and every day in order to gain that knowledge. And with the knowledge, I also had been a technical coordinator for a while, which is the architecture who is more in charge of technical, so you not only coordinate with your own structural, engineering, mep, and all that, but also you also work the local design institute of the country your work with, and also with the client and also with all the consultants, like lighting, vertical transportation, landscape. At SOM i grew up from the very bottom, but what has given to me, I was brought up with perspective, I have touched on everything a little bit. And that’s the benefit of it and I was very grateful for that.

What does sustainability mean to you?

I think about sustainability as a firm in this office we have a long history of work for just, if you look at our work with the 25 years award, the airport in ?? i will show you the book [whoops] in saudi arabia, it was maybe 25-30 years ago we did that. if you really look at what that did for that particular country, it is very important. what we had done is we did the tent, because for Mecca each year, so many people go through that particular airport and theres no way you can air condition the whole area for it. and at the same time because the religion, people had to have certain space, quiet space to clean themselves, quiet space to meditate or to pray before they get on the airplane. And thats why I’m telling you the cultural respect that the firm can offer to the client and also what we can learn from the client is amazing. So with that, what we did is first of all, the design is a tent. And second, the structure group went out with the factory to develop what kind of fabrication they had to to get the tent. also in the same time because its very hot, its in the desert, so the air coming in gets sucked up so all the air gets sucked out so we have not only shade but also we get natural ventilation for the whole thing, thirty years later still. So if you ask if thats a new word for SOM, “Sustainability” never was- it has always been that way. so todays goal is not only working our site, we start with urban planning. you saw what we tried to do for the great lake. we are doing a lot of similar things for other countries as well.

And thats an incredible part i think, to be in a firm with such a history...

Its supposed to your blood, so in each of us are supposed to carry it through and thats what were doing. and also you have the LEED system rating and also in each country they have different rating but also we have our own goal which is much stronger than average. We really want to save energy and we really want to have water saving as well and how truly we can do for the environment, especially now we are working a lot of projects in China with air pollution, how we can improve indoor air quality but thats not for today. today because they need it we are going it, how about 20 years form now, what do we do. so we are working with universities and research groups, those kind of issues, new materials and in order to helping those research we use it right away. because of the job we’re pushing on certain research as well. so thats kind of like in and out, thats made something a little different than the other. [zero idea what this sentence means @20:20]

Interviews

XUAN FU APRIL 3, 2015

As a managing partner you must talk a lot with all the studios and different directors and coordinators here and you communicate with the clients saying to them, then that translate to design, right? So are there a lot of different tiers of communication that something has to go through to get made?

Not really. Actually in my goal what we do. we don’t sell management, we sell design. so actually in our way we try to push our design and technical coordinators and design team in front of the client so all directly communicate. its not like i go meet with the client and come back and tell them what the client said. the designers always on the site with us. if i have a meeting with the client online,e they are online. they are the epicenter. what i do during the time where we have the meeting if one side does not understand the intention of the other part wanted, I’m going in to help, to let them clearly understand what each one’s goal is and what each one’s idea is so they can find a common end goal. what my goal is to have our designers to express their design idea as strongly and as much that they can. and also understand what the construction men meant and what the client meant and the limit of the market and how to bring the two together to help our client pushing them to highest level they could on each project. It’s a design team.

So you’re kind of the mediator?

Generally thats the case. and i will help to communicate about time and deliverables, schedules, meeting times, but they host the meeting.

How has the profession of architecture changed? I know you’ve probably had many different experiences with it since you came out of college but how has it progressed since then?

Maybe because of the computerization of it, so its much easier for us to communicate to the client. before we had to do renderings and now i see the clients developing much faster and they can see things in much more realistic way because of computer modeling so they can make a decision and work with you in a much closer way. And you don’t need to do all the drawings and ship it out and two days later make a call. now things happen immediately.

Do you think thats possibly caused this flattened hierarchy that you’ve been discussing, how you can rapidly access and spread information. do you think that affects how SOM is structured nowadays?

In a way, yes. but also at the same time you understand that if you can get the client and you on the same table in the first minute you can get the best for your team. Its more efficient for working at SOM. And also you will be able to use the numbers and graphics to show them what the new technology benefit will be so you are really helping push them to the cutting edge While talking about representation, we know that when talking to architects, there are certain drawings that make more sense, and other drawings that make more sense to clients. Seeing it from both sides, whats the most difficult thing when trying to represent?

It depends on what you want to get out of that meeting, if its just the initial design phase you don’t want to get them finished look that they will criticize. Because the whole design process is you feel the market, you understand the program, but also you try to understand the client need and you need to bring them along. if you don’t bring them along they cannot make a decision for you. Now at what

stage of the design, then you will know how complete your story needs to be or your graphic will be. Especially because you don’t want to force it too fast. you need to get them into it, its work to get their process As young architects now and seeing how you’ve grown from all your experiences, is there any advice you could give us?

I believe that you can learn something from everyone you meet, not only one person. Not someone above you or below you. no one is above or below you, we are all equal in that way. and also at the same time if any opportunity comes to you, you should work on it. don’t feel this is too small, this ia nothing. You may learn something big for your tomorrow. And anything is like you’re building yourself as an architect. So every single block will work for you in the future.

Interviews

LUIS MONTERRUBIO APRIL 8, 2015

Chicago Plan Committee meeting on a Thursday of the month -architects and developers Multiple neighborhoods in Chicago. The reality is that neighborhood boundaries change a lot based off of real estate.

-The best reference to know what neighborhood you are in is based on residence. Look at all of the plans, recommendations and manage expectations.

COORDINATING PLANNER Chicago Planning and Development University of Illinois at Chicago Masters, Urban Planning Uinversidad Autonoma Metropolitana (UAM-A) Bachelor’s Degree, Architecture

Every area of the city has a variety of issues. Look at it as a garden.

The combination of different species has to co-exist and its is the job to address all of the different parts Need residence, education, low crime rates, good infrastructure and affordable housing. Need to care about its site and intersection is important.

Maps give guidelines of the context.

-essential tool - job as architects -will last more than hopefully a week, have to care about intersections Chicago has 50 wards - physical representation of the area.

Is it rentable space, is it survivable?

-what is the most important, here vs. there, what is the competition -to capture most traffic 26 industrial corridors in Chicago Industrial is important -lost jobs in 2000-2010- about 60,000 jobs -example: same type of technical pen. there’s a multiplier effect that produces more jobs weather it’s distribution or sales.

Also lost population during that time that triggered from the loss due to jobs, yes probably most. Also the crime rose in certain locations.

12 Zoning categories in Chicago PMD - Planning Manufacturing District.

Architects have a client - it’s important to understand the context of a city, Chicago has diversified economy unlike Detroit example warehouse – moved out from downtown Chicago, now other retailers have to go out to farther areas When move into a new district, and it’s not trendy- have other guys with dead carcasses; they need to have that activity further.

NIMBY Not in my back yard The chocolate smell – on the intersection of Kinzie and Milwaukee -people from apartments start complaining -EPA involved -they should have looked at the context and understand the conditions Everything is a built environment - don’t have the luxury to have 300 acres of open land It is important to value the relationships between program, based off land use, scale and everything that can make it sustainable

Talked to the Calatrava project – he came here to do the presentation of the Spire tower -worked with him to understand every aspect -tall building, but it needs to give back to the park, needs to be a set back Not giving Calatrava a blank slate do anything -example Valencia- someone has to pay for that. Maintaince is 2-3 times more than expected- unacceptable in Chicago.

Can’t let your architect or artist just go free.

Have to work with everyone - may not like it but you have to.

Frank Ghery entrance builds up snow and drops it -Going into a lawsuit because of that issue It is important to keep your design perspective in place Keep connection with the final user Keep connection with other things that will not change like climate that continues to be an issue, What led you here, your education?

Thesis was done CSX site was the largest vacant space in the city.

In Mexico, part of a team of 10 students Sarted a thesis in love with Calatrava - first project was a crazy structure -had 3 professors that said I was crazy, so I spent 3 months defending - didnt do a whole year Then planned to do an urban project in the city of Chicago - came to present -offered internship - some with GREC - Luis here -Was suppose to be a 3-year internship, 14 years later...

Important to continue learning and doing the things you like because will be spending your time -Was entirely once all architecture, and transitioned into urbanism and planning -Had to care about communities, elected officials, etc.

-hunger for knowledge -masters in urban planning at UIC, and 2 years later got an understanding of architectural and master planning -start collaborating with other disciplines- attorneys, developers, community leaders - networking has definitely increased 200% -Still working on license in architecture -Became a LEED AP What does sustainability mean to you?

Had a great experience with the Chicago Sustainability Industry Most sustainable industry is the one that is already here -Already has existing jobs that has the resources to have for the local population without the need to expand more -Creating smart ways of using the existing resources without wasting it, without hurting the local population -Making decisions to help our projects last longer - not a cost that we have right now -Chicago spends 70% of carbon emissions on the building maintenance/construction because of weather.

People want mansions on big hills -architect for parents created beautiful home with different levels, but the land was flat.

-dad has an issue with walking -Make it sustainable- why design something that isn’t helping the customer?

Sustainability fits more than one description in my opinion.

What do you think is the immediate problems of Chicago?

There are different needs in the city -not one formula that applies to all -don’t have a high concentration of parks, but the parks we do have need to be reprogrammed -rail project, an existing train track people run on it for the 3 mile stretch -about the size of street- will give users to move from the road Using the things that we have and making them more efficient Need more jobs in infrastructure, construction, but those are temporary jobs -how do you make those last for the long term -alternatives in different locations When you look at an area, what factors give an area reason for development?

Right now there are plans, so you can’t redevelop areas completely -Wicker Park has a lot of gentrification - HAS TO resolve a problem, it has to identify the issue, like affordable housing, they still want to stay here but the area is expensive.

How do you keep the community informed about what’s happening or what will happen if theres a master plan?

-present 2-3 times a year -people will see what is invested in the area

Interviews

BRIAN LEE APRIL 10, 2015

FAIA, LEED® AP, Design Partner Skidmore, Owings & Merrill LLP Harvard University Graduate School of Design Master of Architecture with Commendation University of California, Berkeley Bachelor of Arts in Architecture with Highest Honors

POLY CORPORATION HEADQUARTERS

What made you choose architecture?

I don’t want to contradict myself and make up stories… haha. I grew up in the central valley of Sacramento, California. My father was an architect. I’m second generation Chinese, so my grandmother and grandfather immigrated from China. They were farmers. There were lots of farmers during the Depression. Worked in a meat market grocery store downtown. My father was the first one to go to college. Really quite admirable in that generation – they were really the ones that made significant advances in terms of education and quality of life. I actually quite admired his experience, as well as my grandfather’s experience.

Actually, I was surprised by this question by somebody else at another school. And I wrote to her, it was about being in that environment. It was a sort of advantage.

I saw the drafting tables in the basement, because he was moonlighting at the time. So people would be coming over later at night and I would see them as a kid. He later had his own office, so I would go there because my mom was also the secretary office manager. And she also did drafting. She did geological surveying for the federal government. The hand drawn, topographic, beautiful maps you see. I would be washing cars, trimming the hedges, gardening in front of the office, sweeping the front steps of the office. Then I’d come in and run the print machine.

The earlier ones were wet. You had to hang them up to dry off. It feels like Henry Ford Model T period, to even just coloring drawings. It was even before a product you might not even know – Zipatone. It used to be big sheets you would cut out to lay down patterns, textures, and tones.

It’s like plastic that you had to put down. Before that you had to hand color. Like if you wanted to shade or tone for a parking lot or a landscape feature, you would draw on the back of the drawing with a blue pencil. So it take forever!

Just errrrchhhh* So those kinds of things in being in the environment. But the most interesting thing for me was just hanging around people that were connected to building – connected to architecture and engineering. I wouldn’t just go there, then get in the car and go to baseball or something. It didn’t seem like “work” quote, unquote – these aspects of architecture, engineering, and design. Most notable was when we went out to San Francisco, and he’d visit old professors and old classmates. When you crossed the bridge, it was like going to this magical city. Then going to have lunch with old classmates from these firms on top of this old time, century restaurant. It was this whole kind of thing where you’d see big scale drawings. Full scale drawings of a wall section, big models, and then you would see the buildings. That was inspiring. When I did apply to college, actually, I applied and put down “Math” for a major. It still has an undergraduate major in architecture.

It’s accredited, but it’s not a professional degree. And then those lecture halls! Sitting with 500 other kids for math and physics classes, it’s like, “Uggghhhh, this isn’t too fun.” So I switched into architecture. That was the biggest influence personally.

How did you find yourself at SOM? Well 2 summers at TY Lin, and then I spent 2 summers at SOM. You have a network of guys and gals you know. And someone couldn’t do one summer, and they knew of a job, they’d say, “Hey you might wanna check these guys out.”

I got a part time during the year, helping out with some drawings at SOM in San Francisco. And you develop relationships so – I worked there one summer, while I was at grad school. And when I finished grad school, I was intent on going to New York. And at that time you know, there’s different architects you admire and you’d go work for them.

So I applied to I.M. Pei’s office, Richard Meier’s office, there was a guy named Charles Gwathmy. Gwathmy-Segull. That was kind of interesting. I had done some drawings for him when I was at Harvard. Measuring up a building and documenting, they were going to do some renovations. Then a firm called Richard Jurgula. That was an interesting firm for me. It was less stylistically set than Richard Meier’s practice and I.M. Pei’s practice. It was a little bit more about humanism in architecture that I appreciated. It was more of a Venturi and Louis Kahn school. So I was accepted at I.M. Pei’s office and Richard Jurgula’s office. I told them that I could go to start work in December, because I was going to go to Sacramento for the summer.

So Gwathmy says, “Once you go back, you never go back to New York, so forget it.” I was going to take a position at I.M. Pei’s office, but I ended up going back to Sacramento because of a girlfriend, and a project. My dad had a small housing project. And he said that it would be good experience. I ended up doing it for a year. So I didn’t go back to New York. Things could have been different, but it was one of those things – a project that I could do by myself. He was just a one-man office at that time. It was fun. It was 50 units of student housing in a law school in Sacramento.

And you get to do everything. Meet the clients, go down and get the permits, bid the thing out, the whole kit and kaboodle. I got licensed, because it’s good experience to get licensed that way. I developed an ulcer. You know it’s stressful. You’ve got to do everything. You say, “I want to do this. I want to do this.” You have people saying, “No, you can’t do that.” Either it costs too much, or you can’t build it, or we don’t like it. So it’s an interesting experience to learn about the hard-knocks of the real world. So at the end of that year, it was under construction. I got a call from SOM, again, because they knew I was back on the west coast and wanted to know if I would come out to the San Francisco office. So at that time I was in CA phase, out on jobsites, wondering if I would go back to New York.

Meanwhile girlfriend is still in the area. So it worked out to say, “Ok, let’s try out this SOM thing in San Francisco.” Oh and by the way, prior SOM experience was with the urban design group. Planning work, large scale projects. But they said to come back to the architecture department. And the rest is history! I started in 1979 so, 36 years later. Haha.

You mentioned that you liked working on a project because of the humanistic aspect of it. And I saw something that you mentioned before in regards to Churchill’s quote, “We shape our buildings, therefore they shape us.” So I was wondering if you have more experiences or thoughts about that?

Interesting question. I haven’t put this in words or writing.

But it’s interesting how architects can mature. They’re usually filled with vigor early on. You go out and there’s a certain ambition. You’re very intent on trying to accomplish things. I was lucky because I had some interesting professors at school. They were all very strong architects.

The strongest was Kallmann – Kallmann McKinnell. They were architects that did the Boston City Hall. Very much about the tectonics of architecture. But at that time also, there were people coming into the school that were very strong. Richard Meier was teaching there, Gwathmy was there, Maki came, Michael Graves was there when he was doing late-modernism, cubist architecture. They were all architects that had a definite point of view. Eisenmann came in to talk. I felt that from a point of view of having skills at form making, understanding volume, surface, the formal aspects of architecture, that I had certain abilities in that. I had remembered that from my background at

Berkeley, there were people teaching there at that time were like Christopher Alexander, and a whole group of people that believed in the social and behavioral aspects of architecture and how it related to people. So there’s a little bit of that dichotomy. So me coming from Berkeley, which was more of a populist culture, then going to Harvard, where they would tell you how to express a column, or how to cut a window in a wall, how to make a joint. I said, “Ok, this is kind of fun.” I was learning something that I thought was really interested in, that I didn’t necessarily get at Berkeley. Then when I started to work at SOM, I had somebody named Chuck Bassett, who took me under his wing. He was an architect who I thought was very skilled. And his dad was an architect in the Midwest, did very sensitive work. He grew up with the ability to draw, think about how to craft things, and went to go see Eero Saarinen. Eero Saarinen’s work was much less dogmatic in approaching the problem, and finding an architectural solution to address that problem. So when you look at his work it’s very, very different, whether it’s TWA Terminal or Dulles Airport. Chuck had worked with him on the chapel at MIT – little brick building. To the GM Center. All of these different buildings. So that same philosophy in thinking about appropriateness, and not being so uptight about your own ideology, that allowed you to be a lot more free about thinking about architecture. Also art, history, how people use space and social influences. I thought that was interesting because it didn’t mean you were without a philosophy, but to me it meant that you are more whole as a person. And when you’re more whole as a person, you’re better as an architect. And you have to look at a lot of other architects that are so tied up in their stylistic issues, that it’s hard for them to do other things. You could name them now. You know a building by somebody. If a building looks like that, you know who that person is. I think that in the end, and this is not going to be postmodernist, I’m not just trying to say we just want architecture that is accessible and appeals to people, like what Michael Graves did. But it’s trying to take the histories of what architecture meant to people, and how does it fit into our human condition.

That to me is kind of interesting. It means that it’s thinking about, from the very beginning, how do people relate to spaces, what do they feel. What are the emotions? Inspirational, depressing, contemplative, activating, stimulating.

How do you get these qualities in architecture? To me, that kind of was a worthy pursuit, to say I am confident as a form maker. Let’s see if we can’t make architecture that provides meaning and feeling. I was lucky to visit some of the things that Peter Zumthor is doing. It’s quite beautiful.

There’s a similar rigor to the work, and he’s after certain qualities of space, light, and sound. We had to go to Basel.

We went a weekend early before a client meeting. We traveled around Zurich and went to Basel. Luckily there was the Art Basel that weekend and that was incredible. We saw the church (St. Benedict Chapel), we saw the baths at Vals, we saw an interesting little senior housing project that I saw was quite clever. It was a linear building, big piece of glass, and balcony. It was quite simple. Collective senior housing. It was single loaded, and had a very wide quarter to those units. In that quarter, people starting to populate it with stuff inside the unit that they brought outside. So there was a grandfather clock, chairs with doilies on them, pots and plants. So it was a way to think about how collective housing and family housing could be highly personalized and less institutionalized. Especially for seniors that want to have that ability to relate to each other in later years of life, that they’re not isolated but they feel like part of the larger community. So to me, those kind of qualities were

Interviews

BRIAN LEE APRIL 10, 2015

quite interesting, like when you go to visit the little church (St. Benedict Chapel). Have you been? I thought it was a little disappointing. The inside, from point of view with just the painted surface of the plywood. I thought that was much more naturalistic. But everything else was incredible.

The vestibule that leads you in and the kind of qualities of that stuff. And it very much reminded me of a sensitivity that I wish we could practice, that Scarpa does. You know his work? That thing works so well in the landscape. And the materials and how the light comes in. It didn’t start with a stylistic issue, but it started with an idea how to develop a place in a broad sense that is inspirational. It has meaning, it speaks to people. And when you talk about Scarpa stuff, have you seen the cemetary? Incredible. I was lucky to go there with my life. She’s very tolerant. She likes architecture and design. But she’s like, “Really? A cemetery?” We spent like 3 hours there. A whole afternoon because it was so beautiful. So I think to me, how do you find a way to develop an architecture? Yes you have to solve problems, it’s about performance, it’s about a certain urbanism. But getting back to your thing, an architecture of scale, even in large jobs, how do you find ways to continue to think about people? They’re normally 6 feet tall. How do they move through the space and what do they feel like? We talked about this the other day about the issue of panoramic windows. Can you still get this quality of experience of being in the sky without panoramic windows?

Because you know, energy issues are such that you want more solids. You can get it, if you’ve got a gigantic piece of glass that’s people sized. So a 10 by 10 piece of glass with solids on either of it, you would still have that quality of expansiveness, of the sky and of the light, without it being 60 feet of glass.

You’re talking a little bit about the material, the scale, the form, and the tectonics of it. You said before that the material finish cost and the craft of the construction can make or break the project. So how does that factor in to working with this, and how do you work with other countries where you don’t know the craftsmanship of things? With projects you can control the form and the shape of it, but the craftsmanship you put in someone else’s hands. How do you deal with that?

It’s a constant struggle for us. Especially when we don’t get to do the full documentation of the project, or take the project all the way to the final results. You mentioned abroad. Where we have that problem. Although we have some fairly good buildings, compared to the rest of the best buildings in the world, have been built in China. But I can’t even get a little library here, to detail to the same extent that we’d like to do it China. Because, these guys don’t get it, something costs too much money, and now they’re not gonna do it, and why aren’t you gonna do it?

Oh we do it for them, oh maybe we could do that, and then a week later decided we can’t. Haha. You know it’s just constant small battles to win the war. So I do that that, if you tried to describe the best buildings in the world, it does have to do with how things go together in the end. Ours is a visual and experiential profession. So when you look at a corner, at an intersection, at a surface of a wall, even at a low end material – stucco. What’s the quality of that surface? Does it have ugly, stupid, mundane expansion joints that look like they are the least common denominator or are they carefully hidden? I think that you can do buildings out of very ordinary materials. If done properly, cleanly, then it’s quality that you think you’ve experienced great architecture. There’s an architect in the Bay area that

my dad studied under. He’s kind of famous. His name is William Wurster. The school at Berkeley was named after him – Wurster Hall. And he was an architect that came from the east coast, but adopted a Bay area regionalism.

And he did a lot of houses. His whole thing was how to simplify details. Yet, when you looked at them, they were probably the most complicated details imaginable, but it was all about reduction. So that it didn’t have a big lap trim over a window and the siding, but it was all carefully seamless and crafted like cabinet work. So sometimes the things that look the most simple, are the hardest to do. But you can do it! It’s just a matter of sitting down and sweating the details.

Could you speak about your view about the social and environmental and economic responsibility of architecture in sustainable design?

Well maybe they are all related, so backing up and relating sustainable design to social responsibility, and it does affect the economy in terms of what you do and what you will save later on. I think it gets back to the issues of not only what your feelings about your responsibilities as an architect, in terms of whether you’re doing the right thing.

But also how do you more importantly, not just let it be sloganeering, or buzzwords. Not empty, sort of goals.

But how do you really get it done? And because we’re a service organization, people pay us to do work for them.

And automatically, in that trade, you tend to feel that you lose the ability to drive the agenda. But I think that what you have to do, and this is where the best designers in the world are able to turn that agenda around, and listen to what someone’s asking you to do. And find ways that it first addresses the greater societal concerns, right? Because that’s what we really want to do. That’s what most designers what they believe they can do in life. How it then intersects with the client’s concerns. Actually I think Saarinen did a Venn diagram of society intersecting with clients’ concerns with architectural concerns, or art. That is the way you have to go about it. That you’re constantly being tugged and pulled. Yeah you’re paying me to do this, but I am presenting to you a better way to do it, or supporting your desires that is adding more value in the end or makes you feel good as a person or as a company, or it’s going to be a benefit to your users, tenants, students, or whoever.

It’s a tough question, because we’re all going to say, “Yes, absolutely we have to be responsive.” To not only society, but be conscious of social issues of our time. You have to look at the news and see what’s happening today. Would you do a prison if you had your choice? Why? They don’t get good space. Those spaces are not nice spaces. You know, the AIA is having its own debate right now, of whether or not the profession will or will not support societies’ views on incarceration and punishment. And because it’s so tied into specific ideas about isolation and punishment, that we shouldn’t be a part of that. Yet other people in the AIA, believe yes, maybe we could actually help. Maybe we can come up with different models in terms of how to deal with the penal system that are more human and actually improve the human condition. So where do you fall? My ideology says either, I will not do that, or do you fall in the camp as a pragmatist where you say, “Well I can make a better place.” These are significant issues that designers address. Like this new Apple watch that just came out.

Does that improve the human condition? We don’t know yet, right? Maybe, because it’s all about this incremental interface between technology and people. That’s what they’re talking about. It’s not a watch, it’s really the constant development of technology where you control the

technology, not let the technology control you. But where’s the fit in the grand scheme of things in terms of, you know, a cure for cancer? I think that there’s kinds of questions every day that you have to ask about what you’re doing. Is it the right thing to do? Can you make it better? I ask it every day myself – “Are we providing any innovation?” Just straight off. Is there something about this project where I’d be able to tell a story? Something that solved a problem?

Something that provided a benefit to society? And that benefit to society could be physical, psychological, it could be about sustainability, about the environment, conservation. So when you ask that question, they kind of all fit together. But you have to do that, because otherwise, as a designer, you’re kinda out there as a hired tool. Sometimes you get trapped because the way expectations and the way things work in the world, especially the business world. So that’s why I say you have to be constantly questioning and remind yourself to do the right thing.

So I wanted to ask you your thoughts on identity and architecture and whether you thought that identity is crucial in a world where we can get from here to China in one day.

I kind of have two minds about that, I think that you’re right, it’s much more global today, people travel and are connected and probably most importantly they have similar aspirations. So who are we to deny people who aspire to a certain kind of life and lifestyle and standards of living around the world. If they were looking for the things that we value, why would we deny those things? On the other hand, what we have definitely have found is when we try to get into a place, and really try to understand what we are, because we believe we are, trying to developing a unique architecture, and ultimately try to be different, what is our differentiator, to understand that place and context. I really am a firm believer that somebody has to go to the site and just be at the site, just experience the place. Because it’s very different, like we were introduced to a hotel in Arizona, so I went camping on the site with another designer, to see the sun rise and sun set, sound, animals, temperature, the experience of the big sky. It was actually easy to then describe to then client those qualities that you felt were of that place thant you wanted to communicate your body and your architecture. The harder places are you know, in Chinca, or middle east, or anywhere else that is trying to develop another kind of architectural model that might be more transportable, so what do you do to try to bring a character that relates to the potential of that place without it seeming to be pandering to a (carecher?) 56:31of that location. And can you actually bring something that is kind of abstract and kind of easy, but can you bring something that is a different way to think about their own things that they tell you that you brought it back and interpreted it. I think that theres things about that are quite interesting, so like the Chen Mao project, a tower that looks like a pagoda in Shanghai. But you know it was adopted by the city as being very Chinese, and had these qualities that people really liked. The common person really liked that, maybe to the inteligencia it may seem a little corny. So I kind of believe with the ladder. But then do you then do something instead that abstracts the notion of what a tall structure might be, how do you find those qualities. There is something about that, I believe that the best architects are trying to be different, and they are trying to reinterperte something that might be a certain prevailing mood, certain kind of context or condition that they are trying to make a statement about. I think thats very important, because otherwise you’re only transporting your style or brand to these

certain places, and part of a larger spreading of commodity around, a little bit is ok, but if you see 30 buildings that could be from anywhere all kind of in one place, and also in 7 other cities, that ends up being a lost opportunity.

Advice?

Read the newspaper.. follow politics. I guess my answer to you guys is that lets say design leadership comes from being as smart as you can. You need to be aware of all the humanities, art. literature, history so you can speak intelligently and with and creative authority that is based on information acts experiences because thats how you develop a way for people to believe you. In that way you become thought leaders that isn’t specifically about architecture... details and surfaces and materials and light, there will be people who listen to that stuff, but then in the end say nice architecture and go away when they figure out how it can be built. So I think that a simple answer is to be super well rounded, does in fact make a difference. When you think about people who are creative designers, they are all over the place, sometimes theres a lot of marketing, so take all of that out, I’m not that kind of (Thomas Heatherwick) so he recommended Foster and he ran over him. I don’t think all of his work is brilliant, but he’s constantly trying to say “what is it that’s different, how can I bring other experiences to the problem” - Heatherwick So I think that that mindset is interesting because you can bring other mindsets, art, biology, science, natural world, crasftmentship, manufacturing , and combine that with a understanding of economics and politics, processes and psychology and sociology, how do you do those things, you will be much more well verse to talk about ideas, provide compelling arguments for those ideas and basically win people over, based on the strength of your content. I think that it only comes from being smarter.. reading and talking.

But to also collaborate.. it really means to be able to be an expext in a few things you are capable of. It doesn’t mean to get a lot of dumb people into a room and come out with some ideas, you get kind of crap. But really getting experts together who are open and willing to bounce ideas off each other, and selfish in a way to have new ideas, and thats how you get true collaboration of being inspired and poked led in direction that you may not have thought about before.

Interviews

PAUL O’CONNOR APRIL 17, 2015

CITY DESIGN PRACTICE WORLDWIDE Skidmore, Owings & Merrill LLP University of Chicago BPOE, Political Science The School of the Art Institute of Chicago Color and sculpture, Student at Large “Seen a lot, learned a lot. Still care a lot. My brag: A rare synthesis of strategic and operational know how, with demonstrable national and international success in city building, marketing communications, civic nonprofit leadership, government management, and news media craftsmanship -- a compounding career on the cutting edges of global and cultural change.”

What brought you to SOM? The immediate route was I ran and created an organize called World Business Chicago which is a non for profit economic organization that reports to the mayor of Chicago and to a board of CEO’s. While sitting on that, I was part of the committee for the central area plan which Phil Enquist and his team here of urban designers were doing for the city of Chicago. So I got to know Phil then and then I left there and went to work for Metropolis 2020 which was a regional planning organization that was created 10-12 prior by the commercial club of Chicago which was the long time blue chip business organization that paid for the Burnham plan. I went there to help do the Burnham Plan centennial 2009. In that course it renew relationships with Phil and the team and what grew out of their contribution of the centennial is the ongoing Great Lakes 100 year vision plan which is still going on. So along the way getting e-mails back and forth. One time Phil was putting together a group to compete for a national park service plan for the restoration and reinvigoration for the St. Louis arch. So then he sent out this email to a few people, it’s a nightmare how do you do that, I came back with a few suggestions, free, nothing’s on the line, so his reaction to that, was that he wanted to do a little freelance, and writing it up as visionary thing. After that he said that I really should work there, and we went out for drinks an he described what he needed and I told him that it’s a full time job, rather than a consulting thing. So I did a swimsuit competition with his partners and apparently passed that test and came on full time a little over 4 years ago. So indirectly, the lesson there, is you get to know people and see their competencies and things come together serendipitously.

Are there certain aspects of your background and upbringings that have shaped your philosophies and principals?

Probably, both my father and mother were active in their own ways in Chicago. My mother on the arts and culture side of life and trying to popularize those and my father kind of a public figure on television, talking mostly about politics and about other things that effected the future. So the inbred was the notion of public service was fundamental in whatever it is that you do, which is a another thing that led me to SOM and has been a big part of SOM, because they are very much aware of being thought leaders, they wanted to make a contribution of more than make money and build things, that they want to improve life, that it is about building quality of life, building cities, so that building cities that has always been a part of my life.

What else has been a big influence of your work?

Being a write has been huge, that’s my craft. So what it does is it tries to make manage of a complex situations and by being able to define things and pin them down allows action to take place or be seen in an actionable way.

What are some of the qualities of life and the visions that you mentioned?

They’re kind of basic to me. There is a fundamental humanity in which there genuinely is no difference in people in that some are smarter, poorer, richer, some are great basketball players, some are klutzes. But there is an essential element in each of us is what we most are and that is what we have in common so that the fundamental respect that engenders and from that cascades all kinds of other things that people should be treated with respect, they should be listened to, even if they are dopes and maniacs. But the quality of life really is the pursuit of

happiness. I think the US founders that was there breakthrough concept was the notion of pursuit of happiness and that can be done in a variety of ways, a billion ways, but that there are some fundamentals that fall in the realm of urban design, like access to residents, decent places to live and it’s close access to nature, fresh air and recreational actives to culture and that those tend to be driven by densities than other things, the ability to get a job be trained to have a job, be educated enough to have a job and then have the where with all of transportation, ideally transit to get the job and those kinds of things. So the thing that the really well educated people like you and others don’t understand is that most people don’t want to become senior executives in corporations or the top designer in the firm, they want to have a life. They want to work and provide for their family and get their money and go home.

And so that’s a big part of life, that it’s not all Adam Smith on steroids.

What the design intent for the built environment?

Well that becomes the game for all of the marbles on the planet, you have this explosive growth of population and you have this radical and speedy urbanization, and you have an explosive growth in the middle class, all of which can be named a major drivers on the environment both in terms of the negative impacts of carbon combustion as it being the primary driver of things and then as the availability of resources to be able to eat and have fresh water and those kinds of things. The chief among them is water and that being an issue, and that it looks to be the greatest significant threat of the planet in terms of sustaining large populations. First you want to stop doing damage, ideally you would want to create an environment in which nature and the built environment are in harmony. That’s one of the brilliant pieces that are missed from the Burnham plan is that notion of creating breathable fresh green air spaces.

How that is achievable is through density and the ability to have densities turn into mixed used densities to then have the ability to work, live, get your groceries, do religious things, and make it walkable rather than making monolithic stacks of buildings. We have to get out of the individual car phase, in order to move that many people you have to do it by mass transit means and so that’s another component.

Then there are the issues of how you farm. In the US, we are rich so we put, as the green revolution has done around the world, put petroleum products on as fertilizers and pesticides, and those are flowing into the waterways and they are polluting the water. Sources of energy are a critical issue, the overwhelming amount of coal and oil are the drivers of the world’s energy. Burning them to create electricity throws off a huge amount of particular matter, green house gasses, and also like mercury and other toxics into the water supply. Then you’ve got in the developing world, the economic plunder of the environment, examples such as China and the former Soviet Union, the pursuit of money at all costs is producing poison food like cadmium in the rice in Shanghai, farmers go into the rice paddies and come out with blistered legs because of the poison.

So the challenge is extrodenary so on the one hand, at the top end the pursuit of happiness is good, healthy , nature, but unless there are better ways that are found to grow food have cities operate better, so that there is genuinely a holistic on the down side as well as on the up side.

Growing up in Chicago, do you have a draw to the great lake initiative?

Not really. I’ve spent the better part of my life to escape the place, and that obviously failed, so far, I’ve made few

pretty good attempts. I think I have always had a strategic sensibility and again that issue of a concern for humanity, so that’s a big canvas. One of the things that most woke me up to the water in the Great Lakes was having been in world business Chicago. So the issue there was to position Chicago for investment and attraction of the top talent so that entailed a strategic analysis of the place. So what do you have that no one else has, what are your long term assets, and they range from ideally a well working O’Hare airport to the most precious asset of all which is fresh water.

How far is your work extended both demographically and geographically?

I think this is really enabled by Phil Enquist, when you start at developing those sensibilities, you have to start applying them when you realize these things. So that there are no questions about the environmental considerations, for every project that is all around the world. There is an element, if you will, evangelism, in terms of trying to convince the clients that you have to do this, you won’t have the water, if you want to build this huge city in the dessert, the cost of doing that by car are huge compared to by doing it by transit, just in terms of economics. So you have to advocate for these kinds of things. It’s mutually beneficial, so the practice gets to break into Australia for a project and their goal is water positive. Well how do you do that? So we try to figure that out, and what we know already is green roofs, and urban agriculture, and walkable densities. There are also local effects as far as 35 million square feet, so how do you cut the carbon footprint of that.

So there’s an initiative with the Mayor’s office, so lets try to reduce CO2 and energy by 20% in 5 years which is easily done. The advantage of a global practice is that you actually get to do this stuff. The turnover is so fast, the speed is so fast in terms of the design of the cities, it’s unbelievable.

So what you’re doing in city design, you’re setting up these infrastructure and natural frameworks, so you are playing this fundamentally strategic game, so you don’t actually fill them all in.

Based out of Chicago office, how are you along with the team able to understand the context and geography of locations across the world?

Part of it is the element of humanity. Part of it is being open and listening so you realize that there is a customer, and the customer is in a culture. One of the things you see when you walk around these hallways in the diversity of people from all kinds of backgrounds, and having that is helpful. Also to have as a design principal and philosophy, you want to make places that are resonant with the local culture, that feels like home with you’re done. So the ironic twist of your question is that we ended up lobbying all of our Chinese clients to not bulldoze your life, your culture away. So only now the president is saying you have to stop doing that, but they didn’t care.. so to some extent you end up with a Disneyland where the form is the same, but you end up with everything looking the same, and you can’t call it home, and it’s where you live.

Can you describe the process with how you collaborate with the client?

In many ways you have to do your best to understand who you’re talking to, that’s the thing that’s missing the most, especially in the advanced firm, they are so smart, so good at this, that they think that what they make is good, by itself. On one hand you are a visitor in someone else’s country, so you should make every effort to know who they

Interviews

PAUL O’CONNOR APRIL 17, 2015

are, what the culture of the place is. What is the history of the company, who owns this, who’s making the decisions, so that the most important thing is that nothing is generic, you’re always speaking to somebody, so who is it? If you can’t nail it down, who it is, then who are they and you do the best you can, at least before you present to them, find out who they are, what their values are, it’s generally averrable now on the internet. Look up the company, their philosophy, community values, what are it’s environmental values, where do they come from, and these things tell you how you’re able to approach them. To some extent if you have to convince them of something new, then hopefully that background will give you some insight to establish a ground for conversation. You become more than the guy in the suit that their paying. Another thing that designers don’t do a good job of is when in meetings, they don’t listen, and they don’t take notes. Here I am, this grey haired suit, in with a junior staff and I’m writing like a maniac, because the client knows how infrequent these meetings are, and all of the kept desires, demands and frustratations and aspirations are going to come out. The richness of that conversation is enourmous, so rather than trying to think they are happy, but next time they won’t be because you didn’t change anything, you didn’t write it down. The next step is to pursue your interests and natural inquisition, what exactly did they say, how does that translate. Engage them, ask questions, because people will give you answers and look in advance because the earlier you do it in the design process makes a difference. Even if you’re wrong, it means an enormous amount that you tried. It’s an enormous statement of respect.

You have to see creativity that all of their input defines a solution, as oppose to doing things whole cloth because theoretically right. You have real problems and real opportunities that you create the walls of the box in which creativity functions best. When creativity faced with infinite options, it’s a nightmare, but to the extent that the walls are closed in on you, and you can almost suffocate from them, unbelievably smart things can come out of that.

How do you represent things that are irrational and emotional?

Pictures and analogies. Bruce Mau, one of the things he does, is to make you sketch. Even if you’re not an artist, he makes you do it anyway, and it’s pretty close. Then you sketch him, then he changes the pose and everyone captures that, the difference, maybe in the crudest possible way, so I would recommend going the other way as well.

It’s not so much that you write the contiguous sentence or phrase, put in the pictures to define the concept, and use analogies, showing pictures for what it feels like or what it could be, “the smell of the baguette as it comes out of the over.” Focus on those evocative particulars and communicate those emotions. The balance between emotion and reason is really important, and it’s a huge insight if you can get to it because when you’re asking people to do something, what you want to do is mobilize the will, and the will is emotion, so if you can engage emotions that helps make it move as oppose to intellect to why this is a good thing, well they can understand that it’s a good thing, but they don’t want to build it.

How and where do you think technology will take the architecture as a field?

SOM is the radicals by introducing digital technology and architecture, it was going to change everything, take the soul out of design. Now in terms of communication, the go to is the standard form in which the client and you can

collaborate. As the bandwidth has grown, I think that there is a lag between capturing that opportunity to work simitaniously so you can ingrate detail so that it’s there but it’s not yet captured. I think that 2 active pens, one in Shanghai and one here, that’s already the case. There’s surprisingly not a lot of Skyping here.. but what is starting is in desperation Google translations, so if you get something from the field or the client, they will be able to get some sense of what it is without the translator. I think that it’s mostly been a down side as far as urban design, because things move too quickly, because technology brings things to refinement and to polish, when what you need in the beginning is to turn the computer off and use a pencil and create sketches by hand, to the point where you have your framework and fundamental concepts. The computer also becomes a isolation device, so you look out and see these are all collaborative studios, well they sit together, and only at pin up time is when people really get together.

In planning the main beef is that drawings are immediately drawn on the computer. Technology can waste an infinite amount of time. There is not yet a marriage design driving the technology, technology is driving the designers.

What are some outlets or creative pursuits that you have that helps with design or strengthens how you work?

In my interview with Phil, he asked the same question, and he really didn’t care what it was, it was just that there was something else, other things because they all enrich your life. I do poetry and collage and other things, and have interests way beyond making places, but they’re places to live. If you’re a boater, you probably want to find good docks and make sure they’re located right. These things keep you alive, and you have to keep jazzing your head, you have to keep putting vitamins in there. Sometimes it can get really numbing, especially at this pace, and at this density.

What is your advice to young architects?

Do it for a reason. Go somewhere. Care about something.

Buildings are a very expensive sculpture, and there are better ways to do sculpture. If you really are motivated by a higher purpose, it will sustain you through the shit and the unbelievable slavery tedium that your profession seems to demand.

You have to push forward, and sometimes that means taking the risk of taking back a little bit, but it’s really important to be assertive, and there’s nice ways to do it. You’re not going to be discovered, if you have aspirations or ambitions, you have to advance those. No one tells you how to do anything so ask people. Advance your ideas, go talk to the next level, go engage partners to the extend that they will let you. They will put you in your niche, they will decide what your best use is. So the main thing is to take advantage of everybody, ask everything, people seem to be isolated in their own little bubbles, but if you ask, they will tell you so pursue your curiosity. It is important to do PR for yourself. It’s all about movement. The actual growth inside of yourselves is the one that really matters. You’re a work in progress until your 50 and you get all of the ingredients for your particular soup and very soon it will be a very unique and distinctive soup, and there a ton of ingredients you can pluck off the tree and people will prepare you to get those.

Interviews

NATHAN KIPNIS APRIL 27, 2015

PRINCIPAL | FAIA | LEED | BD+C Kipnis Architecture + Planning Arizona State University Master of Architecture Emphasis: Energy Conscious Design University of Colorado at Boulder Bachelor of Environmental Design Environmental Design/Architecture “Our goal is to provide the highest quality architectural service based on our commitment to creativity, technical excellence and attention to detail. Each project is looked at as a unique challenge, matched to a specific site and an individual client’s requirements. There is no single design style that is emulated; rather, the image and detailing evolve during the design process. We are equally adept at designing cutting edge designs or ones that are historically accurate.”

NORTOWN HISTORIC FACADE RESTORATION

What drew you to architecture?

Like a lot of people in architecture, I can blame Lincoln Logs and Legos for that. As a kid, I really wanted to be an architect. What got me into sustainability, and it sure wasn’t called that back then, was as a little kid, I was 12 years old and the Arab-Isreali War in 1973 started and there was an oil embargo and as a little kid, seeing all the adults freak out. Gas went from, hard to believe, 50 cents to a dollar overnight, it would be like $3 to $6 today, and what a panic that was and chain reaction in the economy. So I started seeing in magazines, Popular Science, Popular mechanics with solar homes and I wanted to be an architect, I thought “Wow, thats really cool.” Also I have family in Israel, so that kind of spun my head around, and I was thinking that was something important to do. I kept up on that and was aware of it. Even buying cars as a kid, my first car was a Mustang, but it was a Mustang MPG, which was horrible, it got 15 miles to the gallon and they called it MPG. It wasn’t a new car or anything, but just trying to be aware of everything. And then when I went to Boulder at the University of Colorado, they had a really good solar program and by the time I got to grad school at Arizona State, they had a masters of architecture with an energy conscious design emphasis, so it completed the whole thing and by the time I got out, I was thinking I was gonna do all this great stuff and of course there was nothing going on. So it took a long time to get that in gear, but it had always been planned. I was lucky to be taught by some really good people there.

You mentioned the places you’ve been and that you’ve moved with your studies and practice. How did moving around influence you and your work?

I think it’s always a good idea to go to different places.

Unlike now, where you guys probably flew here and flew there and checked out a hotel, I didn’t do any of that, I applied to a couple of different places and one of them was in Boulder and I got accepted and I have never been there, but have always wanted to go. It was night and day. I don’t believe I had been west 20 miles of here before that in my life, so just going there and living there and seeing this community that was at the forefront of organic, solar, and passive-solar, and community living, and walkable communities. When I was there they had community bike races or runs, olympic gold medalists in the group. That used to be where they trained before they set up in Colorado Springs, so there were olympians everywhere, so it was a whole different thing. In Arizona, it was good in some ways, but living there was horrible. This is an area that is ground zero of climate change. They’re going to dry up and turn to dust, I’m surprised California lapped them. I would have thought Vegas and Phoenix would be gone by now, and they’re going to be in big trouble. But it was interesting to be there, I didn’t like living there, but it was the proverbial nice place to visit. So I came back, this is like architecture capital in my mind, so it’s been great.

There has been a huge transition to what sustainability means and the overlap of meaning. In your experience, what is your view of sustainability, or what ever it was called before?

It was called energy design. That was really the main thing, I don’t think anybody realized what was going on with CO2 and all that stuff. I mean some people did, but very few. Water wasn’t really a big deal, it was really about building energy efficient city. Even my emphasis on energy conscious design, it was about energy, and it

slowly morphed into a lot of things. which makes sense. I think the way LEED has it set up is pretty smart with the way the Living Building challenge is, pretty holistically.

But if you look at LEED or LBC, 50 percent or more is the energy part, still a big thing. Water efficiency is very important here, I mean, we’re really lucky to have Lake Michigan. Where is the best place in the country to be as things change? There was a guy on the radio, James Howard Kunstler, he did two radio shows going area by area and he threw away the south east immediately as way too humid when things get bad, its going to be too expensive to run air conditioning and the west is not going to have any water. The whole southern part, which is funny because 30 years ago everyone was wanting to get out of the north to go down south. Now the people from California, if you think long term enough, they’re going to move to move to Chicago. Same with the people in New York if the sea levels rise. We have water, its not going to rise, and is the climate going to be good? I can’t exactly tell. We’ve got great soil and great growing potential. Its funny whats goes around comes back around.

Because the built environment is so sensitive, does your design focus on the priority of the built environment or the people?

Well you have to balance both. Theres plenty examples of buildings that perform probably fine, its the difference between an engineer building a building and an architect. An engineer knows a lot about a little, they’re really focused on something, and an architect knows a little bit about a lot, so we’re uniquely positioned to be able to see the big picture and to figure out what to do with things. Like our little office, I work on the offshore wind farm that we’ve been working on for eight years. It’s a crazy, giant idea, a really good one I think, and that’s what an architect can do is go, “mmm, yep” and an engineer would go like, “well here’s the sprocket size that we need to make that wind turbine move.” We need them, but its not their forte.

In talking about the people too, do you find yourself having to convince them too about your ideas?

I am very lucky to be in a position where I’m at. Because I’ve been doing this for so long like this, we have a reputation and people come to us. I don’t need to convince them of anything, I get that question all the time, “How do you talk people into doing this stuff?” I have to talk them out of doing stuff. They come with such a big list of big ideas. “I want to do geo-thermal, I want to do this, I want to do that” I go no, for this site and your budget, these things would conflict with each other and you would get very little benefit, this is what we need to do here, and here, and here.

Ideas change a little bit over time, but the basic concept of how to combine things is not changing very rapidly. There are some classic notions of keeping thing low energy right off the bat, keeping the size of the house as small as you can. These things are universal and not anything new.

Because there are so many systems that you are able to use, do you talk to other specialists as well and do you pick up new resources and techniques.

It’s kind of just common sense for working in this climate, and we work in other climates too and its always a trip to go out there. We got invited to go to Panama and I was noticing that the sun is up high all the time. I ran on the computer some animations with the sun up high and it was really weird because we’re used to the sun being in this little range where we can shade it so easily. I get a lot of info from the internet and email lists I’m on. I’m really

lucky, because of the wind farm project I’m on, I’m in this think tank in Cambridge that invites me out periodically.

We actually got news that we’re meeting out in Denver in a couple weeks and Ill be one of the speakers this time.

It’s some of the best people in the world. We knew about the water energy nexus years ago and I was getting all this info all the time. Just now on my email, there were three this morning from the best guys in the world on this stuff. I don’t have time to read them all, but I can pick it up little bit by osmosis. If I see something really good, I’ll read it. And now with this new convention they’re having, I’m getting my head screwed back on about that. I do pick up some very interesting things from them. Water is a big one now and they’re talking about how to speed up implementation of alternative energy, best building practice, walkability and smart town planning?

Who is involved in that convention?

I am the only architect, it’s so weird. Because of the wind farm, they’ve invited me to this thing and it’s all grassroots people and I’m on Citizens Greener Evanston, which is a group, and so most of the people are from 70 different communities around the country. I’m the only architect, I’m the only not full time grassroots organizer. So I always feel kind of weird. When I go there everyone is always on the front line of some environmental catastrophe, so in West Virginia they have mountain top removal, in Kentucky they have the coal thing going on, fracking in Pennsylvania, and I’m saying we have renewable energy in evanston and they wanna kill me. But it is really amazing to keep in touch with these people and they put out publications. They bring these people in to get opinions and to teach us what to do and go back, but they also get from us that they’re not in some ivory tower. They get a sense of what’s going on on the ground. In the last meeting we had, there were people looking like zombies from the fracking and stuff and the amount of difficulty that we’re dealing with. You don’t understand that until you meet with these people. They were almost crying, not even presenting, just yelling at each other, so its pretty intense. I’m pretty lucky to get that info from them and to be on their list. They are also working on this research group called Synapse Consulting, very high powered. They’re reports are free online, you can download them, and they’re amazing. It’s like here’s where solar PV is going in the future, here’s where waste for this is, here’s where the water problems are and you can just cherry pick what you need. Most firms just don’t realize they have this kind of stuff. What I have at my fingertips is pretty good.

It’s always interesting because architects aren’t really invited to these research conventions.

Well that’s why I cannot even believe I’m there. Theres a movie coming out called the bird, but we got a lecture from the assistant secretary of defense at one of these things talking about the difficulties. ¾ of the deaths in Iraq were from convoys being hit by IEDs and the convoys are carrying fuel to the front lines. So you know what they said?

“Fine, no more fuel. We’re gonna go off grid. We’re gonna have all solar and have everything for the frontline troops.

There’s no more convoys, we’re gonna save that many casualties by doing that. So there’s a case where the military, the people you would think would care about this stuff the least, are the most concerned about it. They’re also concerned about the bases in Virginia, the naval bases, the sea levels rising, the roads flooding and their conflicts that they’re dealing with have to do with famine, which is climate change, resource problems, all these things are all

Interviews

NATHAN KIPNIS APRIL 27, 2015

related and they’re the ones having to clean up the mess.

So they’re very involved and it freaks out the people most against this who tend to most like the military.

Do you think architects are idealists when we set up these goals and visions of how to build the future?

I do not think we’re idealists anymore. I think if you go back to the 50s, we would have been crazy. It would have seemed like disney land or Tomorrowland. All these crazy things, flying cars, I think architects are the realists now, well most of them. Architects are the ones that are like “Here’s what we got to do.”

What, in your opinion, is the moral responsibility of an architect?

So this is what Tigerman asked when he called several years ago. He wanted me to lecture on architecture morality. Is there a moral imperative? Well yea, I don’t know how one designs now without designing sustainably and I know that there’s some people who refuse to believe this is happening. They say, “You’re crazy, the house takes energy to build.” So what you’re saying is that how we’re doing this is perfectly fine, theres no problem. That’s completely untrue.

Once in a while, we do a house that is bigger than we’d like, but these people are going to do this house anyway.

Just because you have a lot of money doesn’t get you off the hook on doing this. So, what our responsibility is is to try to get it a little smaller but make it really efficient and make sure they actually understand how to use this thing.

When you do this, they actually become very proud of this and they’ll start telling people and become little ambassadors. We’re doing a house right now that started off as a vacation home and morphed into a house for up to 16 people for weekends. It went from 3500 to 6000 square feet, which is a large house, but there is no way they’re not going to make it that size. Actually they keep wanting to make it bigger, but we keep trying to hold a line on that.

We’re setting it up so that it functions as many house, so they can throttle it down, iPhone control, different things.

So, it’s a challenge, we’re in a funny situation where architects work with really high end clients or really poor. We do affordable housing and stuff, but there’s nothing in the middle. So we end up a lot of times, with these people who want large houses and so we need to educate them, or maybe not even educate them, just sneak them in.

You mentioned the iPhone and having technology. Is the technology influencing your design for the future?

Do you plan for certain things?

Yeah, we do try to future-proof the houses. A couple things we do, which we’ve been doing for a while, is we’ll run conduit from the electrical up to where we think solar panels are going to go. So you know, big $200 item. So that’s all it takes to get that ready, and later they aren’t ripping that up. Also it plants the idea in their minds to put that in later. The price of panels has been coming down about 10% per year, so at some point the price of regular energy, incentives, or maybe they have extra money sets them up. We also always prewire the garages for electric charges. Its the same simple conduit it’s not any big deal, just a couple hundred dollars to do that, but then later its not several thousand to put in the system. So the other technology stuff is the home kit from Apple. Its making stuff that used to be tens of thousands of dollars now only a couple hundred. The scale jump is unbelievable. I have the lyric thermostat so that’s controllable from iPhone, but it’s also geofenced, so when you get within 5 miles it turns the temperature up. They just had an update, they used to

have increments, but now its a slider on the map. I mean duh. So now you can set it to however you want. Someone asked me, “well what if you’re not in a car.” Its your phone, and its never a foot from you, so it’s always going to be right were you are. We also have the ring doorbell so if someone rings the bell, I can answer it here, I can see who it is. We’ve got the hue lights all kinds of stuff, simple stuff, and its all going to get more integrated. The HVAC stuff is what I get excited about. The HVAC and security systems, and AVE, and light systems and everyone talks about the AVE and home security and I get excited about the HVAC which is on the bottom of the list all the time. To be able to control the systems. As smart as our clients might be, they cannot figure out how to do a setback thermostat, and this will help. And just to understand how much power is coming in. Again, same thing, they tell their friends and become little ambassadors.

A lot of your projects have a forward approach to the before and after and really reserving this historical presence, so what is your approach to designing buildings that are more rehab?

We started our firm 22 years ago as of April, 15th and when we started as a small firm you get little projects thrown your way. Being in Chicago, 95% of the buildings are built. You guys are at SOM and Cannon doing new buildings all over the world, whoopty doo, but around here its all built up, especially at the residential scale, so those were the projects we go, and especially in Evanston. I like figuring out what was going on, its like architectural archeology. Every decade they built differently. People always ask me, “What should I do for energy?” I say “I don’t know, you have to do an energy analysis of the house because they’re built so different” and we’ve been in similar houses and they frame them differently. I did like trying to figure out how to do additions and making them totally seamless and figuring out the language. It was fun, I don’t like doing the same stuff, I know some architects have 50 variations of the same house. So we like to check that out. As we’ve gotten busier we’ve gotten more new work, but still do some. We have one right here in Evanston, a really cool little house and we’re making a copy of it and offsetting it and interconnecting the roofs and its really neat.

In the Panama project, how are you able to maintain locality and cultural and historical design mindset?

That was so weirdly different that the developer took me down there for a week to go look at homes, not just in books, go meet with contractors, see what materials they had, see how difficult it was to get other kinds of materials.

That project never went through, that was a casualty of 2008, we went down there in the spring of 2008 and it did take about a week to fully grasp what you could do down there. Almost all detailing and styles have to do with the resolution of the climate, so if they have a lot of rain they’ll have steep roofs, if its humid, things are off the ground.

So when you go down there you get it. You don’t need many enclosed rooms there. We didn’t get that far into the design, but what we thought was that there would be a sleeping area air conditioned and the rest of it was just screened and covered and the roofs would be up to let the air move. It was more about moving air and I could see how people would want air conditioning, but you don’t need to air condition a whole giant house.

Do you find a difference in working even more locally in Illinois?

Being in Evanston is a perfect spot for us to go up the North Shore and into Chicago. We do some work on the western suburbs, but not a lot. Our best wheelhouse is up and down the lake. We’ve got two projects in Wisconsin close to that Sturgeon Bay House which is going to be an awesomely cool house and one is a rehab of a modern house, where were changing a lot right on the Illinois/Wisconsin border. We’ve got a very good shot at something in western Illinois. Around here, its not a big deal you can roll up and get it, but those things I go up there for a day and keep going to the site and see what it’s like. Trying to maximize the possibilities. I have to borrow a car, my little electric car can’t make it all the way out there.

What type of specialists do you have for projects?

It’s funny, in 22 years we’ve had two projects that we’ve had mechanical engineers on. One right now, the 6000 square foot one because its going to be net zero, heavy duty, probably 100+ PV panels, 100+ solar-thermal panels because they’re going to have a pool and the concept of what were trying to do. We could probably do this in-house but it’s a little scary. We used to work for a mechanical engineer and all these classes relate to energy stuff. We typically do everything in house, including the net positive house. Which is net positive only because it has a gas furnace and water heater, but otherwise all the electricity is covered by the solar panels. So we have a solar company that we keep using and they engineer their stuff for us, they don’t charge, they just do it. Otherwise, structural consultants, civil engineers, not a big deal. We’re starting to use landscape architects a little more tightly so that’s a good thing. Swimming pools, I’m not a big fan of, but we’ve done a few of them and there are some companies that take care of that for us.

Do you see your projects in the future making use of certain specialists more?

I think we’re starting to offload some of our work to mechanical engineers. It’s so technical now, not that it wasn’t before, but as you get into these passive house stuff and the performance has really got to hit it. We recently bought this really cool software called Sefaira Energy Modeling.

We had been using a simple program because I do lectures for the AIA on how to have small firms do this modeling, but we finally got a good program. It’s the difference between being free and being a thousand bucks, but it’s really amazing. I was using HEED before, from UCLA freebie program. I’m speaking at the AIA convention again, same lecture I gave last year on energy modeling for all 2030 commitment for smaller firms. Rand Eckman was the head of the 2030 committee in Chicago and nationally, so he told me to figure out how to answer the questions for small firms and to take away the problems of cost and ease of use. So I found this little program and I do a live demo on how to use it.

What advice would you give us?

Unlike when I popped out of school, I think you’re in a much better spot for people understanding this. When I got out in an invisibility cloak like from that movie with quogahogorgorts, Harry Potter. You just start talking about energy design in the mid 80s and no one wanted to even talk to me. It used to be that in 73, 79, 80s there were all these energy problems and the US would call Saudi Arabia to pump more oil or pretend it doesn’t exist and now they can’t do that. Everyone having access on the internet,

the cat’s out of the bag. I think that architects are the key component of this. Buildings are the main producer of CO2, so architects have a huge role and the people that are educated in this are going to be in a really good spot.

There were only 12 of us in that graduating class that got that masters in architecture with focus on energy conscious design and I would say of the 12, half of us work in offices and 3 or 4 are designers. When I was in that situation, there was ASU, MIT, UCLA, Berkeley, Austin, that was about it. Now there are schools that don’t have this emphasis and I am stunned, absolutely stunned how they are not cranking out to do this. I was at an AIA convention 5 years ago in San Antonio. The year before they had 20% of the courses are on sustainability, and then the next year 100% were with Al Gore as the Keynote Speaker. I was at breakfast listening to two guys, some architects, talking about how they don’t believe in climate change. It’s still very politically set. If you wanna be an ostrich with your head in the sand, what I tell people is to go to Florida quick and do it because you won’t be able to too much longer.

That’s the way I would go. I would play it up big time.

Interviews

TOM FRENCH + ROMAN UDAKOV APRIL 28, 2015

Why architecture? What got you into the field and what keeps you here?

T.Why architecture? I ask myself that question a lot, but for me I just liked drawing and I liked math and solving complex problems and I was interested in skyscrapers ever since I was a little kid. Working here makes sense because I really like the projects and the people are great which is what keeps me here. It’s more the people and the projects, obviously it’s not some fabulous lifestyle but I like what I do.

Can you describe the hierarchy of SOM since there are licensed architects and you are a senior architect?

T.I am senior architect unlicensed. The hierarchy of licensure is kind of a changing thing. Now you have to have a license to be an associate. It wasn’t always like that, even when I started working here. I don’t know that everyone even really needs to be an associate or licensed but its a partnership so as long as the people at the top have enough licensed people than not everyone needs to be but they certainly encourage getting your license.

What are your thoughts of having a more corporate based ownership?

T.It’s not really corporate, it’s weird because everyone would consider SOM a corporate firm and it kind of is but it’s not really a corporation, it’s a partnership and there’s quite a bit of hierarchy. There’s the partners at the top and then you have the directors but I’ve seen people move up from not even my level to project manager to partner since I’ve worked here. It’s not really only a buy in kind of thing but it’s still kind of a “good old boy” type of thing, but not completely. People like Jeff McCarthy started out as an average Joe here and has been working his way up and became interested in the business side. And that’s another type of dynamic: people who are more business oriented and people who are more interested in the design and technical things. There was more structural kinds of partners but some of them retired. The culture of this place is that it’s very much a stepping stone although there are people who have been here for fifty years so it really varies but there’s a little something for everyone here. If you want to be a project manager they’re more than happy to encourage you to do that.

What are your biggest preconceptions from being a student and being a one man band and how has it changed after being here for a few years on a team?

T.It’s quite different working with a team.

R. You can learn everything you need to know on the job.

Forget what you learned at school, school just gives you very basic tools and understanding.

T. I would say that’s true. There’s no real constraints in school but I had a somewhat real project with a real site and there was an actual developer that came in and he was actually developing the site and he helped participate in our class so we had some aspects of reality and we did work as teams quite often in school, at least in my school, and we had quite a few group projects. Teams were totally chaotic, I had a team with this crazy Chinese lady who was great at doing watercolors but not much else and she was very argumentative so I already kind of had this teamwork training but it really is quite different, it’s really just the scale of the projects and you really need to keep in mind not only your work ethic but your attitude and all those things affect everyone else working with you. I know architects are known for having big egos and that’s kind of true here, there’s quite a few big egos but I feel like ev-

eryone gets along really well here and I feel like everyone stays here because they like the people and the projects are really cool. Sometimes it’s really chaotic obviously but sometimes that’s fun too, just because sometimes you get too really ideate something but then you’ll have to change and you’ll have to come up with a new idea so it’s kind challenging but fun at the same time.

At what stage of the projects have you been able to use your expertise on?

T. At this point I feel like I’m probably better for doing the more detailed parts of the project towards the end. I have a lot of skills now so I’ve worked on every phase of projects from concept design and competitions. I like building models and figuring out how to put things together so that’s kind of why I became an architect in the first place. I just like building things.

Do you have a preference? If you had a choice, would you be involved in the project differently than how you’re being used now?

T.I like doing different things but the thing I like doing most is designing details and some industrial design-esque things that we do here too. Obviously building a model and building a building are different but the process of figuring out how to put things together is kind of the same and that’s what I like doing the most: figuring out how to put things together. And with these giant buildings that we do here sometimes it’s very challenging. Sometimes what you draw doesn’t work and you have to work with the local architects to try and fix the problems.

Are there any particular aspects of your background or upbringing that shapes your design philosophy and preferences?

T. I grew up in the suburbs and the projects we do are very urban so I don’t know that there was a whole lot there. My grandfather was a builder so he did a lot of construction projects and I went to go help him one summer to build a house. I didn’t know what the hell I was doing, I was banging my hand with hammers and stuff so I don’t know about that one.

Were there any architects that you started off being really inspired by? And has that changed to different architects and styles?

T. I always liked I.M. Pei. I like the clean nature of his designs and there’s always a simple idea. A lot of the buildings here are the same way. In school people thought ‘SOM is passe, it’s not cool’ when I came to work here anyway, which was forever ago now but most people weren’t interested in high rises or any of the other things that I was interested in. It was a little different because my background was not originally in architecture, I have an undergrad in physics and then I didn’t know what I wanted to do, I thought about doing engineering or architecture, I didn’t really know. Almost went into engineering but I wanted to not just know how to put together the building even though that’s what I’m doing now.

R. If you go the engineering route, you’re locked in. One thing that I’ll say about architecture is that once you leave school and find your first job, do as many different things as you can. One thing about SOM offices is that it’s a one stop shop. You have your engineering, architecture, design, interiors, planning, so try to move around and keep an open mind because somethings going to click and your going to figure out what is interesting to you and gives you

more enjoyment and work and growth. Where sometimes you think that you want to be a designer but then you start designing and you realize it’s not what you expected.

T. SOM really was one of the only companies that really did everything and that was totally not the norm, especially when they founded the company to have engineering and architecture combined together which is what makes this place such a good learning experience for everybody, because you get to work with all these different disciplines.

Sometimes that’s tough also because they’re going to fight against you whereas if you’re just paying them as your consultant, they somewhat have to listen to you more so it makes it more challenging but the people here are good.

We have great people in all of our disciplines.

Another interest of mine is what sustainability means to you?

R. The whole sustainability kick is still is in an embryonic stage. To me, it seems like a lot of talk. It’s good that we’re starting to talk about it and it’s moving in that direction but as of industry standards, it’s nowhere near where it needs to be.

T. I agree with that but I feel like with the advent of all these energy models and computers that we’ve only really been able to do now for about ten years, to actually be able to analyze the problems with the buildings that we’ve been designing.

R. The technology just hasn’t caught up yet. For a building to be even 50-60% sustainable it needs to collect solar rays and collect rainwater and reuse it, things like that.

So once the technology catches up to the idea, I think it’s going to be great. But as of right now, I think we are more cost cautious. You can come up with a great design but what it’s going to come down to is how much it will cost. We need to break that so that great design trumps the cost. Also, our infrastructure is so old and weathered that in order for our buildings to be fully sustainable and fully functional we have to renew the systems. I think in a couple of generations, hopefully it’s going to get there.

It’s good that we are aiming in that direction but there is so much that needs to be understood and figured out.

T. We need more of a bureaucracy than a actual solution but at the same time it’s a noble goal but I don’t know if diving into the actual problem of sustainability is the right way to go. As he said, it’s only in it’s infancy but we’ve only had the capability to study these things for such a short amount of time as a company and as a profession.

One problem is that some of the technology for sustainability has not developed to the point where certain designs for buildings are not being used by the people. What’s your opinion on that and how do we solve it? Through education?

T. I think so and I think the partners would say the same thing, you really need to educate your clients about it and I feel like a lot of them are interested in sustainability but I think it’s more of a facade so they can say that their building is sustainable so they can lease it and get more money but I do think that there are developers who are conscious of those things and sometimes you do implement these things which are not utilized by the people properly or even at all in some scenarios and there’s not much we can do about that; we just design the building, we don’t operate it. Part of that could be later on, having more input from the architects and we are starting to do that now with some of our projects by following up on those projects and see how they are performing five or ten years after they are

Interviews

TOM FRENCH + ROMAN UDAKOV APRIL 28, 2015

built and are they working as intended. Analyzing how sustainable are these things we’re implementing is also in its infancy.

With all the ideas and inspirations that architects have, do you think architects are idealists with their designs?

T. A lot of times they are but a lot of the giant projects that we do here quickly brings you into reality.

R. I’m not an architect so I’m saying this from the sidelines but architecture as a profession is changing. A lot of kids going into school have this idea of what an architect is and it’s not as prestigious as it used to be because every school has an architecture program so architects are mass produced. To me, a licensed architect is someone who has projects built. But the majority of the people are like draftsman.

T. I’m going to interject a different opinion. Sure twenty years ago we were drawing everything by hand but now any guy with a computer and the proper knowledge and software can create a design. This wasn’t possible thirty years ago because only companies were capable of that but now, it’s can be done by one guy. You have people like Paul Preissner that are just ripping out these weird maya competitions and it’s kind of strange to see some of the school projects I saw, while I appreciate that people are being creative, but sometimes it’s totally unrealistic and there is some pure idealism there. Sometimes though it’s not about idealism so much as sensibility. I saw this one project where this building was like a virus and I thought “Sorry but maybe I don’t want to live in a virus.” It wasn’t human scale or even thinking at all about the people who would occupy the building. I get that the purpose of the class was to play with the software but it’s not a software that should be used for architecture necessarily.

What is your opinion on renderings and how they are used?

T. I prefer more abstraction, I think it’s nice to see how a building will look in a city for a client but I feel like, as architects, a lot of times we don’t need necessarily that much graphics to understand what we are looking at. There’s something about watercolors that are a type of rendering but still abstract and I feel like that communicates the idea in maybe a more elegant way than just something churned out. I prefer the more abstract renderings to the more detailed ones but some of our clients demand it. I feel like sometimes people lose sight of the big picture by representing it instead of developing the idea.

How are you able to manage collaboration not only among your team but with clients? And how much do you compromise on design?

T. There’s always compromise, just with the nature of these projects, they are so large and so complex that you have to compromise. I mean, we compromise from the start. There’s only so much you can accomplish, especially with these super tall building projects and a lot of it is driven by structure and engineering and codes.

How are you able to communicate and respond to a project that is not local and how are you able to control what you’re talking about?

T. We always have local architects that we work with on these international projects and they talk to all the fire officials and all the various people, even up to political leaders that come and look at these renderings, so there are a lot

of opinions that are in there so thinking locally is important and we always try to do research but you only learn so much on Google, and there’s a fine balance between saying things that are really cheesy that Google might tell you that might offend your clients so that’s also a slippery slope. But the company has become a lot more diverse in the time I’ve been here.

On a more personal note, how are you able to manage work and personal interests?

T. It’s pretty difficult and for a lot of architects, their personal lives are a bit problematic and some are famous for it.

It’s brutal sometimes and I don’t think it has anything to do with the specific company you work for as much as your work ethic. In order to do good architecture, especially to work here, and that doesn’t always leave time for your personal life. For some people, architecture is their life and it is what they love.

What is your advice to a student entering the field?

It really depends on what you want to do. For me, I was really into skyscrapers so it made sense for me to come and work here. One things about SOM is that it’s a good place to find out what you’re interested and excel at since you probably are going to work on a little bit of everything and that’s the classic mold of the architect, a jack of all trades and master of nothing.

R. Don’t be afraid to ask anything because there’s always someone here who can help you out.

T. I agree, there are so many people here that you should never feel pigeon holed because there is always someone who knows how to do what you need to have done so you can move on to something else. And you never know what you are going to enjoy so that’s the beauty of working for a large company.

Interviews

JUSTIN LI MAY 29, 2015

Why urban design?

I did an internship when I was a third year at another company called EXP and then I had a friend who started working here at the same time and one of those days and I sent them my portfolio just to keep it in the loop and one of those days we were just going to hang out and that day they pulled me into the conference room and I sat down with Doug and basically did an interview and then I was offered an internship in the planning studio right away. I did about six months at the other place and then switched over here and that’s how I got into urban design. To be perfectly honest, although I knew about urban design companies, I didn’t really know that SOM has such a big studio because a lot of the work back in the day was Chicago-related work so we didn’t see many cool projects like we do know but from then I just stayed on.

URBAN DESIGNER Skidmore Owings & Merrill LLP Illinois Institute of Technology Bachelor of Architecture

What would you describe as your role here in the studio?

That changed a lot over the last seven years or so. What’s interesting about this place is that they put a lot of trust into younger designers and I got to lead on a project in Sydney, Australia when I was 26 so a 26 year old leading one of the major developments in Australia is quite amazing so I think the role has changed a lot from starting where I started as an intern making a lot of models to making renders to starting to design stuff and they let you own things more.

For example, for this project in Sydney which is ongoing, I’m basically leading the whole thing so it’s very interesting.

What were your preconceptions of what urban planning was and what you brought from school into the field?

I think people say, “Urban planning is the same thing as architecture,” since your working with things on a big scale and one of the biggest preconceptions was that there’s really no line that draws the difference between architecture and urban design. That I’m just designing more things.

But I learned that there’s quite a big difference between architecture and urban design. With urban planning I think that you can take more poetic term and it’s not all down to the small details and now I feel like my perception of urban design has changed quite a lot from what I learned in school to working in a firm. Now I know that there’s a lot more than just designing on a big scale.

Are there any aspects of your background or upbringing that have stuck with you and developed your philosophies and designs?

My mother was a fashion designer so I grew up around a lot of art. It’s a little cliche to say that I knew I was going to be an architect when I was young but I was surrounded by different things that affected the decision like my dad was an engineer so there were lots of science books and art books and so architecture was kind of floating around all the time. I think one thing that was clear was that, I was born in Korea, so I came here and visited a couple times before we moved here and I remember very clearly the difference of scale in how people lived since my aunt who lived in Florida lived around these enormous mansions and growing up in a small town in Korea versus coming here was just mind blowing. I don’t think per se though that I ever “knew” I was going to be an architect.

How important is travel to you and have you been able to make time to do that?

Yeah, luckily I’ve been traveling a little for work and going back to that idea that the partners at SOM do put a lot of

trust in younger staff and one of the things that they did was send me to different places. I’ve been to Sydney a couple of times with Phil and Doug and each time we go we spend ten days there so that was a cool experience.

And then I got to go visit Hong Kong and Burma and I never imagined that I would get to go to Australia or Burma. I also never thought I would get to see the opera house in person. I’ve tried to visit three new cities a year. The past two years I was able to do that; last year I went to Hong Kong, Ying Yuan, and Paris. Paris is one of my favorite cities, there’s so much history; it’s unbelievable. And all the architecture is so well thought out since they don’t have much vacant space so when they do it, they have to do it in a perfect manner so it’s a pretty amazing city. So I think it’s important to travel because when you come back you have so many different references you can use.

Has there been something that inspired you now that you’ve been to a place and seen the buildings in person rather than just seeing the drawings?

Yeah, Sydney is a perfect example. When you look at photos in books or instagram of the Sydney Opera House, it’s always this grand building with a big bridge in the background and that’s the iconic image but once you’re there the scale seems completely different and it messes with your perception. Once you’re there it seems like a perfectly scaled building so I do think that visiting and looking at things physically really does change your perspective.

I was amazed since I thought it was a big building, this grand opera, but when you’re there it’s actually a tiny opera house.

One thing I’ve noticed here is that the urban design team here is really collaborative and there are so many great people here expressing amazing ideas so would you say that the process of the team here is collaborative? Can you take me through that process of how you go through a project?

It’s been a little different now for the last couple of years in that it’s written on contract to work with the architects and that’s the new way of working. Before that, we were hired as purely urban designers but we would always invite architects and designers to join us. But it’s not just about having architects either, you’ve probably met marketers here, they work with us and their background is writing.

Paul, for example, is a writer and business strategist, so collaboration is so important in this company. One thing I’ve learned is that when you work on a project, like when I was an intern for example, I was amazed that I was in a meeting with a partner and just people from all levels and they can have their own voice so that to me is the process.

When we get a project we look at what components need more attention like there might be some tall buildings or retail clusters that are kind of interesting that we might want to pursue if there’s time for it so we work in that realm.

Back in the day, we’d kind of feel it out and say, “We probably need an architect to do this cluster,” but nowadays on the contract it will say that architecture will do this and urban design will do this but it is very collaborative and has gotten much better over time. Phil has been reaching out to the architecture studios more than ever. What I’m trying to say is that we are trying to break the boundary between architects and planners.

How do you think, personally, the design and urban setting will look in fifty years?

I think there are a few trends I’ve seen while working here.

In big cities they are trying to stay away from car oriented

cities in favor of transit oriented cities and that means, sometimes, getting rid of a bigger infrastructure in their city to maximize the space. In Sydney, for example, we’re working on an idea to connect the whole city by creating this new pedestrian pathway going from East to West and things like that but I think cities are trying to move away from the big infrastructural projects and are trying to focus their public works with public transportation and I think it’s a good trend. Cities with very tall buildings in the center are going to happen often but I think that has slowed down a lot. People always talk about sustainability but aren’t sure what exactly it is but I think public transit will become very important.

Do you see the focus in urban design growing in a way that centralizes smaller cities and makes them more dense?

I think London is a good example where they have limited sprawl and have been building a lot of new developments in the core, taking up a lot of vacant space which I think should be the model. In Chicago, they are getting rid of a lot of parking lots and stay focused in the metropolitan downtown area but yes, I think in a perfect world, we want to densify a city and reduce that sprawl.

If you had total creative freedom, what project would you personally want to take on?

When I have down time at home I actually work on a nine-block problem and I like doing these exercises where I draw nine blocks of a city or section. And this is just an idea of new configurations of new blocks in quick little sketches. The reason that I do that is because sometimes you get to some cool block configurations and maybe someday if you get to work in China, or some other part of the world, you might get a chance to actually use that idea somewhere. For one project there were some block configurations that I jokingly sketched before but it the perfect time to actually use it and now they are using it as a footprint. For me, if you can figure out a good nine blocks in your city, then you can do a lot more from there.

That’s kind of like IIT education too, I had a professor who taught me that you can start from a bathroom in a house to a neighborhood of houses and then a town and then nine blocks.

Do you think technology will ever take over an architect’s or urban planner’s job?

I’ve tried something like that with scripting, like grasshopper script, but I still don’t see a humane quality to it. Even though a lot of our work is based on numbers and you think a computer can do that but there’s just something that’s missing; a human quality about it. You can get a computer to do like a typical design in a residential sector but there is some humane quality missing. There’s still a little way to go in implementing that but hopefully they’ll never figure that out because then I won’t have a job.

What advice do you have, looking back?

I was working here for two years while going to school and it was one of the best experiences although I had crazy hours. So I geared myself to look at the firm’s work, not to imitate but to be inspired. Some small advice is that I think you should try to work for a larger company first because then you get to work on a lot of different projects and a lot of international projects and maybe work your way down to smaller firms. This is a good time to gear yourself up and make a statement for what you want to do in the future.

Interviews

JOHN LAW MAY 29, 2015

ASSOCIATE URBAN DESIGNER | LEED®-AP Skidmore Owings & Merrill LLP American Institute of Certified Planners American Planning Association Registered Landscape Architect University of Michigan MUD, Master of Urban Design Michigan State University BLA, Landscape Architecture Environmental Studies ASSOCIATE URBAN DESIGNER / CO-STUDIO HEAD Skidmore Owings & Merrill LLP | Shanghai, China March 2011 – April 2014

Can you talk about your experience abroad?

I’ve been at SOM for eight years now and I was in China for three of those and it was an opportunity where we had a small Shanghai office and I approached Phil and said I’m up to go over there and there were not a lot of people willing to do that at the time so it was great, and I loved it. It took some time to get the approvals during the process to get there but it was an amazing experience. I think working in a different country is eye opening, especially since now urban designers are working all over the world and especially those working at larger firms are getting involved in different countries since we know that, especially in Asia, the rate at which cities are growing are phenomenal and it’s just really cool to be a part of it and see it happening and be on the ground; it’s a lot of fun. And it’s also good just to work with people from different countries and just have that sort of experience, even if you’re staying in the US. It was a lot of fun and very challenging because it’s more hands on and since they are often smaller offices, you have a little more leeway about what you want to do and, in my case, there weren’t a bunch of bosses looking over my shoulder. You get thrown in head first that way because your doing design, office management, hiring, reviews, financial stuff, a lot of very cool experience in that sense while also getting to experience the culture by living there and having to go through the day to day stuff.

When you were in the Shanghai office, did people here talk to you first to deal with locality or the native Chinese speakers?

A little bit of both, but in a lot of cases I feel like I was sort of a bridge for people, for the design leaders since they felt more comfortable just picking up the phone and calling me and having me take care of something locally just because being a native speaker helped with communication but also because I knew them from spending time in the Chicago office, so it was good to have the transplant.

So most of the time the primary language was English?

Most of the time that’s what we tried to push since we are an international firm, even though the tendency for the native speakers to speak to each other in Chinese, the ultimate goal is to be able to communicate their ideas to everyone.

The Shanghai office is a part of the larger SOM office, how would it go if someone like yourself went to China and wanted to set up a permanent firm? Would there be a difference?

There would be. You really have to have a right hand person because even the logistics of getting a business set up in another country, especially in China, is a headache so you really have to have someone that can be your right hand person, so that would be a big step that you would have to go through but there are always opportunities.

How did you end up coming back?

For personal reasons. My wife and I were having a baby so it was the right time and besides the pollution in Shanghai was getting to the point where you get concerned about how much time you want to spend in that environment but the experience was amazing, I wouldn’t trade it for anything. The people you meet, not just the local Chinese but anyone who’s there whether they’re from Europe or Australia or the US, it’s sort of self selecting, meaning anyone there all have a sense of adventure already and so you meet people who are like-minded.

So in three years, what do you think are the strongest things for a newcomer to understand about incorporating identity and culture into developing projects?

Honestly just being there, and not just for a week. You need to spend three, four, five months there. It took me almost a year to start understanding the culture because China is a huge country so every city has a different culture so it’s impossible to understand it as a foreigner but I think you can start to build a lot of insight living and being there. I think that was my other role, not just being a bridge for Chicago office but also pushing back to the Chicago office saying, “Your drawing this but that might not work here”. Even though I’m not an expert, I understand more than someone in Chicago might since I understand what would be well received by the client. China is an interesting place in terms of looking for this idea of identity loss and local character because they even recognize the problem themselves. The development is happening so quickly that they’re clearing swathes of the old city and replacing it with big international projects with funky buildings designed by someone in Germany or the US who don’t reflect any of the local character. In 2012, as part of the twelfth-fifth year plan, China creates a national plan every five years, they talked about this need for urban reform and there’s now a new China urbanization plan which basically calls for no more funky buildings, “we need to get back to traditionalism” and a lot of that goes back to reflecting local culture and designers are more aware of what’s going on in that city and do more to reflect that so now I think that’s being adopted by everyone in China.

What were some of your preconceptions on sustainability and how were you able to have a new mindset of what was important in an area where pollution is such an issue?

My previous mindset was that sustainability was these big, happy ideas about conserving energy and clean water and you want to make the environment pristine, which is doable in some places like the US, but when you get to these second and third world countries you realize that you can put in all the bioswails you want but when the coal plant next to you is pumping out emissions, it’s not going to help you a lot and it made me realize that sustainability is more than just a design problem, it’s interdisciplinary. You need good design but you also need the policy that’s going to back it up, you need the funding that’s going to look into research for alternative energies, and you need the government to help as well; it’s hard to do from the ground up. To do it on a large scale in these developing countries, you need to have higher government support.

Did you find that you were unable to participate in similar activities because of the language barrier or because you didn’t understand the politics?

That was more challenging over there because I was involved in a couple programs in Chicago prior to leaving.

Frankly there’s not a lot of third party, non profit organizations over there that are doing environmental outreach.

Have you ever been able to make the argument that good design can overpower lack of understanding of context?

We refer to that as best practices. Of course you want to reflect local culture but what can we learn from another culture and improve the area. Unfortunately in China some recent development does not reflect the culture and they’re building mega highways and super wide roads which are reminiscent of 50’s America and we already

learned our lesson from that so in cases such as those I think it’s okay to say that maybe they shouldn’t be doing that and narrow the streets down into smaller blocks, counter to their culture or not it’s a good thing to point out.

Did you make any new habits or hobbies while over there?

Being an expat is very social, you end up drinking and eating a lot more often than you would since no one cooked at home. You’re going out with friends three, four nights a week so it’s quite social. Frankly everyone’s hobby becomes travel since you’re somewhere else in the world so it’s so easy for a weekend to pop down to Indonesia or Hong Kong. Also, before I left many of my friends were all midwesterners and very similar to one another but after coming back, I wanted to meet different people from all different places.

What specifically do you enjoy working on and how does that relate to wherever you are working?

I like working on all scales of project, I like the variety of one day working on a smaller three blocks and the next day your working on a ten square kilometer city. I think the ones I’m drawn to are the ones with a large open space component. I also have a background in landscape architecture so I like the public space element so when there’s a large park system or a streetscape idea or something that’s going to attract people as a major public location, those are my favorites.

If you could run through either Shanghai or Chicago again, what are things you would change?

I think Chicago is starting to do it during the past five years with all the bike lanes which have made a huge impact as a huge reform since more people are starting to ride bikes now. I used to bike all the time before China and I would only see a few other people, but now I see dozens of people doing it. I think Chicago just needs to make itself more of an international city, it still has a very midwest vibe to it but I think it can start to elevate itself to New York or DC by inviting more foreign companies over or getting different people over.

What are some aspects of your background and upbringing that have developed your perspectives and philosophies and have they changed since coming back from China?

I have a background in landscape architecture and urban design from an education standpoint so that certainly influenced me in the public space realm and landscape characteristics, not just the buildings themselves. Personally, I grew up in Detroit, which has been known as the urban planner’s playground, so that certainly influenced my career and someday hopefully I can get back to that city and make an impact there because that’s a place I care about. I was born in Detroit and spent the first eight years of my life there and there’s a strong sense of community in the neighborhoods so just seeing that togetherness was a really cool experience for me.

Does anything aside from architecture influence you?

Travel is huge, seeing other cities definitely. I did a study abroad program in college too and went to Scandinavia and other places in Europe which really opens you up to seeing different ways of doing things and how public spaces work. But I think recently, I’ve been a little inspired by the younger generation and how people today are using space differently from how they were. It’s kind

Interviews

JOHN LAW MAY 29, 2015

of like the whole Starbucks thing of the “third destination”, since there’s home, there’s work, and then that third place.

Things like that like the connectedness that we have as well as public art, flash mobs, people are doing more things in public spaces now and so now they are making designs to accommodate those public spaces.

Do you think technology will ever take over the role of the architect or urban designer?

No, I don’t. I think that it’s a great starting point to analyze and get feedback on what you’re doing but cities are for people so there always has to be a human element to it and that’s sometimes that has to be done by a designer. I think that human element is critical.

Do you have a favorite city or part of a city?

The French concession in Shanghai is probably my favorite, the tree lined streets there are like nothing else, it looks like the grand French Boulevard but smaller and more human scale but I like London, it’s changed a lot over the past few years but it always has a place in my heart.

Do you think you are drawn more to cities with history embedded in them?

Definitely, I think there’s more character built into it and there’s more to do. It’s cool to be able to go to a church older than our country and it changes your perspective in a way you can’t get elsewhere.

What is one criticism that you have about having worked in another country?

It’s challenging, you have to make sure it will advance you’re career in the way that you want. Sometimes you run the risk of out of sight, out of mind and you want to make sure that you’re still fully engaged in the larger picture of the practice and just be prepared to go home.

What advice would you give an aspiring architect?

Never say no to anything, just try to take on any assignment as a learning experience. A lot of people want to jump in and lead a project but the first couple of years in the working environment when you’re doing grunt work, it’s still a time to learn something and I think it’s good if your just tracing an aerial photograph, you should still try to learn from that. While you’re doing it, ask yourself why is it like that. Take the first couple of years to explore and find out what you like.

Interviews

OVERALL TAKEAWAY MENTOR

PAOLA AGUIRRE

INTERVIEWS IKER GIL

DON COPPER XUAN FU

LUIS MONTERRUBIO

BRIAN LEE

PAUL O’CONNOR NATHAN KIPNIS

TOM FRENCH + ROMAN UDAKOV JUSTIN LI

JOHN LAW

PETER MULVANEY NEIL KATZ

The architecture field is much broader that I expected. At our position as students we were able to explore the possibilities of our field and the realistic situations that we are to soon face. Listening to these professionals opened my eyes to the responsibilities and realized that there are both limitations and possibilities that can come out of the decisions I will soon make.

It is important to really understand what you want to do with your career, because we are in a field that cuts into your personal life. If you are not throughly enjoying what you do on the daily, then you probably need to reconsider your next step.

I have been able to relate to so many people that their fundamental pursuit to design is for the improving people’s life, that design is for the people. I am confident still with my path towards humanitarian architecture and architectural research.

Context and sustainability means so many things within architecture and it changes based off of what kind of firm you are working for and what you want to contribute. Understanding context in many larger firms means to have the resource of many people from multiple backgrounds and abroad firms to help with the design process, where smaller firms find that you have to situate yourself in the context itself to fully understand it.

Sustainability also ranged from the technical components of technology to adaptive reuse and using the resources we already have.

I have learned that to be a good designer, I must first be a good person. I must learn to collaborate with others and take advantage of any opportunities, and to surround myself with those I want to succeed with.

I have never been so confident that it is the design field that creates the future. The built environment are the ideas and inspirations of emotional and logical solutions from so many great minds. Design translates into social structure, crime, and walk-ability. We as designers have to anaylzie not only the world we live in currently but have to foresee what is to come, and provide innovative solutions for humanity.

I have started asking myself, what does it really mean to design for people? Do all people have the same needs of well being or do you have to cater to every individual?

What does it really mean to design for context?

How do we represent the past that is fading away with replicating it?

What does sustainability really mean?

Asking others these critical questions have given me insight of different perspectives and positions I would not have thought about. Every answer is neither correct or incorrect, however it enabled me to strengthen my core values and beliefs.

The conversations I have had with Chicago professional have changed what my goals for the future are, and I have never been so excited about it.

Hypothetical Firm

Joanna Brindise + Andres Jimenez DESIGN LIKE YOU GIVE A DAMN

The first part to thinking about our hypothetical firm was to identify our interests in architecture.

Even a single focus in architecture can branch off to many different applications. We were interested in humanitarian architecture in regards to people and families who cannot afford a home or have recently lost theirs due to any of various scenarios such as war or natural disaster. A global report was conducted in 2013 by the UN Refugee Agency and stated, “51.2 million individuals were forcibly displaced as a result of persecution, conflict, generalized violence, or human rights violations.”

A 2008 study presented by World Bank showed that “at least 80% of humanity lives on less than $10 a day.”

Whether people have been living in areas of poverty, or have fallen into it due to unfortunate events, there is a role architecture can play in assisting people and promoting a healthy way of life. A complex web of projects and organizations strive to this same goal.

However, they often fall short due to funding. Why is it that architecture survives as an elitist service?

Architects are often sought out by the few specific clients with wallets ready (although sometimes cautiously). Who designs for the majority of people who cannot seek out such a service? How can an architect, designer, and builder be profitable with this demographic? That is what this assignment analyzes through developing a hypothetical firm.

The second part was to identify a location from which to operate our firm. Looking at maps locating natural disasters and displaced people, we gather some sense of troubled areas. We discussed that we do not want our work to be tethered to one single location, although we see it as important to have a “home base” from which to manage key operations.

This location should be relatively economically and politically stable, even though that may conflict with the areas our work focuses on. We chose Medellin, Colombia for its ever growing economic opportunity as well as prevalence of poverty.

We believe that although we want to cater to several different cultures, climates, and demographics in our missions, everyone has a core set of basic needs and desires -happiness, health, comfort, communitythat architecture can universally provide. From there we can apply our ideas and then tailor them to accommodate the aforementioned differences between locations.

Refugees (crossed international border)

IDPs (Internally Displaced Persons)

Cost Of Living

Property Prices

Crime

Health Care

Pollution

Traffic

Quality Of Life

Travel

Hypothetical Firm

Joanna Brindise + Andres Jimenez NumbeoLIKE > Cost of Living > Comparison DESIGN YOU GIVE A DAMN

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Colombia vs United States

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Bogota vs Chicago, IL

Cost of Living Comparison Between Bogota and Chicago, IL Numbeo Like

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Bogota vs Chicago, IL

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Switch to: --- Select section --5,100,000.00Col$ in Bogota (assuming you rent in both cities). This calculation uses our Consumer Prices Including Rent Index. This comparison assumes net earnings (after income tax).

You would need around 4,786.37$ (11,554,289.56Col$) in Chicago, IL to maintain the same standard of life that you can have with 5,100,000.00Col$ in Bogota (assuming you rent in both cities). This calculation uses our Consumer Prices Including Rent Index. This Indices Difference comparison assumes net earnings (after income tax).

Consumer Prices in Chicago, IL are 83.29% higher than in Bogota Numbeo > Cost of Living > Comparison > Colombia vs United States > Bogota vs Chicago, IL Consumer Prices Including Rent in Chicago, IL are 126.55% higher than in Bogota Indices Difference Rent Prices in Chicago, IL are 236.98% higher in Bogota IL Cost of Living Comparison Between Bogota andthan Chicago, Consumer Prices in Chicago, IL are 83.29% higher than in Bogota Restaurant Prices in Chicago, IL are 145.11% higher than in Bogota Consumer Prices Including Like 0 0 IL are 126.55% higher than in Bogota Tweet 0 Rent in Chicago, Groceries Prices in Chicago, IL are 104.91% higher than in Bogota Rent Prices in Chicago, IL are 236.98% higher than in Bogota Purchasing Switch to: Local --- Select section --- Power in Chicago, IL is 230.31% higher than in Bogota Restaurant Prices in Chicago, IL are 145.11% higher than in Bogota Prices in Chicago, are 104.91% higher Currency: COP Groceries Default Currency Switch toILmetric measurement unitsthan in Bogota You wouldLocal needPurchasing around 4,786.37$ (11,554,289.56Col$) in Chicago, to maintain the same standard of life that you can have with Power in Chicago, IL is 230.31% higherIL than in Bogota Difference Chicago, IL 5,100,000.00Col$ in Bogota (assuming you rent in both cities). This calculationBogota uses our Consumer Prices Including Rent Index. This comparison assumes net earnings (after income tax).

Currency: COP Default Currency Switch to metric measurement units [Edit] [Edit]

Restaurants

Bogota Meal, Inexpensive Restaurant 9,000.00 Col$ Indices Difference Meal for 2, Mid-range Restaurant, Three-course 60,000.00 Col$ [Edit] Restaurants Consumer Prices in Chicago, IL are 83.29% higher than in Bogota McMeal at McDonalds (or Equivalent Combo Meal) 14,000.00 Col$ Meal, Inexpensive Restaurant 9,000.00 Col$ Consumer Prices Including Rent in Chicago, IL are 126.55% higher than in Bogota Domestic Beer (0.5 liter draught) 3,000.00 Col$ Meal for 2, Mid-rangeRent Restaurant, Three-course 60,000.00 Col$ Prices in Chicago, IL are 236.98% higher than in Bogota Imported Beer (0.33 liter bottle) 5,000.00 Col$ McMeal at McDonalds (or Equivalent Combo Meal) 14,000.00 Col$ Restaurant Prices in Chicago, IL are 145.11% higher than in Bogota Cappuccino (regular) 3,466.67 Col$ Domestic Beer (0.5 liter draught) Col$ Prices in Chicago, IL are 104.91% higher than3,000.00 in Bogota Coke/Pepsi (0.33Groceries liter bottle) 2,085.52 Col$ Imported Beer (0.33 liter bottle) 5,000.00 Col$ Purchasing Power in Chicago, IL is 230.31% higher than1,840.38 in Bogota Water (0.33Local liter bottle) Col$ Cappuccino (regular) 3,466.67 Col$ Currency: Default Currency Switch to metric measurement units Coke/PepsiCOP (0.33 liter bottle) 2,085.52 Col$ [Edit] Markets Water (0.33 liter bottle) 1,840.38 Col$ Bogota Milk (regular), (1 gallon) 9,589.71 Col$ [Edit] Restaurants Loaf of Fresh White Bread (1 lb) 2,487.96 Col$ Markets Meal, Inexpensive Restaurant 9,000.00 [Edit] Col$ Rice (white), (1 lb) 1,397.07 Col$ Milk (1 gallon)Restaurant, Three-course 9,589.71 Col$ Meal(regular), for 2, Mid-range 60,000.00 Eggs (12) 4,208.08 Col$ Loaf of Fresh White Bread (1 lb) 2,487.96 Col$ McMeal at McDonalds (or Equivalent Combo Meal) 14,000.00 Local Cheese (1 lb) 5,731.22 Col$ Rice (white), (1 lb) 1,397.07 Col$ Domestic Beer (0.5 liter draught) 3,000.00 Chicken Breasts (Boneless, Skinless), (1 lb) 4,754.11 Col$ Eggs (12) Beer (0.33 liter bottle) 4,208.08 Imported 5,000.00 Col$ Apples (1 lb) 2,620.76 Col$ Local Cheese(regular) (1 lb) 5,731.22 Col$ Cappuccino 3,466.67 Oranges (1 lb) 1,660.30 Col$ Chicken Breasts 4,754.11 Col$ Coke/Pepsi (0.33(Boneless, liter bottle)Skinless), (1 lb) 2,085.52 Tomato (1 lb) 1,184.27 Col$ Apples(0.33 (1 lb)liter bottle) 2,620.76 Col$ Water 1,840.38 Potato (1 lb) 977.49 Col$ Oranges (1 lb) 1,660.30 Col$ Lettuce (1 head) 1,794.72 Col$ Tomato (1 lb) 1,184.27 Col$ Water (1.5 liter bottle) 2,962.44 [Edit] Col$ Markets Potato (1 lb) 977.49 Col$ Bottle of Wine (Mid-Range) 24,000.00 Col$ Milk (regular), (1 gallon) 9,589.71 Col$ Lettuce (1 head) 1,794.72 Col$ Domestic BeerWhite (0.5 liter bottle) 2,400.00 Col$ Col$ Loaf of Fresh Bread (1 lb) 2,487.96 Water (1.5 liter bottle) 2,962.44 Col$ Imported Beer 4,822.22 Col$ Col$ Rice (white), (1 (0.33 lb) liter bottle) 1,397.07 Bottle of Wine (Mid-Range) 24,000.00 Col$ Pack Cigarettes (Marlboro) 4,500.00 Eggs of (12) 4,208.08 Col$ Col$ Domestic Beer (0.5 liter bottle) 2,400.00 Col$ Local Cheese (1 lb) 5,731.22 Col$ Imported Beer (0.33 liter bottle) 4,822.22 Col$ Chicken Breasts (Boneless, Skinless), (1 lb) 4,754.11 [Edit] Col$ Transportation Pack of Cigarettes (Marlboro) 4,500.00 Col$ Apples (1 lb) 2,620.76 Col$ One-way Ticket (Local Transport) 1,700.00 Col$ Oranges (1 lb) 1,660.30 Col$ Monthly Pass (Regular Price) 88,200.00 Col$ Transportation Tomato (1 lb) 1,184.27 [Edit] Col$ Taxi Start (Normal Tariff) 3,900.00 Col$ One-way (Local Transport) 1,700.00 Potato (1 Ticket lb) 977.49 Col$ Monthly (1 Pass (Regular Price) 88,200.00 Lettuce head) 1,794.72 Col$ Taxi Start Tariff) 3,900.00 Col$ Water (1.5(Normal liter bottle) 2,962.44 Bottle of Wine (Mid-Range) 24,000.00 Col$ Taxi 1 mile (Normal Tariff) 2,896.82 Col$ Taxi 1hour Beer Waiting Tariff) 20,000.00 Domestic (0.5(Normal liter bottle) 2,400.00 Col$ Col$ Gasoline gallon) 8,476.18 Imported(1 Beer (0.33 liter bottle) 4,822.22 Col$ Col$ Volkswagen Golf 1.4(Marlboro) 90 KW Trendline (Or Equivalent New Car) 40,000,000.00 Pack of Cigarettes 4,500.00 Col$ Col$

Utilities (Monthly) Transportation

Basic (Electricity, Heating, Water, Garbage) for 915 sq ft Apartment One-way Ticket (Local Transport) 1Monthly min. of Pass Prepaid MobilePrice) Tariff Local (No Discounts or Plans) (Regular Internet (6 (Normal Mbps, Unlimited Data, Cable/ADSL) Taxi Start Tariff)

[Edit] [Edit]

230,698.05 1,700.00 Col$ Col$ 213.20 Col$ 88,200.00 Col$ 71,061.46 3,900.00 Col$ Col$

Chicago, IL 26,554.00 Col$ 144,840.00 Col$ [Edit] 16,161.73 Col$ 26,554.00 Col$ 9,656.00 Col$ 144,840.00 Col$ 14,484.00 Col$ 16,161.73 Col$ 9,098.77 Col$ 9,656.00 Col$ 4,228.52 Col$ 14,484.00 Col$ 4,029.37 Col$ 9,098.77 Col$ 4,228.52 Col$ [Edit] 4,029.37 Col$ Chicago, IL 10,412.77 Col$ [Edit] 4,191.41 Col$ 26,554.00 [Edit] Col$ 2,343.74 Col$ 10,412.77 Col$ 144,840.00 5,809.69 Col$ 4,191.41 Col$ 16,161.73 9,034.63 Col$ 2,343.74 Col$ 9,656.00 10,950.32 Col$ 5,809.69 Col$ 14,484.00 3,841.26 Col$ 9,034.63 Col$ 9,098.77 3,243.26 Col$ 10,950.32 4,228.52 Col$ 5,107.82 Col$ 3,841.26 Col$ 4,029.37 2,365.72 Col$ 3,243.26 Col$ 3,335.34 Col$ 5,107.82 Col$ 4,498.09 [Edit] Col$ 2,365.72 Col$ 26,554.00 Col$ 10,412.77 Col$ 3,335.34 Col$ 4,224.50 Col$ Col$ 4,191.41 4,498.09 Col$ 4,353.25 Col$ Col$ 2,343.74 26,554.00 Col$ 28,968.00 5,809.69 Col$ Col$ 4,224.50 Col$ 9,034.63 Col$ 4,353.25 Col$ 10,950.32 [Edit] Col$ 28,968.00 Col$ 3,841.26 Col$ 5,431.50 Col$ 3,243.26 Col$ 241,400.00 Col$ 5,107.82 [Edit] Col$ 7,845.50 Col$ 5,431.50 2,365.72 Col$ 241,400.00 3,335.34 Col$ 7,845.50 Col$ 4,498.09 26,554.00 Col$ 4,599.29 Col$ 72,420.00 4,224.50 Col$ Col$ 8,177.23 4,353.25 Col$ Col$ 45,866,000.00 28,968.00 Col$ Col$

Difference +195.04 % +141.40 %

+15.44 % +195.04 % +221.87 % +141.40 % +189.68 % +15.44 % +162.46 % +221.87 % +102.76 % +189.68 % +118.94 % +162.46 % +102.76 %

Difference +118.94 % +8.58 %

+68.47 % +195.04 % +67.76 % +8.58 % +141.40 +38.06 % +68.47 % +15.44 +57.64 % +67.76 % +221.87 +130.33 % +38.06 % +189.68 +46.57 % +57.64 % +162.46 +95.34 % +130.33 % +102.76 +331.31 % +46.57 % +118.94 +142.02 % +95.34 % +85.84 % +331.31 % +51.84 % +142.02 % +10.64 % +8.58 % +85.84 % +76.02 % % +68.47 +51.84 % -9.73 % % +67.76 +10.64 % +543.73 +38.06 % % +76.02 % +57.64 % -9.73 % +130.33 % +543.73 % +46.57 % +219.50 % +95.34 % +173.70 % +331.31 % +101.17 % +219.50 % +142.02 +173.70 +85.84 % +101.17 +51.84 % +10.64 % % +58.77

+262.10 +76.02 % % -3.53 -9.73 % %

+14.67 % +543.73 %

[Edit] [Edit]

276,500.07 5,431.50 Col$ Col$ 458.66 Col$ 241,400.00 Col$ 91,430.25 7,845.50 Col$ Col$

+19.85 % +219.50 %

+115.13 +173.70 % % +28.66 % +101.17 %

Taxi 1 mile (Normal Tariff) Taxi 1hour Waiting (Normal Tariff) Gasoline (1 gallon) Volkswagen Golf 1.4 90 KW Trendline (Or Equivalent New Car)

Utilities (Monthly)

Basic (Electricity, Heating, Water, Garbage) for 915 sq ft Apartment 1 min. of Prepaid Mobile Tariff Local (No Discounts or Plans) Internet (6 Mbps, Unlimited Data, Cable/ADSL)

Sports And Leisure

Fitness Club, Monthly Fee for 1 Adult Tennis Court Rent (1 Hour on Weekend) Cinema, International Release, 1 Seat

Clothing And Shoes

1 Pair of Jeans (Levis 501 Or Similar) 1 Summer Dress in a Chain Store (Zara, H&M, ...)

1 Pair of Nike Running Shoes 1 Pair of Men Leather Shoes

Rent Per Month

Apartment (1 bedroom) in City Centre Apartment (1 bedroom) Outside of Centre Apartment (3 bedrooms) in City Centre Apartment (3 bedrooms) Outside of Centre

Buy Apartment Price

Price per Square Feet to Buy Apartment in City Centre Price per Square Feet to Buy Apartment Outside of Centre

Salaries And Financing

Average Monthly Disposable Salary (After Tax) Mortgage Interest Rate in Percentages (%), Yearly Last update Contributors: Data from past: Currency: COP Like

100 75

0

Tweet

0

2,896.82 Col$ 20,000.00 Col$ 8,476.18 Col$ 40,000,000.00 Col$

4,599.29 Col$ 72,420.00 Col$ 8,177.23 Col$ 45,866,000.00 Col$

[Edit]

[Edit]

230,698.05 Col$ 213.20 Col$ 71,061.46 Col$

276,500.07 Col$ 458.66 Col$ 91,430.25 Col$

[Edit]

[Edit]

109,083.33 Col$ 28,714.29 Col$ 10,000.00 Col$

92,932.97 Col$ 48,280.00 Col$ 26,554.00 Col$

[Edit]

[Edit]

175,855.68 Col$ 103,067.73 Col$ 216,666.67 Col$ 205,000.00 Col$

101,991.50 Col$ 78,450.98 Col$ 207,201.67 Col$ 261,401.71 Col$

[Edit]

[Edit]

1,046,153.85 Col$ 985,714.29 Col$ 2,000,000.00 Col$ 1,773,333.33 Col$

4,276,071.82 Col$ 2,351,455.45 Col$ 7,517,885.71 Col$ 5,109,633.33 Col$

[Edit]

[Edit]

394,928.39 Col$ 334,016.96 Col$

734,453.39 Col$ 442,562.98 Col$

[Edit]

[Edit]

900,942.84 Col$ 12.15

6,741,989.60 Col$ 4.03

April, 2015 117 18 months

April, 2015 170 18 months

0

Cost of Living Index (Current, By City)

Rio De Janeiro CPI: 56.94

+58.77 %

+262.10 % -3.53 % +14.67 %

+19.85 % +115.13 % +28.66 %

-14.81 % +68.14 % +165.54 %

-42.00 % -23.88 % -4.37 % +27.51 %

+308.74 % +138.55 % +275.89 % +188.14 %

+85.97 % +32.50 %

+648.33 % -66.82 %

Hypothetical Firm

Joanna Brindise + Andres Jimenez DESIGN LIKE YOU GIVE A DAMN

1 Planning the yearly office budget First figure your total yearly payroll: Principal architect: Job captain: Drafter: Drafter/spec writer: Secretary: Real Estate Developer: Property Manager: Leasing Agent:

(No.) (No.) (No.) (No.) (No.) (No.) (No.) (No.)

2 2 6 2 1 1 1 1

@ @ @ @ @ @ @ @

$ $ $ $ $ $ $ $

68,000 35,000 23,500 27,000 16,000 50,000 50,000 10,000

= = = = = = = =

Total yearly payroll: Then figure your overhead: Payroll taxes and benefits (avg. 25% of total yearly payroll): Rent: (~$60/sqft) Utilities, phone, internet, postage: Accounting, services:

$ $ $

50,000 5,000 5,000

Equipment, supplies, printing: Insurance: Marketing:

$ $ $

30,000 50,000 10,000

Dues, training:

$

-

All other: Total expenses:

$

-

"Total to run the office:" Profit percentage:

$ $ $ $ $ $ $ $

136,000 70,000 141,000 54,000 16,000 50,000 50,000 10,000

$

527,000

$

131,750

$

150,000

$

808,750

x

30%

Profit amount:

$

242,625

"Total to run office"+ profit amount= yearly revenue goal:

$

1,051,375

2 Now figure your office efficiency ratio: Percentage of total hours which each category can bill to projects: Principal architect: Job captain: Drafter: Drafter/spec writer: Secretary: Real Estate Developer: Property Manager: Leasing Agent:

100% 100% 100% 100% 100% 100% 100% 100%

of 2000 hrs. x of 2000 hrs. x of 2000 hrs. x of 2000 hrs. x of 2000 hrs. x of 2000 hrs. x of 2000 hrs. x of 2000 hrs. x

(No.) (No.) (No.) (No.) (No.) (No.) (No.) (No.)

2 2 6 2 1 1 1 1

= = = = = = = =

4,000 4,000 12,000 4,000 2,000 2,000 2,000 2,000

Total hours the office will bill in a year:

32,000

Total hours staff will work in a year (no. staffx 2000):

32,000

Office efficiency ratio (hrs. will billรท hrs. will work):

=

billable hrs./yr. billable hrs./yr. billable hrs./yr. billable hrs./yr. billable hrs./yr. billable hrs./yr. billable hrs./yr. billable hrs./yr.

1.00

Now (at last) figure your office multiplier: $

527,000 1.00

office can earn income:

$

527,000

Yearly revenue goal:

$

1,051,375

Yearly payroll: Efficiency ratio:

x

Billable salary on which

Divide yearly revenue goalby billable salary

=

2.00

Office multiplier

Hypothetical Firm

Joanna Brindise + Andres Jimenez DESIGN LIKE YOU GIVE A DAMN

3 Now figure your office billing rates: (office multiplierx hourly salary [ = yearly salaryรท 2000] ) Principal architect: Job captain: Drafter:

2.00 2.00 2.00

x x x

$ $ $

34.00 17.50 11.75

= = =

$ $ $

68 35 23

Drafter/spec writer: Secretary: Real Estate Developer: Property Manager:

2.00 2.00 2.00 2.00

x x x x

$ $ $ $

13.50 8.00 25.00 25.00

= = = =

$ $ $ $

27 16 50 50

Leasing Agent:

2.00

x

$

5.00

=

$

10

Now figure how many hours per week each category of staff can work on projects: (percentage of time billablex 40 hours) Principal architect: Job captain:

100% 100%

x x

40 hours 40 hours

= =

40 40

hrs./wk. hrs./wk.

Drafter: Drafter/spec writer:

100% 100%

x x

40 hours 40 hours

= =

40 40

hrs./wk. hrs./wk.

Secretary: Real Estate Developer: Property Manager:

100% 100% 100%

x x x

40 hours 40 hours 40 hours

= = =

40 40 40

hrs./wk. hrs./wk. hrs./wk.

Leasing Agent:

100%

x

40 hours

=

40

hrs./wk.

4 Budgeting the project Project Budget Service Percentage

$

5,000,000 12%

$

600,000

-

$ $

45,000 555,000

= = = = =

$ $ $ $ $

83,250 111,000 222,000 27,750 111,000

First figure how much fee you have to work with: Total fee from the client for the project: Fee to structural consultant: Fee to mechanical consultant: Fee(s) to other consultant(s): Total fees to consultants: Total fee remaining to architect:

$ $ $

20,000 20,000 5,000

Then figure how much of fee to architectyou can spend during each phase: Schematics: Design development: Construction documents: Bidding/negotiation: Construction:

15% 20% 40% 5% 20% (

100%

of of of of of )

$ $ $ $ $

555,000 555,000 555,000 555,000 555,000

5 Then allocate those phase fees among your staff: First figure the maximum hours each staff category can devote to a phase (billable hrs. per weekx calendar weeks in the phase = max. billable hrs.): During schematics: $

83,250

Principal architect: Job captain:

( (

40 40

hrs./wk. x hrs./wk. x

12 12

wks. = wks. =

480 480

hrs. hrs.

) )

480 240

hrs. @ hrs. @

$ $

68 35

= =

$ $

32,559 8,379

Drafter: Drafter/spec writer:

( (

40 40

hrs./wk. x hrs./wk. x

12 12

wks. = wks. =

480 480

hrs. hrs.

) )

400 400

hrs. @ hrs. @

$ $

23 27

= =

$ $

9,377 10,773

Secretary

Total fee for the phase:

(

40

hrs./wk. x

12

wks. =

480

hrs.

)

480

hrs. @

$

16

=

$

7,661

Real Estate Developer: ( Property Manager: (

40 40

hrs./wk. x hrs./wk. x

12 12

wks. = wks. =

480 480

hrs. hrs.

) )

50 0

hrs. @ hrs. @

$ $

50 50

= =

$ $

2,494 -

Leasing Agent:

40

hrs./wk. x

12

wks. =

480

hrs.

)

0

hrs. @

$

10

=

$

-

$

68,748

(

Total fee to be charged to the phase:

During design development: $

111,000

Principal architect: Job captain:

( (

40 40

hrs./wk. x hrs./wk. x

12 12

wks. = wks. =

480 480

hrs. hrs.

) )

480 240

hrs. @ hrs. @

$ $

68 35

= =

$ $

32,559 8,379

Drafter: Drafter/spec writer:

( (

40 40

hrs./wk. x hrs./wk. x

12 12

wks. = wks. =

480 480

hrs. hrs.

) )

240 240

hrs. @ hrs. @

$ $

23 27

= =

$ $

5,626 6,464

Secretary ( Real Estate Developer: ( Property Manager: (

40 40 40

hrs./wk. x hrs./wk. x hrs./wk. x

12 12 12

wks. = wks. = wks. =

480 480 480

hrs. hrs. hrs.

) ) )

480 50 0

hrs. @ hrs. @ hrs. @

$ $ $

16 50 50

= = =

$ $ $

7,661 2,494 -

Leasing Agent:

40

hrs./wk. x

12

wks. =

480

hrs.

)

0

hrs. @

$

10

=

$

-

$

63,182

Total fee for the phase:

(

Total fee to be charged to the phase:

During construction documents: $

222,000

Principal architect: Job captain:

( (

40 40

hrs./wk. x hrs./wk. x

12 12

wks. = wks. =

480 480

hrs. hrs.

) )

200 400

hrs. @ hrs. @

$ $

68 35

= =

$ $

13,566 13,965

Drafter: Drafter/spec writer: Secretary Real Estate Developer: Property Manager:

( ( ( ( (

40 40 40 40 40

hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk.

x x x x x

12 12 12 12 12

wks. wks. wks. wks. wks.

= = = = =

480 480 480 480 480

hrs. hrs. hrs. hrs. hrs.

) ) ) ) )

528 528 100 0 0

hrs. hrs. hrs. hrs. hrs.

@ @ @ @ @

$ $ $ $ $

23 27 16 50 50

= = = = =

$ $ $ $ $

12,377 14,220 1,596 -

Leasing Agent:

(

40

hrs./wk. x

12

wks. =

480

hrs.

)

0

hrs. @

$

10

=

$

-

$

55,725

$

27,750

Total fee for the phase:

Total fee to be charged to the phase:

During bidding/negotiation: Total fee for the phase: Principal architect: Job captain:

( (

40 40

hrs./wk. x hrs./wk. x

4 4

wks. = wks. =

160 160

hrs. hrs.

) )

25 150

hrs. @ hrs. @

$ $

68 35

= =

$ $

1,696 5,237

Drafter: Drafter/spec writer: Secretary Real Estate Developer: Property Manager: Leasing Agent:

( ( ( ( ( (

40 40 40 40 40 40

hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk.

4 4 4 4 4 4

wks. wks. wks. wks. wks. wks.

160 160 160 160 160 160

hrs. hrs. hrs. hrs. hrs. hrs.

) ) ) ) ) )

0 0 0 100 100 50

hrs. hrs. hrs. hrs. hrs. hrs.

$ $ $ $ $ $

23 27 16 50 50 10

= = = = = =

$ $ $ $ $ $

4,988 4,988 499

$

17,407

$

111,000

$ $ $ $ $ $ $ $

6,783 34,913 2,344 2,693 7,980 49,875 49,875 9,975

Total fee to be charged to the phase:

$

164,439

Total fee to be charged: Total fee from the client for the project:

$ $

369,501 600,000

x x x x x x

= = = = = =

@ @ @ @ @ @

Total fee to be charged to the phase:

During construction: Total fee for the phase: Principal architect: Job captain: Drafter: Drafter/spec writer: Secretary Real Estate Developer: Property Manager: Leasing Agent:

( ( ( ( ( ( ( (

40 40 40 40 40 40 40 40

hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk. hrs./wk.

x x x x x x x x

50 50 50 50 50 50 50 50

wks. wks. wks. wks. wks. wks. wks. wks.

= = = = = = = =

2000 2000 2000 2000 2000 2000 2000 2000

hrs. hrs. hrs. hrs. hrs. hrs. hrs. hrs.

) ) ) ) ) ) ) )

100 1000 100 100 500 1000 1000 1000

hrs. hrs. hrs. hrs. hrs. hrs. hrs. hrs.

@ @ @ @ @ @ @ @

$ $ $ $ $ $ $ $

68 35 23 27 16 50 50 10

= = = = = = = =

Studio

MONTERREY WORKSHOP

WITH PAOLA RIVERA + LUIS EDUARDO FORES

MONTERREY WORKSHOP

Apart from the complexity of these different layers of ‘input’, a planning process can take up to several decades. If architecture is a slow profession by the nature of the material and organizational reality, urbanism seems inert. Over time policies chance, technology develops, markets collapse and people change their minds. Being a victim to these complicated and constantly changing forces over such considerable time spans realizing urban plans seems like a mission impossible.

How can urban planners and architects keep chair of these projects? How does one manage and integrate all data involved in the design process? How does one streamline the interests of cities, investors, developers, people and businesses over time? In short; how can we tackle the problem of long-term complexity in the design process.

Bold and strong visions are needed to cpe with the complexity and multiplicity of contemporary large assignments. In order to realize this we need to understand the given assignment beyond the simple program by involving the knowledge of the multi-layered dimension of contemporary cities. Most often a paradoxical issue or a key argument emerges when facing contrasting ambitions. The architect should realize the translation of these conditions in spatial languages and visions, which could be shared or understood by many actors. The first step is to visualize them in powerful, meaningful images that are at the same time intriguing and explanatory.

How do you create a substantial and sustainable density in delicate landscapes? Or how to create urban quality in evaluating environments? Or plan for a more productive development while being more energy efficient?

How can the central area of Jefferson Park be re-programmed, re-planned or re-imagined?

What systematic saves can disrupt latency?

What could Jefferson Park be in 100 years?

Studio

MONTERREY WORKSHOP FAST PACED DESIGN WORKSHOP

Studio

MONTERREY WORKSHOP FAST PACED DESIGN WORKSHOP

Studio

PRECEDENT ANALYSIS

INTERNATIONAL COMMERCE CENTRE

Research mixed use transit stations and after analysis indentify the successful spatial connections, historical importance, contemporary adaptiation, impact on adjacent areas.

Studio

PRECEDENT ANALYSIS ANTWERP TRAIN STATION

Research mixed use transit stations and after analysis indentify the successful spatial connections, historical importance, contemporary adaptiation, impact on adjacent areas.

Studio

JEFFERSON PARK COMMUNITY CATALYST IN COLLABORATION WITH ALEX CHENG

METRA CTA BIKES

Studio

SITE ANALYSIS JEFFERSON PARK

Typical Having the distinctive qualities of a particular type of person or thing: Informal showing the characteristics expected of or popularly associated with a particular person, situation, or thing: Representative, classic, quintessential, archetypal, model, prototypical, stereotypical; normal, average, ordinary, standard, regular, routine, run-of-the-mill, stock orthodox, conventional, predictable, unsurprising, unremarkable, unexceptional atypical not representative of a type, group, or class: unusual, untypical, non-typical, uncommon, unconventional, unorthodox, off-center, anomalous, irregular, abnormal, aberrant, deviant, divergent, strange, odd peculiar, curious, bizarre, weird, freakish, freak, eccentric, quirky, alien, exceptional, singular, rare, unique, isolated, unrepresentative, out of the way, out of the ordinary, extraordinary “Most often our perception of the city is not sustained, but rather partial, fragmentary, mixed with other concerns. Nearly every sense is in operation, and the image is the composite of them all.�

Kevin Lynch

STUDIO

SITE ANALYSIS

JEFFERSON PARK TRANSIT CENTER

SECTION THROUGH THE TRANSIT CENTER

OLD RAIL

ISOMETRIC OVERVIEW

BUS TERMINAL

Jefferson Park Station is a renovated station connected to the local, inter-city, + regional train infrastructure. Primary train station used to be above ground... but now converted into metra train line, and CTA trains are now below in the middle of the Kennedy Expressway.

The renovation of 1970 by Skidmore, Owings, + Merrill involved the addition of a “floating” box at the back of the station. Its location in the median of the Kennedy Expressway requires a method of connection to the street, to navigate across old tracks + half of a highway.

DOWN TO BLUE LINE

METRA TERMINAL BEYOND

HIGHWAY

ISOMETRIC OVERVIEW

SECTION THROUGH THE TRANSIT CENTER

SECTION THROUGH THE METRO

SECTION THROUGH THE METRO

STUDIO

SITE ANALYSIS

JEFFERSON PARK TRANSIT CENTER

0'

5' 10'

20'

50'

100'

200'

STUDIO

SITE ANALYSIS

LAYERS OF TRANSPORTATION

MET

Y WA AD RO

RA

CTA

STUDIO

ATYPICAL ANALYSIS PROMPT 1

EXPECTATIONS

BU ENVIRO

SNOW BECOMES A VARIABLE TO OUR EX WITH THE BUIL

UILT ONMENT

REALITY

XPECTATIONS AND PHYSICAL INTERACTION LT ENVIRONMENT.

WALKING TURBULENCE

SHOVELING PARTIALLY REVEALS SIDEWALK

GUST OF WIND - WALK SIDEWAYS

GUST OF WIND - WALK SIDEWAYS

CONE OBSTACLE

MIS-STEP WITHIN EXISTING FOOTPRINT

FULL EXPOSURE TO ELEMENTS

EDGE OF COVER

MISC. PATCH OF ICE

UNDER COVER - SUN EXPOSURE MELTS SNOW

UNDER COVER - SHADE PRESERVES SNOW

SNOW RESIDUE INSIDE TUNNEL

DRY SURFACES INSIDE

EXPERIENTIAL PROGRESSION

LINEAR PROGRESSION

GROUND TEXTURE

COVER

RETAIL SIDEWALK

CROSS TIRE TRACKS

TURN CORNER

INTENSE + PROLONGED GUST - WALK BACKWARD

LULL

INTENSE + PROLONGED GUST - WALK BACKWARD

CURBSIDE SNOWBANK

WALKING OUTSIDE TIRE TRACKS

WALKING WITHIN TIRE TRACKS

BENEATH UNDERPASS - WALKING OUTSIDE TIRE TRACKS

BENEATH UNDERPASS - WALKING WITHIN TIRE TRACKS

BENEATH UNDERPASS - WALKING OUTSIDE TIRE TRACKS

CURBSIDE SNOWBANK

BENEATH UNDERPASS (SIDEWALK)

GUST OF WIND - WALK BACKWARDS

GUST OF WIND - COVER FACE

GUST OF WIND - WALK BACKWARDS

GUST OF WIND - COVER FACE

GUST OF WIND - COVER FACE

STUDIO

ATYPICAL ANALYSIS PROMPT 1

STUDIO

TYPICAL ANALYSIS

LARGE SCALE BUILDING HEIGHTS

19+ STORIES

19-12 STORIES

12-7 STORIES

7-3 STORIES

STUDIO

TYPICAL ANALYSIS LOCAL BUILDING HEIGHTS

STUDIO

TYPICAL ANALYSIS PARKS | ZONING

STUDIO

TYPICAL ANALYSIS PARKS | ZONING

Mixed Market 75,000 - 80,000 sq ft Market Prepared Foods Coffee Bar Restaurant / Bar (seating for up to 50 ppl) Cooking Classrooms (2 @ 1000 sq ft each) Restrooms (6 fixtures per m/f) Mechanical Space min 18’ ceiling ht vertical circulation no parking req’d Residential 250-300 apartments 200-250 sq ft Each unit includes: Living area Bedroom Kitchen Bathroom Closet Storage vertical circulation no parking req’d

475’ 225’

215’

375’

145’

115 MICRO UNITS

SITE

15’X15’ | 225 SQ FT EACH

27,187.5 SQ FT

MAXED OUT FOOTPRINT

205’

46,125 SQ FT

75’

16,125 SQ FT

185’

87,875 SQ FT

STUDIO

TYPICAL ANALYSIS PARKS | ZONING

mar·ket noun noun: market; plural noun: markets A regular gathering of people for the purchase and sale of provisions, livestock, and other commodities.

An open space or covered building where vendors convene to sell their goods. synonyms: marketplace, mart, flea market, bazaar, fair; archaicemporium An area or arena in which commercial dealings are conducted. synonyms: demand, call, want, desire, need, requirement The state of trade at a particular time or in a particular context. synonyms: stock market, trading, trade, business, commerce, buying and selling, dealing

Market

PUBLIC (Consumer Access) (No Consumer Access) PRIVATE

PUBLIC (Free Circulation + Perception) (Restricted Circulation + Perception) PRIVATE

15,200 Market 1

15,200 Market 2

50’

15,200 Market 3

100’

15,200 Market 4

150’

800 Coffee Bar

200’

5000 Restaurant

250’

600 Bar

1,2000 700 2,000 Prep. Foods Vert. Circulation Cook. Classes

300 Structure

600 Bathrooms

8,000 Mechanical

1000 Vert. Circulation

80,000 Market TOTAL

Residence

JOANNA

500 Structure

8,000 Mechanical

10,000 Living + Dining

8000 Kitchen

7,500 Bedroom

75,000 Market TOTAL

10,000 Bathroom

7,000 Work Area

15,000 Storage

8,000 Closet

Market

PUBLIC (Consumer Access) (No Consumer Access) PRIVATE

PUBLIC (Free Circulation + Perception) (Restricted Circulation + Perception) PRIVATE

7,500 Market 1

7,500 Market 2

50’

7,500 Market 3

100’

7,500 Market 4

150’

6,000 Coffee Bar

200’

12,000 Restaurant

250’

6,000 Bar

12,000 5,000 2,000 Prep. Foods Vert. Circulation Cook. Classes

2,000 Structure

2,000 Bathrooms

2,000 5,000 Mechanical Vert. Circulation

80,000 Market TOTAL

Residence

ALEX

2,000 Structure

2,000 Mechanical

15,000 Living + Dining

15,000 Kitchen

12,500 Bedroom

7,500 Bathroom

5,000 Work Area

5,000 Storage

2,500 Closet

STUDIO

TYPICAL ANALYSIS COMPARATIVE PROGRAMS

PLUM MARKET 1 - Entry

3 2 - Produce 2

4 3 - Deli

1

5

4 - Wine

5 - Coffee

EATALY 1 - Piazza

5

3

4

1

2 - Standing Tables

2

3 - Sitting Tables

4 - Kiosks

5 - Grocery

STUDIO

TYPICAL ANALYSIS COMPARATIVE PROGRAM

MARKET AS INFORMATION CENTER - THE ATHENIAN AGORA In addition to being a place where people gathered to buy and sell all kinds of commodities, the Agora was also a place where people assembled to discuss all kinds of topics: business, politics, current events, or the nature of the universe and the divine. Porosity of the architecture allowed Greeks to move fluidly in and out of buildings, through porticos and across the agora to exchange goods and information.

HOUSING FORMS MARKET - MARKTHAL Winy Maas and MVRDV developed a way to allow the form of housing to become the enclosure for a market.

228 apartments arch around and over the marketplace, which allows for a dialogue between people in the market and people living above it. It engages people from the street, and urges residents to get involved with the market activity. A stimulating graphic of produce defines the surface above. Its visibility from inside and outside the building evokes an intense energy in the space.

STUDIO

CONCEPT DIAGRAM PART TO WHOLE

EM

BE

EN

GA

GE

TH

EB

UI

LT E

NV

IR

OM

EN

T

DT

HE

US

ER

E

OL

G

ES

C PIE

IN AT RE

H AW

C

CT

LE

F RE

XT

TE

N CO

STUDIO

PROGRAM DIAGRAM IDENTIFYING PROGRAM USES

MARKET

COFFEE

RESTAURANT

BAR

MID-HEIGHT FLEXIBLE SPACE ACTIVE PROPORTIONS

LOW-HEIGHT INTIMATE SPACE ACTIVE PROPORTIONS

LOW HEIGHT LARGE SPACE LONG PROPORTIONS

LOW HEIGHT LONG, SOCIAL SPACE INTIMATE PROPORTIONS

LOW HEIGHT SOCIAL SPACE DYNAMIC PROPORTIONS

ENTRANCE

MARKET

COFFEE

RESTAURANT

BAR

LOW TO MID-HEIGHT MODEST SPACE MODEST PROPORTIONS

MID-HEIGHT LARGER SPACE ACTIVE PROPORTIONS

LOW HEIGHT SMALL SPACE STATIONARY PROPOTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

ENTRANCE

MARKET

COFFEE

RESTAURANT

BAR

LOW TO MID-HEIGHT MODEST SPACE MODEST PROPORTIONS

MID-HEIGHT LARGER SPACE ACTIVE PROPORTIONS

LOW HEIGHT MODEST SPACE MODEST PROPOTIONS

LOW HEIGHT SOCIAL SPACE OPEN PROPORTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

ENTRANCE

MARKET

COFFEE

RESTAURANT

BAR

PREP FOOD

VERTICAL CIRCULATION

COOKING CLASSES

BATHR

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S LONG PROP

COOKING CLASSES

BATHR

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S LONG PROP

COOKING CLASSES

BATHR

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S LONG PROP

COOKING CLASSES

BATHR

EXPECTED OCCUPANCY SPATIAL DESCRIPTION

HIGH HEIGHT MODEST SPACE TALL PROPORTIONS

SPATIAL PROPORTION

LOW HEIGHT LONGER, LARGE SPACE LINEAR PROPORTIONS

PREP FOOD

VERTICAL CIRCULATION

EXPECTED OCCUPANCY SPATIAL DESCRIPTION

HIGH HEIGHT MODEST SPACE TALL PROPORTIONS

SPATIAL PROPORTION

MID-HEIGHT SMALL SPACE QUIET PROPORTIONS

VERTICAL CIRCULATION

SPATIAL DESCRIPTION

EXPECTED OCCUPANCY

EXPERIENTIAL EXPECTATION

PREP FOOD

MID-HEIGHT MID-SIZE SPACE QUIET PROPORTIONS

HIGH HEIGHT TALL SPACE TALL PROPORTIONS

SPATIAL PROPORTION EXPERIENTIAL EXPECTATION EXPECTED OCCUPANCY

SIDENT

N

NEIGHBOR J.P. RESIDENT

CHILD RESIDENT

EXPERIENTIAL EXPECTATION

MOM + DAD RETAILER

EXPERIENTIAL EXPECTATION

ENTRANCE

PREP FOOD

VERTICAL CIRCULATION

ROOMS

EIGHT SPACE PORTIONS

ROOMS

EIGHT SPACE PORTIONS

ROOMS

EIGHT SPACE PORTIONS

ROOMS

MARKET + RETAIL

EXIT

PERMANENT UNIT

TEMPORARY UNIT

MID-HEIGHT FLEXIBLE SPACE ACTIVE PROPORTIONS

MID-HEIGHT MODEST SPACE (WITH ASPIRATIONS) COMFORTABLE PROPORTIONS

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

EXIT

PERMANENT UNIT

TEMPORARY UNIT

LOW TO MID-HEIGHT MODEST SPACE MODEST PROPORTIONS

MID-HEIGHT MODEST SPACE (WITH ASPIRATIONS) COMFORTABLE PROPORTIONS

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

EXIT

PERMANENT UNIT

TEMPORARY UNIT

LOW TO MID-HEIGHT MODEST SPACE MODEST PROPORTIONS

EXIT

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

PERMANENT UNIT

TEMPORARY UNIT

MUSIC

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MUSIC

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MUSIC

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MUSIC

ART

HOBBY

COOKING

STUDY

LOUNGE

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

ART

HOBBY

COOKING

STUDY

LOUNGE

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

ART

HOBBY

COOKING

STUDY

THEATRE/SPORTS

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

ART

HOBBY

COOKING

STUDY

THEATRE/SPORTS

EXPECTED OCCUPA

NEIGHBOR J.P. RESIDE

STUDIO

SPATIAL DESCRIPTION

PROGRAM DIAGRAM

LOW TO MID-HEIGHT MODEST SPACE MODEST PROPORTIONS

MID-HEIGHT LARGER SPACE ACTIVE PROPORTIONS

LOW HEIGHT MODEST SPACE MODEST PROPOTIONS

LOW HEIGHT SOCIAL SPACE OPEN PROPORTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

ENTRANCE

MARKET

COFFEE

RESTAURANT

BAR

MID-TO-HIGH HEIGHT GRANDER SPACE VERTICAL PROPORTIONS

HIGH-HEIGHT GRAND SPACE ACTIVE PROPORTIONS

LOW HEIGHT STIMULATING SPACE LONG PROPORTIONS

MID-HEIGHT EXCITING SPACE OPEN PROPORTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

ENTRANCE

MARKET

COFFEE

RESTAURANT

BAR

MID-TO HIGH HEIGHT GRANDER SPACE VERTICAL PROPORTIONS

HIGH-HEIGHT GRAND SPACE ACTIVE PROPORTIONS

LOW HEIGHT RELAXING SPACE LONG PROPORTIONS

HIGH HEIGHT EXCITING SPACE OPEN PROPORTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

ENTRANCE

MARKET

COFFEE

RESTAURANT

BAR

HIGH HEIGHT GRAND SPACE VERTICAL PROPORTIONS

HIGH-HEIGHT GRAND SPACE ACTIVE PROPORTIONS

LOW HEIGHT EXCITING SPACE LONG PROPORTIONS

HIGH HEIGHT EXCITING SPACE OPEN PROPORTIONS

LOW HEIGHT SOCIAL SPACE INTIMATE PROPORTIONS

HIGH HEIGHT TALL SPACE TALL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S LONG PROP

COOKING CLASSES

BATHR

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S LONG PROP

COOKING CLASSES

BATHR

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S TIGHT PROP

COOKING CLASSES

BATHR

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

LOW HE SMALL S TIGHT PROP

SPATIAL PROPORTION

MID-HEIGHT MID-SIZE SPACE QUIET PROPORTIONS

VERTICAL CIRCULATION

MID-HEIGHT LARGER SPACE ACTIVE PROPORTIONS

HIGH HEIGHT TALL SPACE TALL PROPORTIONS

SPATIAL PROPORTION

SPATIAL DESCRIPTION

EXPECTED OCCUPANCY

EXPERIENTIAL EXPECTATION

PREP FOOD

VERTICAL CIRCULATION

MID-HEIGHT LARGER SPACE ACTIVE PROPORTIONS

HIGH HEIGHT TALL SPACE TALL PROPORTIONS

SPATIAL PROPORTION

SPATIAL DESCRIPTION

EXPECTED OCCUPANCY

EXPERIENTIAL EXPECTATION

PREP FOOD

VERTICAL CIRCULATION

EXPERIENTIAL EXPECTATION

PREP FOOD

EXPECTED OCCUPANCY SPATIAL DESCRIPTION SPATIAL PROPORTION

FOREIGNER INT’L RESIDENT

IN-LAW U.S. RESIDENT

FRIEND CITY RESIDENT

IDENTIFYING PROGRAM USES

MID-HEIGHT LARGER SPACE ACTIVE PROPORTIONS

HIGH HEIGHT TALL SPACE TALL PROPORTIONS

EIGHT SPACE PORTIONS

ROOMS

EIGHT SPACE PORTIONS

ROOMS

EIGHT SPACE PORTIONS

ROOMS

EIGHT SPACE PORTIONS

LOW TO MID-HEIGHT MODEST SPACE MODEST PROPORTIONS

EXIT

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

PERMANENT UNIT

MID-TO-HIGH HEIGHT GRANDER SPACE VERTICAL PROPORTIONS

EXIT

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

PERMANENT UNIT

MID-TO HIGH HEIGHT GRANDER SPACE VERTICAL PROPORTIONS

EXIT

TEMPORARY UNIT

TEMPORARY UNIT

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

PERMANENT UNIT

MID-TO HIGH HEIGHT GRAND SPACE VERTICAL PROPORTIONS

TEMPORARY UNIT

TALL HEIGHT GRANDER SPACE ACTIVE PROPORTIONS

RESIDENTIAL

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MUSIC

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MUSIC

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MUSIC

LOW HEIGHT INTIMATE SPACE QUIET PROPORTIONS

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

ART

HOBBY

COOKING

STUDY

THEATRE/SPORTS

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

ART

HOBBY

COOKING

STUDY

THEATRE/SPORTS

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

ART

HOBBY

COOKING

STUDY

THEATRE/SPORTS

MID-TO-HIGH HEIGHT LOFTY SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SMALL SPACE NEUTRAL PROPORTIONS

LOW HEIGHT SOCIAL SPACE ACTIVE PROPORTIONS

MID-TO-HIGH HEIGHT QUIET SPACE PENSIVE PROPORTIONS

LOW HEIGHT LOUD SPACE ACTIVE PROPORTIONS

STUDIO

CONCEPT DIAGRAM NARRATIVES

THE [

N Project defined as a House.

Market defined as a Kitchen.

Micro-Unit defined as a Bedroom.

Many people live in the House, and others use the House in different ways depending on their relationship to the House. All of the different people and their interactions with the House are the generators for the design of the House.

Narrative: KID: Lives in a micro-unit resident in the project. He is an immediate member of the family. Like a child in the House, he has his own room. He has an intimate and familiar relationship to the House.

  DIRECTOR

MARKETING GRAPHICS Skidmore Owings + Merrill AGE:

26

ETHNICITY:

POLISH / AMERICAN TRANSPORTATION:

BUS + TRAIN RESIDENCE:

THE HOUSE

DISTANCE TO THE HOUSE:

O mi.

ABOUT: I am a young and ambitious graphic professional that will be a microunit resident in the new mixed-use project by the Jefferson Park Transit Center. I was taken with graphic design from an early age growing up in uptown Chicago. I

Mapped location of individual’s residence in reference to the project.

friends rode our bikes to the nearby park on the weekends. I wanted to express my artistic passion through digital graphics and advertisting, where my work would be viewed by a large audience. I enjoy the challenge of producing graphics that are clear, concise, and compelling to convey a message. As such, I am excited to begin living in a neighborhood that desper-

Diagram Of Individual’s Typical Transportation Modes

NEIGHBOR: Is a resident of the Jefferson Park locality. As a good neighbor, he comes over to the House often for company, and is invested in the family. He knows the House pretty well.

FAVORITE FOODS: text.

Images and portrayals of Favorite Foods of the Individual

FRIEND: Is a resident of the Greater Chicago Area. He is a family friend, and visits for a few parties or for a fun time. He knows the house in a basic manner.

IN-LAW: Is a resident of another city, another state – out of town-er. He is family through connection, and visits on occasion.

He is unfamiliar with the house, but understands how it works.

Diagram of Individual’s Age vs. Jefferson Park Demographics

WHAT MAKES HOME? text.

FOREIGN EXCHANGE STUDENT: Is a resident of another country – foreigner. He is family through the human condition, and is visiting for the first time. He is completely unfamiliar with the house, and needs direction.

Fantastical images and moments that evoke memory and vision of home.

1

] HOUSE

NEIGHBOR

FRIEND

IN-LAW

FOREIGN

2

3

4

5

STUDIO

CONCEPT DIAGRAM NARRATIVES

MARKET

MICRO-UNIT

JEFFERSON

MOM /

CHILD

NEIGH-

Mom and Dad are The Child is an The Neighbor integral to the func- immediate member comes over to the tioning of the family of the family. The House often for within the House.

Child belongs to a company and is They provide adroom in the House. invested in the famivice and knowledge The Child has an ly. The Neighbor about living well. intimate and familiar is familiar with the house. relationship to the House.

CHICAGO

FRIEND

The Friend visits for a few parties or for a fun time. He knows the House in a basic manner.

OUT-OF-

INTERNA-

IN-LAW FOREIGN

The In-Law is family through connection, and visits on occasion. He is unfamiliar with the House but understands how it works.

The Foreigner is family through the human condition and is visiting for the first time. He is completely unfamiliar with the House and needs direction.

STUDIO

Exterior: General Proportions

HOUSING DIAGRAM

Exterior:

Proportions

Typology 1: Dormer Bungalow

COMPARING TYPOLOGIES OF JEFFERSON PARK

.75 1

.5 1.25

Typology 2: A-Frame Bungalow

.5

1

1

.75 1 1

1.25

1

1

Typology 3: 3-Flat Apartment Building

.75

1.25

2

1.25

.75

1 1

2

1

Section: General Proportions

Section:

Proportions

.375 .375 .75

.75 1 .5 1.5

1

1

1

.75 1 .5 1

1.5

1

.5

1.5

1.5 2

1.5

1.5

1

2

1

STUDIO

CIRCULATION

FOCUS FOR ENTRANCE

STREETS

SITE

LONG AXIS PATH

SHORT AXIS PATH

PATH ON BOTH AXIS

CUT CORNER FOR EN

SUBTRACT CORNER

BACK ENTRANCE OP

STUDIO

SITE

MILWAUKEE VS RESEDENCES

STUDIO

SITE

PLACEMENT

625 feet average

17

t

fee 145

t

fee

1 HOUSE = 5 MICROUNITS 54 HOUSES = 270 MICROUNITS

420 feet total

375

19

280 feet average

18

STUDIO

CIRCULATION DENSITY OF USE

r nte Ce sit an Tr 1

STAIR

ENTRY 1

1

0’

100’ 200’

400’

800’

1600’

3200’

1

1

1

1

1

1

1

1

1

1

1 1

1

1

1 1

1

1 1

1

SEATING

SEATING

CONVENIENCE

CONVENIENCE

PREP. FOODS

COFFEE SHOP

BOOKSTORE

B.O.H.

PLAZA BELOW

B.O.H. (BELOW)

PHARMACY B.O.H.

1 1 1 1 1 1

1

1

1

1

1

1

1

1

1

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1

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CLINIC

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FLOOR 1 0' 5' 10'

25'

50'

100'

200'

STUDIO

PLANS

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10' 10'

25' 25'

10' 12'

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E C

SP

55’ ’

FIF SID TH EN F TI LO AL O 00’’ R

RE

R FIF ESID T E H NT FL IA SP E 0 OO L C. 0’’ R

C.

EC .

SP E

.

EC

SP

S P

EC

S P

OK

CO

AM EN IT Y

ST AI R

ST AIR

5500

ITS

UN

ST AI R

IT Y

EN

AM

11000 0’’

ST AI R

ST A IR

ITY

EN

AM

ITY

EN

ITY

EN

AM

11000 0’’

AM

110 000’ ’

ST AI R

ITY

EN

AM

EN ST IT AI Y R

AM

55’’

110 0’’

225 5’’

2255’ ’

R SI ESID XT E H NT FL IA OO L 00’ R ’ 5’ 5’

1100’ ’

R SI ESID XT E H F NT LO IAL O 00’’ R

5’

55

55

1100’ ’

550 0

ITS

UN

5500

ITS

UN

2255’ ’

R SIX ESID TH EN FL TIA OO L R 00’’ 5’ 55

5500

ITS

UN

ST AIR

ST AI R

IT Y

EN

AM

ST A IR

AAMME ENN IITTY Y

ITY

EN

AM

11000 0’’

110 000’ ’

IT Y

EN

AM

11000 0’’

ST AI R

ITY

EN

AM

ITY

EN

A M

2255’ ’

RE SE SID V EN EN T TIA H FL L 00’’ OO 55’’ R 1100’ ’ 5 3

IT Y

EN

AM

5500

IT S

UN

5500

110 000’ ’

ST AIR

Y

ST A IR

EN

ST AI R

ST AI R

ITY

EN

IT Y

AM

IT Y

AM

EN

AM

11000 0’’

EN IT

AM

ITY

EN

110 000’ ’

AM

ITY

EN

AM

550 0

SE SID VE EN N TH TIA FL L 00’’ OO 55’’ R 1100’ ’ 53 A U ME 2255’ NI ’ TS N IT Y

RE

RE SE SID VE EN NT TI H F AL LO 00’’ 55’ O ’ R 1100’ ’ 53 AM UN 225 5’’ EN ITS IT Y

ITY

E N

AM

ST AIR

AM E N

ST AIR

ITY 550 0

BA EI R + GH R TH ES FL TAU OO R 00’ ’ R AN 55’’ 110 T 0’’ 0U NI 2255’ TS ’

BA EIG R + HT RE H ST FL AU OO R 00’’ R AN 55’ ’ T 1100’ ’ 0U NI 2255’ TS ’ AM EN IT Y 5500

BA EI R + GH R T ES H FL TAU OO RA 00’’ R 55’’ NT 1100’ ’ 0U NI 2255’ TS ’ A ME NI TY 550 0

11000 0’’

11000 0’’

S TA IR

EN

ST AI R

AM EN IT Y

11000 0’’

AM ITY

EN

ST AI R

S TA IR

AM ITY

AM EN IT Y

ST AI R

AM EN ITY

A M EN ITY

BA TH .

R E

R

BA

BA

R

ST AI R

UR

RE

TA U R

BRAE RST

AN

T

T

ATR

ABN

IRAN

ST SATU AR

ST AU R

T

NT

RA

AN

BA

R

T

R

DE

B A

NT

RA

T

AN

T

AN

TA U

RTE S

AN RTE S TA U R

ST AU R R BES ANA T T R AU

BA TH B . RAER

ST AIR

B AT H .

ST

AN

ST AU R

RE

A REIR ST AU R

T ST AU RA AI N R

RE

ST AU R

GE

R UN E GE STA U

LO

BA T H.

U N

R E

LO

88 88

77 77

66 66

55 55

44 44

33 33

22

22

11

11

CK

O BS E

CK

DE

R

BA

RV .

RV .

SE

OB

CK

DE

RV .

SE

O B

STUDIO

EXPLODED AXON DENSITY OF USE

STUDIO

MATERIAL PRECEDENT LAYERS OF MATERIALS

STUDIO

BUILDING HEIGHT CONTEXT

0'

5' 10'

20'

50'

100'

200'

STUDIO

CIRCULATION SECTION MOVEMENT THROUGH SPACE

STUDIO

BUILDING HEIGHT CONTEXT

STUDIO

PLAN | SECTION INTERIOR DENSITIES

AMENITY

AMENITY

AMENITY BAR

BAR

DECK

OBSERV.

SPECIALTY BAR

1 1 1 1 1

1

1

1

1

1

1

1

1

1

1

1

1

STAIR

BATHROOM

1

SPECIALTY

DRY GOODS

1

BATHROOMS

1 1

1 1

AMENITY

1 1 1 1 1

1

1

1

1

1

1

1

1

1

STAIR

1

1 1

SPECIALTY

AMENITY

1

AMENITY

1

AMENITY DRY GOODS

1 1

1 1 1 1

1 1

1

1

1

1

1

1

1

1

1

1

STAIR

1

1

1

FLOOR 8 1 1

CHECKOUT

DRY GOODS

COOK. CLASS

1

SPECIALTY

AMENITY

1

AMENITY

1

1

1

1 1

1

1

1 1

1

1 1

1

1

STAIR

1

1

FLOOR 7 1 1 1

200' HOME GOODS 1

1

100'

1

1

50'

COOK. CLASS 1

DAIRY

1 1

1 1

1 1

1 1

1

1 1

1

1 1

1

1

200'

1

1 1

STAIR

AMENITY

1

1

100'

1

50'

COOK. CLASS 1

FLOOR 6

MEATS

1 1

1

1

1 1

1 1

1

1

1 1 1

1

1

1

1

1

FLOOR 3 200'

FLOOR 2 200'

200'

FLOOR 0 50'

100'

200'

1

1

STAIR

1

1 1

200'

1

100'

1

50'

1

100'

1

50'

1

100'

1

50'

FROZEN

1

1

1

FLOOR 4

1

1 1

100'

1

1 1

50'

1

1

ALCOHOL

1

1

STAIR

200'

1

1

FLOOR 5 1

100'

1

50'

1

PLAZA

BAKERY

B.O.H. (BELOW)

STUDIO

PLAN | SECTION INTERIOR DENSITIES

1 1

1 1

STAIR

BATHROOM

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1 1

STAIR

1

1

LOUNGE

1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1 1

STAIR

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1 1

STAIR AMENITY

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1 1

STAIR

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1 1

STAIR

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1 1

STAIR

ENTRY

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

AMEN

1

1 1

1

STAIR

ENTRY

1

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

1

PRODUCE 1

1

1

SEATING

0' 5' 10'

0' 5' 10'

0' 5' 10'

KITCHEN

RESTAURANT

AMENITY

KITCHEN

RESTAURANT

KITCHENAMENITY RESTAURANT

RESTAURANT

RESTAURANT

NITY

AMENITY

KITCHEN

RESTAURANT

AMENITY

AMENITY

AMENITY

BAR

BAR

DECK

OBSERV.

PRODUCE SPECIALTY BAR

1 1 1 1

1

1

1

1

1

1

1

1

1

1

STAIR

BATHROOM

1

1

1

SPECIALTY

1

DRY GOODS

1

BATHROOMS

CONVENIENCE

1

SEATING

1

1 1

AMENITY

1 1

1

1

1

1

1

1

1

1

1

1

STAIR

1

1

1

SPECIALTY

1

AMENITY

1

AMENITY

1

AMENITY DRY GOODS

1

PREP. FOODS

1 1

1

CONVENIENCE

1 1 1

1 1

1 1

1

1 1

1

1 1

1

1

STAIR

1

1 1

1

1

CHECKOUT

1

AMENITY

DRY GOODS

FLOOR 8

SPECIALTY

COOK. CLASS

1

AMENITY

1

COFFEE SHOP

1 1

1 1

1

1

1

1 1

1

1 1

STAIR

1 1

HOME GOODS 1

1

1

200'

1

1

FLOOR 7

100'

1

50'

COOK. CLASS 1

25'

DAIRY

1

BOOKSTORE

1

1 1

1 1

1

1

1

1 1

1

1 1

1

1

1

1 1 1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

ALCOHOL

1 1

1

1

1

1

1

1 1

1

1 1

1

1

PHARMACY

1

STAIR

200'

BAKERY

1

FLOOR 5

1

100'

1

50'

1

PLAZA 25'

1

PLAZA BELOW

B.O.H. (BELOW)

1

AMENITY200'

COOK. CLASS B.O.H.

1

1

FLOOR 6 1

100'

STAIR

1

50'

1

25'

MEATS

B.O.H. (BELOW)

STUDIO

PLAN | SECTION INTERIOR DENSITIES

RESTAURANT

NITY

AMENITY

KITCHEN

RESTAURANT

AMENITY

AMENITY

AMENITY

BAR

BAR

DECK

OBSERV.

PRODUCE SPECIALTY BAR

1 1 1 1

1

1

1

1

1

1

1

1

1

1

STAIR

BATHROOM

1

1

1

DRY GOODS

1

SPECIALTY

1

BATHROOMS

1 1

1 1

AMENITY

1 1 1 1 1

1

1

1

1

1

1

1

1

1

STAIR

1

1 1

AMENITY

1

SPECIALTY

AMENITY

1

AMENITY DRY GOODS

1 1

1 1

COOK. CLASS 1 1

1 1

1 1

1

1

1 1

1

1 1

1

1

STAIR

1

1

FLOOR 8 1 1

CHECKOUT

1

SPECIALTY

AMENITY

1

AMENITY DRY GOODS

1

1 1

1

1

1

1

1

FLOOR 7 1

1

1

1

1

1

1

1

STAIR

1 1

200' HOME GOODS 1

1

100'

1

1

50'

1

25'

COOK. CLASS 1

DAIRY

1 1 1

1 1

1 1

1

1 1

1

1 1

1

1

200'

1

1 1

1

1

100'

1

50'

COOK. CLASS

1

25'

STAIR

AMENITY

1

FLOOR 6

MEATS

1 1 1 1

1

1 1

1 1

1

1

1

1 1 1

1

1

1

1

1

200'

FLOOR 2 200'

200'

FLOOR 0 25'

50'

100'

200'

1

1 1

FLOOR 3

1

1

STAIR

1

1 1

200'

1

FLOOR 4 FROZEN

1

ALCOHOL

1

100'

STAIR

200'

1

1

50'

1

25'

1

100'

1

50'

1

25'

1

100'

1

50'

1

25'

1

100'

1

50'

FLOOR 5 1

25'

1

100'

1

50'

1

25'

1

PLAZA

BAKERY

B.O.H. (BELOW)

STUDIO

PLAN | SECTION INTERIOR DENSITIES

KITCHEN

RESTAURANT

AMENITY

KITCHEN

RESTAURANT

KITCHENAMENITY RESTAURANT

RESTAURANT

RESTAURANT

ENITY

AMENITY

KITCHEN

RESTAURANT

AMENITY

AMENITY

AMENITY

BAR

BAR

DECK

OBSERV.

PRODUCE SPECIALTY BAR

1 1 1 1

1

1

1

1

1

1

1

1

1

1

STAIR

BATHROOM

1

1

1

SPECIALTY

1

DRY GOODS

1

BATHROOMS

CONVENIENCE

1

SEATING

1

1 1

AMENITY

1

1

1

1

1

1

1

1

1

1

1

STAIR

1 1

1

1

SPECIALTY

1

AMENITY

1

AMENITY

1

AMENITY DRY GOODS

1

PREP. FOODS

1 1

1

CONVENIENCE

1

COOK. CLASS

1 1 1

1

1

1

1

1

1

1

1

1

1

1

STAIR

1

1

1

1

1

1

CHECKOUT

DRY GOODS

FLOOR 8

SPECIALTY

AMENITY

1

AMENITY

1

COFFEE SHOP

1 1

1

1

1

1

1

1

STAIR

1

1 1

200'

1

1

1

FLOOR 7

1

1

1

1

100'

1

50'

COOK. CLASS

1

25'

DAIRY

1

BOOKSTORE

HOME GOODS 1

1

1 1

1

1

1

1

1

1

1

1

1

1

1

1

1

1 1

1

1

1

1

1

1 1

1

1 1

1

1

1

1

1

1

1

1

1

STAIR

1

1 1

FROZEN200'

1

1

1

FLOOR 4 1 1

100'

1

50'

1

25'

1

1

PHARMACY

1

1

ALCOHOL

1

1 1

1 1

1

1 1

1

1

1 1

1

1

200'

1

1

FLOOR 2

1

1

100'

1

50'

1

STAIR

1

200'

ENTRY

25'

1

FLOOR 3 1

100'

1

50'

1

25'

1

CLINIC

B.O.H. (BELOW)

1

1

1

STAIR

200'

1

1

1

FLOOR 5 1

100'

1

50'

BAKERY

1

PLAZA 25'

1

PLAZA BELOW

B.O.H. (BELOW)

1

AMENITY200'

COOK. CLASS B.O.H.

1

1

1

FLOOR 6 1

100'

STAIR

1

50'

1

25'

MEATS

B.O.H.

STUDIO

CONCEPT DIAGRAMPART TO WHOLE