Vertices | Issue 4 | Special AIA Fellows Edition

Preface

We Are! excited to present this special edition of Vertices, which features contributions from among the most accomplished Penn State’s architectural alumni -- all of whom have been elevated to the College of Fellows of the American Institute of Architects (AIA). Only about 3% of the AIA’s more than 90,000 members receive the distinction and recognition as AIA Fellows, the highest member honor, based on their exceptional work and contributions to architecture and society.

We are proud of the amazing accomplishments of all these “fellow” alumni who share the Penn State education and experience -- so many commonalities that reasonate across decades. All of the featured Fellows can be role models, who have taken different paths to become leaders, innovators, founders, pioneers and experts in diverse areas of practice, building typologies, disciplines and busineses. All have made such great contributions and impact on the built environment.

We formatted this issue to spotlight the Fellows’ insights, journeys and personal recollections. We could not do justice in this magazine format to fully describe and cover all of the notable architectural works of the Fellows -- collectively, that might otherwise have become an undertaking to rival La Sagrada Familia!

We hope this compilation will be useful on several levels. For all readers, propsective students, employers, clients -- just by identifying these AIA Fellows as Penn Staters, seeing examples of their works and reading their words, we hope to enhance the reputation of Penn State’s architecture program, where graduates have gone on achieve great things in many areas. To current students and professors -- this compilation can function as a “look book” of design ideas and concepts that have been built and knowing there can be a direct connection (one degree of separation) who can be reached to find out more.

We learned so much in the production of this issue. A grateful thank you to each of the featured Fellows contributors - for your time, care and responsiveness to prepare and willingness to share your stories and pearls of wisdom in Q&A format. We’re sure that you and other Penn State architecture alumni will be interested to discover and learn all about this distinguished cohort of Fellows!

Carla Bonacci, FAIA Editor of Vertices & Vice-President Architecture Alumni Group

James G. Alexander

“I realized early in my career that preservation in the broadest sense was a creative process – one needed now more than ever. My legacy to the profession, students and young professionals is fostering respect for the built environment through creative use of existing buildings while advancing the technical skills required.”

Q: What and/or who inspired you to become an architect?

A: Choosing A Career Was Easy for Me! It began in the 6th grade when, after a brief time sketching concept cars in class, I soon pivoted to building designs – and never looked back! Part of the impetus for this was also environmental – growing up in the center of an historic 1749 town with new construction rapidly expanding all around created a dynamic atmosphere. Growing up in a 19th century farmhouse surrounded by modern homes (think mid-century modern) and new schools fed my architectural interest. Easy access to construction sites became my playgrounds, one even leading to a Construction Observation adventure at age 8 ending in a broken arm!

The required junior high report on career choice led to an inspiring – if misleading – interview with a local architect. Of course, he was a Howard Roark of Fountainhead type – and at 12 years old - what a role model. Fortunately, the unrealistic concept of the actual profession was soon overcome, in part by my Penn State experience.

Q: How has being educated at Penn State informed, influenced or profoundly affected your career and practice of architecture?

A: Penn State was part of a family tradition even though we were not living in Pennsylvania, providing an excellent situation for me. There were three aspects of the program which greatly influenced my career and personal life:

The Studio experience which emphasized individual development and mentoring, not a prevailing design dogma, was led by professors who were often practicing architects with clients, budgets and construction concerns.

The required courses in Art and Architectural History as well as Studio Art, which educated me in the amazing history of the profession and encouraged personal creative thinking.

The Study Abroad Program represented the opportunity to broaden my world view – surprisingly State College was NOT the center of the universe! Extended time abroad brought the history of architecture to life. This was literally experienced by the continued use of buildings changed and adapted over centuries. These factors combined with the small class size, long studio hours in relative campus isolation, comradery and variety of project assignments, including community development, provided a strong academic background.

Q: Did you find or develop any particular specialty, expertise, or niche in your professional practice of architecture?

A: Choosing a Career Was Easy - Then What? I began my Internship in Philadelphia with the goal of achieving my registration in 3 years - part of my driven nature to be a registered architect ASAP! I believe that having a license gives a young architect cred for any job search. Following excellent advice – which I highly recommend – of working for different firms during this learning period is a great educational tool as firms are very different! I worked for two mid-sized firms for two years each, one focused on production/construction and one on design excellence – both with new buildings. The usual tasks of windows, wall sections, interior details and a chance to design a stair were my internship learning curve. However, after getting my license in 1967, it was time to move on!

An opportunity to join a start-up Boston firm, Anderson Notter, occurred in 1969. I took it, and it became my professional home for 55 years. The firm grew, becoming Finegold Alexander in 1992 after Moe Finegold joined the firm. The founding principals had pioneered a different approach to architecture focused on reusing existing buildings – Adaptive Reuse. Fortunately, the practice also included designing new buildings. This was ideal for me since THE question I had was: “Is working with existing building really architecture?” The answer came to me when I was assigned to work on the reuse of Boston’s vacant 1865 Old City Hall for office/restaurant space while also designing a new bank building four blocks away! It quickly became clear to me that creative opportunities were everywhere, the challenge of redesigning an historic interior vs a new exterior design. However, the positive public reaction to pioneering the reuse of a beloved historic landmark was overwhelming, winning the first AIA Honor Award for Extended Use. The long-term reaction has also been very different - continued admiration for Old City Hall, while the bank has been poorly added to and become background. This experience – and creating a new category of creative design – became the touchstone for the rest of my career.

a noted architect and authority in the preservation and reuse of buildings. His contribution to the design of nationally and locally significant architectural and planning projects has been acknowledged by numerous prestigious awards. This experience is recognized in articles and pre sentations to the national conference of the AIA, the National Trust for Historic Preservation, the American Association of Museums and many statewide organizations. Jim is a former President of Preservation Massachusetts, he was part of the formation committee for the South End Landmarks District, past President of the South End Historical Society, charter

Haverhill

Berkeley Building (Old John Hancock Building), Boston MA

James G. Alexander, FAIA, LEED AP Principal Emeritus, Finegold Alexander

James G. Alexander, FAIA, LEED AP BD+C is

member of

Heritage, Inc. in New Hampshire, and is a member of the Boston Landmarks Commission

Ellis Island Immigration Site and Museum

Ellis Island Immigration Building (Great Hall)

After several years of experience with the firm, I was promoted to Associate then Principal and took on my own clients’ preservation and reuse projects. In addition to successful projects, an important factor was my active participation in civic affairs and professionally aligned groups. I was appointed to the Boston Landmarks Commission, became President of a community preservation organization, Director of Preservation MA and Board Chair of an early learning center. Projects included: The Berkeley Building, restoration of a 1907 Landmark office building, Clarendon St Church, transformation of new housing within burned-out church shell; Midway Artists Studios, a mill conversion; Gloucester School, conversion to housing; and Newburyport Downtown Revitalization, also an AIA Honor Award winner.

Q: What has/have been the biggest challenge(s), project or moment in your career?

A: Biggest Challenge – Ellis Island Immigration Site

Based on our pioneering work on building reuse, we were chosen by the National Park Service, along with a NY firm with preservation experience, to restore and reimagine the Ellis Island Immigration Site. While I had worked in other cities, the challenge of organizing a JV office of 20 people to handle the largest government sponsored project in the country was a new challenge. The excitement came from the opportunity to

bring my creative talent and preservation skill to a project of National significance – one that garnered huge public interest and financial support. Significantly, over 12 million Americans came through Ellis, representing 1/3 of today’s population and it’s still visited by almost 4 million people annually.

The project broke new ground by creatively replacing destroyed features with contemporary designs that spoke to the original immigration experience. The major covered walkway leading into the building had been destroyed. We successfully convinced the Park Service – previously opposed to recreating missing features - to allow the new intervention, following the original footprint, serving its original purpose of weather protection. Major interior changes led to the creation of the new Immigration Museum in formerly non-public spaces. The main building interior, including the Great Hall, and exterior were meticulously restored.

Additional projects include the restoration and reuse of the National Landmark Nott Memorial at Union College, the Stoughton Public Library, the Rare Books Section of the Boston Public Library, and the Hope Library at Babson College.

My love for the profession was rewarded by receiving my AIA Fellowship in 1992, in recognition of design and innovation in the practice. The Fellowship represented to me a personal career highlight and also public acknowledgment of professional standing. Receiving the award in H H Richardson’s Trinity Church added to the exciting occasion!

Recent work includes the Lucas, reimagining a vacant church as contemporary housing; The Lower Basin Barracks, the restoration and addition to a landmark building and landscape as a Police Headquarters; and the historic restoration of Mother Church of The First Church of Christ, Scientist. The last two are 2024 design award winners from Preservation MA and the Boston Preservation Alliance

Q. When did you first think that you had made a real difference in the world through your work and what did you hope your legacy will be to the profession and or the built environment?

A: I realized early in my career that preservation in the broadest sense was a creative process – one needed now more than ever. My legacy to Finegold Alexander Architects has been the mentorship of the long-term members of the firm – Rebecca Berry, Regan Shields-Ives, Ellen Anselone and Jeff Garriga. These are now the new Owners/Principals tasked to carry on the 60-year-old firms’ pioneering spirit with a broadened environmental focus. With the new ownership establishing the firm as a WBE and creation of a subsidiary, FA Energy – which focuses on decarbonization of existing buildings – indicate a continuing successful path.

My legacy to the profession, students and young professionals is fostering respect for the built environment through creative use of existing buildings while advancing the technical skills required. The three early AIA awards, dozens of other local and national awards and widespread public recognition are a clear indication that we had broken new ground in the 1970s and continue to do so today. Specific contributions include: creative approaches to historic building additions, the critical importance of understanding existing conditions at project inception, the reinterpretation of missing architectural features in contemporary way, and utilizing substitute materials to supplement existing building elements. Advances in preservation technology have been a legacy of all our projects!

Clarendon Square (Former Baptist Church), Boston MA

Nott Memorial, Union College, Schenectedy NY

Boston City Hall

The Lucas (Residential Apartments), Boston MA

The Lucas (Original Church)

The Lucas (Residential Interior)

The First Church of Christ, Scientist, Boston MA

Carla J. Bonacci

“Owners and clients usually have an intrinsic understanding of what they want their project to achieve. But often it is up to architects to account for other essential factors - site context, civic needs, future flexibility; to express and give form to rooms, buildings, spaces - creating the stage for all occupants and users to enjoy and live their best lives.”

Q: What or who inspired you to become an architect?

A: Growing up in Philadelphia, I was always musing about buildings, public space and how the pieces fit together. I had a desire to fix the dilapidated places I would see. When I was in high school in NJ, my parents enrolled me in a two week college/ career program at Clarkson University so that I could get familiar with different career possibilities. One of those classes involved an architect presenting his work in an auditorium with many of his drawings and sketches. It was so exciting to hear how one starts to design and think of making spaces for people within the environment. Then he took us on a tour of the Graduate housing that he had designed for the campus and I hung on every word - the reasons behind his design, how he incorporated

people’s needs and how the project fit into the environment. I got so excited that I ran over to my friends who were at the back of the line joking around and I told them I knew what I wanted to be! I was going to be an architect. That was my epiphany! When I got home my parents were really excited for me and they made arrangements for me to visit a local architectural firm and other architects. After that, in my senior year of high school I registered for a mechanical drafting class and spent an entire semester learning how to hold a mechanical pencil, draw, and draft. I did really well, loved it and my inspiration and passion for architecture was confirmed – this is what I wanted to do for my professional career. I truly embraced architecture as a calling.

Q: How has being educated at Penn State influenced or profoundly affected your career and practice of architecture?

A: Penn State campus in and of itself is incredibly beautiful and well-laid out. All of the buildings, landscape, and public spaces work together to create a beautiful, cohesive environment. Our professors really tapped into that environment and taught us how to analyze context to realize the relationship and importance of buildings in their settings and the impact on people. Professor Lou Inserra taught us about the importance of architectural history and precedence, to consider relevant aspects and incorporate those ideas into the buildings and environments we were trying to create. Professor Arthur Anderson and Inserra had practiced architecture and brought real world considerations into the studio. Each professor was able to share the process of developing ideas. They led field trips to Falling Water, Washington DC and New York City to provide perspective on bringing ideas to life. Now I am so proud to present and discuss all the architectural highlights touring the World Trade Center Campus with present-day Penn State architecture students, as a way of continuing to pay forward those experiences and learnings from more than 40 years ago.

There was also a culture of camaraderie and collaboration amongst all the students through opportunities to work in partnership or groups on projects. We experienced the importance of working together to collaborate and create projects. Lastly, the essential skill of having to stand up and present one’s work - to sell, pitch, defend projects and ideas - was a great learning experience. The ability to convince owners, clients, community neighbors, and the general public (all before Powerpoint!) is so crucial to developing and implementing successful projects.

been the

four decades

Trade

leading architectural, engineering, and construction teams for the Port Authority of NY & NJ, through modernization of the original WTC complex after the 1993 terrorist bombing and redevelopment and rebuilding of the WTC Campus after the terrorist attacks of 9/11. Her body of work includes planning, design, and construction of public space and urban infrastructure projects (WTC streetscape and utilities, Liberty Park), and supervision of commercial office towers (3 & 4 WTC) and cultural buildings (Perelman Performing Arts Center, St. Nicholas Greek Church). Her teams also handled reviews and inspections for millions of square feet of WTC office and retail tenant spaces through final occupancy. Carla was elevated to the AIA College of Fellows for exemplifying architectural excellence in establishing and maintaining the WTC’s Master Plan framework: including foundational design guidelines and security criteria to organize and adapt design visions, integrate mixed uses, and reinforce first-class standards for iconic architecture and public spaces shaping the built environment and experience of the WTC Campus.

As a student, Carla was Vice-President of the Phi Mu sorority chapter; and as an alumna, she is currently Vice-President of the Stuckeman School’s Architectural Alumni Group, after joining the AAG Board in 2021. In 2022, Carla launched Vertices. And in 2024, Carla received an Alumni Award from the Penn State College of Art and Architecure, representing the Stuckeman School Department of Architecture.

Carla also founded Westfield Advocates for Responsible Development, a non-profit community group, to inform and amplify residents’ voices for appropriately planned and scaled development in her town of Westfield, NJ. Carla has been active with AIA-NJ promoting women’s equity and non-traditional careers.

Carla J. Bonacci, FAIA, PP

Assistant Director, Major Capital Projects The Port Authority of New York & New Jersey

Carla has

“owner’s architect” spanning

at the World

Center,

WTC Transportation Hub “Oculus”

Ronald O. Perelman Performing Arts Center

St. Nicholas Greek Orthodox Church

World Trade Center Campus (New York, NY)

Q: When did you first think that you had made a real difference in the world through your work and what did you hope your legacy will be to the profession and or the built environment?

A: The World Trade Center is the most important project of my career. As the campus and buildings actually started to come to fruition and the pieces of that development were able to be shared by the public. An architect’s role is to create public and private spaces for people to improve the quality of their lives. We are trained to understand how to plan, design and build buildings to create, preserve, or enhance environments. I was most able to express that as the Owner’s representative by Leading teams of people, setting design principles of the master plan, establishing criteria and enforcing that criteria and reminding others of the importance of history and artifacts so that other architects incorporated these themes into their work. The World Trade Center campus has such a sense of calm, serenity and respect for those lost on 9/11. I have been fortunate to spend over 20 years as the “Owner’s architect”

to sustain the vision and contribute to an evolving project, to ensure that the vision has been maintained through changes in leadership, political climates and architectural movements. From my childhood days in Philadelphia I’ve kept that desire to improve the quality of public space, to my thesis to master plan the Hoboken waterfront with adaptive reuse of the historic Ferry Terminal, to the Staten Island Teleport Complex, the Bathgate Industrial Park in the Bronx, and to the World Trade Center Campus. I’m ready for what’s next.

Q: Is there any advice or necessary qualities for a young architect or student to become successful?

A: It’s important for young architects to understand the context and purpose of the projects that they’re working on and to identify the needs of the end users. We make buildings for humans to improve the quality of their lives and their environments. One must learn how buildings are put together and the importance of details, materials and specifications because those are the building blocks that make a good building.

It’s essential that architects consider what is necessary to operate and maintain a building so that the building can stand the test of time and be sustainable for the users. Good design is a give and take. So do the hard work from the ground up. Engage in the process of planning and design through teamwork and collaboration, that is key. Experiencing how the pieces fit together and how buildings change from schematic design to design development to construction documents and ultimately construction will make one a better architect. Ultimately, its the architect’s role and ability to translate ideas and concepts into three-dimensional realities that counts as success.

Q: Given a chance to talk shop with other architects, do you have a particular insight, interesting detail or a good story about any of your projects that you would like to share?

A: Architecture and the creation of buildings and environments requires collaboration and acknowledgment of constraints while maintaining quality. It’s really important for architects to coordinate with engineers and owners to collaborate and identify the real needs for the end users of the buildings that they are all designing and then to work efficiently together to help develop the right solutions. It’s a give and take, sometimes persistence is key. When we were developing the WTC master plan and simultaneously advancing the designs of certain projects, we often had to collaborate with multiple

teams to discuss and determine project boundaries and interfaces. It was a constant give and take. Is the Oculus too large at street level, are the sidewalks being compromised? Are the view corridors wide enough? But we always tried to keep focus on covering or smoothing out those “gaps and overlaps” that are inevitable with so many “star-chitects” developers and other stakeholders involved.

Also the current focus on Sustainability and Resiliency is now in the forefront, is reminiscent of the development of the Americans with Disabilities Act earlier in my career. The WTC plans were developed before the wide adoption of LEED standards and Net Zero energy and emissions goals. In the early 2000’s we relied on our own knowledge, experience, exchange of ideas as well as public input to create custom sustainability guidelines that could be pragmatically applied to much of the WTC Campus infrastructure.

I’ve also traced some of the development of security infrastructure standards. The WTC Campus has among the highest “embassy-equivalent” design standards in this regard. These need to be continually re-examined with subsequent advances in technology (like drones).

Into the future with the advent of Artificial Intelligence into our profession and society, what should be the future focus for architectural practice? I’m still thinking about it -- a clue may still lie in the ancient classic “Ten Books on Architecture” by Vitruvius that we studied long ago. Thoughts?

(Renovated) Austin J. Tobin Plaza, Original WTC Complex (Destroyed) Remembering Lost Colleagues at South Tower Memorial

Gerald Briggs

“I learned to challenge the status quo at Penn State . . . and replace preconceived notions with observation and analysis to expand design boundaries and unlock potential.”

Q: What and/or who inspired you to become an architect?

A: I think I can trace my original interest to hours of creative play with building sets, mixing and matching them in various ways to fit the narrative of my childhood fantasies. Solving puzzles and making model cars and airplanes were also interests, although I admit growing impatient with detailed instructions. In my junior year of high school, I was selected to be an exchange student and spent the summer of 1968 living on a farm with a host family in Germany. The experience stimulated interests in the arts and foreign culture and it was during that summer that I began to focus on applying to the architecture program at Penn State.

Q: What has/have been the biggest challenge(s), project or moment in your career?

A: One of the most exciting moments of my career was being elevated into the AIA College of Fellows The investiture was held at St. Patrick’s Cathedral in New York and its soaring vaults aptly reflected my sense of joy and accomplishment. It was a beautiful summer day and my wife Randy and son Daniel, who lives in New York, were there to celebrate. Just before the ceremony began, Daniel received news that his wife Marin was in labor and on her way to the hospital. Daniel missed the ceremony....but made the birth!

Q: Can you describe any particular defining qualities, styles, themes or key features about your body of work?

A: I learned to challenge the status quo at Penn State, and for the past 25 years I have replaced preconceived notions with observation and analysis to expand design boundaries and unlock potential. A great example is the California Army National Guard Readiness Center in Sacramento, where I questioned the use of a conventional one-story prototype. Instead, I created a two-story alternative that preserves natural landscape and provides a more compact form. Rather than place mechanical equipment inside or at grade, we devised a roof structure that supports and screens equipment and reduced area requirements by 10,000 SF.

Inspired by utilitarian structures in the Central Valley, we incorporated rugged materials, straight-forward details, and sustainable features such as roof monitors, operable windows, and permeable paving. The AIA award-winning building established a new level of design excellence for the National Guard and is credited for increasing enlistment and extending commitments.

Jerry is a 1974 Penn State graduate and Principal and Vice President at AECOM in Washington DC. His award-winning work includes the planning and design of largescale projects in the United States and abroad. Examples include the U.S. News and World Report Headquarters complex in Washington, U.S. Consulate in Mumbai Intelligence Community Campus in Bethesda, and the 28-story mixed-use One Light Street tower in Baltimore Jerry has lectured frequently, participated as a design critic at associations and in schools of architecture, and is active in the AIA DC Fellows and Design Excellence Committees He has been involved in the Washington Architectural Foundation Design in Action Architecture in the Schools, and Canstruction programs, and his work has frequently been published in architectural journals, trade publications, and online media. Jerry and his wife Randy (PSU Class of ‘76) have lived in the Washington DC area since 1981. He was elevated to the AIA College of Fellows in 2018.

Gerald Briggs, FAIA Vice-President, AECOM (Washington DC)

California Army National Guard Readiness Center, Sacramento, CA

Q: How has being educated at Penn State, campus environment, professors or student culture – informed, influenced or profoundly affected your career and practice of architecture?

A: I owe a lot to Penn State. It was a great education, and I made lifelong friends. I maintain strong ties through the alumni network, mentoring students, and hiring interns and recent grads. Thinking back to my student experience, there are two professors that were especially important to me.

At the beginning of second year, I began the first of five studios with Michael Pyatok. Mike was a graduate of Pratt and Harvard’s Graduate School of Design and began teaching at Penn State after returning from a Fulbright scholarship in Finland. Mike was a role model and mentor to me and many of my classmates at Penn State. He was always available to his students and would often appear in the studio late in the evening for impromptu desktop crits. Mike’s social conscience and fearless desire to challenge the status quo were hallmarks of his teaching and have had a profound effect on my career.

In fourth year, my friend Randy Hudson and I decided to try to find work study positions overseas in lieu of a typical academic term abroad. On Pyatok’s advice, we met with Jan van der Meulen. Professor Van der Muelen taught architectural history at Penn State but was trained as an architect and had contacts with several firms in Germany. He was willing to help place us with firms if our language skills were acceptable, and we had done well in his classes. Fortunately, van der Meulen found us deserving and we received internships at German firms in the Spring. I worked for a mid-size firm located in Monchengladbach. It was my first experience working in an office and I returned to Germany after graduation and worked there for several more months. The experience was enlightening, unlocked opportunities, and ultimately helped shape my career.

Q: What is your creative process like? How has your style, approach, or perspective evolved over your career? How do you stay motivated and continue to practice and innovate?

A: I first learned how to work in a group at Penn State. Over the last 25 years, I have built on that foundation and developed a methodology that works well on complex projects with a lot of stakeholders. The process guides teams through iterative loops of observation, analysis, and ideation culminating in aspirational goals and a vision statement. It provides a clear roadmap for interdependent teams to work toward common goals.

A great example is the Armed Forces Retirement Home in Gulfport where the vision called for a design that was “egalitarian” and “resilient”. Our solution was a series of pavilions which were oriented so that every resident had a view to the coastline and every apartment was designed to accommodate “aging in place” allowing residents to remain in their homes despite mobility loss. Resilient features for the AIA awardwinning home included a wash out level at grade and elevating all occupied levels and systems above a category 5 storm surge allowing residents to shelter in place for seven days. The resilient features proved very popular with residents who had been forced to vacate after Hurricane Katrina devastated the previous home.

Q: What are changes in the practice of architecture over your career and/or projecting into the future – that you’re encouraged by and/or would be concerned about?

A: It’s been exactly 50 years since I graduated from Penn State. We thought of ourselves as revolutionaries then and challenged the status quo, but change was slow in the 70’s. Change is fast now. The tools, the way we communicate, even the workplace is constantly evolving. The face of the profession has changed too and includes many more women and underrepresented populations. These changes are having a positive impact on the work. There is more great architecture being produced today than ever before. I’m not sure if Gen Zers consider themselves to be revolutionaries, but I would expect them to move the needle just as we did...only faster.

Armed Forces Retirement Home, Gulfport, MI

John A. Burns

“I have worked on hundreds of historic buildings, helping to identify, document, and protect them in a wide variety of ways. The Historic American Buildings Survey documents buildings that have no formal records and places the drawings, photos and histories in a public archive in the Library of Congress.”

Q: What and/or who inspired you to become an architect?

A: My earliest manifestation of wanting to be an architect was a Wallingford Elementary School project with my best friend, Ted Burtis (who also became an architect), to make a balsa wood model of Mount Vernon and its outbuildings. Also, my parents took my sister and me to the Helen Kate Furness Free Library an evening every week to read, me devouring the NA-700 classification. (Helen Kate Furness was a sister-in-law of architect Frank Furness.) Wallingford and Rose Valley had a rich variety of architecture from Colonial (Lieper House), to Arts and Crafts (Hedgerow Theater), and several Modernist houses. When my parents opened my first bank account, I insisted we go into Philadelphia and open it at the Philadelphia Savings Fund Society. I can still remember riding up the escalator to the great Modernist banking hall on the second level.

My interest in buildings of all types continued at Penn State, where I worked in the Architecture Library in the evenings. At the end of freshman year, I landed a summer job working for an architect, Waalco Dingemans, in Maastrict, Netherlands. That opportunity was transformative, exploring in person buildings.

In third year, my interest in historic buildings evolved to the point that I decided (along with classmate Ben Policiccio) to pursue a second bachelor’s degree, in Art and Architectural History. We had taken four architectural history courses, so just needed a few more art history courses and a language to meet the second degree’s requirements. Knowing we were headed to Florence the next year, we took Italian.

We also wanted to be close to Sackett Hall, so we applied and were accepted to live in Penn State’s first co-ed dorm, Irvin Hall

At the end of our fourth year Spring quarter in Florence, I returned to Maastrict, along with classmates Ben Policicchio and John Leedy. Mr. Dingemans got jobs for them with another architect. Our bosses rented us a car and sent the three of us to explore masterworks of Dutch Modernism, buildings by Berlage, Dudok, van de Velde, de Klerk, Oud, and Rietveld, tasking us to sketch, photograph and report back on what we saw. That experience inspired us to complete our independent study requirement (which we had not worked on in Florence) by making a photographic study of all the le Corbusier buildings in Paris. Back home, Ben and I took a photography course to get darkroom time and mounted an exhibit of our photographs in the Kern Graduate Building. We later enlarged the show

Independence Hall Philadelphia PA Historic American Buildings Survey

Grey Towers

Milford PA

Historic American Buildings Survey

to become “le Corbusier in Paris,” exhibited at the AIA’s Octagon House in 1975.

Penn State gave me a solid and wellrounded education. Being a large university, I learned a lot about bureaucracies in pursuing two degrees at the same time (including a petition to the Faculty Senate).

After graduating, I wrote a letter to the Historic American Buildings Survey, a program of the National Park Service that documents historic structures throughout the United States for an archive of measured drawings, photographs, and histories made available to the public by the Library of Congress. My inquiry about job prospects in historic preservation and the serendipitous “how about

John A. Burns, FAIA, FAPT is the recently-retired Chief Appeals Officer for Cultural Resources at the National Park Service responsible for deciding appeals of projects that were denied certification under the Federal Rehabilitation Tax Incentives Program Prior to that, he served as Assistant Director for the Heritage Preservation Assistance programs of the National Park Service, responsible for Technical Preservation Services, the National Center for Preservation Technology and Training, National Heritage Areas, and Historic Preservation Grants. Beginning his Park Service career with the Historic American Buildings Survey, John eventually became Chief for the HABS, HAER and HALS programs. He earned both a B.Arch. and a B.A. at Penn State. A licensed architect and a long-time member of the AIA’s Historic Resources Committee, John has lectured and written extensively on preservation topics, edited and co-authored the book Recording Historic Structures, and co-authored Yesterday’s Houses of Tomorrow and Hollin Hills: Community of Vision. John was the first president of the Washington Chapter of the Association for Preservation Technology has served on the board of AIA Virginia and currently serves on the Fairfax County Architectural Review Board and the board of DOCOMOMO|DC.

working for us” response was the beginning of a fifty-one-year career with the National Park Service. HABS, and its sister programs, the Historic American Engineering Record and the Historic American Landscapes Survey, became my life’s work and passion.

I was immediately immersed in a national program working in close collaboration with the AIA’s Historic Resources Committee. Although I had the Federal job title “architect,” I was not licensed and was working with licensed architects nationwide, many of whom were AIA Fellows, so one of my first career priorities was getting licensed and joining the AIA. Working for one employer for five decades is a strength, but also a weakness because it is narrow and specific. I was lucky to find my professional niche early, but once you get to a certain point, you realize that the security, salary, and pension benefits of longevity can be a set of golden handcuffs.

John A. Burns, FAIA, FAPT Chief Appeals Officer, Cultural Resources National Park Service (Retired)

Building 14 Carpentry Shop, Philadelphia Naval Yard (now Urban Outfitters)

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I had always thought the work I was doing was important, but that became real when I became a Fellow. When you are recognized by your peers that your work has national significance, that is especially humbling, gratifying, and inspiring.

Regarding legacy, HABS employed anywhere from twenty to ninety student architects every summer to document historic buildings throughout the United States. HABS has proven to be a good talent scout for future architects. It is a rare year that I do not see one or more names of HABS alumnae on the new Fellows list. That is a proud legacy.

I am also proud of the book, Recording Historic Structures, now in its second edition. It is the primary documentation manual for the HABS, HAER and HALS programs.

Regarding my legacy in the built environment, I only have the addition to my house as a built work. However, I have worked on hundreds of historic buildings, helping to identify, document, and protect them in a wide variety of ways. HABS documents buildings that have no formal records and places the drawings, photographs and histories in a public archive in the Library of Congress,

from which high-resolution copies can be downloaded. That documentation is often the baseline information for its restoration (Grey Towers, the home of Gifford Pinchot) or a record to protect against catastrophic loss (Independence Hall), but sometimes is the last rites for a building planned for demolition (Richard Neutra’s Cyclorama Building at Gettysburg).

Most recently, I have been the Chief Appeals Officer for the Federal Preservation Tax Incentive Program. In that capacity I have helped hundreds of the most challenging projects become certified rehabilitations eligible for the tax credits (several buildings at the Philadelphia Navy Yard, now Urban Outfitters). My accomplishments and impacts have been retaining historic buildings in continued use; and failing that, documenting them so future generations will know what we have lost.

Q: What are changes in the practice of architecture over your career and/or projecting into the future – that you’re encouraged by and/or would be concerned about?

A: In the documentation of historic buildings, from handmeasuring to glass-plate stereophotogrammetry, to computeraided drafting, to film-based and more recently digital convergent photogrammetry, to laser-scanning surveying, the technological tools available today are stunning advancements. However, they have limitations: CAD wants everything to be orthogonal and historic buildings are anything but. We need to figure out how to save, share and archive digital data. We must learn how to deal with proprietary software and formats and develop consensus standards to manage these marvelous tools. The most significant and unfortunately continuing challenge is indifference toward the historic built environment.

Q: Given a chance to “talk shop” with other architects--do you have particular insights, interesting detail that you would like to share? Are you currently working on a project that you’re excited to complete?

A: For historical architects, the primary professional organization other than the AIA is the Association for Preservation Technology International. APT provides a more comprehensive source of technical information on existing and historic buildings because its membership includes architects, engineers, landscape architects, architectural historians, conservators, and materials experts. APT focuses on being accessible to students and young professionals offering

scholarships and reduced conference registration. Plus, every student scholar is assigned an APT Fellow as a mentor. Do we talk shop? Absolutely.

As I begin retirement, I am stepping back from national scale to focus on local preservation issues: working to protecting the character and integrity of my Modernist neighborhood, Hollin Hills, designed by Charles M. Goodman, FAIA, and listed in the National Register of Historic Places, serving on the Fairfax County Architectural Review Board, serving on the properties committee for Christ Church in Alexandria, a National Historic Landmark, and the board of DOCOMOMO DC, a local chapter of an international organization promoting the documentation and conservation of buildings of the modern movement.

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: Join the AIA (it’s cheap for Associates) and be active in your local chapter. It is not enough to simply join; you need to take a leadership role, which will open a lot of doors and career-enhancing opportunities. Write an article or give a juried presentation at a professional conference. Do several a year and soon you can add a page to your resume. The point is to be visible: it is not enough to do good work; other people must know that you do good work. Some simple principles are effective in life and in architecture: be curious, stay engaged, be aware, champion others, learn always, and laugh as much as possible. Finally, don’t be intimidated by AIA Fellows; it is our responsibility to ensure the next generation of architects is ready to lead the profession.

Building 3 Iron Plating Shop, Philadelphia Naval Yard (now Urban Outfitters)

Building 3 Iron Plating Shop, Philadelphia Naval Yard (now Urban Outfitters)

Gettysburg Cyclorama Building (Demolished)

J. Peter Devereaux

“My advice to young architects is that in addition to learning your craft as a designer, be sure to give equal effort to learning effective communications skills. The ability to speak compellingly and to persuade, often makes all the difference as to whether your design gets approved as intended or suffers through revisions that dilute its positive impact.”

Q: What and/or who inspired you to become an architect?

A: No one on either side of my family had ever gone to college, and so being an architect was not really on my radar as a young person. I was on a vocational education track in high school, and it was my mechanical drawing teacher who saw that I loved to draw and build models and told me that I could get paid to do that as an architect. When I heard that, I was all in, but I grew up in a single parent household and wasn’t sure how to afford college. I applied for and fortunately received a Senatorial Scholarship to attend Penn State, which paid about half the tuition and brought it within reach. Having arrived at Penn State, during the first year, our class took a field trip to Frank Lloyd Wrights’ masterpiece, Falling Water. That was the experience that really ignited a passion for design within me. It showed me that the career I had chosen could be much more than a paycheck, that I would have the opportunity to create environments that impacted people in profound ways.

Q: What has/have been the biggest challenge(s), project, or moment in your career?

A: While struggling to build a thriving practice in Los Angeles and starting out trying to win any commissions we could, I dreamed about working on the large-scale projects that I had experienced working in Cesar Pelli’s office. The first big opportunity came when I persuaded local real estate developer, Rick Caruso, to hire my firm as Architect of Record for the Americana at Brand, a 15-acre mixed-use commercial development in Glendale, CA. The Boston firm, Elkus Manfredi, had created several renderings that set the design theme, but it was up to us to finish schematic design and figure how to deliver this highly complicated design that included 242 apartments, 100 condominiums, 82 retail stores, 2000 parking spaces and an internal trolley line dedicated to the development. We had some big challenges working through code issues to deliver the design that called for wrapping the enormous parking structure with the apartments. On top of the complexity of the project, we had to navigate through a very challenging fast-paced schedule to meet the leasing deadlines that would make the project

viable. We succeeded and the project opened amid the “great recession” but managed to survive and thrive and be a catalyst for the redevelopment of downtown Glendale.

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I was very surprised, in 2017, when the University of Southern California (USC), told me that they intended to honor me with an award for Civic Achievement for my impact on the built environment in Southern California. I was so busy working away on projects over the years, I really hadn’t stopped to take stock of it all. USC did this because I had just led the transformation of 15 adjacent acres of land to the north of the campus expanding it with the addition of The Village at USC. I have been hearing from alumni and students ever since about the incredible transformational impact that project has had on the University and on them personally. At the dinner at which I was honored, the University surprised me by playing a video that they had produced which included some kind words from Cesar Pelli and Rick Caruso, the developer of the Americana at Brand. The videographer also interviewed Michael Woo, the former City Councilman representing the Hollywood district who spoke about the impact that the renovation of the El Capitan Theater

made in 1989. At that time our office was in the Pacific Theatres building and Disney had teamed up with Pacific Theatres to operate a movie house that would serve to premier their feature films and would also become a catalyst for the redevelopment of Hollywood.

Working on that historic 1926 building in the heart of Hollywood with both Turner Construction and Disney involved brought our fledging practice some notoriety that would lead to so many other opportunities. One of those opportunities surfaced a few years later when we won a design competition for the Los Angeles Regional Crime Laboratory, one of the largest crime labs in the United States, second only to the FBI Lab in Virginia. I had an unusual connection to the project, having worked with OJ and Nicole Simpson on the renovation of their home in Brentwood a few years prior. It was Nicole’s murder and the OJ trial that followed, at which charges of evidence contamination at the old lab were raised that led to the state, county, and city coming together to raise $96,000,000 for the new lab. Gil Garcetti, who was District Attorney at the time of the trial, has since become a good friend, spoke on the video about the profound impact that lab has made to the rule of law in Los Angeles. After working for decades trying to make a positive impact with each individual project, it was profoundly gratifying to be recognized for the cumulative impact of a career and I’ll always be grateful to the university for that special evening.

Falling Water, Mill Run PA

El Capitan Theater, Los Angeles CA

J. Peter Devereaux, FAIA Founding Principal, Harley Ellis Devereaux

Peter received a B.S. in Architecture from Penn State in 1978 and a M.Arch. degree from Yale University in 1982.

In 1985, he left Cesar Pelli’s office to take a design leader role in a small firm in LA where he became a Principal. That firm, Fields Devereaux, grew to three offices in California totaling 175 people.

In 2006, Fields Devereaux merged with a Michigan company, HarleyEllis, to form Harley Ellis Devereaux. Devereaux became Chairman & CEO of HED in 2015 and it is now a firm of 400 people with offices in nine US cities.

Q: What are changes in the practice of architecture over your career and/or projecting into the future – that you’re encouraged by and/or would be concerned about?

A: As I was stepping down from my role as CEO of HED,another opportunity came my way, to serve as Board Chair for the Innovation Design Consortium, a public benefit corporation formed by forty of the largest architecture firms in the country (all members of the Large Firm Round Table) to advance the use of technology in the design space. My fellow CEOs in that organization all believe that we are at point in time when the advances in technology will transform our industry. I always credit Bob Packard, the former CEO of Zimmer Gunsul Frasca for kicking off that discussion by asking, “what is it out there that will do to us what Uber has done to the taxi drivers?”

Earlier in my career I had seen what it means to companies when they move to slowly to embrace change. My firm was the architect of Kodak’s Digital Film Headquarters. Over the span of time that it took to design and build that project, Kodak, which had been one of the premier corporate brands in America, went bankrupt before they could occupy the space. I do believe that over the next ten years we will see radical changes in the methodology by which buildings are designed and constructed and I’m excited to be a part of those changes.

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: My advice to young architects is that in addition to learning your craft as a designer, be sure to give equal effort to learning effective communications skills. I have seen so many very talented designers be very frustrated in their careers because they didn’t develop those skills. Learn how to write well and more importantly, how to speak effectively in public. The ability to speak compellingly and to persuade a variety of audience types like school boards, redevelopment agencies, and sometimes just a single person-in-charge, often makes all the difference as to whether your design gets approved as intended or suffers through revisions that dilute its positive impact.

Los Angeles Regional Crime Lab, Los Angeles CA

The Americana at Brand, Glendale CA

The Village at University of Southern California, Los Angleles

Frank E. Dittenhafer II

“I am immensely proud that most of these award-winning projects are located within Central Pennsylvania and the cities/counties of Maryland – evidence that “good design” is not relegated to large cities and major urban areas. My focus has always been to create excellent design work anywhere - everywhere . . .”

Q: Can you describe any particular defining qualities, styles, themes, or key features of your body of work?

A: Architecture is a manifestation of “place, people and purpose” not styles or themes. Designing unique and authentic expressions – that people want to spend time in – regardless of project type defines my work. Maximizing the presence of natural daylight, views/outlook, material craftsmanship, texture and color – provides a meaningful experience for users that transcends functional requirements.

“Architecture” must enrich the human experience – or it is not Architecture. This is why my design approach has always embraced Art, Music, and Poetry as precedents. My designs are defined by the specific context and the people collaborating with me in the process. Many times “an entire community” is involved. The rooms, spaces, interior flow, and building exterior – translate into unique expressions of “time and place.”

Whether a new building, renovation of an existing structure – or preservation of an historic resource, the work is authentic and contributes positively to the fabric of our cities, towns, and landscapes. I have always considered “the land” and project site – to be sacred components of a successful Architectural design. This is “Placemaking.”

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I anticipated “making a difference in people’s lives” with my first projects. I thrive on interaction with people, owners, communities – in the real-world context of challenges, opportunities, and potential.

My early designs – the house additions, the renovation of several former Army barracks into a homeless shelter, the expansion of a building at a prestigious university – providing pro-bono design advice to a community non-profit – were all transformative experiences.

Professional Legacy is not a topic I focus on – but rather my responsibility to “maximize a project’s design potential” regardless of size, type, or budget – and to thoughtfully and creatively consider all aspects.

Murphy & Dittenhafer Architects’ work has been recognized with over 240 awards for AIA Design Excellence, Historic Preservation, Craftsmanship and other accomplishments. I am immensely proud that most of these award-winning projects are located within Central Pennsylvania and the cities/counties of Maryland – evidence that “good design” is not relegated to large cities and major urban areas. My focus has always been to create excellent design work anywhere – everywhere – and perhaps where least expected.

they all present valid opportunities.

Q: Even with all your career accomplishments, do you still have a dream project or collaboration you want to pursue? Are you currently working on a project that you’re excited to complete?

A: I have been afforded multiple “dream project” opportunities – involving great clients – with high expectations. Thanks to a talented studio of designers at Murphy & Dittenhafer Architects, I have been able to exceed project aspirations within site, budget, and regulatory parameters.

I am frequently asked – “What has been your favorite M&D project?” Several that are in my top group include: Forum Building and Auditorium in Harrisburg, PA; CODO 241 Mixed-use Housing in York, PA; Penn State York Graham Center for Innovation and Collaboration; Zimmerman Center for Heritage in Long Level, PA; and the University of Baltimore Student Center

higher education, urban housing, interiors, and planning.

After receiving a B.S. in Architecture and graduating with honors from Penn State, Dittenhafer attended the University of Pennsylvania graduating with a Master of Architecture. While studying at Penn, he received the E. Lewis Dales Traveling Fellowship and the Arthur Spayd Brooke Bronze Medal for Design. Dittenhafer was inducted into the AIA College of Fellows in 2007 at the Alamo in San Antonio.

Mr. Dittenhafer has been an adjunct faculty member in the Department of Architecture at the University of Maryland, College Park, design critic for the Pennsylvania College of Art and Design in Lancaster, Harrisburg Community College Morgan State University and has chaired numerous AIA Design Award juries. Under Frank’s leadership, the firm has received over 240 awards recognizing design excellence, preservation/adaptive-reuse and craftsmanship on projects located throughout Central Pennsylvania and State of Maryland.

Within that context, I have embraced the “ordinary” and the “extraordinary” in and around my hometown of York, PA. Whether rural – suburban – or a small-town project assignment,

Frank E. Dittenhafer II, FAIA, LEED AP President, Murphy & Dittenhafer Architects

Frank co-founder Murphy & Dittenhafer Architects in 1985. As President, he is responsible for the design and management of the 30-person firm’s projects focusing on adaptive reuse, historic preservation,

Crispus Attucks York History & Cultural Center, York, PA

CODO 241 Mixed Use Housing, York, PA

Graham Center for Innovation and Collaboration, Penn State University, York, PA

Forum Auditorium, Harrisburg, PA

Within these commissions – there is a consistent focus on “craft,” the expressions of form/materials and creation of identity reflecting the uniqueness of each “place.” These projects involve restoring/renovating existing historic structures, adaptive re-use and additions, multi-story new construction and small-scale insertions. All convey a timeless expression of “place, people and purpose.” Most importantly, people want to spend time there – the truest measure of architectural success. I am currently involved in a wonderful collaboration with a non-profit organization – Crispus Attucks York – on a new building in York City – an African American History & Culture Center. This five-year undertaking from initial programming/design concepts – has resulted in the construction of a $10million 20,000 square foot facility – anticipated to be completed in early 2025.

The three-story building will be the first “mass timber” structure in York and possibly Central PA – and will include exhibits about the 90+ year CAY history and accomplishments of the York African American community. Multiple spaces including a Rooftop Terrace and Reconciliation Courtyard will accommodate programs, performances, and other gatherings.

Q: How has being educated at Penn State, campus environment, professors, or student culture – informed, influenced or profoundly affected your career and practice of architecture?

A: The location of Penn State’s campus – in the geographic center of the Commonwealth – essentially “in the middle of nowhere” was a positive factor which influenced my education and career. Other than football, there were no physical distractions – and the top floor “Engineering Unit” studios became fervent labs for design explorations through chipboard study models, yellow-trace sketches, and ink drawings. We frequently went to NYC, Philadelphia, Boston – or even Exeter New Hampshire – to see inspiring Architecture firsthand.

The Architecture design studio rigor was very intense at Penn State during four years of 10-week terms – with many long evenings, weekends, and all-nighters. The work ethic that was instilled in me during these formative years – focused on always achieving excellence – and “doing whatever it takes.” This translated directly into my Architectural practice upon graduation – and continues.

Professors Vollmer, Weiss and Inserra had a profound impact shaping my Architectural design philosophy. I devoured the Architectural Reading Room resources - inspired by Architectural history and seduced by the “monthly journals.” I was introduced to Kahn, Aalto, Wright, Mies (+ Venturi) – and was motivated to continue my education via Graduate School at University of Pennsylvania

Professor Roy Vollmer (who had worked for legendary Philadelphia Architect Louis Kahn) was most influential. During my sophomore year studio, he conveyed thoughtful insights and posed questions to ponder (ala Lou Kahn). Our assignment was to design “a Temple for a Child” – requiring research and understanding about both temples and designing for children. Vollmer mused about “beginnings” the “unmeasurable and the measurable,” “the column, the wall, order,” “the meaning of a circle, square, garden, or room,” My design solution was a “Temple Tent.”

Student Center, University of Baltimore, Baltimore, MD

Zimmerman Center for Heritage Waterside Pavilion, Long Level, PA

Gail M. Flynn

“...despite all the barriers, I am fortunate to have had the experiences “of a lifetime” in my chosen field The rewards of my travels and ability to apply social responsibility in design solutions -- far outweighed any inconveniences encountered, such as leaving family, friends, and cats behind, acclimating to a new home away from home, cultural differences, and political unrest . . .”

Q: What and/or who inspired you to become an architect?

A: I was born in Milton MA and graduated Milton High School in 1959. The feminist movement was yet to come, male and female employment want ads were separate, and the attitude was that women went to college “for their MRS degree”, and as my elder brother complained college for women was “a waste of time and money”.

Art and math were my best subjects, looked through college catalogs and found both areas were in the architecture curriculum. My guidance counselor was concerned about pursuing a male dominated profession, thought “all boys” environment risky, but did accept my determination and encouraged me. With financial help from PSU, despite obstacles, there was no turning back. There it is. No known architect role models as I recall; nevertheless, despite all the barriers, I am fortunate to have had the experiences “of a lifetime” in my chosen field.

Q: What have been the biggest challenge(s), project or moment in your career?

A: There were many challenges and moments in my career. However, unique relocation conditions in conjunction with performing services for three projects stand out as both awesome and challenging experiences.

My relocation to Athens, Greece in 1966 for 15 months at 25. I was project job captain for the Office of Joint Venture Partners TAC, US Corps of Engineers, and Frank E. Basil Engineers for basic services of the prototype 100 Bed-Hospitals for three new cantonments in Saudi Arabia; Khamis Mushayt, Tabruk and Qaysumah.

My relocation to London, England in 1980 for 9 months at age 39. I was Principal Project Manager of the Joint Venture Office of TAC/Omrania/Conseco for basic services for the Yanbu New Community of 2,500 resident in Saudi Arabia

My relocation to Kuwait City, Kuwait in 1994 for 12 months at age 53. I was the Project Principal and led a team of 30 mostly Asian expatriates. Gail Flynn Architects was Consultant to Al Zamami Engineers in Kuwait for completion of Preliminary Design & Tender Documents for a new College of Engineering & Applied Sciences, Shuwaikh Campus, Kuwait University in Kuwait (65,000 sq meters new / 25,000 sq meters renovation).

The rewards of these travels far outweighed any inconveniences encountered, such as leaving family, friends, and cats behind, acclimating to a new home away from home, cultural differences, and political unrest; in my case a successful military junta coup in Greece and unsuccessful attempted second invasion of Kuwait by Iraq, and in the early 80’s work in Iraq during war with Iran. Additional, short-term travel to Iraq, Ireland, Eqypt and nine states for project work also added to a more global view when problem solving.

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: Three projects gave me significant sense of personal legacy while at TAC.

I was Senior Associate in Charge, Project Architect, and Lead Designer (including interiors) for Angelo Patri Intermediate School 137 in Bronx, NY., an 1800 student pilot open plan school for this inner city. This 200,000 square foot school was built in an area of urban decay; on a long narrow two-acre throwaway site with a fifty-foot rock escarpment running the long axis. One of three schools built outside the auspices of the Board of Education in the early 70’s; and meant to break the mold of existing school buildings in the city and serve as model for future New York City schools. The goals were to “open out” to the community versus wall in; and create a first-rate learning environment with the forward pedagogy of open plan environment and specially trained teaching.

The client was the Urban Development Authority of New York with Edward Logue, sadly with the UDC bankruptcy and New York City running out of money, hopes for the future training of teachers and renewal of the area did not take place as planned.

The summer of 1963, I worked with the Boston Redevelopment Authority (BRA) and their professional staff working on the “South End” Boston Area; Logue was the

“The Architects Collaborative (TAC) founded by Walter Gropius and seven colleagues in Cambridge, MA in 1946, is one of the most influential architectural firms of the twentieth century.” Walter Gropius received the American Institute of Architect’s Gold Medal Award the firm was the second to receive the prestigious American Institute of Architects Firm Award, and was honored with many project design awards during its years in business. The MIT Museum houses the TAC Collection comprised of the firms drawings and records. The firm operated on the principle of collective accomplishment and personal anonymity.

Gail M. Flynn, FAIA Principal, Gail Flynn Architects

In the spring of 1964, I wrote a letter to Walter Gropius to let him know how much I admired the Bauhaus and the work of The Architect’s Collaborative (TAC). By January 1, 1965 I began a twenty three-year challenging and rewarding journey with a firm of 50+ that grew to over 400 during that time. I ultimately became Vice President and member of the Board at TAC. left in 1987 to form my own firm Gail Flynn Architects. Prior were two seminal student intern experiences, with The Boston Redevelopment Authority, in 1962; and with Leonard Manasseh & Partners in London, England at the completion of my semester abroad, at The Architectural Association (AA).

I am also known by Gail Haviaras (former married named). While working for TAC in Athens in 1966 met and married Stratis Haviaras. later divorced in 1974 and took back my maiden name.

As generalist architect, my projects ranged from institutional to residential projects; and ran the gamut of an architect’s professional services. I have led project teams of varying size. At TAC as many as ninety architects and seventeen consultants for major improvements in Baghdad, Iraq in the early 80’s; and as sole proprietor in the late 90’s, Gail Flynn Architects was commissioned by the MIT Planning Office to provide Pre-Design Planning services for the new Computer Science and Artificial Intelligence Laboratory (CSAIL) facility, one of the largest construction projects undertaken by the MIT. Over the course of a year, I worked with the (CSAIL) faculty building committee developing Planning and Design Recommendations.

My career involved stateside and foreign travel to seven states and eight countries. A thirteen year overlapping active tenure with the national AIA Committee on Architecture for Education including as steering committee member and Vice-Chair led to travel to lots more states. And have had opportunities to serve on National design juries and spoken to national audiences.

Angelo Patri Intermediate School, Bronx NY

Gail Flynn (4th Year) at Sackett Building, Penn State University Site Plan Angelo Patri Intermediate School, Bronx NY

BRA Director, seeking to develop a “New Boston”. It was a significant inspirational experience the summer before my fourth year at PSU; which kindled a lifetime commitment to social responsibility in design solutions such as the Bronx school.

I was Team Leader for Educational Facilities Urban Physical Planning and Lead Designer for Prototype Schools for the 400,000 resident, New Jubail Industrial City in Saudi Arabia on an 8,000-hectare site. The work has been ongoing since inception in the late 70’s; it is a global model for school planning and urban and physical prototypical design.

The Kindergarten and Elementary schools are located within neighborhoods, the Intermediate and Secondary Schools located in Landscaped Corridors throughout the districts’ sectors, and the one Vocational School located in the main commercial center. The Elementary School design separates the sub schools into identifiable and autonomous units located at three corners of the primarily one-story flat roof building form. Among innovations in the educational plan is the introduction of kindergartens and polytechnics into the general state system.

On my return to US in 1995 from work in Kuwait, I flew over Jubail, a thrill to see, and it looked just like the model. I continue to gawk with Google maps.

Following the Jubail Project, I was Vice President in Charge as the Principal Project Manager of the TAC/Omrania/Conseco Joint Venture for design thru construction of a residential community for 2,500 residents in Yanbu, Saudi Arabia. I relocated to the JV office in London, England. The community was one of eight areas designed by different international teams simultaneously.

The Townhouses are organized around a central pedestrian landscaped spine, which links the two commercial centers, schools, mosque, sports facility, and other public spaces. Villas are located on the perimeter. All housing units were designed in keeping with local traditions of privacy, with generously proportioned rooms, and unique spaces such as reception room and second outdoor kitchen area. The character of the neighborhood was deliberately designed to recall the dense development of Arab villages with small private courtyards, wood screens covering windows, stucco walls, and the ornamental water fountains. The Sports Facility has both indoor and shaded outdoor recreational areas.

Q: Given a chance to “talk shop” with other architects—do you have particular insights, interesting detail or good story about any of your projects that you would like to share?

A: This is a “good story”, which I also shared with the Boston Society of Architects, in article copied after this introduction.

My client was US Agency for International Development USAID / Creative Associates International in Washington DC. In conjunction with representatives in Egypt of the Ministry of Education (MOE), the National Investment Bank (NIB), and the USAID Egyptian Mission.

In 1991, I spent five weeks in Egypt evaluating the facility design and construction of 2000 schools built by the Government of Egypt in partnership with the Government of the United States. The purpose of the facility design and construction evaluation was to determine if the project’s goals were met and to make recommendations for a second phase of design and construction. A random selection of schools to be evaluated was made, primarily in the rural areas of Egypt where there were no schools before. Two weeks were spent in Cairo mobilizing and then at the end documenting final report; and three weeks “in the field”. I was given thirty-three schools to visit in the Delta Region and Northwest Frontier of Egypt; Alexandria and Marsa Matruh were the two hotel base locations I used to access the schools. In one case via tractor, as no roadways to school.

These modest two-story concrete frame structures were packed over capacity and double shifts implemented to handle the demand. How could one not see this program as a great success..

“The sandstorm looked like dense yellowish smog at eye level, it felt like a dry northeaster and a day at the beach at the same time. Rare weather the locals said, global warming, I thought to myself. My driver Hassan was able to discern what I could not, the road. He delivered me, in slightly sandblasted condition, to my modest beachfront hotel in Marsa Matruh located in the northwest corner of Egypt. The amount of sand that had infiltrated into my room was a sandcastle’s worth. As I was thinking about weather-stripping alternatives for the doors and windows, twenty-two falcons checked into guest room 33 to perch out the sandstorm before returning to their desert hunting camp. Their room was nearby and identical to mine, with breakfast included.

My new neighbors’ guardians were princes from Bahrain, and told me that falcons power dive, talons clenched, at 180 miles per hour killing quarry by the impact. Would I like to meet them? When I met the falcons, I was told MALEESH (not to worry) they had just had dinner, and before I could utter politely LEAAH SHOKRAN (no thank you) I was sleeved and eyeball to eyeball with an unhooded falcon on my arm. She, (the females are the hunters), stayed put on the arm I willed not to flinch. She was a beauty, as they all were. They wore gold-tone leather hoods, the perfect accessory for the light and dark taupe shades of their feathers, and their bell and jesses footwear. I was told these exotic birds of nobility run about $5,000 per pound, including feathers. The net worth of my fellow winged travelers was $1.5 million.

As I waited for my driver the next morning, I pondered optimum hotel guest room design criteria for falcons. My thoughts were interrupted by the baaing of a lamb wrapped around the shoulders of one of the princes’ entourage heading up the stairs towards guest room 33. Had my feathered friends from last night ordered Room Service?”

Schoolyard, Egypt

Delta Region Schoolyard, Egypt

Yanbu Villa, Saudi Arabia

New Community Site Plan Model Yanbu,, Saudi Arabia

with US AID, NW Border with Libya

Jubail Kindergarten Prototype

New City Model, Jubail, Saudia Arabia New School Locations in Red

Gail Flynn in Egypt (1991)

with Friends & Falcon in Marsa Matru

Yanbu Villa Townhouses, Saudi Arabia

Jubail High School Prototype

F. Eric Goshow

“Trying to sync those two aspects of professional life - what do you like to do and what you are good at doing? is for some, a lifelong quest, but is a key to your happiness. There was only one Frank Lloyd Wright.”

Q: What and/or who inspired you to become an architect? How has being educated at Penn State, its campus environment, professors or student culture – informed, influenced or affected your career and practice of architecture?

A: Like so many of us I grew into an adult at college. When I got to Penn State I was uncertain of my future and I did not know about the profession of architecture. Although I loved art (drawing and painting) when I was a young man, I did not know what to do with that interest and skill until two of my fraternity brothers studying in the Department of Architecture introduced me to that world and it refocused my life. The most profound experience I had then, which extends even to this day, was my time during the 4th year of study at the University of Florence, Italy under the mentorship of Professor Leonardo Ricci. There I learned to look - I mean really look! - at the street scenes and urban life of the cities of Italy, and I sketched everything I saw (see attached). My worldview was expanded forever and it made me see the impact of the built - especially urban - environment on people of every culture and every place. It perhaps is no surprise then that I sought and obtained a master’s degree in urban design (from Pratt Institute) and spent my professional career in one of the greatest urban environments of them all, New York City. And, not incidentally, I met my professional and life partner Nancy at Penn State. Our architectural firm, Goshow Architects, was established in 1978 and is going strong today

as a Woman-Owned Business Enterprise (WBE), Nancy being the managing partner. My interests and talents lie more in the areas of design and problem-solving.

Q. Can you describe any particular defining qualities, styles, themes or key features about your body of work?

A: There is only one defining quality or theme that for me is key, and it has nothing to do with style or particular physical features: it is the pursuit of excellence. That is defined differently for different types of projects with different clients and different budgets, but we all are doing the very very best we can with the assignments we are given.

Therefore, size or type of project means nothing. Whether a bathroom renovation, student residence, a high-rise office building, or the preservation of a landmark interior, the question is always the same: what is the essential problem to be solved, what are the options for doing so, and what is the best solution possible? For me this means boiling the assignment given down to its reductive essence. The phrase “reductive essence” is one that I use frequently to share with my colleagues and clients alike in trying to separate the essence of the problem from peripheral notions. Once the reductive essence of the problem has been clearly defined then peripheral ideas (often also important) can be addressed as well, provided that the reductive essence of the problem remains the primary goal.

Q: What is your creative process like? How has your style, approach, or perspective evolved over your career? How do you stay motivated and continue to practice and innovate?

A: On creative process: architecture is an iterative process. Very few architects produce buildings or environments that are revolutionary. Mostly we learn from what has been done in the past and try to make small improvements; every once in a while these small improvements can add up to buildings that are truly excellent, if not revolutionary. So the basis of our creative process, and that includes my own, is observation and questioning. By observation I mean reading magazines and articles and emails and images of buildings and environments. It also means going personally to see spaces and buildings and environments and different places as they actually have been designed and constructed. By questioning I mean evaluating what I’ve observed; what are the things that to me make the building successful or unsuccessful, beautiful or not so beautiful, appropriate or inappropriate, that make people happy or unhappy. Architects truly interested in design are always asking themselves those questions based on their own observations. Frequently I ask myself: what would I have done differently? How might I have arranged the spaces differently? How might I have changed color and light and the quality of space? How would I have made the building more compatible in its neighborhood? I cannot help myself, this is what I do and this is who I am, this is what interests me.

On style, approach, perspective: I am interested in all building types from all ages; our firm has created new contemporary buildings and renovated existing buildings and preserved landmarks; it all fascinates me. I’m not “style” conscious, but looking toward

Eric has more than 40 years of award-winning experience in architectural design and planning. Eric’s expertise is in the design of sustainable educational and institutional projects, reflecting his professional interest in accessible, sustainable and healthful design for all spaces. His experience extends from new construction to the rehabilitation and restoration of historically significant structures. Notably, his restoration and addition to the historic Fifth Avenue Presbyterian Church (NYC) won accolades from the United States President’s Advisory Council on Historic Preservation.

Recently completed projects include Nobel Halls, the new 600-bed student residence and activity center at Stony Brook University which won a Design Excellence Award from the AIA Long Island Chapter. The project achieved LEED Gold Certification and is the first sustainable oncampus housing option for Stony Brook students.

In 2011, Eric was elected as President Elect of the New York State Chapter of the American Institute of Architects New York State (AIANYS). A long-standing member of the AIA, Eric previously served as Vice President of Government Advocacy for the New York State component. In that role, he worked to balance the interests of the profession with state legislative and regulatory activities. In 2013, he served as President of AIANYS, working to raise the visibility of the profession statewide. As Past President, Eric continues to elevate public awareness, advocate for the profession and expand and share knowledge on behalf of the AIA.

In 2018, Eric was elevated to the AIA College of Fellows, an honor bestowed by a panel of his peers based on his contributions to the Institute, the profession of architecture and society. Among his civic interests, Eric also has served on the Board of Trustees of the Presbytery of New York City. Eric received his Masters of Science in Urban Design from The Pratt Institute. He recently received Penn State’s distinguished Alumni Award from the College of Arts & Architecture. In 2019, Eric was awarded the prestigious James William Kideney Gold Medal Award for a lifetime of service from AIA New York State. The award recognizes outstanding and valuable service to the profession through promoting the profession of architecture.

CUNY Queensborough Community College Performing Arts Center , New York NY

CUNY Hostos Dental ClinicOral Room, New York NY

CUNY Queensborough Community College (Atrium), New York NY

F. Eric Goshow, FAIA, LEED AP BD+C Founding Partner, Goshow Architects

245 Tenth Avenue (The High Line), New York, NY

appropriateness, usefulness, beauty (to me of course), and spaces that make those who occupy them content and happy. It’s all inter-related, and, I believe, leads to excellence. So while my approach hasn’t changed much (I think), with experience comes a more holistic, inclusive, sophisticated awareness. On motivation: my fascination with the built environment has only increased with experience. I’m never not motivated to want to enhance where I live and work and what I observe. But there’s a different kind of motivation that’s more difficult for me. That’s the motivation needed to grow a successful business. Ours is a very competitive profession. There are often, especially in the public sector where we do most of our work, multiple firms trying to capture projects that are put “out on the street,” as they say. To be awarded these projects can be incredibly time-and moneyconsuming and your chance of being selected is less than 50%. And if awarded, it may be difficult to make a profit, a requirement for staying in business.

This aspect of the architectural firm-owner’s life is unrelenting and has sunk many talented architects. It is, for Nancy and me, the issue that keeps us awake at night, and not everyone

is ready for it. None of us in school, at Penn State or other schools, takes the required business courses very seriously, a big mistake, but inevitable as none of us are in business school but architectural school where design studios take precedence.

As a consequence, architects are frequently considered in our capitalist world to be poor businessmen and women.

For Goshow Architects Nancy is more adept at managing our business, someone else handles marketing, another human resources, another accounting, etc. A key to success in the business of architecture: bring individuals into your company who excel at the things necessary for business success that you cannot do well yourself. It takes a village.

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: First, the study of architecture is very rigorous (a five not four-year professional degree), which involves design (of course), the humanities (so very important in life’s pursuits),

engineering, but mostly problem-solving and learning to express yourself and your ideas. What an amazing and rigorous and wellrounded intellectual and almost spiritual experience! One can take that into the world!

But then what? Will everyone be the next Frank Lloyd Wright? Where do we fit into that world? As young graduates we are really not sure. We have to go out into the world and wait many years, perhaps a decade or more, before our true interests and abilities become known to us. And they do not always or even often end up in the realm of architectural design itself, but rather in other ancillary areas within the profession of architecture, and often outside of the profession itself. Does this mean that our five-year degree was not useful? Hardly!

The world needs many different areas of expertise to make things work. Some of my best friends and most intelligent architectural graduates actually practice in the government sector, work for or as developers and builders, work in the financial areas of loans and construction, work for vendors producing different architectural products, work for architects as business partners, specifications writers, field administrators, and others. As someone said, it takes a village. Be honest with yourself. Know who you are, know what you like to do, and know what you’re good at doing. Happiness is difficult to achieve when either you like doing something you are not very good at, or not liking something you are very good at.

Second and last, enter the civic dialogue – sign up! With the fine education you have been given, no matter how you participate in our profession, you have become a privileged member of society. Your obligation is to speak up, enter the civic dialogue, express your thoughts and ideas. This done in your community, your religious and professional affiliations, your college (Penn State!), wherever you are. We know from surveys taken that people have a great respect for architects (even though they often do not know what we actually do) and want to hear our opinions on many subjects, not just architecture.

One of my several civic commitments has been to the American Institute of Architects. My chapter, AIA New York Chapter (AIANY), is very engaged in the civic and political dialog on many issues regarding the wellbeing of the citizens of New York City. Our two big issues in today’s world are 1) how do we reduce the carbon footprint of our built environment and 2) how do we create more housing, especially affordable and supportive housing, for the people of our city. On these issues I have personally been very involved as past member of the AIANY Board of Directors and currently on the Advocacy and Housing committees. In past years I led the New York State Chapter of the AIA (AIANYS) as president (2013) where we engaged in conversations with our state and federal legislators over issues of importance to the people of New York State. It is in fact out of these commitments (among other things) that I was elevated in 2017 to the College of Fellows of the American Institute of Architects. The message again: enter the civic dialogue, make a difference!

Nobel Halls, SUNY Stony Brook, NY

Nobel Halls, SUNY Stony Brook, NY

Fifth Avenue Presbyterian Church, New York, NY

Timothy Hartung

“I encourage aspiring architects to challenge conformity and put themselves in situations where they must collaborate. It’s the architect’s role to ensure that our environment evolves with us by designing buildings that are not only elegant but socially responsible.”

Q: What has / have been the biggest challenge(s), project, or moment in your career?

A: Although every project has its unique challenges, one project that stands out for me is the Smithsonian National Museum of the American Indian Cultural Resource Center (CRC) in Suitland, Maryland. Designed to be the operational, conceptual, and spiritual locus of the National Museum of the American Indian (NMAI), established 1989 by an act of congress. The CRC combines state of the art collection storage space with a research and interpretive center that provides direct access to culturally significant objects: It is designed to be a site of interchange among native people, and is dedicated to the preservation, study, and interpretation of artifacts, including the active use of ceremonial objects.

Given the significance of the collection and the political importance of the project, Native American participation was critical to the interpretative design process for the building. I led the joint venture of Polshek Partnership (now Ennead) and Virgina based Metcall Toby Davis in association with the Native American Design Collaborative (NADC), which represented

a consortium of design and engineering professionals and scholars from native communities throughout the United States and Canada. Leading and coordinating this team of culturally diverse professionals, as well as the normal collection of specialty consultants for a project like this, through the design process required numerous workshops, design charrettes, presentation, consensus building, and learning the way of the people. All this was before we ever started to meet with our client, The Smithsonian Institute. We integrated numerous NADC architects, engineers, landscape architects and specialty consultants into the core team throughout the design process and traveled to different parts of North America for consultations with Elders. The final design emerged from a process of collection, distillation, interpretation and abstraction in keeping with the museum’s inclusive mission to promote understanding among Native communities and the non-Native public of the historical and cultural achievements of all Native people of the western hemisphere. I am proud to note that I remain friends with many of the people involved in this project to this day.

Tim is a founder and Partner Emeritus of Ennead Architects (formerly Polshek Partnership) with extensive experience in complex cultural performing arts and educational projects. In addition to his project-related responsibilities and management of the firm, Mr. Hartung was also responsible for personnel matters. A significant aspect of his role was maintaining the collegial and non-hierarchical spirit of the office. His efforts were directed toward raising the consciousness level of all participants in the design process with respect to office and project management, liability control and financial management, as well as design and production skills.

Tim graduated from Pennsylvania State University (PSU) in 1973 with a Bachelor of Architecture. In 2004, he was recognized with the Department of Architecture Alumni Achievement Award. He was an active member of the United States Institute of Theater Technology (USITT), where he held the positions of Director-at-Large and Architecture Commissioner. His expertise in the formal and technical challenges of theater and performing arts centers was recognized by the organization in 2013, when he received USITT’s Distinguished Achievement Award

After graduating from PSU, Hartung spent 5 years (1973 -78) working at the firm Damianos and Pedone in Pittsburgh, PA before moving to NYC where he spent 42 years (1978 -2020) at Ennead.

Timothy Hartung, FAIA Partner Emeritus, Ennead Architects

Smithsonian National Museum of the American Indian (NAMI) Cultural Resource Center, Suitland, MD

NAMI Cultural Resource Center

NAMI Cultural Resource Center

Q: What and / or who inspired you to become an architect?

A: Interestingly, I was originally enrolled in the Architectural Engineering program based on the results of those traditional career aptitude tests taken in high school, but after the first day of class and a long talk with an insightful professor, I switched to architecture. This would not have happened if Raniero Corbelletti, the new department head, had not by chance passed his secretary’s desk as I was pleading for acceptance into the 1968 freshman class, which was already overcrowded. Corbelletti ushered me into his office and after a long conversation instructed the secretary to “sign him up”. This small coincidence changed my life.

Q: How did being educated at Penn State profoundly affect your career?

A: My Penn State education shaped my belief in challenging the norm and helped me embrace a collaborative approach to architecture. As a reflection of society at the time, Corbelletti, along with his new collection of professors including Richard Plunz and Mike Pyatok, emphasized thinking outside the box and working together with community stakeholders. The message was that architecture should be a collaborative process to advance both aesthetic and social results. We were taught to question rules and work creatively for the collective whole, looking for ways to build consensus toward a quality solution.

Q: Any advice for a young Architect?

A: I don’t think one can ever appreciate the interwoven aspects of economy, politics, engineering, and art in the practice of architecture. These and other influencing factors are things architects need to consider and discuss. It’s not just about designing buildings – it’s about finding opportunities to turn a typical project into something more that not only benefits the client, but gives back to society at large. I encourage aspiring architects to challenge conformity and put themselves in situations where they must collaborate. It’s the architect’s role to ensure that our environment evolves with us by designing buildings that are not only elegant but socially responsible.

Lewis Katz Hall, Penn State Dickinson School of Law, Carlisle, PA

Seaman’s Church, New York, NY

Seaman’s Church, New York, NY

Holland Performing Arts Center, Omaha, NE

Brian Healy

“We should be civic leaders, not just service providers. I find that a lack of pragmatism often exposes other possibilities which should be explored and pursued. If one focuses exclusively on the business of architecture, we can miss the potency of architecture and how it might be useful.”

Q: What and / or who inspired you to become an architect?

A: When I decided to become an architect, it wasn’t to save the world. I simply could not think of anything more potent than to create environments where other people would live and thrive. Architecture has the potential to set up opportunities for people to renew and refresh their lives. I always cared for that aspect of our profession.

The obsession in our profession on the business of architecture should be superseded by a poetic reinterpretation of how we might live. The two are not mutually exclusive, but somehow, the latter seems to have been abandoned in both schools and most current practices.

My father was born in Harlem and we were told that my great grandfather worked on the stained-glass windows in St. Patrick’s Cathedral in midtown Manhattan. I remember going there with him and my brothers and – while my younger brothers were all racing around the building, trying to figure out just which window he made – all I could think of was … somebody actually made this place? It was probably the first time that it occurred to me that buildings and places as grandiose as that were, in fact, designed and built by human hands. I was about ten years old then and my family had just bought a couple acres in a field on Greene’s Farm in Bucks County, Pennsylvania where we built a new home. It was a neo-colonial wooden structure with a stone façade and a nice place to grow up with my six brothers.

It was there that I learned to also appreciate the beauty of barns, outbuildings, farmhouses, and local, modest vernacular architecture like roadside billboards and farm stands. These experiences strongly influenced my decision to study architecture. It also reinforced a belief that architecture is not only found in the extraordinary world of Saint Patrick’s, but also in the ordinary world that is around us every day. The ordinary and extraordinary blur. I don’t think architecture should be limited to select chosen structures or those found in history books. The commonplace also has the potential to become architecture.

A contemporary architect whose work I admire greatly is Alvaro Siza from Portugal. I have to say, though, that architects like Siza create the kind of work that cannot be taught. What I mean by that is that it is intuitive, visceral, and very personal. And it being personal can make some people uncomfortable because – if it is personal then it is individual – and it cannot be promoted as a methodology or a system. It seems to me that individualism - and a healthy disregard of preordained paths - feed art and it should fuel design. When I talk about individualism, I am not promoting mindless expression or dismissing precedents. I am talking about reinvention, reexamining, rediscovering, and illuminating some fundamental values that were articulated by those who preceded us. What’s important to me is to acknowledge that great architecture comes from the study and experience of other works - whether vernacular or monumental. It is critical to rethink old questions within each new circumstance.

Q: How has your educational experience – informed, influenced or profoundly affected your career and practice of architecture?

A: My architectural education – at Penn State and Yale - allowed me to see architecture as more than just pursuing career opportunities. It provided a way of understanding how we live, why one gets involved with certain aspects of life, and how they subsequently affect the lives of others.

Education is supposed to be liberating and aspirational. We should be civic leaders, not just service providers. I find that a lack of pragmatism often exposes other possibilities which should be explored and pursued. If one focuses exclusively on the business of architecture, we can miss the potency of architecture and how it might be useful.

The best educators at Penn State and Yale didn’t want to define or limit what ‘architecture’ was; and they didn’t want us to limit it either. They did not want us, as students or practitioners, to feel a pressure to find for a perfect definition of what architecture is – could – or should be.

In fact, what was wonderful about my education at those schools was that none of the great educators who I encountered presumed that what they just said was the end of the discussion. It was the beginning, and it was an opening for anyone to draw new conclusions - or at least, present an alternative proposition. What seemed important was to have an open dialogue that leads somewhere to a critical point.

Bachelor’s in 1978.

then earned his Master of Architecture degree from the Yale School of Architecture in 1981 where he was the

Yale

the

Richard

of Perspecta

own architectural practice in Boston in 1985. Since establishing that studio, Healy has compiled a distinguished record of creative activity, community service, and professional achievement. The architectural projects produced by his office have received over fifty national and regional design awards, including seven within the Progressive Architecture Award Program The architect has also taught architectural design studios and seminars at twenty-one colleges and universities across North America including Penn State, Yale Harvard, MIT, and the University of Pennsylvania. He was the 2004 president of the Boston Society of Architects and, from 2011-2014, served as Design Director at Perkins + Will, a renowned international architecture firm with a specific focus on social and environmentally responsible design. He was elevated to the AIA College of Fellows in 2013.

Brian Healy, FAIA Principal, Brian Healy Architects

Brian Healy was born in Gary, Indiana, and grew up in Doylestown, Pennsylvania. He studied architecture at the Pennsylvania State University, receiving his

He

editor

19: The

Architecture Journal. Healy worked at

offices of Charles Moore Cesar Pelli and

Meier before founding his

Korean Church of Boston, Brookline, MA

Pool House, Madia, PA

Children’s Chapel, Korean Church of Boston, Brookline, MA Beach House, Loveladies, NJ (with Micahel Ryan, B.Arch. ‘78)

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: As future architects, students and young professionals should find satisfaction in the work itself and be happy working out of the spotlight because interesting things happen in the shadows. Of course, you will remain the same person and you will ask similar questions – or maybe the same question - over and over. I’ve never been sure if it matters. People often tell me that my work has been consistent over the years. Regardless of who tells me this, I think of it as a compliment.

It should go without saying that what we do - as architectsis complicated and difficult to both conceive and construct. I’m fond of an old Tao meditation that notes that ‘life is too ugly, too violent, that we all need something delicate to care about’… I think architecture can help with that!

I love that architecture is specific. It is always some place; it can’t be any place. A good building is always an addition to that place, and to what is already there. Nothing is ever completely new, and an architect needs to understand and appreciate what is there before suggesting what to add to it.

Good architecture is about integrity, beauty, compassion, its relationship to its site, and its commitment to the broader environment that we all share.

FLOATYARD, Boston Harbor, Boston, MA

Follini Residence, Sag Harbor, NY LaTourre Residence, Oxbury, MA

Downtown Crossing, Boston, MA

Essex Boat House, Essex, MA

Pier 7, Boston, MA

Summer Compound, Barnegat Light, NJ (with Michael Ryan, B.Arch. ‘78)

United Parish of Winchendon, Winchendon, MA

George H. Miller

“The challenge of the future is to pay attention and be willing to adapt to rapidly changing technology and methodologies. Architecture is a great profession that affords the opportunity to respond to different clients and their needs and methodologies.”

Q: What and/or who inspired you to become an architect?

A: I grew up in Towanda, Pennsylvania, a community of around 5,000 people that is the county seat of Bradford County. The county courthouse is a prominent building in the center of town that has a neoclassical dignity that attracted me. For a small town, we were fortunate to have two talented architects that had offices in town, and I spent summers working for Richard Schweitzer, AIA. He designed several extremely beautiful houses around a lake that I was able to spend time at as a young student. When I returned from a cross-country trip while still in high school, I had a lot of photographs – all buildings! I was hooked.

Q: What has been the biggest challenge, project or moment in your career?

A: Working with I. M. Pei on numerous projects was the most invigorating opportunity for a young architect. He and I worked together with one other individual to design and detail the Meyerson Symphony Center in Dallas. A pure symphony hall is one of the most complex building types that one can build. The architecture must be a landmark that draws people into the building for both civic activities and an intimate place for listening to music. And the music that was to be performed included small intimate chamber music and symphonic performances with over 100 musicians.

I worked on the project daily for over eight years and dealt with all consultants including the acoustician, Russell Johnson of Artec, located in New York. The client had hired the architect and the acoustician independently because they wanted to

receive the best in design and acoustics. We achieved a world class facility, although a common debate was how architectural ideas had to respond to acoustical requirements. I remember I.M. telling Russell that the audience enjoyed a concert with both their eyes and ears. Everything in the hall from the solidity of the walls, the required double concrete roof, and the amount of fabric the seat cushions were permitted to have was up for debate.

While we were hired by the symphony association, our contract was then transferred to the City of Dallas. We worked together comfortably thanks to the dedication of George Schrader, a former city manager who had the task of navigating the sometimes-choppy waters between the two leading design firms. Maintaining quality in a complex project was also a daily challenge during the construction process.

There was a glorious performance on the opening night in September 1989, and I can still hear music!

Q: How has being educated at Penn State, campus environment, professors or student culture influenced your career?

A: I was late in applying to college. I entered Penn State in the summer of 1967 and was assigned to the Division of Counseling because the architectural program had reached its capacity prior to my application. I entered the architectural program the following year, turning a five-year program into six years. For me, the University Park campus was exciting and invigorating with so much to see, so many friends to make, and so much to learn. It was like starting a new chapter in life!

The opportunities that Penn State offered were without limitation. I signed up for a study abroad program in Italy, not in Florence or Rome but in a small community in the south, near Naples. San Leucio was a planned utopian community envisioned by the Bourbon King of Naples. Here, the king provided a church, housing, and a factory that produced silk utilizing jacquard looms. We studied the utopian plan, which was radial in nature.

Along with six other students from Penn State and five from Milan Polytech, we studied architecture, urbanism, and planning. We studied how the housing had been transformed over time. We studied Italian culture, food, and wine. It was a remarkable experience that opened my mind to different attitudes and cultures. This experience had a profound influence on my life and led to my international travels, and later to designing buildings on a global stage.

& COO, Meir Partners Architects

George is a Partner and COO of Meier Partners Architects, LLP an award-winning design firm located in New York City. He graduated from Pennsylvania State University in 1973 with a bachelor’s degree in architecture. After his graduation, he moved to New York City where he worked for I.M. Pei & Partners currently known as Pei Cobb Freed & Partners. He became the managing partner of the firm in 1989 and served in that capacity until 2018.

During this period, George worked on many significant projects including the Johnson and Johnson World Headquarters in New Brunswick, New Jersey, the Meyerson Symphony Center in Dallas, the National Constitution Center in Philadelphia, the Moakley Federal Courthouse in Boston, the NASCAR Hall of Fame in Charlotte, and the nternational African American Museum in Charleston. His international projects include Raffles International Center in Singapore and the Luxembourg Museum of Art. He has completed projects in England, Spain, France, Germany, Korea, China, Taiwan, India, and the Philippines.

George is profoundly interested in the future of our profession. He served as President of the New York Chapter of AIA, served on AIA’s National Board of Directors, and was the 86th President of AIA. He has received the NCARB Presidential Medal and the Gold Medal of the AIA from New York State In 2024, he was honored by the University Trustees with the Pennsylvania State University’s Distinguished Alumni Award. He has been involved with the National Council of Architectural Boards (NCARB) for over 15 years and served 10 years on the New York State Board of Architects, including a term as the Board Chair. He served on the Executive Committee of NCARB Region 2 as Chair and served on NCARB’s National Board of Directors for two years.

Raffles International City, Singapore

Meyerson Symphony Center, Dallas, TX

NASCAR Hall of Fame, Charlotte, NC

George H. Miller, FAIA, NCARB Partner

I made lifelong friends and have worked with Paolo Caputo, one of the Milan students at the new Headquarters of the Regione Lombardia. This would not have happened without the Penn State study abroad program.

In recent years, I have served on the Provost’s Advisory Council for Penn State Global. Our group makes recommendations to the administration on how the university

can enhance the study abroad programs and how we might encourage foreign students to select Penn State as their choice for receiving an education in the U.S. We are working to find partners in foreign universities and to find ways to develop connections with business abroad who might be willing to establish internships for those interested in working abroad.

Q: What are the changes in practice of architecture that you have seen over your career? What are your concerns for the future? What are you excited about for future practice?

A: When I began working for I. M. Pei in 1975, I was astounded to find an architect, Martin Daum, drawing with pen and ink on linen. If a mistake was made, he had to dry the ink, and then scrape at it to remove the ink before redrawing! We went from that to drawing on mylar. We went through a pin bay system and then ventured into computers. Our first computers were McDonnell Douglas models used for the airline industry. We were designing an apartment for Steve Jobs in New York City, and he brought us our first Macintosh desktops. He asked me once if we had yet set up email for our office, and I said that we had several addresses. He said everyone needed a computer and an email address. I was astounded but recognized that he was right. We all got them quickly.

Today, three-dimensional renderings of buildings are commonly used in the design process. Alternate solutions are quickly generated and evaluated. We once drew every brick in the Portland Art Museum façade so that we could study the brick coursing. Today, AI is finding its way into the design process and 3D printing and robots are used in building. The challenge of the future is to pay attention and be willing to adapt to rapidly changing technology and methodologies. Architecture is a great profession that affords the opportunity to respond to different clients and their needs. I have been able to work on music halls, educational facilities, housing, museums, and office complexes. I have worked with I.M. Pei and Richard Meier, two exceptional architects who both won the Gold Medal of the American Institute of Architects, the Gold Medal from RIBA, and the Prize Imperial from Japan. My advice to students, graduates, and emerging professionals is to find a mentor that you respect who can advise and work with you to establish a path that will smooth your way to a successful career.

National Constituion Center, Philadelphia, PA

Fordham University Law School and Dorm, New York, NY

International African American Center, Charleston, SC

Region Lombardia HQ, Milan, Italy

Torre Espacio, Madrid, Spain

Dennis A. Paoletti

“There are many interesting and varied non-traditional career opportunities for those who study architecture. I believe that is because of the training and education architects receive. They learn to think, plan, and strategize with a broad big-picture perspective. These traits can be applied successfully to many careers.”

Q: What and/or who inspired you to become an architect… and acoustical specialist?

A: As a teenager studying architecture at the Brooklyn Technical High School, Brooklyn, NY and in my early years at Penn State when returning home between semesters – my friends and I would often ride the elevators in a New York high-rise to the top floor, then find the door and stairs to the roof and climb out for a unique view of the city and the roof-top gargoyles, pyramids and other decorative elements and details on the very tops of these buildings. As security concerns elevated and technology developed, in later years, it became impossible to gain access to the elevators, let alone the roofs of urban buildings. Nowadays our in-person views from the tops of the downtown high-rise buildings can only be captured by drones or expensive trips to the observation decks in these high-rise buildings.

I attended Penn State in the Department of Art and Architecture between 1962-1967. I was elected to Fellowship in the AIA in 2002 and I became a PSU Alumni Fellow in 2006. I have been actively engaged in the Penn State Alumni Association and the AIA (currently serving on the Fellowship Committee) and have participated in the PSU San Francisco Alumni Chapter, as well as other professional organizations,

Q: Even with all your career accomplishments, do you still have a dream project or collaboration you want to pursue?

A: I have had the pleasure of always blending and balancing my personal life and professional career. Many of my clients and professional associates have become my friends. I have traveled extensively to many countries attending conferences and performances in some of the finest concert halls in the world (for professional assessment and personal enjoyment). These include: Segerstrom Hall, Costa Mesa, CA., Carnegie Hall, NYC, the Berlin Philharmonie, the Musikvereinsal, Vienna, the Concertgebouw, Amsterdam, and others. I have met and worked with many of the most recognizable “celebrity” design architects of my time (e.g. James Polshek, Arthur Gensler, Tiny Lawrence, CRS, Rafael Moneo, Craig Hartman, SOM, Richard Meier, etc. (Note: of course, there are many well-known architects that I haven’t worked with. These include Frank Geary and Jean Nouvel). With 55 years of career experience, I continue to provide independent consulting services as the opportunities arise.

Dennis is the Founder and President of Paoletti Acoustical Consulting with extensive experience in complex cultural performing arts and educational projects. In his over 50 years of professional experience curating the perception and application of sound in architecture, he has created spaces that resonate with the public. He is a visionary leader who melds his substantial experience in business operations, technology, energy and placemaking. He is quite capable of preventing problems through good design and eliminating problems that already exist by understanding the physics of a space and sensitivity to program.

Dennis graduated from Pennsylvania State University (PSU) in 1967 with a Bachelor of Architecture. He was elevated to fellowship as a Fellow of the American Institute of Architects in 2002. Over the course of his career he also became a Fellow of the Acoustical Society of America and a Fellow of the Society for Marketing Professional Services.

P.S. Dennis was a member of the 1965 NCAA Champisonhip Gymnastics Team under Coach Gene Wettstone (and is remembered by roommate Tony Gallo for walking down their East Halls dorminotry

Dennis A. Paoletti, FAIA, FASA, FSMPS President, Paoletti Acoustical Consulting

on his hands.)

Orange County Performing Arts Center, Costa Mesa, CA (Dennis in 1:10 Scale Model)

Christ the Light Cathedral (1800 seats), Oakland CA

Sunset Theatre (720 Seats), Carmel, CA

Q: What are changes in the practice of architectural acoustics over your career and/ or projecting into the future – that you’re encouraged about?

A: Within the last decade, computer mapping programs have been developed that allow “sound energy” and its travel path(s) to be viewed….in color! No longer is it necessary to try to verbally explain the implications of an acoustical recommendation to an architect or lay client. Once a color-coded computer mapping diagram is shown, it is quite obvious to everyone where concentrations of sound energy occur (red and purple areas), and where the impact of sound energy is no longer significant (yellow and green areas).

Q: How has being educated at Penn State – informed, influenced or profoundly affected your career and practice of architecture?

A: I have been a practicing consultant in Architectural Acoustics for 55 years and continue to enjoy my career which blossomed at Penn State through undergraduate courses in architecture and architectural engineering (Professor Howard Kingsbury) and an influential visiting practitioner (Bill Cavanaugh, Director of Architectural Acoustics at Bolt Beranek and Newman). Howard and Bill became personal and professional acquaintances until their passing.

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I don’t believe I ever specifically planned or strived to develop a legacy. A legacy is defined by how others perceive you and/or your work. I have heard others introduce me with high praise and accolades, which are humbling and unexpected. I have been blessed with a long and successful career, being able to work on some significant high-profile projects with well-known celebrity architecture clients. Much of my work was on typical building types and normal spaces solving typical acoustical problems; however I have also worked on many special projects and performing arts facilities.

My career as a “specialty consultant” to architects is considered atypical (i.e. although I did obtain my architectural license, I have never practiced architecture). There are many interesting and varied non-traditional career opportunities for those who study architecture. I believe that is because of the training and education architects receive. They learn to think, plan, and strategize with a broad big-picture perspective. These traits can be applied successfully to many careers and life experiences.

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: I have found several courses and/or seminars to be valuable in my personal life, as well as my professional career. They have been on such topics as: Leadership, time management, project management, and public speaking. Although it might seem like these topics are all tangential to “design” per se, they do help make one a more well-rounded individual and make you better at your craft. And then there’s “networking” – a very valuable trait, especially related to marketing and business development. If you don’t do it naturally, then learn how to do it, train and practice, practice, practice.

Christ the Light Cathedral (1800 seats), Oakland, CA

Orange County Performing Arts Center, Costa Mesa, CA (3000 Seats Model)

David L. Schrader

“...while design is the language that we learn in school, and that we practice professionally, it becomes only a common thread, amidst the many aspects of what it takes to win work, to build a staff to support the projects, to build a business to support that staff, to manage that staff and that work and to ultimately get our client’s dreams built...”

Q: Can you describe any particular defining qualities, styles, themes or key features about your body of work?

A: Our office prides itself in work that is responsive to the specific context. Given that, no two projects are alike aesthetically. Perhaps the better defining quality of our work is in the area of “thematics”. The office has spent twenty years cultivating a strong academic portfolio focused on next generation learning. That focus has created projects with learning environments more like a Stuckeman building than the traditional “cells and bells” or “eggcrate” classroom structure. The spaces we develop within our facilities adjust to multiple learning styles and thus are unique in their configuration. We truly hope that each of our facilities represents a microcosm of the community in which the students live, so that all elements of a village can be found within the structure. We also believe in design by the community for the community. To achieve this, we have developed elaborate workshop-format community design exercises where users and community members come together to help design their facility. The design team then takes the results and attempts to craft a functional facility around the concepts developed in those workshops. The process has helped us to “sell” the design better to the community at large because they were part of the conceptualization! We think that process sets us apart from some of our colleagues.

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I’m not sure that I can identify the exact moment when I felt like I/we made a difference, but I can say that over the years it has become apparent when I have had the chance to visit many of our academic facilities following their ribbon cutting that we are leaving a legacy for the next generation. When I walk through those facilities and see students using the spaces as we envisioned them, it is clear we are having an impact.

We also design for a mission critical/ public safety clientele. Many of our law enforcement facilities, 911 Centers and Emergency Operations Centers have been critical to the function of communities during times of need. I was fortunate enough to see our Pennsylvania Emergency Management Agency (PEMA) facility in use during several of the storms that seem to frequent Pennsylvania. Seeing the facility functioning with the many public safety professionals assisting the population of our state during times of need has been incredibly rewarding. It lets me know that what our team does is very beneficial to society!

As for a legacy, and to the academic facility design side of our practice…. I started this firm with a vision of bringing those next generation learning environments that I was seeing in the Pacific Northwest and other areas, to our region. Twenty years and many buildings later, it is clear that we are truly seeing that transformation occurring in our region! The legacy of supporting the students that we serve seems to have come to fruition.

David is responsible for the firm’s leadership in design, management, and business development. Devotion to architecture for the betterment of the public domain is at the core of David’s leadership in architectural practice. An expert in architecture for learning and public safety, he has created award winning work and leads a participatory community process that profoundly impacts the education of our youth and the protection of our citizens. David believes that partnership in design is paramount to creating a better designed environment for each client.

Facade, Enfield Elementary School, Springfield Township PA

Enfield Elementary School, Springfield Township, PA

David L. Schrader, FAIA, A4LE Fellow, LEED AP Managing Partner, SchraderGroup

Career and Advanced Technology Center, Community College of Philadephia West Campus, Philadelphia, PA

professors or student culture – informed, influenced or profoundly affected your career and practice of architecture?

A: I feel incredibly blessed to have been a Penn State student. I did also attend a master’s program at another university, but I feel the best and most well-rounded education I received was at Penn State. I was also fortunate to have been part of the Greek system, to have participated in intramural athletics and even to have worked in an architecture firm for part of my five years. Each of these activities contributed to my life as an architect. I have found the business of architecture to be a tremendous mixture of art, sales, marketing, and ultimately it is a business of people. I think both the humility of the Penn State culture, as a whole, combined with the knowledge that we received one of the best architectural educations has served me well. The significant social life I was fortunate to have been part of has contributed greatly to my ability to “sell” our craft to the public. The need to become a good time manager in order to participate in all of these activities became a roadmap for how I have led my professional life. I attribute Penn State’s culture to the success I’ve been fortunate to have and am very thankful for the opportunity!

Q: What changes in the practice over your career and /or projecting into the future – that you are encouraged by and/or would be concerned about?

A: When Penn State started its BIM studio, now known as the Interdisciplinary Collaborative Studio (CoLab), I was tremendously encouraged by the fact that the University recognized the need for many design professionals coming together to solve large scale design problems. This evolution in thinking, from the lone architect sitting at her/his desk to a “team” developing integrated solutions, suggests a tremendous improvement. It is absolutely critical for architects to recognize that they must function as a team with supporting disciplines to provide state-of-the-art solutions. Working in a vacuum no longer solves the difficult technical problems of these evolving facilities.

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: Perhaps the most important thing for a young architect to consider is that design is a small portion of the life you lead as a practicing architect. And while design is the language that we learn in school and that we practice professionally, it becomes only a common thread surrounded by the many aspects of what it takes to win work, build a staff to support the projects, build a business to support that staff, managing that staff and work and ultimately getting our client’s dreams built in the environment. It is an incredibly humbling thing to see your design becoming part of the community in which you live and to recognize all that it takes to make that happen.

Young architects should immerse themselves in the entirety of what a university like Penn State has to offer in order to develop tools to be the most successful in our craft. Enjoy design but enjoy everything that surrounds design. It is critical to your success!

Front Entry Facade, Governor Mifflin Community Athletic Facility, Shilington, PA

Front Entry Facade, Upper Merion Area High School, King of Prussia, PA

Q: How has being educated at Penn State, campus environment,

Lloyd Sigal

“It’s up to architects to define our relationship to these AI technologies and make sure we have a voice in shaping the future - and using technology to make us smarter and more efficient, but understanding that our creativity needs to be at the center of this future.”

Q: What and/or who inspired you to become an architect?

A: Since my father was an architect (and later a developer) I was exposed to architecture throughout my childhood, spending time in his office, visiting construction sites and learning how to draw on his drafting board at home while still in elementary and high school. Our family trips would always include visitors to important buildings, and I always enjoyed learning about my father’s latest projects. I grew up immersed in the world of architecture and met many architects through my father’s practice, including Gene Kohn, Bill Pedersen, Shelly Fox who I would later go on to work with for more than 3 decades at KPF. This also exposed me to the economy and market effects on the architecture profession, which my father cautioned me about as I considered entering architectural school in the early 1980’s when New York City was suffering through a deep recession and many architects were out of work. So, I went into architecture with balance of idealism (the potential for changing the world) and realism (the pragmatism of the business). Gene Kohn eventually became my most important mentor and a close friend for almost 40 years, always providing inspiration and wisdom as we traveled the world together.

Q: Can you describe any particular defining qualities, styles, themes or key features about your body of work?

A: My approach to making architecture fuses design with engineering and construction to develop creative, innovative and integrated solutions. I have always been fascinated by engineering, math and science. I even considered a career in structural engineering and enrolled at Stevens Institute of Technology, only to realize that my passion for architecture and design was far stronger than my desire to continue with more advanced calculus and physics classes. This is why I transferred to Penn State to study architecture.

This fusion of engineering and architecture is epitomized by a series of projects which use “architectural surgery” to

reposition outdated and historic buildings. Through a very close partnership with the structural engineers and contractors, we have created some amazing and very iconic buildings, these are an expression of their structural logic and through this process of recycling and adaptive reuse, hallmarks of sustainability. These projects include AIA National Honor Award winning Centra Metropark and Realogy Headquarters in NJ; 390 Madison Avenue, 660 Fifth Avenue and One Madison in NYC and the Petersen Automotive Museum in LA.

I also take pride in the many mega projects I have led around the world, including Hudson Yards, Terminal 5 at Changi Airport in Singapore, Mohegan Sun Casino and Resort, the Port Authority Bus Terminal and many others. These projects have involved highly integrated infrastructure, planning and deeply collaborative designs.

Q: How has being educated at Penn State, campus environment, professors or student culture – informed, influenced or profoundly affected your career and practice of architecture?

A: My 5 years at Penn State had a profound effect on my life as an architect and as a person. I believe that being in a very small department within a massive university provided us with so many opportunities. The tight studio culture was my home and my classmates became part of my family and lifelong friends.

Since the department in the 1980’s was still in the Engineering Units, we had a very close association with the Architectural Engineering department and shared many professors. When I reflect on my career, I now realize how this had a profound effect on the way I would look at architecture (in my work). Being part of the larger university, also allowed us to take advantage of the wide variety of academics and social opportunities, making us well rounded people. As a professional, this has translated into networking and new business skills and developing strong relationships with clients and other professionals.

As I have worked with many Penn State alumni over the last few decades, I have noticed that most are great communicators, organizers, and managers - probably one of the reasons I have been so successful in leading so many large mega projects..

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I like to think that I make a difference in three ways:

First, through my built work, I have created some very significant and iconic buildings and places that have contributed to the skylines, urban fabrics of cities and communities around the world - and are enjoyed by many. I also hope my work has inspired other architects and aspiring architects to think boldly.

Second, I have been creating a legacy through mentoring and educating our next generation of architects and leaders. I have mentored dozens of young designers and architects within KPF from graduation and have encouraged and advised them as they have been promoted and taken on more responsibilities. For the past 20 years, I have been working closely with Penn State’s department of architecture, supporting the program and mentoring a generation of students, who I continue to advise as they move on with their careers at KPF and at other firms.

And finally, since I strongly believe in the need reach down into the high schools to educate students on careers in architecture, I am deeply involved in programs like ACE Mentorship and Publicolor which support inner city and at-risk students through programs in architecture and the arts. Through these programs, we are motivating 13 to 18 years olds to not only finish high school, but to go on to college and, perhaps, a career in architecture.

Paying it forward....

Lloyd

is a

Associates with more than 36 years of experience. He has played a key role in managing this global 700 person architecture and planning firm and has led significant projects in the United States, Brazil, Chile, China, South Korea, United Kingdom, Europe and Singapore. His diverse portfolio covers a broad range of sectors including mixed use, corporate and office, residential, hospitality, retail, governmental, transportation, sports and entertainment, academic, and cultural. His work has been recognized globally with numerous awards from the American Institute of Architects (including two National Honor Awards) and several from Urban Land Institute, MIPIM, Chicago Athenaeum, World Architecture Festival, Engineering News Record, American Council of Engineering, Americas Lodging Investment Summit (ALIS), Associação Brasileira dos Escritórios de Arquitetura (AsBEA), and Society for College & University Planning (SCUP). These projects have been widely published and he has lectured around the world. Lloyd’s management approach fuses design with engineering and construction, emphasizing collaboration to develop creative, integrated solutions. This strategy is epitomized by a series of projects that use architectural “surgery” to reposition outdated buildings including award winning projects such as Centra Metropark and Realogy Headquarters in New Jersey and 390 Madison Avenue, Conrad Hotel/ Battery Park City, One Madison Avenue and 660 Fifth Avenue in New York City and Luna Nova in Sao Paulo Brazil. He also led the Petersen Automotive Museum in Los Angeles, which was a transformation of a department store into a world class museum, on Wilshire Boulevard across from LAGMA.

Lloyd Sigal, FAIA Managing Principal, Kohn Pedersen Fox

Sigal

Managing Principal at Kohn Pedersen Fox

One Madison, New York, NY

Centra Metropark, New Brunswick, NJ

Q: What are changes in the practice of architecture over your career and/or projecting into the future – that you’re encouraged by and/or would be concerned about?

A: In the span of my life in architecture, I have seen our work shift from the analog world to the digital world. I started during the mid 1980’s in a world of hand drawing and model building, faxes and overnight delivery (no internet), and no mobile phones. Over my 36-year career in practice, we have seen a massive transformation in how our work is done and how we communicate with each other. We have progressed from hand drawing to 2D CAD to 3D CAD to BIM modeling. And now we are looking at how AI (artificial intelligence) and machine learning are making us even more efficient by automating the process of drawing and writing. The result of the increased productivity is that we are able to produce more work with smaller teams. Although there are always concerns about fewer jobs in traditional architectural practice, I believe (as has always been the case) that many opportunities will open up for architects in other related disciplines and businesses. It’s up to architects to define our relationship to these AI technologies and make sure we have a voice in shaping the future - and using technology to make us smarter and more efficient, but understanding that our creativity needs to be at the center of this future.

Hudson Yards, New York, NY

Heron Residential Tower (Riverwalk), Tampa, FL

Changi Airport Terminal 5, Singapore

415 Natoma Office Tower, San Francisco, CA

Jason E. Smith

“. . .much of what made a great architect in 1850, 1900, or 1950 continues to make a great architect today. Many of these traits can be described in dualities: a relentless drive but also great patience; an artistic vision but also a keen technical sensibility, a sensitivity to context and history but an investment in the new. . .”

Q: What and/or who inspired you to become an architect?

A: I always had an interest in space, light, and form. Although that way of thinking about our world didn’t really come to me until my formal education at Penn State. Growing up, my family was interested and involved in both applied arts and visual arts. My father carted us around to museums all over the country, while my stepfather was a construction foreman turned physics teacher who tutored me on the basics of gravity. But what probably turned the tide was pure happenstance. A high school course was canceled at the last minute and one of the few substitutes available was manual drafting, which in my rural district was considered a strictly vocational skill. The Mayline and triangles were somehow familiar to me, and the teacher— who spent most of his time disciplining my ornery classmates— seemed pleased and suggested that I consider architecture.

Q: What is your creative process like? How has your style, approach, or perspective evolved over your career? How do you stay motivated and continue to practice and innovate?

A: I often told my students that if you cannot be an optimist, this might not be the profession for you. Truthfully, compared to professional-services careers in other disciplines, architecture is low-paying and the demands of the profession don’t really relent as you advance. What offsets these limitations for me is the reward of following a creative journey and building a practice. That’s why we call it that—you continue to practice to improve your approach and results. Design for me is a deeply collective act. Together with my partners, colleagues, and clients, we can raise the bar for everyone. I love and learn from these outcomes, which is why I keep an optimist’s view—in its best light, the power of design can transform not only the lives of the users, but the lives of the designers as well.

Q: How has being educated at Penn State, campus environment, professors or student culture – informed, influenced or profoundly affected your career and practice of architecture?

A: I really had no idea about the opportunities and challenges of an architectural education when I arrived at Penn State. I knew it for the campus environment, the richness of its academic programs, and of course the football team. Most of all I wanted to get away from the small academic community of my hometown and be around thousands of other kids that just wanted to learn. At University Park you are privileged with access to the wider resources of the campus, but the architecture program offers a rather intimate setting with a great deal of faculty attention. Five of those faculty really stand out for me: Don Leon, Lou Inserra, Katsu Muramoto, Loukas Kalisperis, and Amy Forsyth. A couple from the old school, and at that time, a few vibrantly engaged in new schools of thought. From the former I learned the value of rigor, history, and intellectual honesty. From the latter came lessons about risk-taking, independence, and the allure of the novel. University Park itself inspired my longstanding fascination with the evolving campus as a place where landscapes and buildings come together in wonderful dialogs across eras. It’s safe to say that my practice has embraced all of what I learned at Penn State.

AP

Jason is a Partner at the Philadelphia architecture, research, and planning firm KieranTimberlake. He has led the planning, design, and construction of the firm’s pivotal projects and fostered its research and design culture. With his partners, he sets the design direction for projects and charts the course for the future of the firm. Jason works at all scales, from private homes to campus master plans, and has completed projects across North America. He is a founding member of KieranTimberlake’s Community Involvement initiative which collaborates with non-profit organizations on pro-bono, civic-focused projects.

Jason’s approach to design integrates art, research, and new modes of project delivery, yielding sophisticated work that is both rich in meaning and beautiful in craft. His projects have been widely recognized through publication in Architect, Architectural Record, and Faith and Form, AIA Architecture Awards at the local, state, and national levels, and multiple LEED Platinum certifications.

Jason led the design of the recently completed Eric J. Barron Innovation Hub on South Burrowes Street in State College, and is currently engaged in the Sackett Building Renovation and Additions on the University Park campus.

He is a frequent lecturer and serves on academic and professional design juries nationwide, including as jury chair for AIA New England, AIA DC and AIA Kansas His participation in the Centennial Kossman thesis jury for the Department of Architecture led to the creation of an endowed scholarship fund for students in the College of Arts & Architecture.

Jason E. Smith, FAIA, LEED

Partner, KieranTimberlake

Brockman Hall for Physics, Rice University, Houston, TX

Eric J. Barron Innovation Hub, Penn State University, State College, PA

Q: When did you first think that you had made a real difference in the world through your work? What do you hope your legacy will be to the profession and/or the built environment?

A: I’ve been really fortunate to spend most of my career working in and around academic environments. This has taken me to every kind of campus, from small New England liberal arts colleges, to large land-grant flagships like Penn State, to dense urban networks in San Francisco and Washington, DC. Despite the physical differences, our job is always to support an optimal learning experience through an authentic evolution of the spirit and context of these places. That’s why our buildings for Penn State don’t look like our buildings for Middlebury College or our buildings for UC San Francisco. It helps that these and many of our clients see their buildings as long-term investments and are supportive of both design and technical solutions that enhance their longevity. Through the arc of these experiences, I have always felt the capacity to make a difference in the lives of the students, faculty, staff, and visitors that use our buildings and landscapes. As for legacy, that is for someone else to interpret. I simply hope that the buildings endure and continue to be both beautiful and useful, and that those that I’ve come across are a little better for our encounter.

Q: Is there any particular advice or necessary qualities for a young architect or student to become accomplished and successful?

A: I recently heard that in the last 25 years—which happens to approximate the span of my career—architectural practice has seen more change than in the 150 years prior. I understand the basis for this assertion; certainly, the technology by which we envision, model, document, and put our designs into the physical world has grown exponentially in this period. We’ve also made real progress in building relationships with our allied design and construction disciplines—a commitment that I would encourage every young person in our profession to embrace. But by my reckoning, much of what made a great architect in 1850, 1900, or 1950 continues to make a great architect today. Many of these traits can be described in dualities: a relentless drive but also great patience; an artistic vision but also a keen technical sensibility, a sensitivity to context and history but an investment in the new, a willingness to take design risks but also an understanding that you’re spending someone else’s money! I hope that these dualities endure, and that both the academy and the profession can continue to support a celebration of architects as both artistic problem-solvers and as valued providers of professional services.

Portola Dining Commons, University of California, Santa Barbara, CA

Pound Ridge House, Pound Ridge, NY

Quaker Meeting House and Arts Center, Sidwell Friends School, Washington, DC Atwater Commons, Middlebury College, Middlebury, VT

The Tidelands, University of California, San Francisco, CA

End Notes

“Architecture is really about well-being. I think that people want to feel good in a space . . . On the one hand it’s about shelter, but it’s also about pleasure.” - Zaha Hadid

Acknowledgments

As with any substantial undertaking, this special issue of Vertices represents contributions and efforts of many people behind the scenes. These individuals -- assistants to the Fellows, photographers, graphics and narrative editors - are not credited but are collectively part of the “we” who all helped produce the content for this issue.

The theme and premise of this AIA Fellows issue could not have advanced without the contributions of Nancy Hadley, Director, Archives and Records of the American Institute of Architects staff, who graciously sorted and culled a listing all of Penn State graduates registered in the AIA College of Fellows. We also acknowledge there could some who could be missing from this list, and we will certainly add any others as we are made aware.

Front, Back, and Inside Cover Photos of Penn State Campus by Robert McNamara, AIA (B.Arch. ‘82).

Followup information, comments, and other input from readers regarding Vertices is welcomed via email to: cjbonaccipsuaag@gmail.com

Additional Penn State AIA Fellows

There were more than 20 Alumni Fellows initially identified and contacted for inclusion in this special edition -- but for various reasons, several were unable to participate in time for press. These additional Alumni Fellows are named below, and we hope they will be able to participate in a future supplemental edition, along with additional Penn State architecture alumni newly elevated to the AIA College of Fellows in the coming years. We also remember and pay tribute to other Penn State AIA Fellows who have passed. Their many extraordinary accomplishments have shaped the built environment we use and enjoy today, and they are highlighted on the facing page.

Louis Astorino (Class of ‘69) Retired, Cannon Design

Michael Davis (Class of ‘79), Mike Davis, FAIA, LLC

Anthony C. Floyd (Class of ‘78), Anthony Floyd Consulting

Michael Pinto (Class of ‘93), NAC Architecture

Garth C. Rockcastle (Class of ‘74), Rockcastle Architecture

Wesley Wei (Class of ‘76), Bulthaup Studio

Joseph Wisnewski (Class of ‘69), Wisnewski & Blair Assoc.

In Memoriam

Roy O. Allen Jr. (1921-1992)

Herbert Beckhard (1926-2003)

CR George Dove (1942-2023)

Herbert K. Gallagher (1926-2002)

Warren Wolf Gran (1933-2019)

Willard Steele Hahn (1909-1969)

John Hunter, Jr. (1898-1955)

Edward Glenn Petrazio (1921-2002)

Anthony Carter Platt (1943-1998)

William H. Sippel, Jr, (1924-2007)

Wahl John Snyder (1910-1989)

Crombie Taylor (1914-1999)

Shirley Jane Vernon (1941-2011)

FIRM / AFFILIATION

Skidmore Owings & Merrill

Beckhard Richlan Szerbity & Associates

WDG Architecture

The Architects Collaborative (Walter Gropius)

Gran Kriegel Associates, Pratt Institute

Wolf & Hahn Architects

Hunter, Campbell & Rea Architects

Skidmore Owings & Merrill (Chicago)

Platt Anderson Freeman Associated Architects

Deeter Ritchey Sippel

Wahl Snyder & Associates,

Institute of Design, USC School of Architecture

Drexel University, Moore College of Art & Design

Pattee and Paterno Library, Penn State University, State College, PA

Schwab Auditorium, Penn State University, State College, PA

OH! The Places You’ll Go!

You’ll be on your way up! You’ll be seeing great sights! You’ll join the high fliers Who soar to high heights.

You won’t lag behind, because you’ll have the speed. You’ll pass the whole gang and you’ll soon take the lead. Wherever you fly, you’ll be the best of the best. Wherever you go, you will top all the rest.

Except when you don’t Because, sometimes, you won’t.

(excerpt from poem by Dr. Seuss)

You’ll get mixed up, of course, As you already know. You’ll get mixed up With many strange birds as you go.

So be sure when you step. Step with care and great tact And remember that Life’s A Great Balancing Act. Just never forget to be dexterous and deft. And never mix up your right foot with your left.

And will you succeed?

Yes! You will, indeed! (98 and 3/4 percent guaranteed.)

Note: