Architecture. Grad School. The State of the Profession. Field Trips. Agony. Ecstasy. Life. Etc.

Architecture Addiction, The Official Blog of


VERB design build school (or is it an anti-school?)
idea farm and resource list
suggested reading/bookstore
other blogs I like
my portfolio
events
fieldtrips & workshops*
categories | archives | search
contact | rss
We're going to Greece, Peru, Japan, and Spain. Pick one or see them all!
Space is limited
Lock in your LOW PRICE now! -- [prices will go up]

What do you wish you knew when you first started your practice?
by Katy Purviance on 12/24/10 @ 12:46:50 pm
Categories: Architects | 1352 words | 930 views

I’m following a discussion on LinkedIn about starting a practice.

Florian asks:

I am in the very early process of starting a new practice and I was hoping I could ask the Architect group for advice. What do you wish you knew when you first started your practice?

Horace Spoon • I wish I had started with more clients! Seriously…

Francesca Zito • Understood tax liabilities better, might be different in Australia. Taking a small business class would be a helpful thing to do since you are both the designer and the business manager.

Steve Madison • Get the job first then worry about the rest:

1) Balance the target revenue sources of your practice: 60% government, 30% mainline private sector, 10% speculative.

2) Get published in the periodicals that your target patrons read - architectural trade press isn’t nearly as valuable.

3) Architecture is feast or famine: keep your overhead low, save for times like we are seeing now so that you can stay alive for the next wave.

4) It takes time to get good at anything. Set Godin says 10,0000 hours minimum. So be prepared to spent about 5 years befre you begin to see a retn on your investment.

5) Read “How to be a Happy Architect” and learn the lessons. Architects can’t save the world and if that’s what you want to do then you should invest your 10,000 hours in becomming a politician or a faith healer.

Wm. “Mark” Parry aia.sah.csi. • Thank you for the opportunity to down load. It’s an honor. When I started I had entirely different understandings of my role and purpose this is what I have learned so far..

* Much of the work of Architecture in the current market is a service and if so should not be seen as a platform for personal expression. You will express yourself any way it’s the only way it can get done. But to push that point it makes the work forced and actually false. Mind your clients intentions if you wish to have happy clients and keep them for years to come. Do not be a one trick pony…

* If it’s a hobby you invest more of yur time and resources then you will receive in return. A business makes the owners profits.

* Architecture is both a service and art form as well as and a mode of personal expression. If we are to serve our clients and not ourselves we need to understand the intentions and purposes for our work with them. We must not confuse our own intentions and be sure they align with our clients. If we do not that creates conflicts of interest dysfunctional relationships and a quick path to the court room or the back door.

We must be sure our interests align with all the values, goals and intentions of those we are working with. So be clear the motivations of your projects are in alignment. We can do 3 kinds of projects as I see it. Those involved should all be on the same page at the get go and clear about the intentions and purposes of the work.

They are:
a. projects that make money b. projects that win awards or notoriety. c. projects that satisfy our creative expressions or desire for a contribution to our world.

* It’s not how much you make but how much you keep. Don’t build a business for your vanity’s sake that’s just a hobby and very expensive…

This is a huge endeavor and will take a lifetime to perfect. Your carrier will have phases. I spent the first 5 years of my personal practice learning to put plans together, the second 5 years learning to put buildings together, the 3rd 5 years learning not to re-visit my dysfunctional family relationships with my clients. The 4th 5 years learning to make my business excellent. Now I am having fun….

* You define your profits by the work you do not do. A bad client will suck all the life, and vitality out of 10 good projects.

* Regrettably most people sitting across the table from an architect have presuppositions based on the behavior of other lesser architects. They tend to think that

1. Architects are expensive. 2. Architects do not listen 3. Architects just do what they want.

You must be careful to be sure your clients understand you are not that architect. You must not be that guy or prove to them that you are not him/her

Finally I believe strongly that architecture is your work not your life or your being, get a life don’t just have a business and your work will have life. Magazine architecture is as dead as the pages that generated the inspiration. Get into life for your work to participate fully with it and contribute life to our world…

Gary Madaras •
1. Receivables
2. Receivables
3. Receivables

Check the credit worthiness and payment history of clients thoroughly before signing contracts with them. Always have a clause in the contract to stop work for lack of payment (or at least a clause to terminate the contract). Avoid fly-by-night LLC’s set up by developers that can disappear via bankruptcy as soon as one monthly bank draw is denied. Watch your A/R report like a hawk. Call on every invoice status every 30 days (maximum). Keep your A/R report clean (have a defined write-off policy). Get a credit line at a bank as soon as possible even if you don’t need it. Build relationships with bank loan officers and understand the current economic factors influencing their lending and renewal practices. It’s tough to not have any work ~ it’s far worse to pay the labor and overhead to complete work that you never get paid for. Good luck.

Then Panagiotidou Nikoleta turns the discussion

I would like to ask all the architect group….if you could choose a foreign country- city (than your own) to work and live nowadays , which one would it be?

Steve Madison • I had the rare opportunity to spend three days working on a team with Christopher Alexander (Pattern Language) in 2002 and one of the things we discussed was why he would have chosen the opportunity in Dallas when the literally had the whole world to choose from. The answer was surprising in that he said that in order to actually DO something (significant) without the burden of so much government regulation, with access to adequate capital and (even) without fear of being killed or kidnapped during the project, the choices narrowed for him globally to the US and within the US, because of hostile labor unions and corrupt political structures in other states, to Texas.

When I was young I worked for part of a year in New York City and couldn’t wait to get back to Dallas. I guess there’s really no place like home.

Wm. “Mark” Parry aia.sah.csi. • California is now embroiled in the agenda wars. The industry spends it’s time at trainings and code seminars as we wade through the latest releases from the warriors who have ensconced themselves in the bureaucracy. Design is no longer practiced out here it is legislated. We fight for our perspective rather than unify build or release others to create. I would suggest north, south or mid-west but not far west…

Thomas Barbeau • Stay away from government clients, unless you enjoy deciphering committee-think as they assiduously work to avoid personal responsibility for decisions. also, @"Mark” Parry: I can’t think of a better reason to be a Tea Party supporter than the design nightmare that CA has become over the past 20 years, thanks to the pompous, arrogant, and nearly opaque command and control economy that’s being engineered by nanny-state politicians and their bureaucratic supporters. But hey, maybe that’s what it takes to achieve true “sustainability".

Gary Whitfield • Learn how to negotiate a contract with your clients. Most clients are business professionals and have more business skills then most new Architects. Most of my business education has been through mistakes I made on the business end of my practice.

I have been practicing in California since 1975 and I have seen an increase in regulations and litigation. As states and countries become more developed, regulation and attorneys will follow.

Bookmark and Share Send Feedback | Permalink
Anecdotally, the one skill that does "glue" design together, hand sketching, is slowly eroding.
by Katy Purviance on 12/20/10 @ 01:49:26 pm
Categories: Grad School | 211 words | 783 views

I just read this disheartening article by Gadi Amit about how design schools are doing their students a huge disservice.

The design schools aren’t teaching design.

As head of a major Silicon Valley industrial design studio, I review hundreds or even thousands of portfolios every year. It is an essential part of my job as I look for the best people to join our growing team. Because the right mix of talent is so crucial to our success, I make it a principle to review every portfolio sent to us myself.

That commitment puts me in a bit of a tight spot, as I struggle to find the right way to say the right things to people whose high hopes I’m forced to dash. Despite the recent surge in interest in design careers, the quality of candidates’ portfolios seems to have stagnated or even diminished.

The problem has become increasingly acute. I’m eager to hire the next great class of designers, but to my dismay–and the dismay of many young hopefuls who’ve often spent many years and thousands of dollars preparing to enter the industry–I’m finding that the impressive academic credentials of most students don’t add up to the basic skills I require in a junior designer.

Read the whole thing.

Bookmark and Share Send Feedback | Permalink
Long education, long internship, long hours, low pay, no jobs... Why do architects do it?
by Katy Purviance on 12/18/10 @ 06:56:59 pm
Categories: Architects | 30981 words | 4193 views

I’ve been following this interesting thread in the LinkedIn group ARCHITECT about WHY we do what we do when there are so many factors against us. It has been a fascinating look into the profession, and I invite you all to take a look and take part.

It all started when Albert Bendersky reposted the following blog post to the group….

This time for a change I am not going to be deeply analytical. I am not going to produce answers or to research dilemmas. I’ll be naïve and trivial. And I will ask you questions. 3 simple questions…

1. Why we are everything… and yet we are nothing?
Architects are truly Renaissance people. Perhaps the last profession on Earth requiring from you to know everything, to do everything, to be in charge of everything. Strangely no one is aware of that. Public has no idea of what architects are doing. Public thinks that architects are cute guys who are drawing some pictures, are doing quick drafting & then are going to the glitzy ceremonies to collect awards for being creative and cool. But for us, the industry insiders who know how architectural profession works this is such a nonsense.

Architects are responsible for the entire project from the first “napkin sketch” till the last detail on the construction site. As I sarcastically pointed out in my ”Top10 misconceptions…” – doing creative sketches and building models is not what our profession is all about.

We, architects, are the single authority managing the entire project.

We are responsible for making sure that all technical systems (mechanical, electrical, structural and at least a dozen of others) are intact and are perfectly coordinated with the general concept.

We are responsible for getting all of the administrative issues resolved: it includes municipal approvals, private agreements, urban design synchronization and at least a dozen of other clerical issues.

We are in charge of at least a dozen of ecological standards. (I’ll stop to mention “dozens” but be sure it applies to the following as well).

We are resolving the transportation and parking problems. We have to determine that safety standards, building codes, fire norms are properly applied. We are making sure that social issues are not forgotten and that handicapped access routes, children playgrounds, senior citizens areas are set up properly. And of course we are the creators of the project’s financial success (see my next question, please). And sure, as hell, we do produce those creative sketches, 3d models, but also… thousands of the working drawing sheets which are so conveniently not mentioned in the Hollywood flicks about sexy architects. This is just a small part of what we know and what we do. Every fucking day.

So why the public has never heard of that? Why people think that all these issues are somehow magically resolved by themselves? Every little project is a huge combination of the utterly complex matters. Those matters are perfectly managed & flawlessly resolved by the Architect. We are the only ones who are doing that. Not the engineers, not the owners, not the agents, not the builders. It’s us. We never get a credit for this.

Why we are everything… and yet we are nothing?

2. Why we make them wealthy… and yet we remain poor?
Behind every successful man is a smart woman. Everybody knows it. Today the situation, thanks God, has changed. Women are not “behind” us anymore. Well… at least “the situation” is much better than a hundred years ago. Women fought hard and they deserve every moment of their success. And trust me one day we are going to be behind them… You know what? We deserve it too.

Here comes my funny analogy. How come that no one knows that behind every rich developer is a smart architect? It might be funny but this is so true. We are the brain of the project. Forget about the numerous project issues I have listed above. The major topic for the client, for every client – is how to make the project financially profitable. Development is neither a charity nor a creative research. Development is a tough dirty business. Thus modern architect “must” always keep client’s financial interest as a top priority, before any technical aspect. The most interesting point: architect is not only coordinating main financial strategies with the other issues, in fact architect is the one who creates the very concept of “how-to-make-money” from the project. Developers have land and some starting capital (usually borrowed from the financial institutions) – architects invent the project. We are the force originating all those GFA, GSA, GLA (General Floor Area, General Saleable Area, General Leasable Area…) So later it can be marketed & successfully sold for the big bucks.

We must know not only how to create safe and pleasant project, but to make sure that everything we design sells well. Actually I am wrong it goes the opposite way. We must create projects that are highly saleable and also we need to remember about some safety and aesthetics…

All I am saying is that we are not “service providers”. We are not like a shirt cleaning shop or an ice-cream café. We are the ones who design the very concept of the product that makes our clients ultra rich. Do we get a single penny for this, besides our pathetically low professional fees? Tell me.

Why we make them wealthy… and yet we remain poor?

My third “why” is different. I planned to publish it here as well. But then I decided that it is not quite right. These first two questions are about our relationship with the outside world. And please understand, I am not bitching about how good we are and how they don’t appreciate us. Our industry must take a good look in the mirror and to think what are the reasons of my “why’s”. Nevertheless these are not strictly professional but rather general public issues. The third “why” is more “intimate”. Of course the public interest is always welcomed but we, architects by ourselves are the root of the problem in my third part of the “Why” trilogy. So I decided to separate it into the next essay…

And meanwhile maybe you can explain me what’s wrong with us being poor and nothing?

Albert received over 100 responses. I only wish we had had a panel discussion at the GSD as lively and thought-provoking.

John Cruet Jr., AIA • This is one of the most bitter, negative articles I’ve read in a while. And it was not an easy read due to grammatical clumsiness.

One advantage architects have over other professions is the ability to develop a portfolio that augment’s the architect’s worth. That, to a great extent, enables us to define our worth to the market out there.

Other than that, there are business obstacles like government, taxation, liability insurance premiums, and the fact that we do not operate in a true capitalist business environment that prevent us from enriching ourselves.

Albert Bendersky • Oh… this is what I call “bitching", John. Who prevents you from “operating in a true capitalist” manner?

Portfolio? Give me a break, do you know how many super-talented architects with amazing portfolio are out there? Do you think the portfolio “to a great extent” defines our worth to the market? You gotta be kidding me?
The only thing that defines our value to the market is our connections and (partially) the ability to sell yourself, just like whores. That’s it. Even the abbreviation you proudly display behind your name won’t help… Trust me.

That’s why we are poor and that’s why nobody knows how important we really are… (Forget about the grammar, this is not “bitter” or “negative” this is the reality John!)

John Cruet Jr., AIA • You talk worse smack than some of the most avid football fans out there, Albert.

So you really think that our portfolios, which display our buildings and our achievements, are worthless? And, because we sell ourselves, we are whores? What kind of world do you live in?

And read my posts more carefully, Albert. I did not say that I am prevented from operating in the current environment. And I’ll leave it up to you to properly interpret what i meant by “true capitalist environment.”

Get a job ;)

Pat Leitzen Fye • OK, boys, quite enough. Many of us have strong opinions about this business of architecture - it inspires strong opinions with its challenges and its (all too infrequent) rewards. But opinions are just that, and this forum should in fact lift architects (and those who support them) up, especially in these dark days of the profession. Yep, reality bites, but that doesn’t mean we humans should be baring our opinionated teeth on each other. Yeah, just call me Pollyanna.

Albert Bendersky • Very well said, Pat. Our worst enemy is not the “stupid public” which in accordance with my first “why” doesn’t appreciate our “omnipotence". And it’s not greedy developers not paying us enough as we make them rich (see why no. 2). Our worst enemy is us, by ourselves. Our pathetic professional world of individual envy, grudge (how poisonously Mr. Cruet was trying to insult me in both of his posts) and the perverse relationships within the industry itself… And this is going to be my “why” number three. Have a good day, colleague (Mr. Cruet might wish you to find a job as well in these “dark days of the profession". Don’t listen to him - I’d rather be a burger-flipper than such an “architect” as John…)

Ken Hess • Albert, I think Pat was talking about you - not John.

Pat Leitzen Fye • note the plural “boys” . . .

Albert Bendersky • Don’t overthink it, Ken.

It looks like I pissed off bunch of “oll’ white boyzzz…” thinking that they are the ruling class, thinking that they are the only ones who can ask questions, thinking that they are architects…. Good! That’s the purpose…

Here’s some news for you, boyzzz. it’s a 21st century… and hey, don’t think that current state of things will last forever, you’re not “too-big-to-fail", no one is ;)

(Take it easy, “oll’boyz". I remind you it’s an Internet, not your office where you play gods and your poor employees are afraid of your massive dark shadow, ok?)

P.S. Hey, for people like you I put that music-video at the end. So you can dance and relax a bit :)

John Cruet Jr., AIA • Albert, I like the suggestion you made about flipping burgers- should suit your pessimistic attitude just fine.

I don’t know what you expected coming on this board and trashing our profession. But not all of us are in the same predicament as you. We all manage to figure out a way to earn a living- in good times and not so good times. And since I’m older and obviously wiser than you, I suggest you get a life. ;)

Laura DeSantis Gagliano • I’ve found that many architects feel that they are above the discussions of money and profit. For me that concept was begun back in school where we were discouraged from asking about grades; the belief was that the project’s merit spoke for itself - if it was good, we’d be lauded for it. That concept continues into the profession. Unfortunately, architecture is also a business. We have fallen short on explaining to the public - the common person - what we really do, and what the value of it is. I don’t believe that anything the AIA is doing will help change this, the organization still seems to be enjoying the “ego” of architecture rather than promoting the business of it. Some states require an architect for any structure over 100 sf, others only require them for commercial structures. We as a profession need to take back our pride, stop backstabbing each other and join together to publicize and teach others what we really do.

Katy Purviance • Laura, I really appreciate your comment. Despite it’s length, schools do a poor job of preparing the rising generation of architects for the profession. I was disturbed by how little of the business side of this business is taught in school. I’m founding a school where students will learn not only how to actually build (another important thing not taught in school), but also how to set up and brand their business, including building business credit.

Charles Gierman • I agree with Albert.

Over time we have become a commodity. I see the complaint is about us being shoved behind the curtain. When a project has its opening, it’s about the developer, builder and interior designer. When awards are giving out for the design, it’s giving to the builder.

Portfolio’s do show the client’s our ability, but it is always about how cheep we will be. Builder’s and developer’s won’t recommended us for fear we will raised their prices, or our new founded work load will slow down their project’s.

After my 30 plus years it’s the same old story. Things have not changed. We are not making that much more on our fee’s, factoring in hardware, software, the size of construction documents, office space, etc.

I am not complaining about what we have done to ourselves. We have to see it as it is, and adapt.

Pat Leitzen Fye • I adore and am in awe of architects - you carry so much in your heads and hearts and put it all on paper and then make it real! I have long wondered why architects get so little respect and recognition,and even suffered through a period in which I thought it was just “us", the firm I work for. Over time I’ve come to realize that’s not the case, indeed all architects, save for starchitects, tend to be overlooked - ever have someone (quite often a builder) come into your office and say something like, “yeah, I just need the bloody stamp” . . . at my daughter’s Midwestern liberal arts university they recently completed a LEED certified campus center. Beautiful, beautiful, beautiful. Named the street it’s on after the builder, did a many page full color spread on the building and the contractor in the university magazine and NOT ONE MENTION anywhere of who the architect was who made the whole LEED thing happen, who worked with all the players to make the building beautiful and functional and one in which the campus, and the city, can take pride. Geezlouize. . . when will architects get their collective professional act together?

Susan Pelczynski • Fortunately or unfortunately I think many architects have such passion for their work, they will give 150% for the art and love of it, and not what is paid for. This equates to more hours than clients wish to pay and perhaps a willingness to low bid themselves to get that “really special project” that will take huge amounts of time. Engineers, builders and others in related industries simply do not have this emotional love-they are in business to make a profit. And if you are not in business to make a profit-well…sometimes you are not in business for long. Passion is not wrong, but it explains why many do what they do for very little money. It has been this way for many years.

Jose R. Santinho, AIA, LEED AP • Albert Very interesting article, refreshing. Nice work

Albert Bendersky • Thank you all, good people for support and interesting thoughts… (I also got some support through the Facebook.)

@Charles Gierman

“I am not complaining about what we have done to ourselves. We have to see it as it is, and adapt. “

Charles, why to adapt? We are smart, energetic, our profession is not dying like some other fields, we are Renaissance people. Why to adapt? WHY NOT TO FIGHT? (…here I kinda revealed part of my third “WHY?")

P.S. There is a third way … to leave. To become a banker, a programmer, a salesperson (in these areas average income is way better than in architecture) But it would be like giving up, isn’t it?

John Cruet Jr., AIA • “Charles, why to adapt? We are smart, energetic, our profession is not dying like some other fields, we are Renaissance people. Why to adapt? WHY NOT TO FIGHT? (…here I kinda revealed part of my third “WHY?”

Why not make THIS the theme of your blog?
Also, why NOT adapt?

Albert Bendersky • I appreciate the suggestion, John. (I really do, no irony).
I will answer in one simple sentence. Why NOT to adapt?

BECAUSE WE DESERVE BETTER.

“We” means, us - architects: you (yes you), people on this board, people I describe in my blog… Regardless of our portfolios John, regardless of our English grammar knowledge (read this pls John & forgive me some errors http://bit.ly/9LOLGz ), regardless of the abbreviations behind our names, regardless of our nationality & political views…

P.S. I know that for you, a man with a perfect spelling I’m an immigrant who should flip burgers for sahibs, John. But let me assure you: A. It will never happen. B. I am on that list too, I deserve it no less than you, even if you think differently…

Justin Istenes, AIA, NCARB • Architects are “professional” service providers. Compare architects to other, more “financially” successful service providers like lawyers and doctors and what do you see as differences? All the three professions provide custom individual service. Every legal issue has it’s variations and doctors still see patients one at a time. Both professions are extremely organized with support staffs that keep the doctors and lawyers focused on work that is the most effective use of their time. Both professions have very strong lobbing organizations that work hard to protect the interests and the turf of their members.

Architects usually are terrible business people. We are not taught to be good business people and when we have the sense to hire a god business manager, we typically frustrate that person. We give away services and we undercut our competition to get work. We then get spread so thin that we can’t afford to have a support staff in place that allows us to use our time effectively. This leads to substandard service which then disappoints our clients. How often have you heard about how bad the previous architect was then when it comes time to talk about fee you hear how the previous architect was cheaper than you are and you need to adjust your number to be in line with the last guy.

This leads to building owners looking for other avenues to get their architectural services. Contractors, Construction Managers and even Engineers provide alternatives to Owners by providing the services that you note in your article and hiring an architect to handle the design of the building on a design-build basis and cutting our fees. Try going to a notary to handle your lawsuit or a pharmacist to get x-ray and cast your broken leg. While the AIA has done some good work on our behalf, they simply do not have the resources to fight for the legislation that would be really required for us to be compensated the way we should be for the vast knowledge and many services we provide. The resource that they need is money for lobbing and awareness campaigns. They do not have it because we do not have it to give based upon what we make.

I honestly believe that is we were able to transition to a fee system based upon billing for hours spent versus fixed or percentage based fees, we would be in better shape. Most Owners have no incentive to make us use our time effectively. This would allow us to be more efficient and responsive to the pressing needs of their projects and would enhance the quality of service provided. I believe that under this system, design fees would likely go down and architects profits would go up.

John Allsopp • Wow - the temperature is hot in here!

… but there is a whole lot of truth in what Albert has written (in the blog post). I am very interested to see what point no.3 becomes because it sounds like it might be in the ballpark of what I am most focused on - our responsibility to ourselves - and our education. Interestingly enough what Katy mentioned above hits the nail on the head - regarding our typical arch education. I went to a ‘renowned’ architecture school but there was no big push there to prepare you to be an ENTREPRENEUR nor how to put a building together. Ironically I learned both by working directly with the people who we have lost so much to - in-house with a developer and on a construction site. Those periods were measured in months but I learned WAY more than I did in my years of architectural ‘education’. Just as important I frequently saw architects ‘from the other side’ and believe me, many times it was not a pretty sight.

We have become our own worst enemies. Whatever the external problems, our internal issues as a profession are now our no.1 priority. We can and should command greater respect for what we do - but like much of the rest of society we have become over-obsessed with celebrity and so many of our architecture schools spit out a load of blob-makers and promote the kind of mentality of fake celebrity that you get with reality tv … so on day one they are useless, and in an economic environment like this they are scr3wed.

Bring on no.3 and let’s keep up the conversation.

Kevin Gould • Very interesting comments.

We all realize that’s it a “dog eat dog” environment out there but the same rules have, and always will apply. People do business with those who they like, know, and trust. The architectural business has changed and evolved much like the medical business. General MD’s have their limitations. That’s why there’s specialists in every part of the medical industry. It’s difficult to be all things to all people, so it’s very important to understand your strengths and weaknesses as a design professional. As a sales professional I work with architects on a frequent basis. The most successful firms have come to realize that they cannot be all things to all people. These firms rely heavily upon their vendor resources to bridge their gap, and have focused on certain niche areas where they can be profitable, efficient, and separate themselves from other design professionals in their market area. There’s very few profitable new construction projects in my market so we’ve had to identify those areas where we can maximize our talents and profitability. This takes a lot of patience, stamina, and commitment but it can be accomplished. It’s important to look at things for what they are, but most important to visualize things for what they can be. Good luck to all.

John Cruet Jr., AIA • I apprenticed for an architect in New York, who, somewhat disturbed by a project that kept coming back for revisions, declared “The nature of architecture is change.”

And I agree, Albert, we deserve better. That’s why adaptation is so important. So what happens if an architect does not adapt? Then the architect, as one example, assumes the position that he/she need not understand the environment he/she is designing for, and that he/she can take an approach that one design fits all sites or any environment. I personally view Brasilia as an example of architecture and planning that could care less about the environment.

Adaptation is a way of life. It is a necessary use of our minds to help our livelihoods.

John Cruet Jr., AIA • Justin:

I have read your comments and I am in fundamental disagreement with you.

For one thing, the competition among fees is a consequence of any profession, including ours. As businessmen, we will each just have to deal with it.

As far as support staff, too many companies become too reliant upon support staff to do the important work, while the business owner does whatever he does- usually some form of less than competent business. Go to a number of firms and the principal does not want to deal with computer-aided design, being content to thrust upon his support staff a bunch of sketches on onion skin and expecting that the person will understand how to translate that into a building design. It’s no wonder I keep hearing that computerization has not increased the productivity of some design firms.

Regarding billing on an hourly basis, this has been an option in our field for as long as I have been practicing. I don’t believe the transition you are suggesting is necessary.

Ar architects terrible business people? Some of us might be, but to label us all that is so shortsighted as to be downright wrong.

Albert Bendersky • Adaptation is a way of lies to survive. Evolution is the way of changes to live. Here’s why… (again why):

“Evolution is the CHANGE in the inherited traits… This change results from interactions between processes that introduce variation into a population… As a result, variants with particular traits become more, or less, common. The main source of variation is MUTATION, which introduces GENETIC changes” (Wikipedia)

“Adaptation is the evolutionary process whereby a population becomes better SUITED to its habitat. The term adaptation may also refer to a feature which is especially important for an organism’s SURVIVAL.” (Wikipedia)

You want to SURVIVE, John. I want to LIVE.
You want to become suited to your environment, I want genetic changes that will bring my profession to another evolutionary level. You want to sleep, I want to move. You are after money and comfort and titles, John, I am for the greater causes…

I know it sounds funny to people like you, but believe me, people like me exist. You might have spotted few of us on this forum. We talk about “funny” things: education, entrepreneurship, adoration…
When did you use expression “I adore” last time John?

P.S. Why guys like you, never say “sorry man, my bad - I’ll buy you a beer"? Why do they prefer to change the subject, to change their tone and immediately to follow the crowd? Do you think we don’t see your adaptations?

P.P.S. I served in the army, John. I’ve seen the real war. I knew there is a cruel enemy out there, behind the lines. Enemy who hates you, who wants to kill you… But then there were people from the enemy side who worked with us… You know they came at night, shared some information…Informally. Were “helping". But not “for free” so to speak. At times pretty important info in terms of the military strategy. But we never knew who are they really working for. We never trusted them, we were not afraid of them (we were afraid of our real enemy) but our despise towards the cheap informants, the moral disgust towards those worms, who were trying to adapt playing both sides was overwhelming. Do you understand me through my grammatical clumsiness? How would you like your burger? I bet you don’t like it with blood…

John Allsopp • John No.1, I have to say that I think that hourly billing is deader than a doornail. It was one of the first things that I realized when I was working for a developer. It was a sad sad sight to see this architect come in to pitch his services. We had just finished an intense rapid-fire conversation about how to make the project stack up financially, and the players involved … and it was all about who brought value, who did what. Then in walks the architect (who didn’t know I was an architect) and he doesn’t mention the world value once, but moves along as quickly as possible to his fees and what per hour and what not. It was like we were operating in different centuries. This guy, otherwise perfectly decent, just seemed pathetic in the context. i was shocked to my core.

Without a doubt we have to be more business minded, and yes many of us already are - but not nearly enough - particularly young architects. I’m really feeling Justin’s points.
For me ultimately lump sum is the way to go. We need to have internal models to allow us to pitch properly - so we can earn a living and also give the other side some cost certainty. Personally I use the RIBA plan of work in combination with PM software (inputting workload values based on my own experiences) - and it is way more accurate than I could have imagined.
Just a note - in all my years of working in arch offices NOT ONCE was I ever required to work with project management software.

It’s not just us but lawyers as well:
http://www.telegraph.co.uk/finance/comment/8083785/The-financial-crisis-means-the-lawyers-billable-hour-has-had-its-day.html

This link is giving trouble for me at the moment but it was a great post by Su butcher last year:
http://www.justpractising.com/whatgoodarchitectsdo/architects-aren’t-paid-enough-because-1-they-don’t-make-enough-money/

Sean Catherall, AIA • What if our definition of “architect” broadened to include people with an architectural education and background who don’t design buildings but use that architectural mindset and sensibility to plan cities, to manage construction projects, to design furniture, to create films, to teach, to run non-profit organizations, to write, to lobby or to legislate? That is adaptation without giving up; it is having the better that we deserve.

As for architects not getting the praise for the work that we may deserve: Not all architects suffer from this, but some certainly do, depending on the quality of our PR. And some prefer to remain in the background if it also means we don’t get the blame for the problems associated with the work. Of course, some of us get all the blame and none of the praise.

As a group, I believe architects do receive more respect from the general public than other professions receive. However, that attitude seldom translates into deferential treatment for the architect’s invoices or his opinions on the jobsite.

John Allsopp • @Sean
There’s the likes of Joseph Kosinski (Tron Legacy) and Jaime Lerner (Curitiba) … and many more

…a little shameless plug

“New directions for young architects: ENTERTAINMENT”
http://blog.tropicalismo360.com/?p=607

“New directions for young architects: TECHNOLOGY”
http://blog.tropicalismo360.com/?p=548

Christopher Naumann; AIA, ALA, NCARB • If I can add to the discussion, I think it would be a lost opportunity to mention that one big reason traditional Architects haven’t gained ground is we are far too self-absorbed. We bleed Architecture at all costs, and have little time for family, friends, ties, or being true leaders in our communities or enage in an other industry beyond their own. Granted this is a large brush stroke, but a majority of traditional professionals are so wrapped up in their own worlds of survival, self-promotion, and “me-first” mentalities; or they are so engaged and obsessive about their work they rarely look at the big picture beyond their own professional circles.

To our credit, Architects volunteer often and many architects do provide services in kind for non-profits or charities. However, most Architects see service to their community as a requirement for professional status. Few see engagement in their communities as an opportunity to promote the value of the profession as a whole and engage in things not in their comfort zone. Most are using their charity time or volunteering to somehow build relationships for future client development for their own gain, and are losing tract of the importance to educate, promote and protect the profession in a broader way.

How many Architects really have taken their success to the next level for the betterment of the profession in broader sense? When “Starchitects” get their big break, how many use the opportunity to promote the profession? Many just publish a book or get a designer line of housewares or their own HGTV spot or secure tenure in academia for speaking engagements. How many of our upper level “professionals” are actually active in the broader economy or government. How many architects serve in congress?? How many Architects are actually out there doing things, rather than talking about the way things “should” be? Granted we have a few emerging voices of our profession, but the bulk of the profession is made up of self absorbed entities that “eat their own", conduct business as usual at all costs, and are too focused on “survival” rather than evolution of their industry.

Which really leads me to the crux of my comments. With a stalled economy, one where a constricted construction industry has many Architects on the sidelines, an opportunity exists for Architects to be engaged in other ways, to rebuild our presence and value in society. My own path has led me to lead a community development non-profit. I still maintain my professional status as an Architect, yet I can now use my skill set and my passion for the profession to be engaged in a far different way, a more effective way. I can also use my new role to promote the value of architects beyond that of a stamp on a stack of paperwork that can be value engineered and marginalized. At the same time, I am learning how I can be valued in the bigger picture, and not as a traditional practitioner with a narrow focus.

The profession is indeed poised for major change. We are sitting at the tipping point where the traditionalists don’t have much left of themselves to stay afloat. The Invisible Hand of the economy is now propelling idealists and inventive souls who are redefining our profession. It is my hope that this new enlightened generation will wish to engage the broader society and economy and how the profession of Architecture is indeed relevant when integrated into the broader society. It is my hope that these new professionals will give attention and respect to the profession which they are rooted in and use their successes to educate and promote our industry over their own self-absorption.

Albert Bendersky • Dear colleagues! What can I say? I am amazed…
I am amazed of the reaction that my rather emotional (and yes slightly provocative) essay has generated despite it’s “grammatical clumsiness” (oh, common Albert - stop being so poisonous and vindictive).

Your deep detailed comments are fantastic. So sincere, so intelligent, so multi-layered. People talk about education, entrepreneurship, public services, financial methods, moral aspects… This is overwhelming indeed. You guys basically (whether you want it or not) are providing strong answers to my loud, partially desperate “why?” Those answers are not direct and simple, yet those answers are so valuable coming from the industry insiders, not from some public figures or trendy speakers. It’s coming from you, fellows-architects, hard-working, creative and wise people. From your hearts and minds.

So I was thinking why it should stay buried here, inside our little forum on LinkedIn? Maybe we should let the world know about our opinions. Why not to expose it? Here is what I suggest…

I will publish your opinions on my blog as a separate essay (or even as series of small essays) without editing a single word from your wonderful posts. I will present it in a very positive light without any personal comments or irrelevant jokes. I will display author of every comment with full credits as it is shown on your LinkedIn profile (of course without your personal photos -privacy above all), including direct links to your business websites. People like you deserve some promotion, why not? I will not publish all comments. Some of our comments here are too short, some contain some personal issues (my bad, people), some are just off the topic. But those that powerfully speak about the problematic issues our profession faces deserve to be published. I think we all know what posts here deserve to be published. This is just my humble opinion…

Tell me what do you think? I am not trying to steal your thoughts or to interpret your vision in any way. I just think that you have provided such a deep and relevant content that it would be a waste not to share it with the world… Please let me know. I promise you it will be done in a most delicate and respectful way to introduce your opinion to the world wide web. If you don’t want me do that I completely understand it and respect it; just post or send me through LinkedIn system something like: “Thank you, but No.” If get 2-3 negative answers I won’t publish anything. Promise.

Thank you, again. This discussion is the greatest award for me.

Tara Imani, AIA • Hi Albert,

Gee, and I thought I was outspoken! ;-)

I’ve been talking about similar things over on the AIA Knowledge Net site. I thought to post a link here in case you might like to join the conversation. I thought I was being bold, after reading your posts, I think I’ve been too tame.

http://network.aia.org/AIA/AIA/Blogs/BlogViewer/Default.aspx?BlogKey=ba0f2dc0-51a6-4aab-8a5f-f3e66c35b6ad

Anyhow, I appreciate your honesty and willingness to talk about this issue: of how architects undervalue ourselves and therefore get under-valued, overlooked, and underpaid.

I look forward to seeing you on the AIA site!

Miceal McGinty MRIAI RIBA • Hi Albert,
You ask two very fundamental questions. ” Why we are everything… and yet we are nothing” and “Why we make them wealthy… and yet we remain poor?”

Architects are leaders in their profession, but this has been chipped away by “new” professions or people who give themselves titles that colours the image of architects in society to the point that we become mere designers who produce nice pictures, which is with great disrespect to what we do, and we have let this happen to a large degree ourselves. We are by nature and training fee thinkers but to a point! And i believe this point is when we accept the wider social, political and financial conditions that we do business in. We are all looking to make a living and will accept “that” commission without ever questioning many of the invisible contexts that our designs and skills operate within. This i feel has pushed us down the ladder of of leaders in society because we respond to issues and don’t drive the bigger picture. for example Frank Lloyd Wright who designed drive in movies, high way service stations and even drive in churches! Now great buildings, but he embraced a cultural shift to the car away from other forms for transport which has had a massive impact on the urban design of our cities. For right or wrong? who knows what he felt was his role in the big picture, but, i feel we accept change without really considering its long term impact, for the simple reason, we need the job!! this is why we believe we are everything but the public at large won’t turn to us for a vision of a future.

There are some very wealthy Architects but the majority of us just get by trying to impress our clients with our drawings and models etc. This is because we let ourselves as a profession or as some might see it, a vocation, design buildings because we “love” it, and this is where many would like to keep us! Yes we do love our work and i am proud to be an architect and go to work each day rather than work in a job which gives me no satisfaction. But we need to pay the bills.

(Now here is a bit of a contradiction in my piece) We have been cast in a role of the followers by the powers who we take our commissions from. We are brought out in some regard, to give moral and intellectual leadership in wider society giving a veneer of respectability to plans that may not be in the wider good! and in some ways this reduces or standing in the depths of the wider public mind set, but boy do we feel good standing up and presenting our vision ( which has been informed by things outside our commission) and the world looks on with a nod of the head. We are great guys!!

We need to regain lost ground. Which will have both financial and status gains for us as Architects. At this time of financial turmoil it is the “bean counters” that lead the way and they have done so for a long time. And it is because of this situation that we loss direction as societies and communities. The common perception is that without finance there can be no plan, and we know how this has effected practices with falling commissions. We should turn this thinking on its head completely and make finance sub servant to the plan! And if we as Architects turn our imagination to the bigger picture and drive culture, rather that adapting to it, drive innovation rather than simply integrating it into our buildings and inform policy rather than implementing legislation!, we will demonstrate the true value that Architects can bring.

Albert Bendersky • Dear colleagues, since I have not received even a single “No” (amazing isn’t it?), I have decided to go ahead and to publish some of your observations/comments on my blog. As I said it is going to be posted as a series of essays, where the best of your comments will be shown with your name and the direct link to your LinkedIn profile. You can see the first essay already published on www.ArchiAlternative.com (I plan to publish 3-4 “answers” essays with the delay of 3-4 days between them…).

John Cruet Jr., AIA • OK Albert, I get one more response:

I don’t agree at all with your view of adaptation. I do agree with your view on evolution.
You want to live, you also, by default, survive. I do agree that living is beyond survival. But your analogy of adaptation to survival doesn’t work on any level. Evolution is a form of adaptation. Both evolution and adaptation are aspects of life.

Each architect is responsible for his/her own well-being, to sow the seeds of one’s success.

Also, I found it peculiar, that, nowhere in your discussion, do you touch upon the constraints upon our practice. Come on, Alfred, you don’t really live in a libertarian utopia, now, do you?

And before you publish my comments on your blog, remember that my comments are copyrighted-

Just kidding!!!

Albert Bendersky • A. Evolution is not form of adaptation (I would suggest to read more philosophers: Nietzsche, Spinoza, Heidegger… not only AIA bulletins)

B. My name is Albert. (Although I get it… all servants have the same face for sahibs… it’s fine… be that…)

C. “…do you touch upon the constraints upon our practice.” Speaking of grammatical clumsiness. And English IS your native language. (How many languages do you know besides English, John?…)

D. I would happily post your comments (I see how desperate you are to see it up in the air). It’s not about my personal “soreness", it’s about lack of content, luck of direction, lack of inspiration in your comments, John. You didn’t bother to think “Why?” , you were too busy insulting me. Sorry. Plus you really scared me with your copyright. So why would I bother. People like you - usually enjoy spending time for elaborate lawsuites. I better stay away from you in my libertarian utopia.

John Cruet Jr., AIA • Come on Albert I took philosophy in college! :p

Let me explain my comment regarding restraints. And you’re excused- I visited your website and determined from it that English is indeed your second language- hey, nothing wrong with that! My comment regarding restraints has basically to do with government restraints on markets. As one who promotes an international practice, you should be familiar with this.

Justin Istenes, AIA, NCARB • Architects are “professional” service providers. Compare architects to other, more “financially” successful service providers like lawyers and doctors and what do you see as differences? All the three professions provide custom individual service. Every legal issue has it’s variations and doctors still see patients one at a time. Both professions are extremely organized with support staffs that keep the doctors and lawyers focused on work that is the most effective use of their time. Both professions have very strong lobbing organizations that work hard to protect the interests and the turf of their members.

Architects usually are terrible business people. We are not taught to be good business people and when we have the sense to hire a god business manager, we typically frustrate that person. We give away services and we undercut our competition to get work. We then get spread so thin that we can’t afford to have a support staff in place that allows us to use our time effectively. This leads to substandard service which then disappoints our clients. How often have you heard about how bad the previous architect was then when it comes time to talk about fee you hear how the previous architect was cheaper than you are and you need to adjust your number to be in line with the last guy.

This leads to building owners looking for other avenues to get their architectural services. Contractors, Construction Managers and even Engineers provide alternatives to Owners by providing the services that you note in your article and hiring an architect to handle the design of the building on a design-build basis and cutting our fees. Try going to a notary to handle your lawsuit or a pharmacist to get x-ray and cast your broken leg. While the AIA has done some good work on our behalf, they simply do not have the resources to fight for the legislation that would be really required for us to be compensated the way we should be for the vast knowledge and many services we provide. The resource that they need is money for lobbing and awareness campaigns. They do not have it because we do not have it to give based upon what we make.

I honestly believe that is we were able to transition to a fee system based upon billing for hours spent versus fixed or percentage based fees, we would be in better shape. Most Owners have no incentive to make us use our time effectively. This would allow us to be more efficient and responsive to the pressing needs of their projects and would enhance the quality of service provided. I believe that under this system, design fees would likely go down and architects profits would go up.

Bernard Humphrey-Gaskin • Wow… it’s like a boxing match, without any hope of a Victory !!!

Albert Bendersky • Oh, am I?… Dear Lord… John who took philosophy in college (what is it… like 80 yrs ago?) excused me for not speaking with Texan accent… I will let him win Bernard.

My mom taught me to respect old people. Even if they are rood, funny and… how do I put it in my broken English… not so smart, tactless, slightly racist?… You have won John. Go get your burger and coke. You have won now… Good for you. Bravo

But you probably have kids, maybe even grandkids - my age… Well, them I will eat for breakfast ;) Watch. Go celebrate your victory now…

Bernard Humphrey-Gaskin • Hi Albert… There are no winners… we ALL lose … ( reference: ” we lost again” The Seven Samurai…. last few words of the great film) … I like your question … WHY ?…. its very profound… I like your style… its makes people question themselves (although in some lenght)… best regards.

PS: I also tweeted your 10 misconceptions on architects… its great….

Dear John…. its good to have debate, from any angle… it gives spirit to the cause ( you choose which one)

Albert Bendersky • Tnx for support… It’s fine. Nobody lost. Those are just words (although word is the most powerful weapon, not money or shitty titles as some people here believe.)

John 1:1
“In the beginning was the Word, and the Word was with God, and the Word was God.”
בראשית היה הדבר והדבר היה את האלהים ואלהים היה הדבר
(Now this is for my friend John Cruet Jr., AIA, - this is in Hebrew, one of my 2 native languages. Maybe he wants to check out my Hebrew, maybe it’s not good enough for his taste… )

The Seven Samurai… what a classic… Kurasawa’s best piece…
I’m crazy about Japanese culture (I’m not talking about architecture only, I love their literature, their very interesting relationship with death…) - I have two tattoos with certain Japanese symbolic elements…

See you on Twitter (you got yourself a friendly follower right there…)

Jeremiah Russell • First off I have to say: “DAAAAAAAAMN!” Albert and John….Really? Are you two related? Did something go horribly wrong at the last family reunion? You two fight like an old married couple…but I guess Albert would be the younger wife? :-O Just kidding.

I’m seeing a lot of angst misdirected at the profession at large. It’s not the profession that has put us in our current position, it is Architects who allowed so much responsibility (i.e. liability) to slip from our hands. I’ve written about this often that Architects used to be the Master Builders. This is not true any longer. We are merely the instruments of developers and builders - little more than another consultant. We have put ourselves here. So, in this, I actually agree with Charles - we need to adapt as professionals, not as a profession. Our profession has adapted quite enough thank you. It’s time for us as professionals to step up and retake our place as the Master Builder, the Developer, the Constructor. Only then, when we once again command our industry, will we be able to rightly demand our weight in gold, as we once did.

No one questions the Mechanics bill, or the Dentists, or the Optometrists, or the Plumber. Yet, the architect they will fight with tooth and nail for every red cent and we will continue to back down our fees until our profit margin is all but gone - if it was ever there to begin with.

So, adaptation is our only option at this point. Forget the portfolio - we need to prove our worth to our clients not with pretty pictures but with education, knowledge and a willingness to share the same with our clients.

My own not so humble opinion.

Albert Bendersky • …a prettier and a smarter wife :)… so who cares about the language…

Charles Gierman • @ Jeremiah,

Thanks for putting this back on track.

This has been a very interesting discussion. I hope it starts a movement, thanks to Albert. This shows how we are so different but so alike. I like seeing that some are in it for the love of design (I think that I am).

As we get older and jaded, it becomes a business that has no fun. But this is not because of us (it might be), it’s because we have lost our bearing. Money, builders, developers and other factor’s takes it’s toll. It seems that when the client realizes that the person they employed is in it for the love, that when we get taken for both the fee and acknowledgment.

We all pick and choose our battles and wars. While we snipe, cut fees, stop evolving, being short sighted, other will be picking are bones.

John Cruet Jr., AIA • Albert:

My deepest respect to you with respect to Hebrew. At your website, it appears that you have significant roots in Israel. Although I’m not Jewish I still have a deep seated respect for the progress and evolution that has made Israel a model state in the Middle East.

Albert Bendersky • Thank you. Did I hear “evolution"? :-)
Tomorrow Part II of “…the Answers” . I hope you don’t sue me ;-) Just kidding… it’s going to be very nice and interesting…

This time a voice of men… and our witty debate which I would call “Adaptation or Evolution”

Pat Leitzen Fye • Must say, this has been the most provocative (and entertaining) discussion I’ve seen yet in this forum. Tend to agree with Jeremiah that architects must be responsible for themselves/their practice and its rewards, but truly also believe that the industry itself - the art and profession of architecture - has been reduced to a level of servitude and ingratitude that can change only if practitioners fight for themselves and the profession fights for the practitioners. Education, awareness, are key - knowledge of not just the “why” architects do what they do (and for the most part, love), but how good design, or lack thereof, impacts each and every one of us, day in and day out, where we live, work, shop, play, worship. That , in my humble opinion, is the purview of the professional organizations and collectives (AIA, ALA, etc.) - else, what good are they?!

Albert Bendersky • Evolution or Adaptation - Part II of our debate is up on my blog… www.ArchiAlternative.com

Featuring John Cruet Jr. - don’t sue me please…

(just joking as I promised all funny personal references are removed. We talk about architecture not about the personalities…)

Tnx to everyone… Part III (probably the final) is going to be published in few days… And then the sequel of Why’s (Why III)… Hollywood where are you?

Thomas Barbeau • Architecture is like soap–lots of architects will spend their time willingly to add special shape, fragrance, packaging, secret ingredients, etc, to set themselves apart from their peers, but the client knows he’s only going to be paying for what will wash his hands. It all comes down to solving the problem you have, not the problem you wish you had.

Sean Catherall, AIA • I disagree, Thomas. The strip malls and tract homes and relocatable-building schools I see popping up around me without thought and without trained minds and without experienced eyes tell me that architecture is not an any-old-brand-will-do commodity. Some goods have the quality that deserves its place in the landscape and some is just trash. What is needed is a client who knows the difference. Since those are becoming harder to find, some of us may have to become those clients.

Thomas Barbeau • But not any old brand WILL do. That’s not my point, after all. I’m not saying willy-nilly subtract quality or judgment from the cleansing process. But architects, when they slather on their own conceits, or timidly under-design to the circumstances, either way reduce their value in the marketplace. I think that’s obvious. BTW, it’s been at least a hundred years or more since architects’ roles have been anything resembling “master builders". That benchmark has been irrelevant for long enough for me to suggest, once again–solve the problem you have, not the problem you wish you had. We’re not going to go back to having that status. The industry has changed too much for that to happen. It’s not even remotely possible. Ask a new graduate if he or she has been prepared for that kind of role. Ask a graduate CM if he/she sees that happening. QED.

Thomas Barbeau • And then there is the horse and cart metaphor. I surmise that the market for construction is the horse doing the pulling, an a priori condition to anything else occurring. Tell me who conceives the cart and who is to ride in it and I will know how you vote in elections.

Thomas Barbeau • I will also know if you are one who prefers that the cart be placed before the horse.

G P Verma • A simple answer - Because you have PAID for that. and you should not ask for credit. it is up to the owner to decide that who is creditable.

But surely if you do not charge anything than you can ask “WHY”

Jeremiah Russell • Thomas, great soap analogy. I think you’re both right and wrong and I’ll tell you why in a moment. Sean, I think you’re also right and wrong and here’s why:

First, Thomas, the notion that “any brand will do” would be wonderful if there was a minimum standard of architect out there educated, knowledgeable and worthy enough to carry the title. Unfortunately, because there are so many crap architects out there you end up with what Sean describes - tract homes built with the cheapest materials by the lowest bidder and almost no architectural oversight during construction…don’t even get me started on strip malls and suburban sprawl. :-\ What is needed is for a higher caliber of architect, one who is willing to step up to the plate and take on more hats than is “strictly legally necessary” in order to ensure that the product they designed is of sufficient quality and that it is being constructed to the same standard of quality. This coupled with going out of our way to instruct, educate and guide our clients is what will elevate us as a professional and as a profession.

Also, Thomas, your claim that it’s been more than a century since we’ve held the title of Master Builder I find not only ludicrous but insulting to the profession. There are architects TODAY who take on this lofty title with pride and with success. They are the minority, to be sure, but they are there nonetheless. And just because the majority do not take enough care of pride in themselves as architects to push themselves to this position does not mean that it simply doesn’t exist. Going back as early as the first half of the 20th century you had architects who took commanding roles of oversight in the construction process and were immensely knowledgeable about the entire process of construction. The problem is, those same architects did not pass that knowledge down to the next generation and schools began to focus more on design than constructability and now the knowledge is gained only through painful experience in the field.

And what the hell does the cart/horse analogy have to do with how people vote? And what does it matter here?

Pat Leitzen Fye • Thomas, love this comment: It all comes down to solving the problem you have, not the problem you wish you had. The practice of architecture, in addition to providing beauty and function to a neighborhood or an individual structure, is all about problem-solving. And let’s face it, there is no one better trained to ferret out problems and find solutions than Architects. Would that we could all have the challenge of designing the next Trump Tower, Louvre addition, or Bilbao Museum. Many out here in the hinterlands are working hard to a)find clients, b)educate clients, c)design buildings that are sustainable, look great, and serve the inhabitants and the community, and d)stay afloat! It can be so difficult to convince clients of the value of great design, particularly when they are under-capitalized.

I have so enjoyed reading all of these comments and must reiterate: I adore Architects. You all give me hope. And like Albert who started this amazing conversation, I am going to attempt to gel all of this in my head and use it in my own blog!

Mark Paskell • Passion is great. Portfolios showing your artistic talents, vision and creativity are helpful to show your value.

But the bottom line is not how talented you are at delivering awesome architecture. The bottom line is can you sell it to the consumer who will pay you a fair price that results in you paying all your bills, your salary and leave a reasonable profit for your business.
If you compete on price you are a commodity. If you work extra hours to feed your passion and don’t get paid for it you are not running your business like a business.

I have some designer friends who are having the best year they have ever had in 2010. One friend who is an architect sells his design build packages and he is well over 200,000 for the year. I would not say he is super talented at design but at selling and running his business he is outstanding. He will not work to feed his passion without pay. He will not work for builders or homeowners who do not agree to his terms. However the ones he does work for pay him well to deliver. He is professionally sales trained. He designs and often sells the build for the contractor for commission on top of his design.

I have read many threads about how architects and the design community is hurting. The solution to most of the complaints can be solved by learning how to sell and running a business like a business. The complaining and bellyaching will only lead to more of the same. Come to grips with the changing market. Design Build that includes a professional sales approach is the way of the future. The days of the order taker are gone with the dinosaur. Contractors with with no design experience are adopting the design build model of single source accountability from the concept to the final clean up. They control the process and then partner with architects and designers. They have learned how to beat out the design community by selling the whole package withing an established budget range obtained form the consumer. They do this by selling. If you don’t like the task of selling then hire someone to do it for you or you will continue to be underpaid for your talents or worse starve.

Albert Bendersky • The third and the last part of the board’s answers is up on www.ArchiAlternative.com

Next week the sequel to my “Why?"… “Why III"… Gee, it sounds like a “Saw III". It’s not going to be that scary… I hope :-)

Lorri Clark Murray • I empathize with you, Albert. Having been laid off 2 1/2 years ago, just able to pick up ~ 6 months of freelance work in that time, I question the vocation of my heart! I have been in Architecture since 1988 and see no signs of real improvement for the (global) economy for the next couple of years.

I have adapted, working 2 part time jobs full time while picking up the piecemeal occasional freelance project. But all my current work only yields about 1/3 the pay of my 22 years salary. Thus, I am not sure that I will joyfully return to a profession that sells itself at the lowest price using workers who invest themselves in firms and projects only to be discarded like disposable tools at the end of the current upcycle.

Our creativity, problem solving skills, and knack for hearing the needs of the client/end user lend themselves to many other JOBS. But I have found no JOB as fulfilling as the Architecture that apparently runs through my veins.

I share your frustration and fears, Albert. My optimism and adoration of this work is the only motivation that keeps me still looking (like the other 30% unemployed architects) to return to this vocation, John. These are times that test the courage of our convictions!

Mahesh Shanbhag • You are right.

Most of the good architects work with passion & they have little understanding about the market value of their work i.e. commercial skills.

However,you should not forget that every good work you do - you build your own brand name & fame in the market.

This appreciation should be your biggest motivation to do more creative work in future.

Gail Sellers • …on a more humorous note:

Albert Bendersky • Yes, this video is quite popular, Gail.

Now here’s the thing I got from one of my “followers” on Twitter @architecturally. It was very brief and straightforward. It said: “Adapt or Evolve? What About “Run"?

Deep isn’t it? We kinda never mentioned this option. 70 or so comments. We hate each other, we praise each other, we propose solutions and inventing tactics. But NONE of us has mentioned “Run” option.

It says something about all of us, architects (regarding of the abbreviations behind our names).

Sean Catherall, AIA • Albert, my favorite thing about the advice to “run” is its double or even triple meaning: “run to get ahead", “run away” or even “run for office to fix the mess".

Albert Bendersky • Ha-ha!

Another witty suggestion I got on Twitter from Jeremiah Russell (he’s in our discussion - see above) was “RE-INVENT". We are quite creative bunch indeed.

Chris Currie • Actually I think the architectural profession is dying. The sad part is architects and their special committees have done it to themselves in my opinion. Potential new architects like myself can now easily come up with the deduction of becoming an engineer instead.

Considering I don’t see many perks to being an architect nor do I see the terrible pay per work ratio worth it. I have decided to not pursue an architectural degree or license. I would rather become a creative engineer.

* I can develop and design buildings with out an architect’s signature or seal.

* I can easily obtain customers over an architect because they will readily know what I am liable for.

* I have the choice of making my level of commitment of how involved I want to be with a project instead of taking it on or not which still provides me income on those projects I could care less about.

* I’ll invest less money and time going into an engineering field than being an architect and I will get a better chance of an education that will help me succeed also

* If I don’t like one discipline of engineering I can simply change disciplines with in 2 years of schooling

* I will get paid about 2x as much money

* I will spend 1/2 the time an architect does on a project unless I am designing the overall project also which gives me more time to have a family, friends and a personal life

On that rare occasion I do need an architect’s signature and seal I can simply purchase it like anything else in life. After all what are they really legally liable for again? I honestly can’t see very many liabilities that are not either over lapped or completely taken over by other professionals involved in the project. Comparing an architect with a structural engineer when a building fails to stand up properly is a perfect example of this. People don’t chase down the architect they go hunt down the engineers and contractors instead.

I honestly can’t see even one benefit that isn’t severely offset at all for being an architect. Most of the time the actual person doing the designing of the actual project isn’t even getting credit for the design either. So why even invest the time and money towards it? I feel they have successfully killed their own profession and the liability part of the equation is only one aspect of it. When you put all of the other pieces in place it only gets worse.

Albert Bendersky • Bravo, Chris. My third “Why” I will dedicate to you. Your last paragraph basically sums up our pathetic efforts to answer few simple questions…

P.S. Don’t be shy, you get only x2 much money? You’re cheap then… ;) Once I had a dinner with our consultant (we were on a business trip, we had few drinks and got loose) so we calculated his ratio of “efforts+time / fees” against architectural proportions. He was around 4 times more efficient in terms of money making. And he was not the most expensive guy I’ve seen around.

(Tnx, for re-posting Chris… I got wrong discussion.)

Jeremiah Russell •
Chris, thank you for pointing out why the process to become an architect is so difficult - it’s to weed out people like you with no passion or compassion for the job. You say you can do just as good as an engineer? Bullshit. Your buildings will be even more apathetic, sterile and antiseptic than the worst hack architect out there. Sure you’ll make a little more money, but your “designs” will speak for themselves and after a couple projects no one in their right mind would let you near their project to do anything more than what is expressly allowed by law for whatever current engineering “specialty” you happen to be practicing.

Should architects be compensated for the level of work they do? Yes. Do we need wide sweeping changes in the profession on the issue of compensation and liability? Yes. Should we follow the idiotic advice of someone like you? No. In college you were the guy sitting to the left AND right of me at orientation when they said “get a good look, cause they won’t be there at graduation". Being an architect is something to aspire to, not sneer at. You don’t see any benefit because you have no passion for the profession, so I’ll ask you to hippity hop to the barber shop with that shit and leave the real designing to us.

Horace Spoon • This has been very entertaining. Some of us actually make good business decisions and do make a good living in this profession without giving away family time. Why??Because some of us have learned that passion for a profession and being a good businessman don’t always go hand in hand.

Chris Currie • Jeremiah Russell as passionate as you want to be.
Passion won’t pay the rent
Passion won’t pay the electric bill
Passion won’t pay for food.
Passion won’t pay for your kid’s diapers
Passion won’t pay for your car repairs
Passion won’t even pay for the fare to get you on the bus either.

In the end you might be hungry, naked and homeless. I know I should look on the bright side, at least you’ll be passionate. I am sorry I can’t stop laughing because of your display of complete lack of common sense.

You need to understand it’s nothing personal, it’s not about how much you like red, blue or green. It’s not about how you feel or some emotion. It’s not about if you got laid last night and are in a good mood today. It’s business.

The lack of understanding how business works is yet another one of many reason why the architectural profession is on it’s death bed. This is one aspect that could be fixed if they actually taught some of this in college while people aspire to become architects. I guess they couldn’t fit it in their curriculum with all of that design with no practicality. We now see that ideology is now the downfall of the profession as well as other problems one can arguable say is just as related.

On a personal note. I know I can’t fix the problems in the architectural by myself. I know it probably won’t be fixed in my lifetime because of people like you who get all emotional about it, need everything politically correct, and worry about egos more than fixing the damned problems. I wish architects would band together to fix these problems before it’s too late because that’s what is killing your profession. The sad thing is if your IQ was as high as your ego is big perhaps you would see I am pointing out the problems that need to be fixed and not attacking the profession. Killing the messenger won’t change the news that was delivered nor will it change the facts regardless of how bad they are.

Jeremiah Russell • Chris, your post was nothing more than a diatribe on the “irrelevancy” of architects - in your opinion. This is what I took issue with, and yes, it is a personal issue for me, because I am passionate about my profession and want to see all architect succeed artistically and in business. You seem to want all architects to just go away so that you can be the “big engineer” who happens to know how to pick out paint colors and laminate samples.

Without passion your choice of career will have as much to do with the color of your shoes for the day as it does anything else and, while you may be able to pay the bills and buy diapers for yourself, your life will most likely hold little personal distinction. Passion is what it takes to be a good architect…actually it takes just as much passion to be a bad architect, but that’s another story. Passion for one’s profession will also lead you to be a good businessman. If you’re engaged in your career you will have the drive necessary to do better work and perform better in business. This may suggest that there are simply too many architects without enough passion to be better businessmen, and that’s probably true. I’ve also known a number of businessmen who are horrible architects. Balance is key.

You see, I agree with you that the profession needs some revamping, some updating, some spring cleaning. But the level of disdain that you display for the profession as a whole in your initial post was insulting to say the least, so yeah, I took it personally. Passion may not pay my bills or put food on the table, but it will drive me to be a better Architect, a better businessman and a better artist all around, which is exactly what our profession needs.

Pat Leitzen Fye • ah yes, but a life lived without passion is hardly worth living at all ~

Helen L Mannea • It is true that we develop a unique set of strengths and skills as we practice architecture. We develop a way of seeing thru things, a way of putting order to chaos, a way of defining critical issues, a way of coordinating disparate pieces into a coherent whole. But architecture is one of the things we do. It is not the entirety of who we are. Tough times require us to use our creative skills. I assure you if you are flippin’ burgers for a while you will be the best restaurant kitchen designer around IF you take advantage of the place you are now.

I really hate the economic downturn and market now; and the difficulty we have gotten into as a disrespected profession paying our consultants more than we make. But if we use the strategic creative and design skills I challenge us as a profession to start a grass roots transformation of our profession.

When has an architect been complacent and accepting of the status quo? I would say at the moment he decides to become obsolete. We have exercised and developed our skills as visionaries and creative detail aware people. We can recreate the profession. Let’s collectively get off our grumpy position and start with a vision of where we want to see our profession go.

Albert Bendersky • Thank you ladies & gentlemen. The discussion is on the air at www.ArchiAlternative.com

Face it, architects. Part IV

Enjoy. http://archialternative.com/2010/12/15/answers-4/

Chris Currie • Ah yes from one extremity to the next. I never said being void of passion was ideal nor did I imply it. If it wasn’t for people with Jeremiah Russell’s inability to see the obvious even after its been pointed out or perhaps have enough “passion” to stop being lazy and get off their asses to become part of the solution to fix the problems instead of the bait and switch topic agenda the profession wouldn’t be in such a mess. I do forgive him for being a little over zealous with his passion though because I am not perfect either.

My intent is to inform people of what I have seen and experienced as the problems in the profession over my 13 years of experience working in the industry. I have pointed out what these problems are and in some cases what needs to be done to fix it because I don’t have all of the answers nor have I claimed to. I can say I feel that many of these organizations in the industry like RIBA, NCARB and the AIA should be taking a more proactive role in getting many of the unemployed architects work and protecting the profession’s viability. I can’t say that I see many efforts going towards fixing this.

There is an incredible amount of unemployed architects or architects who have been pushed out of the industry due to the recent economy. I know the recent economy is amplifying the problem 10 fold.

There might be some hope left in the profession.

* If people as “passionate” as Jeremiah Russell would band together and passionately fire those politicians who are only self serving, regardless of what country you are in, this would be a great step in fixing the economy.

* If people as “passionate” as Jeremiah Russell would band together and passionately fire people who are on these committees like RIBA, NCARB and the AIA doing little next to nothing to fix the profession’s problems, this would be a great step in fixing the architectural profession.

The sad state of affairs is it’s all too often “the all about me attitude” instead of the bigger picture in the industry. I am doing my part to change this. Instead of being a wall flower simply bitching about the problems all I have decided to become part of the solution.

I’m welcoming the unemployed, recruiters & HR people in the AEC industries into my network. I’m only liking jobs in the architectural, engineering & construction industries. If you have a job opening in these industries regardless what it is, please post it in your status and when I “like” the architectural, engineering and construction jobs in you posted in your status these supposed 14,534,100 people with in 3 degrees can get work. Together we can make a positive difference by helping people who want work to feed their families. Even when I get hired I won’t stop doing this.

Who knows perhaps when taken in the right context I might be consider just as “passionate” as Jeremiah Russell. LOL

Albert Bendersky • OMG, I’ve opened a Pandora box…

Jeremiah Russell • Dang, look at that up there. I do love seeing my name spelled out completely so many times, like little “ego boosting” jewels from heaven. :-P Please note the obvious sarcasm. I am not that egotistical, really.

Chris, it seems we are in agreement…though I’m still scratching my head wondering how I’ve gone “from one extreme to the other". I agree with everything you’ve said, in my own way, except of course for your opinions of me personally of course. Cheers.

Albert, can’t wait to read the latest post! I may have to repost these conversations on my own blog and see if we can’t spur on some additional conversation.

Albert Bendersky • A. Anyone who wants to re-post anything is more than welcomed. I’m not paranoid about my “content” and I am not selfish. It’s not “my content” - it’s yours. My blog is not a commercial enterprise in any way or any trick from my end. I enjoy writing about “hot” topics and hope it will one day help our profession to come back big time. It’s painful to hear Chris’ words and to realize that he is … well… he is right in his truthful cynicism. So go ahead, people, spread the word. If you decide to put a link to my blog I will appreciate it (if not - be that… I don’t care that much)

B. If anyone wishes to publish any kind of thoughts, essays or organized piece of ideas I will be more than happy to put it on my blog with all your credits standing out loud and proud (direct link to your name, your firm’s site, anything you want).
Email it to: albert@dezarx.com Don’t worry about the style or some grammar. As long as it’s sincere, interesting and smart. As you have noticed English isn’t my native language… so what? It’s not about that…

C. By the way I run an identical blog in Russian (one of my native languages) at http://archialternative.ru/ It is published with 3-4 weeks delay, but is exactly identical and generates a lot interest in Russia. (150 mil people audience! with the outstanding architectural tradition). They don’t have so many real architectural blogs over there… So you might be international stars soon… Just kidding. I still haven’t decided if I am going to publish “Answers” there…

D. Jeremiah, be careful. Remember John Cruet Jr. was joking about suing? :) Well… you never know. In this case we will share legal expenses… Ha-ha… Just kidding. Have a good day.

David Jenkins, Assoc. AIA • The answer to your original question is a simple answer. Architects in general are egocentric. This is going to be their downfall. They don’t play well with others, including other Architects, the team or the project. I don’t know how to fix this since the same character traits that make them what they are will also be their downfall.

Jeremiah Russell • David, you must have worked for my boss. ;-)

David Jenkins, Assoc. AIA • And yet, I’m still pursuing Architecture. Go figure.

Jeremiah Russell • Seriously though, I think you’re right to a certain extent. The “old guard” architects (the ones in the drivers seat of most firms) are very egotistical and even downright secretive as if they possess some great knowledge that must be preserved at all costs. But, fortunately, there is a new generation of architects coming up that is much more willing to “play with others” and work together for the betterment of the profession as a whole. I think you see evidence of that desire to share knowledge on postings like this. Now if the baby boomers would just retire and step aside, we could step in and fill that void. :-)

Albert Bendersky • David is right 100%. And Chris Currie is right 100%…
And you, Jeremiah is 100% correct.
Baby boomers, go home. Go golfing. Write memoirs.

Next we should destroy their pathetic institutions and ridiculous professional associations. Those blood suckers are also a huge barrier on our way…

Sean Catherall, AIA • Jeremiah, you are right about the necessity of the passage of the adaptive old guard and the rise of a generation whose community-minded cohort personality is more conducive to cooperation and collective action in order for us to enter the new phase. For a good read on this subject, try “Generations: The History of America’s Future, 1584 to 2069″ by William Strauss and Neil Howe and its sequel “The Fourth Turning".

Strauss and Howe predicted in 1990 that, in a historically cyclical pattern, America in 2010 would be several years into what they called an “inner-driven era", characterized by pluralism reaching its practical limits, justice becoming oriented toward process rather than principle and institutions becoming highly professional and complex–all cultural endowments of the “Silent Generation” born between 1925 and 1942. They predicted that a new “Secular Crisis” will begin sometime in the next 14 years as that generation loses control of social institutions and as the “Millenial Generation” (born 1982-1996+/-) gains influence in rising adulthood, bringing its pampered, Scout-like group-think to bear on the culture–including architecture, architecture schools, the AIA and every other institution in America.

Thomas Barbeau • Collective action. You’re kidding yourselves. Who’s in the collective and why? What collective actions on the part of architects could be taken that would transcend the reality of the real estate markets? Community-minded cohorts, indeed. How about “cadres"? If there’s no market for the services (other than the government), what’s the point? But go ahead and collectivize. Maybe you can strike a better deal for a grief counselor. However, if the government owned all of the real estate and the means of production…we could be just like North Korea…LEED certified, though. We’d need to be working toward that, collectively, I mean.

Jeremiah Russell • Thomas and Chris must be drinking buddies. :-P

Sean Catherall, AIA • Well, Thomas: In the 1930’s and the 1940’s, the collective action was to provide the troops, the labor and the popular support that fueled FDR’s New Deal programs; his war-time ramp-up of domestic production; his assault on North Africa, Europe and the Pacific Islands and his nuclear weapons program that ended a war that could have drug on for decades and cost hundreds of thousands more lives. In the 1770’s, the collective action was to provide the troops and the popular support that hurled England’s troops and mercenaries back across the Atlantic under the leadership of Washington and others (with the aid of France) and paved the way for the world’s first Constitutional Republic and the end of colonialism worldwide. That’s what the last two American civic generations produced in their early adulthood, according to Strauss and Howe. Not too shabby. I’m sure we’ll come up with something fitting the situation.

Thomas Barbeau • Well that’s a non sequitur response; if I ever heard one. Who gets to be the new George III?

Sean Catherall, AIA • Which dots can I connect for you, Thomas?

Thomas Barbeau • Go ahead and free-associate some. Let the butterflies out.

Thomas Barbeau • Sean, I’m somewhat sorry I was so flippant. Only somewhat because I hear (once again) just another regret from another architect at finding out that he’s not at the center of the culture, not as the great fiction of Modernism would have him be, driven and obliged by his gifts to put his designs at the service of perfecting society. The tendency toward megalomania and a certain incongruous grandiosity seems endemic to architects, and I find it both sad and pathetic. I noted above that architecture is like soap in all of its varieties, but it should not be overlooked that one can wash one’s hands without soap. Most of the time, architectural services are a discretionary purchase and easily deferred.

Chris Currie • I find it hilarious using AIA and collective in the same discussion. The only things those self serving jack asses want is money. After the money is collected which is about as close as collective as I have seen that group of architects get since they wont even take up for architects in general let alone protect the livelihood of their profession. Some “voice of architecture” they are. I recently called out the president of the Florida chapter in front of the entire Florida group, then I threw his ass under the bus after he said he was making an effort which was half assed at best to get architects work while their jobs tab still remained unused. You would like to think a nation wide association and self proclaimed “voice of architecture” would put a better effort in getting architects back to work than a single man like myself. It’s pathetic they thought I would believe it. I might have been born at night it wasn’t last night.

Pat Leitzen Fye • For another interesting and quite recent read on this topic, I suggest “Down Detour Road: An Architect in Search of Practice", Eric J. Cesal. Just about 1/3 into it myself but find it quite apropos ~

Sean Catherall, AIA • Thomas: I appreciate your comment. I do believe that the younger generation is not yet at the center of the culture–not because they’re architects, but because they’re the younger generation. The greater contribution they have yet to make may not be in their role as architects either, which was part of the intent of my earlier comment.

Albert Bendersky • Colleagues, I would like to refer your attention to the amazing comment I got this morning from the user Sumeru Roy Chaudhury. Very interesting FACTUAL observation strengthening cynical (yet truthful) position of Chris. Sumeru is not cynical, he just describes very interesting official requirements towards architects from Indian administrative reality. Enjoy.
http://archialternative.com/2010/11/28/why/#comments

David Jenkins, Assoc. AIA • I’d like to add to my earlier comment. I believe that a character defect is nothing more than a healthy character trait being misused. Architects aren’t really hiding some great secrets… they are displaying their character defect. A deficiency in social graces due to a large influx of ego. How to put themselves aside and allow others the chance to add their ideas to the project. Instead we/they get frustrated with the ignorance of others and “just let me do my job.” If they could just be willing to accept the input of others, they may just see how the project team could work together more efficiently.

Communication is the key and it works best if the ego can be checked at the door. Easier said and it requires effort and patience. Neither of which you will find in many of the “seasoned” architect. Many think it would be easier to just bide their time until retirement. That’s what put’s it on us, the next generation, to right the wrongs of the past without creating new problems.

I’m hoping to get back to the idea of the Architect as the Master Builder. It will only happen when we get everyone to trust us again. And fire all of the attorneys.

Chris Currie • David

Trust won’t happen until the competency and liability issues are addressed. Competency can only be addressed through education which is currently FUBAR even when graded on a curve in relation to the other professions in the AEC industry. Liability won’t be fixed until more of the projects mandate the services from an architect. Right now I personally feel you have the least amount liability and exposure in comparison to many other professions working on the same project from start to completion including the construction. I rarely hear of architects getting sued or worrying about it. I hear this problem all of the time with general contractors and engineers though. Then there is the professions viability which is currently going right down the crapper, which is especially true considering the current economic crisis we are in and the problems I addressed in my previous post. Firing all of the attorneys won’t fix those problems either.

Roger D. Wade, RA • This is a great conversation! Kudos to Albert for offering a simple question to ignite this passionate discussion.

Katy P. - your post struck a chord with me. I have often commented to others about the poor architectural education I and most of our colleagues have received relative to fundamentals of business and sales as well as knowledge of construction. If I had an impressive financial profile I would back you in your efforts to found a new school, but alas, I am an architect!

Pat - I read through all of these postings from the beginning wondering if anyone was going to mention the book you suggested: “Down Detour Road: An Architect in Search of Practice", Eric J. Cesal. Certainly right on topic with this discussion and a good read for all architects or those aspiring to be.

Jeremy, Albert and Chris…I find myself agreeing with most of what all of you say, which is strange since your comments seem to be somewhat ad odds. Maybe that is part of the dynamic of this conversation - the players are more in agreement than they realize, it’s just the deliveries that are getting in the way…

David Jenkins, Assoc. AIA •
All Architects get sued at one time or another. Remember, all parties are deemed responsible. The attorneys/insurance companies determine to what extent each party is responsible.

Many, many, many Architects don’t trust contractors as far as they can throw them. This is due to the fact that one of the biggest responsibilities an Architect has is that the, “Architect acts as the agent for the owner.” The Architect has the owner’s best interest at heart. The contractor has his own best interest / bottom line at heart. I believe that much of this is easily resolved by the Architect meeting with the contractor early on to get input from the contractor as to how he would like to proceed and carry out certain phases of the project. If we know it up front, we can draw it that way and eliminate many conflicts thus reducing costs. The more of those we can eliminate… the better. The contractor being on the job site every day has a better repore with the owner. We’re just trying to prevent him blaming problems on the Architect.

Architects do get sued. It happens every day. My dad (an Architect) always told me that you can’t draw what you don’t understand. Get in the field and talk with the guys. Ask questions and learn what works best in the field rather than what seems to work well on paper. I’ve worked doing plumbing, concrete flatwork, electrical, hvac, hung drywall, lay-in ceilings, doors, casework, security, network environments, framer, roll-up and set roof trusses, roofing, windows, etc… I went to school and obtained my degree in Building Construction Technology. My next step was to be my PE but after working for my dad, I wen’t to get my degree in Architecture. I also obtained my realtors license. My hope was / to do Design Build and handle all aspects in-house.

Communication and Education. As those get better, we won’t need attorneys nearly as much.

Albert Bendersky •I would say Communication, Education, Separation & Organization.

Communication. Means use of new media, possibility to work on one project simultaneously from different locations, by different teams (different countries! - forget idiotic “territorial license” limitations), efficient coordination of the technical efforts (BIM is just the start - wait till the hardware catches up with the soft), etc.

Education. So many intelligent proposals were offered above, that I don’t think I can add anything substantial here.

Separation. Yes roles of the Architects involved in the project will be separated. This already happens today, yet in the future it will be the only way. Some firms (individuals) will be busy with the front-end design, i.e. conceptual development, general stats, design development (partially) incl. more detailed layout, elevations, finishes, and some major coordination with the consultants. The others are going to be in charge of the working drawings, details, schedules, shop drawings, final coordination with eng. consultants. (And be prepared that most of this job will be outsourced to cheap labor in India, China, East. Europe - see communication part above, it will make things really easy).

Organization. Current professional institutes / associations must be completely reformed. Probably disbanded and replaced by the new organizational forums. More liberal, more flexible, less corrupted, less bureaucratic. If it’s not done in the next 10-15 yrs our profession will be degraded and “architect” as a professional term we all know and respect might be eliminated. Trust me, real-estate & construction industries will gladly “assist” this suicidal path.

Sean Catherall, AIA • Albert, what do you mean by “‘territorial license’ limitations"?

Albert Bendersky • After all those years of studies, hard-working experience, bureaucratic procedures, tough examinations (ARE in US, ExAC in Canada), pretty serious amount of money spent during this process (not to mention the time) you are still licensed to practice within pretty limited territory (State / US or Province / Canada). Is this fair? (Sure once the architect is licensed in one state / province it is easier to move to the next state or province… nevertheless… Not to mention another countries…)

That’s where separation plays the role. The only team which must be licensed “locally” is the team which coordinates the building code (usually code consultants), local architects / managers which are finalizing working drawings package on-site and are conducting the site inspection.

Architecture in general (leave aside local code issues - we’re not dealing with them directly anyway, we just follow the instructions from the consultant) is based on pretty universal principles of the design and management (I worked and managed jobs in like 6-7 different countries - the same problems are everywhere). So there should be some kind of the international “license” which could be relatively easy to obtain (say 2-3 yrs of the working experience after the school) which will provide the architect with the legal rights to do so called front-end (Preliminary Design + Design Development) thus such architect can apply for the Site Plan Approval & Building Permit…

Only then as the working drawings are prepared inline with the local requirements the “local license” is reasonable requirement…

Such structure might compensate architects’ loss of work due to the outsourcing by providing the opportunity to work more globally.

Sean Catherall, AIA • My experience has been that, in places with difficult zoning, entitlements or design review processes (like California, Illinois and Pennsylvania), recruiting a state-licensed architect onto the team in the beginning was desirable because they understood the physical, cultural and construction methodology context of the project to begin with. In less demanding states, licensure was never an issue. In the most demanding states (like New Jersey) even a licensed architect couldn’t submit designs for review–any appearance before a review board required representation by an attorney recognized by the local bar association.

So I agree that developing a more uniform system (at least in the U.S.) is a desirable thing. However, I am aware of the reality that each State is a sovereign entity and decades of negotiation are required to achieve this end just as decades of negotiation were required to get to the current (imperfect) level of reciprocity that currently prevails.

Likewise, on an international level, we are dealing with sovereign nations, each of which comes to the negotiating table with separate interests and goals to take into consideration.

It’s a lofty goal. And I support it.

Albert Bendersky • I perfectly understand the realities. I am not an idealist who dreams of saving the world… But this is a natural path. We should not try to be the Masters of Universe and to remain slaves to many factors (developers/builders, authorities, arch. associations, marketing people), we should make sure that “separation” process on one hand breaks the profession into the perfectly specialized sectors (almost different professions) and on the other hand “unifies” it on the global (even somehow “creative’) level. Thus we will not only maintain the integrity of the field but might return to that glory from the “good old days” we all miss so much.

Oh, by the way - just published an apocalyptic scenario for 2011.

“Top-11: architectural miracles that will NOT happen in 2011″
http://archialternative.com/2010/12/20/top11-2011/

You’ll see I am super-realistic! :)

Chris Currie • Making a standard code world wide:
I like the intent but I’m not sure how it could be implemented. ie. I wouldn’t want to be in a house made for the mid west or possibly New York while dealing with things like hurricanes or earthquakes. These different areas in the USA have different climates and challenges that need to be addressed. New York does not regularly see hurricane forced winds and neither do structures in the mid west so the codes are drastically different. Other differences like water table levels, temperatures, humidity, land composition, rainfall, and tidal waves are just a few of many other factors that mess this idea up. The most extreme conditions would be tornadoes, earthquakes, and things like hurricanes. Trying to globally apply the one size fits all idea will get someone killed WHEN something is over looked AND it will happen if it’s applied. I have faith in some of the people I have seen to really screw this up. I am sure they won’t let anyone down.

Sean Catherall, AIA • Chris, one thing model building codes like the IBC and the former UBC do very well is to establish zones where wind loading, earthquake loading, snow loading, etc. vary geographically.

Chris Currie • Making the separations:

“Some firms (individuals) will be busy with the front-end design, i.e. conceptual development, general stats, design development (partially) incl. more detailed layout, elevations, finishes, and some major coordination with the consultants. The others are going to be in charge of the working drawings, details, schedules, shop drawings, final coordination with eng. consultants. (And be prepared that most of this job will be outsourced to the cheap labor markets in India, China, East. Europe - see communication part above, it will make things really easy).”

As for breaking up the architectural profession as you’ve mentioned. Who is going to just be satisfied with only developing everyone else’s design? I also think it would be a hard sale for someone to spend all of that money on the education to not design. Isn’t that the whole drawl to the profession in the first place? Everyone wants to be this grand designer and yet only a few of these people actually end up designing something. Even more depressing only a few of those few designing actually design something worthy of even being called an Architectural designer. I’ve seen some really bad messes trust me on this.

I don’t think this really changes the landscape of the profession from its current state. I already covered a large list of what the current architectural curriculum in the US is lacking before and it’s depressing. There many incompetent architects that don’t know the following:

How a building is developed
How buildings are put together in real life
What building codes are
How to incorporate building codes to in their designs
The construction management within the project
How to coordinate the work of other disciplines
The business side of architecture
How to design with in a budget
How finances work in business
How to manage time
How to use the software to produce anything for their design in an efficient manner
Understanding there isn’t miracle key on anyone’s keyboard or computer so when they change something it actually costs something. I know at times people like me make it look easy but we do have limitations also.

But they can draw you a pretty picture and went to design school only learning design and nothing else.

Personally when I run into these architects it makes me want to do one of the following:

- drop the project and go work for someone else or
- make sure I am not an employee and I am a contractor
- ask for 5x the amount of my normal going rate and I’ll want to get paid weekly or after 40 hours w/e comes first. If I have to do 5x the work to cover the incompetent I might as well get paid for it. I also won’t lose more than a 40 hours worth of pay on them due to their lack of financial skills. I’d also almost go to the extent of asking for my pay in cash too.

You also know damned well you won’t get reimbursed for spending all of that extra time trying to create their vision. Most of the best talent out there like myself are pretty much done with all of that nonsense.

Can you really blame me for feeling this way though?

- Why would you want a job like this constantly trying to cover an incompetent person’s ass only to end up being their scape goat and unappreciated in the end?
- Who would want their name attached to an architectural abortion?
- Ever had to work well outside of your job to cover someone else to the point of it being a 2nd 3rd or 4th job? I have. It gets old fast.
- Ever have an architect pay roll check bounce? I have.
- Ever have an architect forget to pay their office electric bill or their cable bill? I have.

I don’t see the break down working out properly because it still leaves incompetence, no incentive to stay in the profession for many as it removes the only incentive take up the profession in the first place. Unless you’ve mentioned something I don’t understand or I’m something here I don’t see the proposed separation fixing or changing anything.

I am not sure about all of that Sean but then again I typically build things to Dade county specifications for the most part and I never had to build anything near an earthquake zone. Dade county is so strict with the wind speeds and the approval list that it pretty much passes everywhere in the south eastern USA when it involves structural integrity addressing wind speeds and missiles. I would rather overbuild something and possibly save someone’s life than go with the bare minimum or less risking someone’s life. There is also an approval list there that will even restrict the materials you can use on the building. http://www.miamidade.gov/buildingcode/pc-search_app.asp If they don’t approve it you can’t use it. Some would say it’s overkill until you start looking at the aftermath of past hurricanes like Katrina. It would be interesting to learn more about the diaphragms and more about how they make the structures work in seismic zones. Perhaps my next job will give me work in those areas.

Mark Bradin • Going back to WHY?
http://www.fastcompany.com/magazine/151/mayhem-on-madison-avenue.html
This is why! Read this article…it provides some answers.

Chris Currie • Mark – We know it’s the same answer in some aspects but a different industry. It’s not just the technology that’s pushing architecture to extinction though. It’s the combination of all of the issues I have outlined earlier. Technology was also already mentioned in the reasons when I specified the average architect being useless on the computer.

David Jenkins, Assoc. AIA • “Why are we everything and yet we are nothing.” Because people don’t understand what it is that we do. Architects are one of the few true professionals. Doctors, laywers, dentists, etc… we provide a service. Let them try and do a project without our input and then they will start to understand our value.

I wouldn’t go to my brother to pull out a tooth… I’d go to a dentist. Yet people still think that they can go to their friend, brother, etc… to design a building.

Chris Currie • They already are. The design build industry is a billion dollar industry. If it wasn’t that successful they wouldn’t have made it this far.

Jonathan Peiffer • Architecture allows those of us with the background and experience in this wonderful profession to adapt successfully in ways that most cannot. The skills we use on an everyday business are in demand outside the profession in places I would not have considered possible just two years ago. Opportunities have presented themselves in related professions such as photography, project management, business consulting, teaching, and consulting for a model railroad manufacturer of all things. The art of traditional architecture is still out there, but is currently being pursued as the hobby rather than the profession. There are few professions where one can stay in the profession while taking some time away from it.

The “Renaissance” approach we take in the profession gives each of us the ability to find these opportunities. The lack of specific focus on one set of skills makes this profession very diverse indeed and profit can be found in many outside ventures as well as within the traditional boundaries of architecture.

Albert Bendersky • Wonderfully laid, Jonathan. Very realistically and smart.
Agree with every word. Too bad you haven’t commented earlier :)

Yet… at times we all dream about the “Renaissance” approach deep inside, don’t we?

Jeremiah Russell • Hey! Keep your hands out of my Renaissance!…I mean, wait, what was the question again? :-P

I also agree with everything Jonathan had to say. The “Renaissance approach” is necessary and absolute in the profession if you think about it. On a typical Residential project the architect is the artist/builder/arbiter/couples counselor/interior designer and sometimes subcontractor (fixing those little mistakes in the field that no one else will do for free). We really are the last Renaissance profession. :-)

Albert Bendersky • Nice toast for a New Years drink… way better than all those standard “be healthy, wealthy and happy".
“Keep your hands out of my Renaissance!… Cheers.” :-)

Jonathan Peiffer • To follow up to my earlier thought, I have found that at the end of the day I am judged by my clients, external and internal, by a single measure; the quality of my service. Quality service in this profession “simply” requires excellence in all that we do. Since none of us are perfect or even competent in every aspect of the profession, I define excellence in doing what you do the best you can at all times, understanding your limitations and clearly expressing them to your client, treating others as you would like to be treated, and a never ending quest for knowledge in all things. This approach has been rewarding both financially and in repeat clients.

As to not commenting earlier, I have spent the last quarter working constantly after 20 months of severe underemployment. It took nine months of some serious introspection with the guidance of some extremely gifted individuals both within and outside the architecture to come to some cognitive conclusions. This has lead me to some thoughts about architecture and how I am addressing them:

1. I am not in competition with anyone in my profession. We can thrive as a group or fail as a group. If I have specific knowledge to share, I will share it in the confidence that someone will assist me when I need specific knowledge.

2. We have failed the younger generations as quality mentors. We often get stuck on how much profitable work we can get out of an employee in lieu of how we can make them an architect. The profession has relied on mentoring for many thousands of years and we moved away from that model. For all its flaws, the IDP program does recognize that to be a successful architect, an intern must have a diverse education that begins with school and continues with real world experience. In recognition of this, I teach ARE exam courses on behalf of the AIA and my students have a higher passing percentage than the stats posted on the NCARB site.

3. In search of profit, we have moved away from the concept of “citizen architect". When overworked within the limitations of our projects we forget about giving back to our community. Architects are naturally viewed as community leaders. For me that means volunteering my time, when appropriate, and being active in the community. It pays dividends without fail.

4. If the team looks good then the individuals look really good at the end of a successful project. I have been in the situations where the team leader takes all the credit and that does nothing to promote the growth of the team. Those teams ultimately lose their best talent and lack the ability to thrive in the future.

5. A humble approach to our profession is often the most respected one. Our egos tend to get in the way of the delivery of quality as we all want to be “right". I constantly work on my abilities to speak with authority while not appearing to be overly proud of those abilities. This means admitting when I am wrong.

6. It is easy to get negative quickly. We have all been there: a great design doesn’t get proper recognition, a client is dissatisfied with a superior product, clients who claim to love our work do not pay their bills, the codes and ordinances we work under can sometimes feel overly restrictive, our profession appears to be under constant attack from others wanting to usurp what was once solely ours, etc. We can spend time worrying about this, or we can simply act and show through positive action that our services are without question superior and ultimately of a quality that the market demands.

Jeremiah Russell • how exactly do you follow great comments like this? great comments Jonathan. well put, well said. Now lets get to work!

UPDATED 12/28/2010

Chris Currie • You’ll notice it’s still not like what you have described which was done with Frank Lloyd Wright where the individual was working in the industry for 5 years and became an architect with out the 4 year college degree. I have been working in the industry now for almost 15 years and I still won’t get a fair shake until I go to school to get a degree and jump through these hoops. To make it even worse all of the work I have done already will not count towards anything for any of these people involved because it’s more about collecting money or getting free work than it is to actually teach something meaningful in many situations. Have you ever tried to transfer credits from one college to the next? You’ll know exactly what I mean. Now apply the same situation with people from NCARB on the merit of past work education and experience. We still have not considered other issues like the certification flavor of the moment. Perhaps in a Utopian fantasy land they might be helpful and encouraging but reality is a totally different thing.

http://www.ncarb.org/en/Getting-an-Initial-License/Registration-Board-Requirements.aspx

I feel in some regards this keeps people out of the profession. Applying the other comments from Jonathan Peiffer shows an even more real tragedy to the profession and few people if anyone is doing anything about it. Even when a person gets the degree it’s just another series of hoops people have to jump through. At the end we still are left with too many people that still don’t have the proper education tools or training but they can design or draw pretty pictures for a for a fantasy world that can’t be used for reality. Compounding the problem even further is the return on the time and money spent on getting the education and jumping through all of these hoops pushes even more people away.

Something needs to be done about these problems in order to save the profession from extinction in my opinion which is something I have pointed out in detail earlier. They were good points to what Jonathan Peiffer has said though it’s jsut a real shame with out jumping through all of those hoops it’s still done in vain only leaving the person to be exploited in the end. The real challenge will be addressing these problems with a viable solution before it’s too late to reverse the damage.

Jeremiah Russell • actually, Chris, if you go to Missouri, 12 years of experience gets you a seat for the ARE to be licensed in that state. Go check it out. (Note: I read the first two sentences of your post and had to comment quickly before I haul ass out of the office) - more later. Cheers.

Dean Hoffman, RA • Not gods, just someone hired to do a job. The Modernists saw themselves as minor gods. But that was Europe right after WWI. Here, it’s always been about business. The client, the people with the money, those who hire the talent have the final say in things. In film, the producer hires the director. In construction, the developer hires the architect. And it’s all very contrary to Gary Cooper’s thinking about the vocation. When an architect does stand out, he/she has become a brand – Gehry or Graves, for example. When I want a Gehry building I’m not going to hire Richard Meier, yes? To further the distinction, just how few architects ever get to that level? Most architects end up doing administrative functions on projects, not designing. There’s a strange parallel world many of the people here must be living in based on these comments. Just because you provided services to Microsoft you’re entitled to live like Bill Gates? What?

Dean Hoffman, RA • And it didn’t help we dropped the ball on green build. The USGBC has done nothing to help our credibility even though so many in the industry jumped right onto the LEED AP bandwagon. Now look at the monster we need to deal with.

Roger D. Wade, RA • What Johnathan has appeared to do in his most recent entry is to blend his own wealth of experience, expertise and introspection with the material put forth in the book “Down Detour Road: An Architect in Search of Practice", Eric J. Cesal, and compile it all nicely here relative to the discussion. Very well done Johnathan. I also love your definition of excellence. Your closing sentence was a great way to end on a positive note and look to a brighter future.

I have personally found some of the same “Renaissance” opportunities Jonathan has, as well as Home Inspections/Building Inspections and Carpentry. I am enjoying these new avenues as a supplement to my architectural work. God only knows where all of this will lead but I am becoming excited about the future in ways I could not have dreamed of two years ago.

So I guess this begs the question: Am I treating architecture as a hobby, or am I awakening my renaissance architectural spirit to thrive in a challenged economy? Am I somehow not being true to architecture by “dabbling” in these related areas, or am I exercising a larger, more encompassing definition of what architecture is?

I welcome all thoughts.

Thomas Barbeau • The “renaissance architectural spirit"; that’s a good one. But the angels of my better nature are telling me I should back off from ridiculing those rationalizations which are born of desperation. I will let it be. LEED: oh wow. More hoops for circus animals who crave hoops. Pretty darn enjoyable–for cubetrons. In a non-compensated 3rd party certification sort of way.

UPDATED 12/29/2010

Irena Skoda, Architect • Thank you Albert for putting this out there. If you think the architecture profession is not going where it needs to and everything is all nice and pretty…it isn’t. We need to be out there making our voices heard and not accepting the fact that we don’t get credit for our work unless we are “the star architect". Talking about adapting…How many architects today are using the technologies we have out there to make our businesses provide even more value to our clients? I am referring to BIM “building information modeling". How many of you really believe our profession will survive if we do not adapt to a better way of working? All I understand right now is that there is so much wasted time, that our clients do not want to pay us for the time it actually takes to do what they want. We are service providers but more so we need to be leaders. Start being leaders. Let’s move forward not backwards.

Albert Bendersky • In order to move forward we have to make sure that we (architectural design field) are really moving forward. Using modern high-tech tools (BIM that you have mentioned) is a very positive thing yet in my view this is technicality. We have to define some basic principles of what does it mean “to move forward".

For example some of the ideas stated by Jonathan Peiffer are really good. Powerful. Yet he’s not providing an appropriate solution for his own deep statements trying to resolve it within the limits of the current system. Jonathan mentions the idea of the professional mentoring - this is a classic example. He mentions his personal efforts. Great. I respect it. But it will never work. It will not move forward anything, because it is done within the context of the ARE which is a part of a rotten obsolete organizational system.

So even when positive intelligent individuals like Jonathan are working hard and teaching people of how to pass those exams it will not work in terms of a general professional development. It doesn’t mean we are moving forward. Sorry. It sounds like a charity to me…

First we must analyze why the system we have created doesn’t stimulate the development of the profession of Architecture. Maybe prior to teach young generation of how to pass the exams or to get some certificates we should check if we really need those exams/certificates and other papers? Maybe we have to develop a new system, to organize professionals differently, to think about general interactions between the professionals and the public rather than to waste our time in learning / or teaching tons of irrelevant materials.

THAT would be the first small step forward. Adapting and improving current system which is an obsolete ridiculous institution based on the principles of the XIX century would be the same as trying to make current banking system healthier by printing money. Might help for a while but the final result will be a disaster for generations to come.

Chris Currie • Irena Skoda:

There is currently 134 comments on this topic.

“We need to be out there making our voices heard and not accepting the fact that we don’t get credit for our work unless we are “the star architect".” I covered this already and it is a downfall.

“How many architects today are using the technologies we have out there to make our businesses provide even more value to our clients?” The typical architect graduating from college is not technology savvy. So no, they are typically not using technologies we have out there efficiently and effectively. That’s because they were not taught this in their education. They only learn design in their education. Enter the disposable employee or contractor to compensate for the downfall. Due to significant financial and management short comings found in architectural firms most of us are walking away from those jobs too when they exist in favor of working for engineers.

“I am referring to BIM “building information modeling” Almost the entire architectural curriculum is comprised of just design. Hardly any of it is based on reality. BIM requires someone to have the knowledge on how something is really constructed and not just how to draw a pretty picture. Now we have licensed people who can draw pretty pictures that can’t put anything together in the field. I have addressed this earlier too.

More disturbing aspects are

* the income / work ratio on the projects
* the return on the investment of getting licensed after jumping through all of those hoops
* the services in general appearing more and more as an option to the public
* the less liability in comparison to the other disciplines involved in the project

I also pointed all of this out earlier as pit falls for this profession as well as many others.

“All I understand right now is that there is so much wasted time, that our clients do not want to pay us for the time it actually takes to do what they want.” Actually this is not true. Most people look at the service as optional and try to get the bare minimum out of architects especially in today’s economy. If they could get by without an architects seal and signature on something they will simply use an engineer or have a design build company do it.

“We are service providers but more so we need to be leaders.” Define the service and liabilities for the common public as a necessity that someone else is not already being held liable for. Define these services with the liabilities for the average Joe to understand your services are necessary. You shouldn’t have to look like a philanthropist or some con man running a shell game on the side of the street trying get a client in the door. The structural engineer, civil engineer, mechanical engineer, electrical engineer or general contractor doesn’t. Everyone already knows what they are liable for, the services they provide and why they are necessary. It’s a problem that needs to be fixed.

“Start being leaders. Lets move forward not backwards.”
I have pointed out the problems and asked for solutions. I have asked architects to band together and fix the problems. Since NCARB and/or AIA won’t I recently called out the president of the Florida AIA chapter in front of everyone in the group for not fixing the problems in the profession or the unemployed because of this and more. I have even gone to the extent to try and find people work in this industry as a “leader” instead of someone who simply covers themselves and moves on. If you read my status you’ll understand more.

I’m not even an architect. I’ve pointed out the problems earlier regardless of the people who are ignoring them. There are no quick fix solutions. Ignoring them will make them go away along with architectural profession. As an architect you have more say about your profession than I do. I would like to think if you all would band together to do something about this perhaps it could be fixed.

Albert Bendersky:

I agree especially with the comparison to the money comment. LOL

Jonathan Peiffer • I would simply state that if we can each deeply influence one individual to excel, we are moving forward. Mentoring is more than passing an exam, it is two way learning between the mentor and the mentored. More important than a class, a relationship is formed.

Learning is never wasted and the information required for passing the current ARE 4.0 are hardly irrelevant. Retained knowledge of the complex systems we must deal with everyday in this professional only serves to enhance our position now and in the future both within and outside of the profession.

To look at this question from another point of view; it is not the systems we have in place that hold us back. None of these perceived boundaries to being in the system are particularly difficult to overcome. You can only change an organization from the inside. I have seen locally a small outside group who is attempting to change the system via the “revolution” method. They are doomed to failure since they will never attract enough people who can agree on even the parts of the system that need change.

I am a firm believer that activity within the profession organizations that exist for us and activity in one’s community are the ONLY way to achieve change in this profession. Everything else is superfluous as few are listening.

Irena Skoda, Architect • Albert, you are absolutely right. It all starts with the schools and Chris, it takes the right kind of architect to make a bigger contribution that goes beyond themselves and transcends to others who will benefit from them.

Sanford Garner, AIA, NOMA, LEED AP ND • I’ve really enjoyed following this discussion. I was challenged several years ago by a couple of multi-millionaires. They told me you should either find a career you’re incredibly passionate about and then find a way to make money. Or, you should find a way to make money and use the money you make to fulfill your passion. I guess we each have to figure it out for ourselves.

Thomas Barbeau • In architecture the learning curve and the business cycle are often at odds or in contra-juxtaposition. Just when you think you’re cornering into the psychic resolution that leads to your own personal architectural nirvana, it’s layoffs all around.

UPDATED 12/30/2010

Albert Bendersky • Jonathan, the information you are passing might be not irrelevant but the ARE 4.0 (or whatever number you put for the next version) as a part of the system is irrelevant.

All your “peaceful” thoughts about changing the system from the inside is a hypocrisy. You are a part of the system, you feel very comfortable being a part of it so you want to put some cosmetics “from the inside” probably to fix few things that disturb you personally. I suspect it’s not about the profession but about some personal issues you would like to fix for your own good…

“Small outside group” stupidly trying to use some “revolutionary methods” is doomed. No sir, we are not some small outside group (we are your colleagues if you haven’t noticed). And we are not seeking for anarchy, but are trying TO PREVENT the chaos and revolution which will bury our profession if your beloved “too-big-to-fail” system stays in place. It will not work smoothly forever with your “changes from the inside". It will collapse just as all those banks which were temporarily bailed out on our account.

You conveniently avoided my analogy.

We are not doomed, padre Jonathan. We are not a little group of the outsiders. We are the next generation of the professional architects. You, arrogant baby boomers, with your elitist approach are doomed. The world has changed. You just haven’t noticed it, Mr . Mentor.

Thomas Barbeau • Albert, this generation you speak of, it’s the same as the last and the one before that before that. You are like everyone and all who have come before you. Nothing special. The trumpets in your voice give you away.

Thomas Barbeau • It’s a testament to the power of myth that architecture as a profession even exists at all.

Jonathan Peiffer • Albert - I’m not sure your tirade deserves a response at this point. The clear lack of professional judgment in your last post clearly indicates that you are not my colleague. For the record, I’m no baby boomer as they are hitting retirement and I still have about 25 years to go. Truly sorry it turned out this way.

Thomas Barbeau • Hey JP, Albert’s not lacking in professional judgment as far as I can tell. How from a blog would you know that? Have you checked his drawings? Perhaps you just have too many years ’til retirement.

Albert Bendersky •
@Jonathan
Sorry Jonathan but you look, you think and you talk like a baby boomer. Well… some people are just born old… While the others (my father for example) being baby boomers keep thinking way clearer than most of the Generation X. It’s not about the age (race or political views) it’s about the way of thinking.

“The clear lack of professional judgment in your last post clearly indicates that you are not my colleague.” What a powerful argument ! What would you say next, not-my-colleague? My father’s car is bigger than yours? :)

Go watch last “Wall Street: Money never sleep". That old greedy America that you belong to is doomed. Don’t you get it? Or for you “greed is still good"?
I bet you are getting paid for “mentoring", Good Samaritan… You just conveniently don’t mention this. And I am sure it’s a pretty decent pay per hour… So much for the Renaissance man :)

@Thomas
On a philosophical note: yes you’re right - all generations are the same in a way. But when the change happens (say 60s or these days) the differences are obvious. You have people like Jonathan (bureaucratic conservators fighting for the system, people that trying to adapt and to survive) & people like me (people trying to evolve and fighting against the limits system puts). And as you can see age has nothing to do with the generation. Jonathan claims he’s young. Hard to believe…

And we all know who wins at the end. Systems don’t last forever. People do.
So Jonathan, be ready you still “have about 25 yrs to go"… (Life sounds so hard for you…LOL)

Albert Bendersky • on a second thought…Last post from Jonathan Peiffer is very symbolical.

It shows that THEIR colossal system is AFRAID of us “small group” of independent thinkers. They can’t argue with us, they can’t discuss issues with us. All they can do is to dismiss us arrogantly. Indeed you are not my colleague, Jonathan Peiffer. I am an architect, a smart guy enjoying live in full (with it’s ups & downs) and WHO ARE YOU? Just a pathetic bureaucrat surviving within the limits of your organization. A morally poor person who has “25 yrs to go” and who is scared to death to lose his “privileges". What a joke :)

Jonathan Peiffer • If I seem dismissive and arrogant, it is only in regards to how people treat other people. You will note Albert that I have not personally attacked you, called you names, not made huge leaps of logic about your character, abilities or moral character. You are absolutely correct that it is difficult to have an intelligent discussion with someone who cannot speak civilly to others.

Your words stay here for the eternity of the site and if this is how you want to be remembered, that is certainly your choice. Calling out someone as a hypocrite, elitist, greedy, a pathetic bureaucrat, a joke and morally poor when you have no basis to make such an argument is truly as unfortunate as it is untrue.

There are no privileges in the world of architecture. We all get there the same way, hard work and long hours. To receive the credentials you hold in such low regard, I prepared for my lifetime career in architecture and visioned the quickest path to get there and took full advantages of opportunities when they presented themselves. When I failed, I got up and did it again until I got it right. This is not arrogant, this was simply preparation and a little good fortune along the way.

If morally poor is a lifetime dedicated to working directly from conception through post-construction with end-user clients in lieu of higher paychecks at the big firms, then I must be guilty as charged. Architects universally must learn to get over themselves and remember that we serve real people. If we have not served our client’s needs then we have failed as an architect. We need not sacrifice design creativity, flexibility or the end product to create an excellent result.

If morally poor is being able to use the skills required of an architect to be leader in your community simply to make the community better with no expectations of return, then I must be guilty as charged.

If morally poor is using the skills of an architect to become professionally involved in my favorite hobbies for personal enjoyment, then I must be be guilty as charged.

Blaming others is the easy way out and always has been. If we want to see the real challenges the architect faces we must look inward to ourselves. We all make mistakes and we can choose to learn from them or blame someone else. The AIA, NCARB, USGBC, or the ARE didn’t create this problem, we as architects did. One cannot get in the trap of protecting an institution for the sake of the institution, but rather how can these institutions be leveraged to do good in the world. We can only resolve the challenges of this profession by working together and getting past the us and them mentality.

To address the question of what my definition of a real architect is, I think I covered that in my first posting to this thread of which you agreed to every word of it. There is no uniform definition of architect. We all are by the nature of our training complete thinkers and can adapt and thrive in endless ways. In the 18 years I’ve been in this profession, it has constantly changed and those who thrive best change with it.

Albert Bendersky • A. I am not your colleague, as you claimed. So why you are saying “We all…". Following your logic at least ONE of us is NOT an architect. As for me… if people like you are “architects", then I’d rather stay away…

B. I don’t care about credentials. They do NOT define the profession. I have seen brilliant architects with the decades of the experience on the huge complex projects. And they didn’t have those ridiculous US (or Canadian) credentials because… their English was not perfect, or being immigrants with the families they didn’t have time and money to go through the bureaucratic hell you protect. They were from Egypt, Philippines, Romania, Argentina, Ukraine, Jordan, Russia, China, Vietnam, Israel, Columbia, Algeria … I am talking about people I know personally. I have also seen “samaritans” like you knowing nothing about the outside world walking proudly among those specialists “managing” their work. See, to you credentials is everything. Because it protects you and your rotten system. To me education, talent and personality - that’s what makes real architect
(In case you are interested I am licensed in 3 different countries, I have publications all over the world, tons of all necessary credentials, interesting projects - so this is not some cry from a guy who is angry of not having some credentials. I am fine. Really.)

C. Oh, yes our words are set in stone here. And if somebody wants to follow the chronology of our discussion it will be not so great for your “reputation” , my “not-my-colleague” Jonathan.

D. The major difference between us is: you talk about YOURSELF (check your posts - how good your are, how you are “mentoring", how fair you are with the clients and so on… But this is normal, we all should do this. And we shouldn’t brag about this. It’s a norm.) While I am talking about THE OTHERS, about the professional needs for the architects as a group (regardless of their “credentials"). This is the first time (topic B & E) I start talking about myself. You have forced me.

Е. Don’t even start to compare yourself to me. I have worked in 9 (!) different countries, have run amazing projects, I speak 6 languages, I fought the war (the real one where people get killed), I write books, blogs, essays in 3 languages, I read tons of books (not only architectural tutorials), I feed my family and enjoy life. (And I also do all those things you have mentioned: long working hours, fair relationship with the client, diligent work etc…). Speaking of bragging…
And you? When was the last time you have read a real book? Not a Hollywood blockbuster, but a real book? Yes, I can call you names. If you haven’t noticed - this is Internet, baby. Not some old-fashioned club where you and you bureaucrats buddies judge the world “behind the close doors". Wake up, its a new reality.

F. Again you conveniently haven’t mentioned if your “mentoring activities” are free of charge. I am sure you would cry out loud that you are doing it for free, for the love of the profession if you would really do it for free. Otherwise you get nicely paid by the system by doing this “job". Keep mentoring. Not here though. We are too smart to be your students. We can bite. So spare your banalities for another audience ;)

Jonathan Peiffer • Your personal assaults on my character were a result of my posting about a local small group of outsiders trying to change the system. You misinterpreted that comment so completely to get this discussion to where we are. The ironic part is that group is trying to change the system so that every single building designed in the state of AZ would require an architect’s seal. Completely in the opposite direction of what you interpreted and what your blog posting discusses.

You find it necessary to make your discussions personal and flat our lie about others you know nothing about. Colleagues do not do that. It is one thing to read a particularly insightful book and it is quite another to understand the meaning behind it.

Simply stating untruths does not make them so. Your increasingly angry responses are quite humorous so please feel free to continue to rant and rave without any basis in fact.

On that note, back to some more of the Renaissance activities I first posted about. They actually have meaning for the profession as a whole.

DownUnda Aquatic Environments • Wow!! I feel the time spent creating and writing these hemingway worthy, caustic barbs is indicative of the reason people don,t have work. Its time to get busy and get creative.
Read “Who Moved My Cheese”
Business is absolutely wonderful and I see a bright future for all.
Peace and Good luck to everyone :)

Albert Bendersky • “Who moved my cheese” was written like 10-15 yrs ago…
One hit wonder from the 90-s… Any fresh advice?
And it’s not exactly the book I meant. I meant literature ;)

DownUnda Aquatic Environments • I know some people that have a similar attitude, and I pity them. They are “not” successful because they choose to blame everyone and everything else around him for their lack of success, and success doesn’t always equate to having a lot of money.

I think that you actually enjoy being offensive, your getting attention this way.
Good for you Brother.

Albert Bendersky • I enjoy life. It’s more fun this way.
“…success doesn’t always equate to having a lot of money.” Is this a mantra to yourself, Brother? Or you are trying to calm down The Mentor?

We are like big family here: a mentor, a Brother. And you all are Renaissance people I guess? Preaching ARE 4.0 & reading intellectual tractate “Who Moved My Cheese".

I would suggest you to read Spinoza or Heidegger… (Yeah… go to Wikipedia - start searching)

DownUnda Aquatic Environments • Perhaps, Emanuel Kant, Carl Jung or Karen Horney. or Julian Jaynes…

We still by no means think decisively enough about the essence of action.
Martin Heidegger

Albert Bendersky • Trying to show that you read. Ok. Good for you.

Yet somehow I don’t trust you (it’s easy today to pile those names and quotes through the internet…) You know why I don’t believe you:

A. first thing you have recommended was “Who Moved My Cheese” not Kant. This is your real understanding of the book…
B. I went through your blog. You don’t read Kant. You read “…Cheese.”

Peace to you too, Brother. Good you didn’t call me Comandante :)
I don’t wish you luck, you don’t need it , you have read “Who moved my cheese".

Sanford Garner, AIA, NOMA, LEED AP ND • It seems the discussion may have digressed a bit. Nonetheless, there had been quick mention of reading. So, I thought I would share a few of my favorites for those that are interested. Take from each what you will, but I’ve found each one particularly helpful in some area or another in my personal and professional life. As an aside, I was never too impressed by “Who Moved My Cheese".

Business - “Green to Gold", Daniel C. Esty and Andrew S. Winston; “The Art of the Start", Guy Kawasaki; “Blue Ocean Strategy", W. Chan Kim and Renee Mauborgne; and anything by Patrick Lencioni (he writes business parables – short and simple read, my most recent reading of his was “Getting Naked")

Philosophical – “The Four Agreements", Don Migul Ruiz; “The Purpose Driven Life", Rick Warren; “The Dream Giver", Bruce Wilkinson; “The Choice", Og Mandino; “The Prophet", Kahlil Gibran; and “The Art of War", Sun Tzu (which you may have to wrestle with a bit).

Albert Bendersky • Nice list. Lot’s of things to check. Thank you Sanford. One more piece is missing. Ayn Rand “The Fountainhead". A must. (Forget about that “…Cheese")

And on a peaceful note - let’s forget about the architecture for a moment.
Happy New Year to all of you, PEOPLE.
http://archialternative.com/2010/12/30/happy-2011/

Chris Currie • With all of this great reading material I would like to say none of them sound like building codes, tech manuals for computer hardware or software, user manuals computer for hardware or software, or even books on how a building is put together in any discipline. I hope people have not replaced the idea of reading these books for the typical self help book. If that is the case no wonder why the industry is going right down the toilet. LOL

If you want to be a psychologist or philosophist I can understand all of the heavy reading in these categories. So when was the last time you picked up a construction book, a building codes book, a UL book or even a book about the software needed to produce these designs on the computer for the AEC industry? I am just curious. I guess I eat sleep and shit computers and construction. Perhaps it’s a flaw of mine.

Sanford Garner, AIA, NOMA, LEED AP ND • Albert thanks for the addition of the Fountainhead. Chris, the only piece that is heavy(in my opinion at least) is “The Art of War". The balance are pretty simple, quite a few of them incredibly short, and enjoyable reads.

I believe part of our job is to be a psychologist for our clients. How many times have you helped a user or client visualize and understand what it was they truly want and need compared to what they thought they wanted and needed. My sister is a lawyer and she used to drive me crazy when we’d talk. One day I was talking with my attorney (who happens to be a good friend), and I shared my frustration. He helped me understand something. He stated “Your sister’s job as a deputy prosecutor is to get a person to say what she wants them to say. Your job as an architect is to get your client to say what it is they want.” We get along wonderfully now by the way.

As to when was the last time I picked up a construction book, trade mag, UL/code book, etc; construction at least once a week for some reason (budgeting, construction techniques, etc), trade mag (at least twice a week), UL/code as required frankly. Software not as often as I rely on my associates to teach me (I don’t get to draft too much anymore). In other words, reading one does not preclude me from reading the other. I simply love reading and it makes me a better person, husband, father, and practitioner.

Chris Currie •
It might help you manage time and your design better if you know the capabilities of the software and the time it takes for changes. So reading about the use of the production software other than the box it came in might help too, it’s just a thought. This also can help you get more money and budget because you can justify it all better whether it’s changes or the initial design.

Initially my comment was geared towards the individuals who are not reading any of the things on my recommended reading list but are just reading the self help books instead. I personally don’t consider an architect to be a shrink nor would I think they have the credentials for it, just like I wouldn’t hire a shrink to design a building. In my opinion if a client needs a shrink they should go see one because you’re supposed to be an architect. I don’t ask the plumber to wire the building, and I don’t ask the ship builder to repair my car. I don’t ask the roofer to construct foundations to buildings. Everyone today has a specialty to some extent, they are supposed to excel at and have studied their specialty. That is more or less my point. I know what you are going to say though. “But I slept at a Holiday Inn last night!”



Sanford Garner, AIA, NOMA, LEED AP ND • Chris, your comments aren’t quite valid for me as I own my own mid-sized firm. More so, I don’t draft much anymore, as I’m much more valuable doing high level design, high level management, mentoring, and business development for my company. I do, however, have leaders I rely upon that do exactly what you state though with software or hardware for the company. We’ve been blessed that we’ve been doing quite well financially and we’re doing well maximizing our billable time.

Regarding my comment about psychology, I would suggest you read Peter Lencioni’s “Getting Naked.” It’s a simple 220 page book (with large text I might add). It’s probably a two day read if you’re taking your time. I’d be curious about your thoughts after reading it. I personally feel the ideologies in it tie back to Albert’s earlier comments regarding our profession. More importantly, our clients seems to truly appreciate the service and approach we take as a company. So, I’m happy and thankful for that.

UPDATED 12/31/2010

Justin Merkovich, LEED AP • Do one of the following:
A. Find a job that you LOVE and if it doesn’t pay that well, at least you are happy.
B. Find a job that pays well that you can *tolerate* and put all of your REAL energy into something you love.

I’m two years removed from my M. Arch but I’m 38 years old. I pursued architecture as a “second career.” I left a full-time (dead end) job about 6 years ago. I’m now making about 10% more than I made at my previous dead end job.

That 10% is consumed by my student loan payments (interning and bartending part time during school don’t pay an existing mortgage, etc.).

I’m not making boatloads of money but it is all relative-we have a comfortable home, transportation, eat organic/locally grown foods, the bills get paid. “Good” money is relative. Will I make what an investment banker or a doctor will make? No. I would rather dig ditches and scrape by than become an investment banker but that is my personal opinion. I don’t have the skillset to be a doctor and respect their commitment and knowledge so I won’t begrudge them their money. It is well publicized that architects don’t make a whole lot of money (again, this is relative). Anyone that gets all the way through school without understanding that fact deserves their “fate.” I’m good with it but I live simply.

As for education, I directly asked a head of graduate studies why we didn’t get more instruction in real building technology or experience actually building anything and his response was, “Building technology will get learned at a firm. You have very limited time to learn how to design in school and you won’t get much, if any, design opportunity at the lowest rung of an architecture firm when you graduate.” So, the firms are expected to teach building technology and design school is just that-design. This is between firms and schools in my view. What can a student do in this case? I pursued every “design build” opportunity that I could whether it was paid/for credit or volunteer and I learned a ton and helped my portfolio. It was clear to me that I needed to differentiate myself and that meant attaining a deeper level of understanding of building technology (still only scratching the surface). One semester I had a professor who was notorious for being very difficult and I took it upon myself to learn Revit that semester - it cost me a grade. However, when I walk into an interview, I have that software knowledge firmly under my belt and the work in my portfolio. It IS sad that we don’t get taught more building technology or actually make things with our hands but I don’t see how firms can force schools to do it. Which brings me to my next point…the AIA.

What does the AIA do other than create a portal through which I throw money, walk over hot coals and broken glass, and then get a piece of paper that allows me to stamp drawings so I can get sued? From the first undergraduate class, the WHOLE process of architecture is weeding out.

Dispassionate? You’ll get a bad grade in a theory class and be gone. Can’t draw? You’ll get a bad grade in a drawing class (even though about 2% of architects actually draw anything) and you’ll be gone. Made it to grad school huh? Wanna have a spouse and not do three consecutive “all-nighters"? You’ll be gone. Yay! You got an M. Arch and a job, so I suppose you think you are an architect? Here are your title choices for your business card: “Intern” (not “intern architect” by the way) or “Designer.” Yeah, sorry, you can’t have anything that says “architect” because you aren’t licensed. It’s a legal thing. Now, here are your study materials for the ARE and here is where you send in your money and this website is where you log your three years worth of experience…

I haven’t seen any suggestions for revolution in this thread…I have a suggestion for possibly regaining some power/respect/monetary strength but I’ll save it for the next post. Thanks for reading.

David Jenkins, Assoc. AIA • Jonathan, I wanted to comment on your earlier reflections. I agree with many of your points. I’m still 2 exams away from licensure yet I mentor High School students every year. Many of the guys at my last firm would spend our weekends working on homes for habitat for humanity. We sponsor a booth at the local anual fair and at many fundraisers such as Big Brothers Big Sisters, etc.

I help schools to find and fund licenses of AutoCAD. I even go so far as to find a copy for a particularly interested student. I kid the guys because they used to say, “If this job was easy then High School girls would be doing it.” One afternoon mentoring a junior in High School (and yes, a girl), I was able to teach her how to lay out a floor plan in AutoCAD, bring it into Revit and turn it into a model of her house. She did a rendering in Revit and then I had her export it to Impression to do another rendering. She did this in roughly 6 hours with no prior training and had never seen the software before.

I believe in the “Master Builder” approach. This is easy if your doing a single-family home because you can be there to babysit the project and “council” the client along the way. I haven’t worked on anything smaller than 1 Million s.f. in 10 years. That kind of attention just isn’t possible. Usually because I’ve got 9-12 other projects going on as well.

I’m glad so many of us are out of work if for no other reason than we’re finally communicating with each other on a regular basis. I hope that doesn’t end when we’re neck deep again.

David Jenkins, Assoc. AIA • Sorry, one more thing about treating architecture as a hobby. If we do so, we allow others to make unnecessary mistakes. Often not only costly but harmful to the environment.

“Evil happens when good men do nothing.”

Albert Bendersky • David, with all due respect, what this “lengthy list of your good deeds” has to do with the discussion of the issue WHY architectural profession is in such a poor state?

Why are you telling Jonathan on a public board about your mentoring activities and software knowledge. I mean - there is nothing wrong with this, but it is irrelevant to the public discussion.

We can all start to tell different syrupy stories about ourselves… You sponsor a booth at the local fair and I once helped an old lady to cross the street. Common!

Don’t take it personally. But seeing so many “Renaissance people", “Master-Builders” and “Mothers Theresas” on one forum makes me - a regular guy who just asked a simple question to feel uncomfortable.

Happy New Year

P.S. When I see words “Big Brother” it reminds me of Orwell’s “1984″ ;) (I know it has nothing to do with the architecture, but it has to do with the architecture of life)

UPDATED 1/1/2011

David Jenkins, Assoc. AIA • Albert, I think you may have misunderstood my point. I felt that Jonathan was stating that architects needed to get back to the grass roots and that he felt that other’s weren’t doing the same. I was merely stating that there are others out there who feel the same way and what better way to educate the public than by being out there. And, while you’re out there, you may just find some deeper meaning to the title Architect.

You can be the greatest renaissance man or master builder but if no one knows you or trusts in your abilities, I don’t see your phone ringing very often. Nor do I see a future generation of architects if we don’t work with them.

Albert Bendersky • Jonathan was stating his personal achievements. He has quickly mentioned with 2-3 words that architects should do this or that and then in a lengthy phrases has described his personal “good deeds"… Very smelly strategy to promote yourself. (Plus remember - he has never answered if his “mentoring” comes for free… from his replies it was obvious he benefits materialistically from the system so his deeds were even not so “good” after all).

As for promoting “your abilities” I would say doing it on public forum discussing professional issues is not the most appropriate way. For this we have paid advertisements, business conferences, company’s website if you wish.

Do you really think that listing HERE a list of your “good deeds” and “brilliant intentions” will make your phone ring more often? Do you REALLY think that the only purpose for the architect (or for any human being for this purpose) is to make clients/potential clients to call you as often as possible? If so I pity you.

I personally hate phone calls. Any calls. (Guess that doesn’t make me “A Renaissance Man"…). Btw, do you know that Vincent Van Gogh hasn’t sold a single painting in his whole life. He didn’t know how to make “his phone” to ring too often. Or maybe he didn’t care?

P.S. I’m not assuming I’m anything near my favorite painter. All I’m saying is just that the “phone call” is not the highest priority in my life. I prefer to watch Van Gogh paintings in quiet. I would suggest to anyone (besides Jonathan) to go to Paris Musee D’orsay and to do the same. By the way architecturally it’s a great building as well… so if you think Van Gogh is not good enough because of the lack of self-advertisement you can enjoy the architecture. D’Orsey is one of the greatest “retrofits” of the 20th century in my view.

Jonathan Peiffer • I only used the small things I am doing to help this profession as examples. They are certainly not personal accomplishments. Accomplishments is a different subject that is certainly not on topic in this thread. The basic points remain valid. We have a duty to train those with less experience. This profession has thrived in the past in this way and due to increased demand on tighter schedules and lower budgets, this has gone by the wayside. We have the training to be provide service in a number of ways outside the realm of the traditional practice. The basic training to be an architect enables those abilities in all of us.

I do mentor without charge by the way. Didn’t think it needed to be said, but there you have it. Such much for the obvious. As pointed out earlier, the real benefit is the in kind learning about what is working in someone’s career path and what is not and offering insight when appropriate. Sometimes it really is just that simple.

“Fountainhead” was a fun read, but the basic premise of self over all other concerns does little to promote the common good or even the profession. The biggest complaint about architects from the outside is that they are ego-centric and don’t listen. While Rand claimed that it was not based on the Wright / Sullivan relationship, the overtones are overtly clear and the mythical version of “McKim, Mead & White” is taken straight from the pages of history as well. I still enjoy her books and “Anthem” was a short but interesting read in high school. “Devil in the White City” is a fascinating fiction novel based around the architecture of the Chicago Exhibition. For philosophy, “Sophie’s World” was an in depth read. “Ghost Rider” by an author in your part of the world is a good insight into loss and recovery. For pure fun, “Devil May Care” was a 2 day read and the first “official” novel authorized by the Fleming estate since 1964. Finally, research has consumed a good portion of the last quarter, but alas it is for work that comes with some compensation - bartered time for models.

Van Gogh was a brilliant painter that never did sell a painting during his lifetime, but I think that gets off the point of the original blog post. He never got the credit he deserved during his lifetime either. It seemed that the point of discussing of a lack of compensation and recognition would lead to ways that people have escaped that trap. Perhaps I was mistaken about that. If so my apologies.

UPDATED 1/2/2011

Charles Traylor, NCARB • This discussion and its chaotic assortment of links is the most amazing and disjointed bunch of malarky I have read since lunch. To its leader I offer an observation, which we Texans often utter to one another in similar circumstances….all hat and no horse. Holden Caulfield might have used another label…phony. HEY! No need to shout. I’m leaving.

Chris Currie • “Van Gogh was a brilliant painter that never did sell a painting during his lifetime, but I think that gets off the point of the original blog post. He never got the credit he deserved during his lifetime either. It seemed that the point of discussing of a lack of compensation and recognition would lead to ways that people have escaped that trap. Perhaps I was mistaken about that. If so my apologies.”

I think this is the normal mode of operation in the architectural industry. There are people that have nada (nothing in Spanish) as in nada damned thing to do with a project while claiming credit for it. This is done instead of giving credit to the people who actually have done the work, they also get paid poorly, and are under appreciated. So can you explain how those people have “escaped that trap” because I honestly don’t see it? This is why I refuse to design for people that are so quick to do this. No cred + no money for design = I am not designing any of it. I have been down this road before too and it’s not worth the headache.

UPDATED 1/10/2011

Daniel Long • Architects typically are relegated to the “necessary evil” category on projects: the pariah (sp?) on the construction project because we are assumed to have no practical experience, need to know everything and so are constantly at risk of making that “mistake” or lapse.

I can’t tell you how many projects I have worked on, spent that extra time to ensure the client avoids that costly mistake in overall approach, resisted their wishes when they won’t listen and taken the rath – only to be proven right in the end (and thanked once by a client, which made it worth all the suffering). Ususally we get left off the kudos list, but that can also be because we just don’t make enough of an impression or let’s face it: your client just cares more about the end result than making any of us architects feel better.

We see Architect, others see architect, a drafter of plans and not much more. Why do you think you get such a quizzical look when you tell someone you are a professional just as a doctor or lawyer is considered one?

I am upset, you bet. What do I do about it? I take each client and when they complete their project they not only receive a nice project but an education on what an Architect truly is and should be. You all know what that is so go out and do it every day, sometimes twice a day….

Chris Currie • Daniel

I don’t understand.

“Architects typically are relegated to the “necessary evil” category on projects: the pariah (sp?) on the construction project because we are assumed to have no practical experience, need to know everything and so are constantly at risk of making that “mistake” or lapse.”

I can’t say architects are needed for many projects which is hurting their ability to get work during these hard times. Many projects don’t even require an architect to even check a plan. Their services seem to be optional for many potential clients.

“We see Architect, others see architect, a drafter of plans and not much more.”

I can’t even say they have “drafter” down. =-( It’s sad but true. Unfortunately that would require knowing the software and most architects are terrible with computers. I know first hand of their leet skills. I can’t even say it’s ignorance because I put the instructions/directions on how to use the files in the emails. So I would have to say it’s stupidity. So here’s my story, at 9:00 am I was pulled out of my bed after working for about TWO days straight on the engineering portion of a project. I was so tired and frustrated I decided I wasn’t going to get dressed for this. I walked into their office with more than a 5 o’clock shadow and blood shot eyes that were as red as a fire truck. I was dressed in my boxers, flip flops and a wife beater shirt. Rough just doesn’t even begin to describe me at this point.

When I came in the door their client (who was an exec. very large firm) and everyone in the office was looking at me like WTF. After becoming the focus of the office like a naked porn-star at an adult nightclub, I then made my announcement to the office. “Today we are not going to learn about internet security, or how to hack email accounts or passwords on your operating system. We also won’t be learning how to sniff ports, spoof IP addresses or how to break into websites. Today we are going to learn how to use that incredibly difficult and complex software WinZIP. Then we are going to learn how to replace an xref file in AutoCAD.” About a dozen people from his office including their client followed me to this architect’s computer. I asked the architect to see the email I sent him. I then read the email aloud step by step as I followed the instructions.

Guess what? It worked just like I said it would in the email. Yeah, I know it’s sad isn’t it? I then announced “I have been up for almost 48 hours straight and I am going to bed. If you can’t find competent help this is not my problem. I am now going to bed.” I know I am not perfect and this was a very abrupt way of handling people. Please understand even I have limitations for BS after being dragged out of bed due to the gross incompetence displayed which was insurmountable.

I have other stories similar to this that are just as stupid. I have also had an architect complain about not seeing anything on his monitor while his computer was on. Yep you guessed it, he forgot to plug it in. Events like this really made me start to question, just what do these people learn in college? It’s not the software, it’s not building codes, it’s not the money management, it’s not time management, it’s not construction management and it’s not the actual construction of anything. God forbid they learn something relevant to their field or how the real world works in college.

I can’t really say I have seen, heard or experienced much in regards to the other things Daniel has previously mentioned either. I’ve heard a lot of bitching from the people in the field and the other disciplines about architects though. This is another reason why I think this needs to be fixed. The problems in the profession shouldn’t be ignored anymore. We really need to fix them.

Jeremiah Russell • Chris, can you please tell me what city you work in so I can be sure never to job hunt there? I’ve got the same stories only from the other side of it - getting shit drawings from engineers who have the same stupidity you describe. Like, why in the hell can engineers, civil especially, not seem to draft at 1:1? Why is everything scaled down by a factor of 12? DRIVES ME F-ING NUTS. 1″ = 1″…it’s autocad! there is no limit on the space you can use!

The one I love the most is when you etransmit drawings to a consultant, they get it (the zip file) have no idea how to unpack it properly, then open the drawings and call you saying “I can’t see anything on the screen but a long string of letters (that just so happens to resemble a file path)….yeah, they don’t know that the xref needs to be repathed…I’m sure we could both go on and on about this.

UPDATED 1/11/2011

David Jenkins, Assoc. AIA • After reading through all of the input to this thread, I’m gaining a better understanding of what the real problem is with this profession… can you?

I am at the root of all of my problems. Either keep adding to the problem or get out of the way.

Andrea Haake • I have not read all of the thread , just the last parts. On one side of the problem is american/canadian make. The development of the architectural business and for sure business in general is quite different here than in Europe.

1. The diversification of the “architectural work” into designer, technologist, project coordinator, project manager, CAD specialist etc in big offices. Who is responsible for the design, everybody and thus the company or the principal!! The end of the happiness: a warm handshake. I would say it is the due the typical hierachistic management practises here.

2. Where are all the professional magazines and public discussions, I hardly can´t find some. (I know Calgary is just a provincial nest, and Toronto is doing better probably). Many things here are just industry driven.

3. Where is the appreciation of small things? In my opinion it was a professionsional foolishness to give away the authoritiy for doing the design work for residential homes to the homebuilders. I like the idea of calling them the “perfect socialistic shell", I sometimes think I get already Alzheimer, because I get lost in those communities - eventually my trip ends at those amazing acoustic perimeter wall around the developments :
And last not least:

4. The big bang is all what counts and this could be proved throughout the history and the apprehension of the public is naturally bigger if things look complicated.

5. And yes, to establish yourself in the market successfully you either need a lot of money or very good connections (and mostly this comes in pairs. well?)

6. Architecture as an Art has more roots in Europe and people are more inclined to identify themselves with buildings.

UPDATED 1/13/2011

Keith Cannizzaro • I am not really sure what this conversation was about originally but as an engineer I believe that Architects are the most under payed people in this industry. They handle so much on each project sometimes I think to my self why would they want to take on all that but in the end it’s you that shines when the project turns great.

Now on another note another question I have and I may post this somewhere else but I have been in the business for 15 years as a Pluming Engineer and it seems like when it comes to Architects selecting engineering firms they seem to go with the same ones over and over no matter what the quality of work is. Why don’t Architects try someone different just to see if there is another firm out there that can better service your needs. Is it because your afraid to be let down? Is it because the devil you know is better than the devil you don’t? I am a soon to be partner of the firm I work for but for me to elevate to this position I need to establish new clients. How exactly does one accomplish this?

Jeremiah Russell • Keith, excellent questions. i try to get my boss to go with new consultants all the time and get no consideration. I would suggest you get involved with the local AIA, go to some lectures, try to sponsor some happy hour meet/greets or coffee gatherings, whatever. Just get out there and introduce yourself to the local cadre of architects and pass out your card. Let them know your work can speak for itself and you’d like a chance at their next project.

Keith Cannizzaro • Jeremiah thank you for your response. It’s funny because if it was me I would want to find someone better if I wasn’t happy with certain clients. I know this that everyone new client we have had has been blown away with the service and quality of drawings we provide. But like I said it’s hard to get new clients that just don’t want to change. Thanks again.

Debbie Priest • We are always worth more in our own minds than in reality…just ask any baseball player, actor, artist and their arguments during negotiation time will be basically the same as the above arguments here. Past history tells of exactly that - it’s what you can offer each individual client at that moment that matters. Knowledge is power, but useless if you cannot explain to others how the knowledge benefits them.

UPDATED 1/14/2011

Martin Koenigsberg • People-

I think Architects sort of fell for the old Architect/Patron model. But now we are moving to a services/clients model. It just takes time- and Architects are taking time to adjust to it- as their thought naturally turn to the work more than the work model.

Let’s face it- all the places where art and business intersect are going through existential crises right now as we change models and paradigms. At least we’re not the Music business!

Ad people are trying new monetising. “Fine” Art is going through changes. I think we’re actually doing pretty well. I think the next boom will see architects getting a bigger share- perhaps as BIM gives them added power…

Jason Wagner • I personally thought the article was well written aside from the grammatical stuff. Isn’t it really sometimes more about what is being said not HOW its said? Aretha Franklin sang our theme song but Nanny McPhee said it best- when you ask for it, it will not be there, but when you don’t need it, that’s when it will be around. We are like the beaten wife of the construction industry. always asking for more and thinking we are worthless. We are lucky to be able to do what we love so we think “wow, someone wants to pay us for this?” so we beat ourselves up over fees. We got sued because we talked about fees in the past and tried to regulate how much to charge.

I don’t know the details but this is all about ranting anyway right?

Why else does anyone read these some of these more popular group posts for no other reason than entertainment purposes. I would prefer this over the blatant self-promotion that occurs on these same groups. What do we need to do to correct the issue at hand? Respect ourselves! That’s where it starts. Easy to say because I am currently employed right? All the architects out there in their garages that are doing projects so they can put food on the table. I can guarantee that most do not have E/O insurance. Think about that next time you sign some drawings and you are not covering yourself from being sued. Respect yourself. Just because you work out of your garage doesn’t mean people need to pay you less. Aside from leasing a huge office you should still have some of the same expenses as a big firm. Of course, many instead go without… not joining the AIA, not carrying health insurance, or using their spouses insurance, wishing they could use BIM but instead doing work using a bootleg of Autocad 2007.. Respect yourself. People I know are still impressed when you say you are an architect, why shouldn’t you be impressed with yourself. Albert is right when speaking about what architects do. What Don’t we do?? Traditionally we are not good with money- instead wishing we could design away all day coming up with the next cool thing. We are not good with marketing, otherwise you would be seeing WAY more AIA and architect ads out there on TV. We don’t ask for respect from media outlets who usually tell us who built a project, but never who designed it unless its a Starchitect (for lack of a better term).

What do we do? Respect yourselves first (see a theme here?) Ask for what you are worth, not for what you think the other guy cannot beat on price. If everyone just asked for what they were worth we would immediately see an improvement. I cannot tell you how many times I see people putting proposals together in the “hopes” that more work will come so we will “take a loss on this project” just to get our ‘foot in the door". Let me tell you- THAT NEVER WORKS. You have just set the expectation that they can get what they want for free, and you are cheap.

What else? Get out there and market yourselves, talk about what you do to whomever will listen. Blog, tweet, facebook, write articles about architecture in your town for the local paper, become an activist for buildings, LEED, historic restoration, urban planning, whatever.

Looking forward to subsequent comments from others- sorry for the diatribe but I am tired of us being beat up too. Thanks for the post Albert.

UPDATED 1/15/2010

Albert Bendersky • Thank you very much, dear colleagues. Pretty cool year results…
More than a 1,000 people have voted on my financial poll regarding architect’s income. http://archialternative.com/2010/10/31/poll-2010-11-01/
More then 300 comments in total on my site… OMG!
185 comments here! Wow!
Another 76 comments on my thread related to the financial poll…. I’m shocked.

Not some brief comments like “yes we like it", “no I hate it"… But deep detailed, PHILOSOPHICAL comments full of creative ideas and strong language. In my view a lot of them deserve to be published as a separate essay… What can I say? I would never expect to create such a wave with my funny emotional thoughts… I must be touching some nerve here, some very painful points…

On a separate note. Although it is also part of my results.
In ~5 months about 70,000 people have read my English blog. Among them very famous movie-critics, legendary rock-poets, writers & of course architects. From all over the world. Only 3 (three!) of them have mentioned my “poor grammar". All three of them were ARCHITECTS from the UNITED STATES OF AMERICA. (Not writers, critics or poets, but architects.)

Thank you, American colleagues, for your tact & delicacy.
Too bad you don’t read my upfront apologies for not speaking English perfectly.
It’s been always placed here: http://archialternative.com/about/

P.S. I’m just interested how many OTHER languages besides their native English speak & read those American architects who were not impressed with my grammar :)

UPDATED 1/16/2010

Nava Slavin • Sadly Albert, you are so right. the public in general does not have an appreciation for talent & knowledge if they have to pay for it. It seems that cost is mostly the bottom line, not great architecture. In order to earn more money I was forced to do mainly interiors & never stopped regretting it. I always admired those who stayed & did great work in spite of the small return. Other professions like doctors, teachers face the same issues. yet actors & sports figures are paid ridiculous amounts of money.
I am sure you are talented but frustrated & all I can say is that I hope you enjoy what you do. It may be worth more than anything money can buy.
Good luck to all.

UPDATED 1/17/2010

Jeffrey Pastva • I appreciate the article, but the Woe is Me approach doesn’t get the architect very far. Why do lawyers, who can barely spell your name right, get to charge you $400 per hour? I even had to approve an invoice in where a lawyer billed in 6 minute increments, so we were actually billed for the time it took him to write his invoice to us. It is absolutely infuriating, but the developer argument is similar. Just as you need a lawyer to settle disputes or to represent you in front of planning boards, you need a developer to fund a project. In the end the developer takes on the risk and is the one paying you. Until the day arrives that architects are able to take on the role of developing their own projects, we will always be at the mercy of the owner, no matter how much we do behind the scenes to make a project happen.

Jeremiah Russell • Jeff, why is it “until the day arrives that architects are ABLE to take on the role of developing"? Do you think there is something (other than the cajones to do it) stopping architects from being our own clients? True the risk is HUGE, which is why most architects are fine being nothing more than a “service provider", but in my not so humble opinion ;-), architects are SUPPOSED to be the developers - i.e. those shaping the built environment around us. It’s our primary role as “master builders". And all it would take (other than an insanely rich wife/mistress who likes to write blank checks) is for a couple of architects to partner together on a joint venture, purchase some land and BUILD. We shouldn’t be going after new clients, we should be competing with our clients. We should be designing and building the next generation of sustainable architecture instead of waiting for our money hungry clients to get the friggin clue that this is good for the world as well as our pocket books.
Ok, I’ll step off my soap box now. :-)

Jason Wagner • Funny you shoukd mention architect as developer.. Just saw this local article about one doing just that. http://www.slu.edu/x36607.xml

Albert Bendersky • @ Jeremiah
Very well said. I was always thinking about the same thing. As for the lack of starting capital - what you suggest is a very smart concept: just cooperate, make partnerships and work together architects. I personally think that this might be the only practical solution for “architecture” to become a reputable field again, as well as for “architects” to make decent income given their expertise and talents…
Bravo.

P.S. “Design-build” model in it’s present shape is not exactly the thing we would need (in case somebody wants to remind us about that)

Jeremiah Russell • @Albert, check out this blog for info on IPD (integrated project delivery). seems it’s the new “sliced bread” of architecture. I haven’t gotten into it a great deal yet, but i’m headed that way as it seems the way a project should go (i.e. the architect consulting with all trades, including contractor, from the get-go).
@Jason, sweet article. I’ve seen other stories like that in the past. Not nearly enough though. We need, as Albert put it, more partnerships among architects to get things done the way they should be done.

Justin Merkovich, LEED AP • @Jeremiah:
You nailed it. I posted far above that more concrete ideas need to be put forward and that I was going to throw one out but you beat me to it - architects as developers. It seems like the simplest idea in the world: many of the complaints on this thread (and others) is that “…we don’t make any money” and “…the developers are the only ones making the money.” If the perception is that developers make all of the money and architects are angry about that, the solution is simple - develop yourself!

Preemptive strike # 1: Before anyone posts about “risk", I challenge you to either accept the status quo, continue doing all of the visionary work while accepting the monetary “scraps” and stop complaining or DO SOMETHING ABOUT IT even if that means you assume some risk!

Preemptive strike # 2: I keep reading posts about what “terrible business people” architects are. If this is so true then collectively we need to look in the mirror and figure that out. Is the mind of an architect so different that we can’t make intelligent business decisions? Is it really that hard to put a team of financial backers together to finance a project with a good pro forma? Either the “numbers” (rent, etc) are there or they aren’t right? What is so mysterious and difficult about putting together a business deal?

I’m two years removed from grad school but I’m 38 years old. If the difficulties that we face, and more importantly - the solutions, seem so obvious to someone new to this profession then I’d love to hear some explanation from the “veterans” as to what I’m missing.

Cheers,
Justin

Jeremiah Russell • you’re not missing anything Justin. where do you live? lets partner and get some s**t done. :-)

UPDATED 1/24/2010

candy jalbuena • It’s funny but here in the Philippines, a building is more prominently identified with its architect – not its builder or engineer or contractor. This is not to say that the architect makes more money than everybody else but definitely, the “prestige” of a landmark building is more closely identified with the architect.

Bookmark and Share Send Feedback | Permalink
Bamboo Construction in Columbia
by Katy Purviance on 12/08/10 @ 08:56:22 pm
Categories: Architects | 121 words | 1847 views

I got an email from Carolina Zuluaha, a bamboo architect from Columbia. It was in Spanish. Even though I am a native Angeleno, my Spanish remains at about the level of a three year old. I can ask where the bathroom is, and I can say that I want Taco Bell, and I can tell you to wash your hands because it’s the law. But that’s about it. Luckily, we have been blessed with Google Translator.

Regards,
We Zuarq. Architects built with bamboo and want to share with you our love for this material, inviting them to see some of our work.
Carolina Zuluaga Arch
Bogot Colombia

Check out their bamboo homes and their blog, which has some pretty awesome videos.

Bookmark and Share Send Feedback | Permalink
What do you think about online Master of Architecure?
by Katy Purviance on 12/06/10 @ 10:53:06 am
Categories: Grad School | 95 words | 889 views

I just read this thread on the AREforum. I thought you might be interested.

I am having mixed thoughts about doing an online master of architecture and I need to hear different opinions… What are you thoughts about an online Masters on Architecture? Do you think architecture is a kind of subject that can be thought online?? Having experience in the field ,does it make a difference,I mean for example will it work for a experienced person and not for a fresh graduate?? Please advice.. I appreciate it.

Some of the responses are…amusing.

Bookmark and Share Send Feedback | Permalink
American craftsmanship threatened by mindless consumerism
by Katy Purviance on 12/05/10 @ 02:41:14 pm
Categories: Articles | 275 words | 393 views

I just read this article called “American craftsmanship threatened by mindless consumerism” by Richard O. Byrne. I thought you might like it.

Why is it that Germany can sell vastly superior wood-working tools by the boatload in the United States? It’s their quality. The same is true of German autos and many other products that leave ol’ Jim Bob’s load of junk unsold in the back of his pick-up. If you want to close the trade deficit, make things people want to buy. And at the same time educate the consumer here and abroad as connoisseurs of the possibilities at hand.

Some new schools have accepted the challenge. In Charleston, the American College of the Building Arts (ACBA) has taken on the challenge as have other schools such as the North Bennet Street School in Boston. ACBA is the first in the nation to offer four-year bachelor’s degrees in blacksmithing, timber framing, carpentry, plastering, stone work and masonry.

It’s new and has birthing pains. It stumbles on trembling legs and it has many young people who have placed their trust in ACBA’s hands. But saying all this, one cannot say it is not alive. As a nation we are its parents charged with bringing this child to adulthood. Nobody can claim children will raise themselves, or that the task of this parenthood will be painless.

It is our task to plant the seed of a vibrant visual future this country so badly needs and to say of the Industrial Revolution, we reserve these things to ourselves because they are basic to the life of our society. No machine can duplicate them.

Read the whole thing!

Bookmark and Share Send Feedback | Permalink
Listen to Duo Dickinson on Burning Down the House
by Katy Purviance on 12/04/10 @ 12:43:39 pm
Categories: Architects | 280 words | 835 views

Listen to Duo Dickinson on Burning Down the House with Curtis B Wayne.

He is the principal of a 10-person firm in Madison, Connecticut, is a contributing writer for Money Magazine and the architecture and urban design commentator for the New Haven Register. He has taught at Yale College and Roger Williams University. His seventh book, Staying Put, will be published in 2011.

Duo Dickerson AIA recently published this fine, invigorating piece on our current architectural pedagogy.

And he says:

In the 19th century, the Ecole des Beaux-Arts in Paris provided an academic approach to architectural training that supplanted the guild system of apprenticeship with master builders that had existed since the Renaissance. This idea of an abstracted aesthetic education in how buildings are designed spread throughout Western civilization and is now the dominant paradigm. But when I entered the field, vestiges of the old system remained: it was still possible to bypass higher education altogether by pursuing a nine-year apprenticeship with a licensed architect. Those who opted for this path would take the architecture registration exam side by side with those who had a degree and three years of apprenticeship. This option no longer exists.

What has resulted is a mandatory education for those who want to be licensed architects that distills, disintegrates, and provides its own self-reinforcing echo chamber of abstracted design methodologies grounded in academic theory. Unfortunately, as soon as graduates dive into a career in architectural design, they (and those who manage them) are confronted with the fact that designing a building is a craft that has layers of design criteria that are simply not addressed in the way most architects are trained.

READ ALL OF IT!

Bookmark and Share Send Feedback | Permalink
Computer-generated bullshit as architecture
by Katy Purviance on 12/03/10 @ 01:05:56 pm
Categories: Architects | 187 words | 1139 views

I just watched this TED talk by architect Greg Lynn.

(Though I’m not sure how much I would trust an architect who wears this tie with this shirt:)

He talks about Bateson’s paper, which discusses how when a system loses information, it resorts to symmetry.

We read this paper at the GSD. Lynn uses Bareson’s ideas as an excuse to do away with symmetry as a model for architectural design…

for the, well, not necessarily asymmetrical forms as a model, but rather his calculus-derived forms as a model.

It’s just so…so ugly. And then look at this. It’s also “housing” like the last image:

Ugh, It looks like the stuff we were encouraged to come up with at the GSD. It also looks like something designed by someone who uses a computer to design instead of…oh, I don’t know, a budget, a cost-sensitive client, the building code, people who like windows, and people who have furniture that is designed to go against a straight wall. Here are the floor plans:

If you still want to watch the TED talk, here it is:

Bookmark and Share Send Feedback | Permalink
Changing Education Paradigms
by Katy Purviance on 11/30/10 @ 09:01:05 am
Categories: Grad School | 27 words | 760 views

This video chiefly concerns education as a whole, but I think it has some important points to make about architectural education as well.

Bookmark and Share Send Feedback | Permalink
Great Frank Gehry quote
by Katy Purviance on 11/29/10 @ 11:51:41 am
Categories: Architects | 99 words | 624 views

I just watched the TED talk video on Frank Gehry.

Every time I see a Gehry building, I think a monster must have ravaged through Metropolis and then puked.

In the video he says something that I think is spot on:

“I thought architecture was a service business and that you had to please the clients and stuff, and I realized when I came into the meetings with these corrugated metal and chain link stuff and people would just at me like I’d just landed from Mars, but I couldn’t do anything else.”

Yep. That about sums it up.

Bookmark and Share Send Feedback | Permalink
Preach it, James Howard Kunstler!
by Katy Purviance on 11/27/10 @ 03:33:59 pm
Categories: Architects | 18 words | 256 views

Can you imagine a Church of Architecture? Kunstler would be one of the preachers.

Bookmark and Share Send Feedback | Permalink
Mitchell Joachim: Don't build your home, grow it!
by Katy Purviance on 11/27/10 @ 02:51:17 pm
Categories: Building | 59 words | 328 views

I just saw this video over at Talkitect and I thought you might like it.

I love the idea of grafting trees together to make your house.

And, as a microbiologist turned architect, I LOVE the idea of combining architecture with biology…but I’m not so sure about the in virto meat habitat:

Meat House

Bookmark and Share Send Feedback | Permalink
Composition as a Pedagogical Method in Architecture. Or, How to Make It Look Pretty
by Katy Purviance on 11/26/10 @ 09:10:05 pm
Categories: Articles, Grad School | 2096 words | 516 views

Curtis Wayne, host of Burning Down the House, sent me this essay by Colin Rowe on composition.

The shelves of any representative architectural library in the United States or Great Britain might suggest that between 1900 and 1930 the major critical interest of the architectural profession throughout the English-speaking world lay in the elucidation of the principles of architectural composition. Certainly a surprising number of books on this subject were published during these years and, if few have appeared since the last date, it is equally evident that very few were published before the first. A Discussion of Composition, Architectural Composition, The Principles of Architectural Composition: - the titles are familiar and the publications, all showing allegiance to closely related critical patterns, now have a flavor of the period. The aim of such books as these was avowedly pedagogic, and (using the word in no derogatory sense) their authors evidently entertained an academic ideal. Sharing a common critical vocabulary, and apparently enjoying a common visual experience, these writers felt no compulsion to lead an attack on either the present or the immediate past; and while they had no inherent connection with the modern movement in architecture, they were not always insulated from contemporary development - nor necessarily without enthusiasm for it. Making no overt display of bias and by no means simply committed to retrospective attitudes, they were preoccupied with the survival of certain standards of urbanity and order, certain received ideas which for them were identifiable with tradition; but above all, as the titles of their books continuously reaffirm, they were anxious to extract from historical and current precedents a formal common denominator - the quality which they recognised as correct composition.

These books are usually to be found in close proximity with, and often on the same shelves as, the manifestos of the specifically modern movement which were published during the same years; and, apart from the obvious differences in temperature between the two styles of publication, there are other differences which invite notice. Thus the most cursory reading of any of the pronouncements of the great innovators of the 1920’s suggests that for such figures as Le Corbusier, Mies van der Rohe, and Gropius, the existence of any such principles of composition as the academicians presumed was not only dubious but irrelevant. These men were convinced that an authentic architecture could only be a rationalization of objective facts. One might believe that for them “composition” implied a regard for mere appearance, had suggestions of subjectivity, of formalism. And however highly formed their buildings may have been, they were certainly unanimous in asserting their innocence of formal intention. “We refuse,” writes Mies, “to recognize problems of form; but only problems of building’"; and, even though this statement may be no more than a matter of polemics, the assertion of such opinions is enough to indicate a state of mind which could only regard the idea of composition as a discreditable one.

It is for reasons such as these that around this apparently innocent word inhibitions have gathered thick, so that except in its esoteric sense, as a reference to a composition within the post-Cubist tradition, a tendency might be noticed to use it only with considerable reserve. Sometimes, indeed, it is positively anathematized; and then, as for instance when Frank Lloyd Wright pronounces: “Composition is dead that creation may live"; then there seem to be evoked echoes of similar scruples already experienced by architects and critics of the nineteenth century. “I am always afraid to use this word composition,” Ruskin announces, and when, as the major apologist of the mid-Victorian epoch, he was obliged to use it, he guarded himself against possible misinterpretation by means of elaborate footnotes: “The word composition has been so much abused, and is in itself so inexpressive, that when I wrote the first part of this work I intended to use in the final section of it the word ‘invention’ and to reserve the term composition for that false composition which can be taught on principles."!

That a single word can be productive of such alternatives of damnation or involved reserve no doubt says much for the meanings with which it has been endowed; and possibly the evidence of such elaborate semantic diffidence does bring us face to face with a recurring critical dilemma, important not only to the mid-nineteenth century, but also to the present day.

Now the composition books are partly, but not completely, discredited; and the pronouncements of the innovators of the nineteen-twenties are partly, but not completely, accepted. Thus one group of critical standards survives with diminished prestige, while another has not achieved comprehensive definition. Modern architecture has professedly abjured composition; but the composition books recognize no situation in which their theory could become an irrelevance. The composition books are judiciously disinterested, catholic, temperate, and pragmatic; the classic manifestoes of modern architecture are partisan, exclusive, inflammatory, and doctrinaire. In any final analysis of its theory, modern architecture seems to rest upon a conviction that authentic architectural form can only be engendered by recognizing the disciplines which function and structure impose. But the authors of the composition books find that this thesis cannot engage their convictions. For them it is by no means an article of faith, rather it is an interesting supposition; and while they are indisposed to quarrel with it, they are definitely unwilling that it should form the focus of their critique. A truly significant building for these theorists is not an organization derived from functional and structural disciplines - although these may have contributed to it - but pre-eminently a structure, organized according to the principles of architectural composition and infused with a symbolic content that is usually described as character. According to this doctrine the presence of both good composition and appropriate character is essential in a successful building, and the presence of the one is not automatically productive of the other.

Proper character does not necessarily accompany the securing of good composition …. A factory may display all the correct graces of classical architecture but may look like a public library. On the other hand a church may be recognized as a church on account of the associated elements - the spire and stained glass windows ~ but be entirely lacking in the principles of good design. Proper character and principles of composition are not synonymous; they appear together only by a conscious effort of the designer. They must both be present in a successful piece of architecture.”

Character is seldom, if ever, defined, but it is generally implied that it may be at once the impression of artistic individuality and the expression, either symbolic or functional, of the purpose for which the building was constructed. Often, however, it is admitted that the presence of character has not always been a necessary attribute of architecture; and when this admission is recognized, and when it is observed that the present day has imposed critical tabus on characterization also, a further dimension to the problem is suggested. And since both words are now somewhat suspect to strictly orthodox contemporaries, their suspicions do prompt some investigation of a possible relationship and the ideas which this relationship has involved. It is perfectly clear that in the strictest meaning of the word any organization is a composition, whether “correct” or not; it is also evident that any building will display character, whether intentionally or otherwise; but if such general definitions of both terms are to be accepted then further inquiry will be blocked; reactions such as Ruskin’s or Wright’s to specific meanings of the word composition will become inexplicable, and the expression of character will be assumed to represent an interest of all architects at all times.

But as might be expected, the introduction of both words into the critical vocabulary of architecture seems to have been an achievement of the eighteenth century. Certainly after 1770 both become fairly frequent, whereas before 1700 one is apt to look for either of them in vain. Thus neither Alberti, Palladio, nor the elder Blondel, to select three crucially important theorists, seem to have envisaged the working out of an architectural theme to have been a matter of informing composition with character. For them the process of design was a Vitruvian one involving “invention,” “compartition,” “distribution,” “ordinance"; while, what the later eighteenth century understood as “the arts of composition,” earlier critics usually described, with somewhat different meaning, as “the arts of design.”

Possibly the word composition makes its first decisive English appearance with Robert Morris’ Lectures on Architecture in 1734. “Architecture is an art useful and extensive, it is founded upon beauty, and proportion or harmony are the great essentials of composition,” writes Morris; and with this idea of a “composed” architecture it is interesting to notice that much of what was later referred to as character is already implied, for architecture “is divided into three classes, the Grave, the Jovial, and the Charming [and] these are designed to be fitted and appropriated to the several scenes which art or nature has provided in different situations.” While “A Champaign open Country requires a noble and plain Building…A Situation near the Sea requires the same, or rather a Rusticity and Lowness…The Cheerful Vale requires more Decoration and Dress, and if the View be long or some adjacent River runs neat by it, the Ionic Order is the most proper.”

But in spite of Morris’ example, neither composition nor character seems to have enjoyed an immediate success; it was not until the later eighteenth century, with such figures as Robert Adam, that the use of the first became more general. With Adam, composition is associated with “movement,” and from his preface to his Works in Architecture it may be seen how “movement” was connected with the appearance of a diversified form. In his well known definition, “Movement is meant to express the rise and fall, the advantage and the recess, with the other diversity in form, in the different parts of a building; so as to add greatly to the effect of the composition.” While “movement” also serves to produce “an agreeable and diversified contour that groups and contrasts like a picture and creates a variety of light and shade which gives great spirit, beauty, and effect to the composition.”

Thirteen years later in his celebrated advice to the architect, Sir Joshua Reynolds gave a more august confirmation to these pictorial points of view: the architect should take advantage sometimes, to that which the Painter should always have his eyes open, - the use of accidents to follow where they lead, and to improve them, rather than always look to a regular plan…As buildings depart from regularity they now and then acquire something of scenery…”

By this shifting of emphasis from the work of architecture in itself to the effect of the work upon the spectator the late eighteenth century was able to accommodate a conspicuous dominant academic theory and a powerfully subversive undercurrent. But, however significant was the complex of new ideas which now demanded expression as “composition,” even as late as 1906-9 Sir John Soane’s Royal Academy Lectures still observed the standard academic pattern. In his lectures Soane very briefly alluded to the “principles of architectural composition” (possibly the first English appearance of the term?); but for him the arbiters of architectural form still remained the orders, and the problem of architectural design a problem of ordinance…

This is an interesting article, and it answers some questions for me. Largest is a question I had on my mind the entire time that I was at Harvard, namely, WHY we’re we asked to design the way we were. Why were we supposed to reject “pattern,” avoid “historicisms,” and not to even consider the, for lack of a better term, “user experience"? We were told to make “diagrams,” which I never understood, wherein we were to take arbitrary data points, for lack of a better word, and some how connect them into some sort of ridiculous geometry, and from that monstrosity, somehow derive a design. Well, it smelled like horse shit the first time I encountered this preference for Retarded Design (if I may?), and when I realized that the academics were quite serious about this method, I fell into a sort of heartbroken despair.

This article helped to place my experience into the larger continuum of architectural history. What I was subjected to was perhaps the effuse of deconstructionism, where everything is intentionally stupid-looking. But what I yearned for is a way to make sense of things, not a way to destroy it.

Bookmark and Share Send Feedback | Permalink
Build it with Brick. Win $10,000.
by Katy Purviance on 11/24/10 @ 10:07:35 am
Categories: Competitions | 188 words | 440 views

I recently told you about the BrickStainable International Design Competition.

I know you are interested in the cool stuff going on in architecture and I thought you might be interested in Potomac Valley Brick. They created an International Design competition called “BrickStainable.” The challenge is to design a sustainable building using clay masonry units (brick) as the primary material. This net-zero design competition already has teams from 45 different countries registered, with the registration deadline being three weeks away. The entries from last year are very innovative and if you were interested in taking a look at them, they are posted on BrickStainable’s website at www.brickstainable.com. Since brick is intrinsically sustainable and often overlooked, it’s a great competition, trying to push brick to the forefront of energy efficient design in this green era. Winners get prizes, the top winner receives a $10,000 cash award. Just thought you would enjoy hearing about this competition that brings together designers from all over the country!

I just found out that the registration deadline for the competition has been extended to
December 15th, which coincides with the design submission deadline.

Bookmark and Share Send Feedback | Permalink
Reflections on the GSD...one year later
by Katy Purviance on 11/23/10 @ 11:42:57 am
Categories: Grad School | 283 words | 447 views

I’m facebook friends with most of the people I knew during my time at Harvard’s GSD.

Which means I saw their beautiful photographs from their recent studio trip to Senegal.

And I think to myself, “That could have been me.” And honestly, I feel a little sad that I am no longer part of that community.

But then I remind myself of all the reasons why I left.

I struggled every day with the irrelevancy of our work in studio. With the archaic academic pedagogy. With the schedule overloaded with irrelevant classes.

I was tired of waking up every morning with a sense of dread in the pit of my stomach.

And I was heartbroken that, in the hands of my studio critics, my beloved architecture had been transfigured into a grotesque mockery of everything I loved.

And now I was struggling with what I had left behind. After seeing these photographs of my former classmates on their trip to Senegal, I thought about how much time and money I spent preparing for grad school, and how much time and money I spent applying. I thought about the student loan debt I accrued at the GSD. And I thought about how much debt I didn’t accrue since leaving.

And I realized I had saved enough money to travel to Senegal and back ten times.

And then I felt better.

It was my disappointment in grad school that spurned me to found VERB design/build school, a school that I have many great plans for. Including, of course, international field trips.

I’m creating something that will allow me to travel the world with like-minded architecture students. I’m sure we’ll get to Senegal as well.

Bookmark and Share Send Feedback | Permalink
What good is accreditation?
by Katy Purviance on 11/21/10 @ 10:22:38 am
Categories: Grad School | 1372 words | 390 views

As my Board of Directors and I discuss the form that VERB design/build school will take, we keep coming up to the issue of accreditation. Getting accredited is a lengthy and expensive process, but it would mean that our students would be eligible for federal financial aid.

But shaping a school so that it complies with another organization’s standards oftentimes means killing the soul of smaller, unique schools…especially schools that are more interested in the actual output of the school.

And then today I came across this article that speaks to some of the larger problems of accreditation. Please read…

Quality Guarantee or a Waste of Money?
Accreditation of colleges and universities has substantial costs but minimal benefits.

By George Leef

Suppose that my son’s weekly piano lesson consisted not of diligent work with his teacher to perfect his playing of an etude by Chopin, but instead they just spent the time on video games. Would that matter to anyone?

Well, it would certainly matter to me. I’d be wasting my money. But it wouldn’t affect anyone else.

Things would be much different, however, if the money to pay the teacher came from taxpayers. Put aside the obvious point that many would say that their money shouldn’t be used for music lesson, no matter how diligent the instruction might be. Even pro-piano zealots would not want to pay for lessons where nothing was accomplished.

And that gets at the reason why people care about higher education accreditation: America subsidizes a great number of college students and the taxpayers don’t want the money going to waste on worthless courses and programs. Accreditation exists “to assure that institutions and programs meet threshold expectations of quality and to assure that they improve over time.” That’s what the Council for Higher Education Accreditation says, at least.

Sounds good, but how well does accreditation actually work?

A recent report issued by the Center for College Affordability and Productivity, “The Inmates Running the Asylum?” Takes a highly skeptical look at our system of accreditation. The authors, Andrew Gillen, Daniel Bennett, and Richard Vedder, conclude that “accreditation in its current form needs to be abandoned entirely.”

Don’t they care about educational quality?!

They certainly do, but argue persuasively that our accreditation system is not capable of achieving the goals of educational quality. (In the interest of full disclosure, I should say that the authors cite a paper I co-authored in 2002 which came to the same conclusion.) Just because a college or university is accredited does not ensure that its educational programs are worthwhile or that they’re improving.

Conversely, academically sound schools can get into accrediting trouble. The Pope Center covered one such case involving St. Andrews Presbyterian College. Questions about a school’s financial viability (as with St. Andrews) are far more apt to lead to threats from accreditors than are bad learning outcomes.

Gillen, Bennett and Vedder note that college accreditation depends overwhelmingly on the assessment of its inputs and procedures rather than on outcomes. Schools that appear to be following the accepted model for education can get and keep accreditation. They need to have completed a lot of paperwork such as institutional mission statements and self-study evaluations, have proper facilities, employ professors with good credentials, have sufficient financing, and so on in order to earn an accreditor’s stamp of approval.

Those requirements do prevent diploma mills (i.e., educationally fraudulent schools that don’t teach, but merely sell bogus degrees) from earning genuine accreditation. (There are also phony accreditation groups.) That’s important because government student aid money can only go to schools that have been accredited by a recognized accrediting agency. By preventing students from spending their government aid at diploma mills, we deter them from squandering money on unquestionably fraudulent institutions.

Unfortunately, our accrediting system does not prevent “real” colleges and universities from operating with such low standards that many students graduate with pathetically poor skills in “the three Rs.” It is not uncommon for weak and disengaged students to enroll in an accredited college and manage to accumulate enough credits to graduate, but learn little in the way of valuable skills and knowledge.

Those schools are different from the diploma mills, where there isn’t even a pretense of education. They have real classes. Students have to do some work. Most importantly, it’s possible for students who really want to learn to do so. Colleges do not, however, lose accreditation over pitifully low academic achievement by most of their students because accreditation is not based on academic achievement.

Accreditation teams do not attempt to find out whether, for example, graduates have improved their reading and writing abilities. The growing public perception that many students waste their college years on “beer and circus” has caused the accrediting agencies to pay lip service to learning outcomes, but their efforts have been futile. The authors explain: “Since 1992, accreditors have been required to collect evidence of student learning, but the college lobby has ensured that these are self designed assessments.”

In other words, schools get by with low standards as long as they have policies in place that are supposed to eventually improve them. Accreditation doesn’t require proof of results, just that officials look like they’re doing something to improve them.

Therefore, the authors conclude that there are few, if any benefits to accreditation. It does not ensure that the money taxpayers are putting into college subsidies is generating educational gains. True, it keeps money from flowing into diploma mills, but it can still be wasted at lots of accredited colleges.

The system has little benefit, but it unquestionably has substantial costs.

Schools have some direct costs if they want to become or remain accredited. They have to pay the accrediting associations (which are private groups composed of colleges and universities, not governmental agencies) for their services. Those costs, the authors state, are not particularly high, but are dwarfed by the indirect costs—all the time that is consumed in preparing the decennial reaccreditation visit.

One professor told me that when he was a junior faculty member at a well-regarded liberal arts college, he and several others professors were given a full year’s release from teaching so that they could work on preparing for the reaccreditation visit from the Southern Association of Colleges and Schools (SACS). In addition to the lost teaching time, the college also suffered considerable expense in projects meant to impress SACS, such as a new “green” dormitory, that had no impact on the school’s already fine academic programs.

The accreditation mandate also gives the accreditors enormous leverage. Many schools would have a very hard time surviving if they lost their accreditation and accreditors have sometimes misused that leverage to promote ideological agendas. The authors recount a number of instances where accreditation power was used to push a “diversity” agenda and I have often heard the same thing.

Instead of ensuring that college programs are of high quality and students are putting tax dollars to good use, the accreditation system imposes needless costs and empowers the accreditors to dictate to schools that don’t need their meddling.

Gillen, Bennett, and Vedder suggest several ways in which college accreditation could be improved, such as getting away from “binary” decisions (that is, either accredited or not), and allowing for competition among accrediting bodies (currently the main undergraduate accrediting associations have regional monopolies), but their key recommendation is that the federal government stop relying on accreditation as the determinant of eligibility for federal student aid funds.

They advocate a replacement system that would be “far more outcomes-based” than the accreditation system, such as standardized national examinations in various disciplines that would indicate whether schools were really educating students or just going through the motions. The latter would lose eligibility for federal funds.

College accreditation arose and developed long before the advent of federal student aid and turning it into the gatekeeper for access to government student aid was a mistake. When accreditation was voluntary, it probably accomplished at least some good. Now that it’s almost mandatory, it has become predictably authoritarian and wasteful. It’s time to undo the mistake.

Source

Bookmark and Share Send Feedback | Permalink
College Educated Graduates Who Can't Buy Homes and Can't Have Families
by Katy Purviance on 11/19/10 @ 04:36:37 pm
Categories: Grad School | 192 words | 362 views

I just read this article by C. Cryn Johannsen. I thought of you.

Dr. Housing Bubble wrote a piece about recent college educated graduates who can’t buy homes, because they must service their student loan debt. It is encouraging to see this type of post, as I too have written about the subject countless times here at Education Matters. This angle ought to make policy makers stop and think critically about the student lending crisis and how it is affecting the health of the housing industry. I mean, clearly they don’t give a damn about the personal stories of suffering, so perhaps we should try to raise awareness about this fact. Moreover, those who would like to own homes are also putting off having children. Whether or not you support the idea of procreation isn’t the issue here. In these situations people can’t have children as a result of being indentured educated servants to the likes of Sallie Mae and Nelnet. So you have a generation of recent grads who have no purchasing power and who, not by choice, will remain childless. How’s that for a healthy and robust middle class?

Source

Bookmark and Share Send Feedback | Permalink
Fetishizing ‘What You Love’
by Katy Purviance on 11/17/10 @ 01:40:40 pm
Categories: Grad School | 168 words | 337 views

I graduated from a private, Ivy League level institution two years ago. Many of my classmates had staggering loans. I studied architecture, a field with notoriously low starting wages, and many of my classmates had $60,000 or $80,000 or in one case $110,000 in loans. At these colleges, the education has become fetishized and the students often refuse to put a price on the cost of going to the #1 college in their field.

The colleges are generous, but at the same time, they essentially charge as much as they want to. For the students, once they’re in the program, they’ll do anything they can to fund it lest they feel like a quitter. It’s exciting to be at a place like that, and “buy now, pay later” is very seductive to the 20 year-old who has never failed at anything and wants to stay on top. Many of them were told to forget the cost, forget the low wages, and do “what you love” no matter what.

— Andrew

Source

Bookmark and Share Send Feedback | Permalink
The Student Loan Disclosure Document that Every Borrower Should Read
by Katy Purviance on 11/14/10 @ 04:11:27 pm
Categories: Grad School | 802 words | 422 views

We’ve been taking a look at the student loans you take out to finance your education. I thought it might be helpful to take a look at Zac Bissonnette’s “The Student Loan Disclosure Document that Every Borrower Should Read” that he wrote for the Huffington Post

One of my greatest concerns about the way most students make their college financing decisions – and one of the key reasons I wrote Debt-Free U: How I Paid For An Outstanding College Education Without Loans, Scholarships, Or Mooching Off My Parents – is this: Very, very few borrowers fully understand the potential ramifications of the loans that they are taking out.

No effort is made to educate borrowers and while all borrowers do have to sign promissory notes; the disclosures are hopelessly inadequate.

To help, I have put together my own disclosure document that I believe every single prospective college student should be required to read and sign before borrowing a dime to pay for college. I’m highly confident that Sallie Mae and financial aid offices around the country will adopt this disclosure statement immediately:

I, ___________________, hereby certify that I am borrowing $____ ,___.__ at the interest rate described in Exhibit A (see attached). I certify that I am entering into this loan obligation freely and willingly of my own volition, that I am in full possession of my mental faculties, and that i have read this agreement in its entirety and that I understand every part of it.

In taking out this student loan, I testify that:

* The return on investment of a college degree is not guaranteed. While I may believe that college is a good investment that will lead to a high-paying job, I understand that it not a guarantee of a job at all. In fact, less than half of college graduates under age 25 are working at jobs that require a college degree. I understand that even if my college degree does not lead to a job, I will still be required to pay my loans.

* I understand that student loan debt is, in spite of any verbal and/or written representations made to me by representatives of the college industry, not a safe form of debt. Of federal student loans that entered repayment in 1995, 1 (one) in 5 (five) have since entered default. This represents a rate of default that is higher than subprime mortgages, car loans, credit cards, and payday loans. Private student loans default at even higher rates.

* I understand that if I do default on my student loans, they are generally not eligible for discharge in bankruptcy. I recognize that, for this reason, it is easier to discharge $50,000 in debt used to finance gambling, vacation or drug abuse than it is to discharge debt accumulated in the pursuit of higher education. There is no statute of limitations on the collection of student loans, and I may have my wages, tax refunds, and Social Security garnished to meet my obligations.

* I understand that, if I realize that I have borrowed excessively to finance my education, I will not have any asset I can sell to eliminate the debt, unlike debts accrued to finance home and car purchases. I also understand that, unlike with credit card debt, I generally will not be able to settle this debt for less than the total amount borrowed plus interest and any penalties that may accrue.

* In the event that i am borrowing loans that require a cosigner such as a parent, I recognize that my inability to make payments for any reason may jeopardize the financial well-being of the cosigner. It also may jeopardize my relationship with said cosigner.

I further recognize and acknowledge that my decision to finance my education with this loan may impact, in a material way, certain non-financial aspects of my life, including but not limited to:

* Debt accumulated in the pursuit of an undergraduate degree may impact the feasibility of further education. For instance, a 1998 Nellie Mae study found that 38 percent of student loan borrowers reported that their debt had prevented them from pursuing grad school.

* The same Nellie Mae survey found that 40% of borrowers reported delaying or forgoing the purchase of a home because of student loan debt. 22% reported that debt had delayed their ability to start a family.

* A 2007 study published by the National Bureau of Economic Research found that “debt causes graduates to choose substantially higher-salary jobs and reduces the probability that students choose low-paid “public interest” jobs.”

* Significant debt increases risk of depression and other psychological problems, including but not limited to suicide.

I further recognize that my student loan obligations may inhibit my ability to save for college for my own children, putting them at risk for the same risk factors outlined in this document.

Borrower: _________________________________________ Date __________

Source: http://www.huffingtonpost.com/zac-bissonnette/the-student-loan-disclosu_b_773222.html

Bookmark and Share Send Feedback | Permalink
Jurisdiction requirements, Or, What is your tuition money actually buying you?
by Matt Arnold on 11/14/10 @ 01:01:23 pm
Categories: Architects, Applying to Grad School | 147 words | 415 views

US Jurisdictions

This map shows the states whose architecture licensing laws require an NAAB-accredited degree in blue; those that do not are shown in red, according to NCARB (that link will take you to a webform where more complete descriptions of the requirements in each jurisdiction. Interestingly, as of 2010, the population of licensed architects is very nearly equally divided between these two types of states (again, according to NCARB.)

Matt Arnold

UPDATE:

One of our loyal Facebook fans has pointed out that “and yet having a NAAB accredited degree and getting a license in one state gives one absolutely no reciprocity in another state, so a private organization, much like LEED became a part of the law, with NO BENEFIT to the profession or really to the public. Were Architect designed buildings falling down or inhabitable with any more frequency before NAAB than they are after it? Uh no.”

Bookmark and Share Send Feedback | Permalink
What if your professors rapped their lectures?
by Katy Purviance on 11/12/10 @ 12:40:36 pm
Categories: Grad School | 94 words | 326 views

Architecture lectures commonly involve laser pointers and slides. In his, architect Tuomas Toivonen prefers throbbing bass and electronic drums.

“U is for Utopia, U is for Utopia,” Mr. Toivonen rapped at a recent New York performance of his new record, which he bills as “an architectural album.” Yes, he makes records, too.

The 35-year-old Finn was wearing jeans and a blazer, moving his hands like a hip-hop star as he delivered a musical lecture to a bewildered, though dancing, crowd.

Read the whole thing…and listen to Tuomas. And hey, become his friend too.

Bookmark and Share Send Feedback | Permalink
Why Modern Architectural Education is Archaic
by Katy Purviance on 11/11/10 @ 12:31:01 pm
Categories: Articles, Grad School | 267 words | 396 views

Duo Dickerson AIA just published this fine, invigorating piece on our current architectural pedagogy.

He is the principal of a 10-person firm in Madison, Connecticut, is a contributing writer for Money Magazine and the architecture and urban design commentator for the New Haven Register. He has taught at Yale College and Roger Williams University. His seventh book, Staying Put, will be published in 2011.

And he says:

In the 19th century, the Ecole des Beaux-Arts in Paris provided an academic approach to architectural training that supplanted the guild system of apprenticeship with master builders that had existed since the Renaissance. This idea of an abstracted aesthetic education in how buildings are designed spread throughout Western civilization and is now the dominant paradigm. But when I entered the field, vestiges of the old system remained: it was still possible to bypass higher education altogether by pursuing a nine-year apprenticeship with a licensed architect. Those who opted for this path would take the architecture registration exam side by side with those who had a degree and three years of apprenticeship. This option no longer exists.

What has resulted is a mandatory education for those who want to be licensed architects that distills, disintegrates, and provides its own self-reinforcing echo chamber of abstracted design methodologies grounded in academic theory. Unfortunately, as soon as graduates dive into a career in architectural design, they (and those who manage them) are confronted with the fact that designing a building is a craft that has layers of design criteria that are simply not addressed in the way most architects are trained.

READ ALL OF IT!

Bookmark and Share Send Feedback | Permalink
Setting out...
by Matt Arnold on 11/08/10 @ 02:20:37 pm
Categories: Architects, Applying to Grad School | 667 words | 270 views

I remember back in August of 2008 I got an email from my state AIA government affairs liason, asking if I was willing to participate in a survey of yellow pages advertisements. Architects from different areas of the state agreed to assess the advertisements in their local yellow pages of individuals and firms advertising their services under the Architects heading. We pitched in eagerly, and checked our phone books against the state registry of licensed architects. About 40% of the advertisements were from licensed firms and individuals, the others were not.

Contemplating the value of this edification, an idle thought crossed my mind: what percentage, I wondered, of the faculty of the Architecture schools in the state were licensed architects? Web searches of our three NAAB-accredited programs provided me with a list of 175 faculty members; 31 of these appeared on our state roster – almost 18%.

I was astounded. What other profession has standards so low that it would allow circumstances in which more than 5 in 6 faculty members to teach without demonstrating minimal competence in their field? Cosmetology comes to mind, or tatooing… but no, these honorable pursuits are taught by licensed practitioners. Engineering? Hardly. Medicine or Law? The idea is entertaining, but there is no spark of truth in it. This statistic is a reproach and a shame to the profession, to the institutions that allow it, and most of all to the dilettantes and poseurs who presume to be addressed as teacher without submitting to the discipline of practice; whose ideas are so diaphanous that they vanish when confronted by the puff of wind; dissolve at the kiss of the morning dew; or evaporate at the first glint of the Sun’s golden rays.

I have come to learn that my state is an aberration, and contrary to my initial perceptions, the national average of practitioners in the education field is much higher – in fact almost double. In fact, according to the National Architecture Accrediting Board, in 2009, the ratio of licensed architects to non-licensed individuals among the faculty of our schools is one in three (see page 20).

Actually, I exaggerate. This statistic refers to those who are registered in some jurisdiction in the US, not necessarily practicing as they teach. This is something, perhaps a small thing, but we must be careful that our assertions are supportable as we move through the thickets and swamps on this journey; like Lewis or Clark we must set our foot upon a rock in the midst of the torrent and test if it is stable before we put our full weight on it. If, in your reading of this post or any subsequent ones, you encounter an assertion that you disbelieve, I will be gratified if you would pause to bring attention to it, that I (or you) may be corrected.

Here are some figures to contemplate; while you consider these I will put some thought into the telling of the tale of the next stop on my journey to make pictures (and perhaps some sense) out of the story of what it is to become an architect in the US today…

In 2006 there were about 50,000 applicants to arch schools, 22,000 acceptances (I think most people apply to more than one place), and 7,200 graduates (this from here). I’ve heard that the enrollment numbers are up since then. I believe there are something like 3,500 newly licensed architects in the US every year. there are now about 105,000 licensed architects in the US, the profession employs something closet to three times that amount of people. The US Dept of Labor considers that segment too small to track all by itself, so our employment figures are lumped in with engineers. I believe the AIA claims between 40,000 and 50,000 members.

My name is Matthew Arnold, I’m a licensed architect, practicing since 1983. I went to school in New York and did my internship in New Jersey. You can get in touch with me at matt (at) stairwaytoarchitecture.com, or through the comments around here. I’d love to hear from you.

Bookmark and Share Send Feedback | Permalink
Got a BETTER Idea?
by Katy Purviance on 11/04/10 @ 12:57:11 pm
Categories: Competitions | 75 words | 250 views

Lucas just sent me an email to tell me about the upcoming Holcim Awards.

It is a design competition for both students and professionals. It is free to enter with $300,000 USD in prize money to be won.

This is a great opportunity for your readers to engage in a competition and get your work out there. The Jury is prestigious and there will be lots of publicity when the awards are announced.

Check it out

Bookmark and Share Send Feedback | Permalink
General Contractors appear to have projects. Architects don't. Why?
by Katy Purviance on 11/03/10 @ 10:42:50 pm
Categories: Architects | 4423 words | 750 views

Here’s another great thread from the ARCHITECT group on LinkedIn.

Architects here in various LInkedin discussion groups in city after city report unemployment rates of 50% or more. Meanwhile, most of the media reports the overall national unemployment rate at easily less than half that figure. Yet, general contractors appear to me to be working. Is something more than a recession affecting the architectural profession’s access to work?

In my part of the world, general contractors are getting the line on work first because owners are wanting a different method of achieving their needs being met. Most of the time, the gc contacts the architect for services relating to the project. Our firm has developed some relationships with design/build general contractors and are included in their bid for the project.

I agree. The paradigm of “traditional” practice has become an albatross to the profession. Designing new offers that cross the pre-established lines of service delivery while maintaining the integrity of the profession may sound desperate, but indeed, these are desperate times.

Many architects are simply not willing to go beyond their traditional services to expand their business…It intimidates them, I believe. BIM technology is a perfect example..every architect I come in contact with will tell you they are BIM capable yet most have no clue what the technology can offer in regards to new opportunities. At the same time Contractors seem to be savvy to new opportunities, they see something that will make them better and they exploit it. Successful businesses know not to follow the crowd, they lead and if that means some restructuring is necessary then they do it. Architects talk a good game but in most cases they don’t follow through

In my view, architects need to be more aggressive with their business models.

Thank you for your comment. I think that architects as a whole need to change their mind about many things. Not only how they obtain projects, but how they present themselves to the entire world. I also believe that we need to harness this mass medium of the internet to not only convey who we are but what we do and how we do it. I also believe that in this time of history we should build relationships with those we have separated ourselves from.

Thanks, I hope that with this current downturn architects better prepare themselves for future possibilities. Take the time to seriously rethink their business model and adjust their work flows in a way that is truly going to increase their appeal to the broader market. I understand that adjusting a business model is not easy but in business you can rest assured that unless you adapt to the times you will falter.

An interesting discussion which seems headed in a direction that is close to my heart - an alternative approach to the traditional architectural practice model. We started our firm with the idea of operating “lean", keeping overhead to an absolute minimum, and building a collaborative practice through a network of various relationships. We have recently formed an alliance with a very well established (89 yr old) firm offering complete architectural, interiors, and structural & MEP/FP services in-house. We offer a wealth of expertise in project types that they do not - they represent a tremendous strength in services and experience with billion dollar plus projects. We have expanded the range of projects for each firm. Likewise, we have maintained relationships with other types of firms.

A contractor friend called me yesterday - he is working on a very large multi-project development and the developer’s project manager mentioned that the developer was not satisfied with the architectural work that they were receiving. Furthermore, the developer had just been awarded another $200 million project in this developement. My contractor friend suggested that we might be interested and we are now going to be talking next week - don’t know that we will get work, but we certainly got the opportunity.

Another opportunity has arisen through an appraiser for banks who wants to collaborate to offer plan checking, pay draw reviews, and other administrative architectural services to his banking clients. This type of service will also increase our exposure to banks who may become potential clients themselves.

It is ALL about networking and finding ways to assist others in their success. What goes around comes around.

I want to speculate with you for a moment about why I think architectural firms are reportedly being so much harder hit in this economic downturn than in many other business categories. It appears to me that most architects, who have Revit, have not yet used it to turn out a set of working drawings for a paying client. Yes, that’s right, I said Revit, not BIM. Essentially, BIM IS Revit, because Revit has such a dominant position in the building industry marketplace. It also appears to me that over the last couple of years that there has been a groundswell of demand in the marketplace for projects to be produced in Revit.

It is my impression that the Revit skill sets are not yet there in most architectural firms. Of those architects, who HAVE produced Revit working drawings, it is my impression that most of them are still grappling with improving their skill sets to a point, where they might be said to be exercising due diligence. You can almost tell before you even look at an architect’s Revit files whether they know what they are doing. Ask them for the prototypical specifications for their Revit work stations. Many firms are not spending the money to get work stations, which can properly carry the Revit load requirements. Also, many architectural firms I think are lagging on staying up with the latest Revit releases, which is now up to 2010. Revit is not downwardly release compatible. Thus, it’s keep the latest updates or perish.

Our company has seen many sets of shoddy Revit working drawings, which have been turned over to general contractors for construction. We have seen stuff like 3D elements, imported into the Revit files, which have come from other applications, such as AutoCAD, ArchiCAD or Microstation. When that kind of thing happens, to the extent it does happen the BIM aspects of the Revit data are compromised.

In too many instances architects appear to be more interested in making the models LOOK good rather than making them work properly as BIMs. This may be happening, because the principals in most firms are BIM illiterate and cannot properly conduct quality control of the firm’s Revit work product. General contractors are interested in examining the model to determine where various components of the building construction are improperly running into one another or failing to achieve proper clearances. They are using Navisworks Manage to bring data in from numerous computer applications to detect collisions and conflicts and then to manage conflict resolution.

To me it would seem that architects and engineers should be doing this on behalf of the general contractors, but apparently this is not happening. Navisworks Manage is expensive. One seat of that program, including an update subscription, is over $13 grand. Check with your local Autodesk reseller. Ask who is buying Navisworks Manage. It is not architects and engineers. It is general contractors.

Our company was recently called in to help an electrical engineer construct a BIM of the electrical systems for a 110,000 sf four story educational building, where the construction documents had been produced with a number of different CAD and BIM applications. The general contractor required all subcontractors to prepare BIM models of their respective parts of the work. When everything was assembled and surveyed in Navisworks Manage, using the bid documents from the architect and engineers for the project, it was found that the project had over 5,000 conflicts and collisions. Each conflict represented a potential RFI. That was an astonishing indictment of the project’s working drawings.

Project after project across the country is being demanded to be produced in Revit. General contractors, subcontractors, suppliers and manufacturers are responding aggressively to this demand. It is my impression that architects are mostly NOT responding, or they are responding minimally.

I have heard the same complaints from many Revit users and firms using Revit..the main issue seems to be that most of theses firms continue to use a combination of Revit and Autocad to complete their work. They have the mistaken belief that Revit is an extension of Autocad….I myself have been using Archicad since the early nineties and I can say without hesitation that projects are generated from Pre-design threw CD inside the same program. In fact, all our details were recreated to the new platform Archicad so that we could break the cycle…..

Regardless, I believe many architectural firms are going with Revit for the simple reason that they feel it’s the next step beyond AutoCAD or ADT…Frankly, this is a problem because in order to truly take advantage of BIM you need a complete overhaul of your work flow process…This means that PM’s, CEO, Team Leaders, Draftsman, everyone needs to be open to a major change…Many firms don’t want to make these tough decisions so they work in what I call “Hybrid BIM"..a form of BIM that doesn’t require a total overhaul of the firms system and doesn’t force them to make tough decisions. I have said it many times that BIM is a Process and many architects simply are not willing to listen or for that matter understand the differences between CAD and BIM..It is at their peril though

Furthermore, the statement that projects are demanded to be done in Revit shows the utter lack of knowledge in the community about BIM..Revit is not the only BIM program available and in my view there are better alternatives for architects…yet architects are demanded to produce in it, Why? Do architects ask themselves this? Do they feel it’s because Revit is the defacto industry standard? or is it because architects are not willing to do their homework and are simply forced to use a certain application? I hope this is not the case but frankly it seems that way…

BIM is a Process, it requires a fundamental change in workflow…It requires breaking away from the past (Autocad) and developing a new process….It is about exploiting it’s power and seeking out ways to increase your firms deliverables…Architects and unfortunately many in the industry are not willing to go their…and it is hurting considerably…Consider that BIM has been around since the early 80’s and not until Autodesk purchased Revit in 2001 have many architects even heard of it…

Again, BIM can open up many avenues but it will not happen unless architects take the time to adjust to the new process…Simply going with Revit because they are told to is not leading it’s following..and that will not get this profession where it needs to be to avoid future problems..

A dearth of construction financing in the United States has left many architects and engineers idle or at least not nearly as busy as they have been in the past. Some general contractors are still busy, possibly because they are dealing with funded projects still in the pipeline. I have heard from several general contractors that they see an end to their building activities a year or so down the road unless architects and engineers start producing more work.

That having been said, what work is still being produced by general contractors appears to be characterized by ever increasing BIM (Building Information Modeling) activities, specifically clash detection and conflict resolution. Additionally, more building owners are requiring that general contractors turn over usable and workable BIM data bases before, during, and after construction. There are many CAD and BIM applications, but Autodesk products clearly dominate the market. Manufacturers of building components and systems include more Revit files on their websites than all of the other BIM applications combined.

Many projects are characterized by a sort of dogfight conglomeration of various three dimensional CAD and BIM models, all thrown together chaotically from various members of the project team. It often becomes necessary to incorporate some sort of interoperability in order to make sense of an entire project. Autodesk products, such as the Revit series of BIM applications and Navisworks, offer more interoperability between divergent CAD and BIM platforms than any other applications in the marketplace. However, this interoperability is not perfect. Three dimensional CAD data and BIM data from other applications can be received into Autodesk products, and varying degrees of clash detection can be accomplished, but such imported data loses all BIM intelligence in translation. Clash detection and conflict resolution can occur much earlier and continuously during the modeling process, when all systems are modeled within one brand of BIM application. When collecting models from various Autodesk compatible BIM programs into one program such as Navisworks, clash detection and conflict resolution can only occur after modeling processes have taken place in the applications outside Autodesk. This disjointed process results in loosing efficiency of coordination, which could otherwise take place intuitively and on the fly if everything were to be contained in one BIM product brand.

General contractors find themselves in the difficult position, where multi CAD and BIM applications have been used by architects and engineers to produce project working drawings, of being required to warranty to the building owners that a usable and workable BIM data base will be provided upon completion of the project. In such circumstances the most practical method of achieving this requirement, is for the general contractor to take on the responsibility of altering the project model or sometimes completely regenerating the project model into one brand of BIM application, usually Autodesk, so that a truly operable BIM is the result.

This situation is abdicating a level of responsibility for project working drawings from architects and engineers upon general contractors, which might be described as resulting in unintended consequences. These consequences are bringing general contractors closer and closer to tipping points, which may thrust them into actual architectural and engineering professional practice. Indeed, I think this is a process, which may already be well underway, and might serve to explain (at least partially) why architects and engineers across the United States report that their rates of unemployment often exceed 50%, while the media and government, even by the most liberally interpreted statistics, continue to report general overall unemployment at easily less than half of the alleged unemployment rates for architects and engineers.

“Autodesk products, such as the Revit series of BIM applications and Navisworks, offer more interoperability between divergent CAD and BIM platforms than any other applications in the marketplace.”

This statement is flat out inaccurate! Yet Autodesk resellers will have you bleieve this…Again, it is flat out inaccurate and I would challenge anyone to prove me wrong. In fact, I have been collaborating with engineers, contractors, and other professionals without major issues form many years….and guess what I was using Archicad to accomplish this…not an Autodesk product…

“Clash detection and conflict resolution can occur much earlier and continuously during the modeling process, when all systems are modeled within one brand of BIM application.”

Why? this is blatantly inaccurate!

“When collecting models from various Autodesk compatible BIM programs into one program such as Navisworks, clash detection and conflict resolution can only occur after modeling processes have taken place in the applications outside Autodesk.”

Again highly inaccurate statement…what is an Autodesk compatible program? is lets say, VICO an Autodesk compatible program?

I’m not going to continue with all the inaccuracies in this post, there are to many…. what I will say is that there are more BIM solutions that can get the job done than Autodesk,,,They would like you to believe they are the only solution but they are not…Now, if people want to buy into the “snake oil” salesman pitch from Autodesk they are simply missing a great opportunity to learn that yes their are alternatives!!!

Good luck to everyone!

Wow. We are not buying into anything. We have looked many years into various programs, yes, including Archicad. Archicad was one of the first BIM programs available on the market. Very impressive program, with a lot to offer. Unfortunately, it is and probably will never be the industry standard.

You have argued our statements as untrue. Are you the only one responding, or did you discuss this with other individuals before reacting to our statements?
We, on the other hand, have consulted and verified our statements with other people in our profession. Each and every BIM program outside of Autodesk hold a very small market here in the US.

I ask myself if we could possibly be wrong in our statements, and one conclusion comes to mind. If we were, then we would no longer be in business. We have to be right, and at the cutting edge, or we will be left behind. We are very busy right now, and only trying to share our findings. I apologize, if you take any offense to the statements. We are only sharing what we have experienced. Sure, we might be wrong, but whatever we are doing seems to be working.

I once shared an apartment in Hawaii with someone who was an Archicad die-hard. We used to constantly beat our chests on who had the better program. Back then, I secretly sided with Archicad as superior to Autocad, but would not admit it to my friend. Autocad is now taking a back seat…thank goodness. Whenever I try to get one of my contractors to do some work in Autocad after working in Revit, it is like pulling teeth. They all think it is beneath them.

Anyway, I guess I am trying to appeal to your sense of humor more than anything. You may have something that works for you, and that is great. We would love to hear some of your ideas. Our ideas are not locked into anything. In fact, I would welcome you to prove us wrong…anything you have to say.

After working in Revit 2009, and training on the 2010 version, I’m of the opinion that Autodesk is the best of the BIM vehicles. It is the standard and has the market share to prove it. While other architects have their pet viz programs (which is part of the problem with our business model), all other construction industry professionals are movinig toward Revit, with Navisworks being the choice of contractors.

Please check out the topic “When considering your BIM software (Revit, Archicad, etc.) it’s under the BIM Experts group…
to me BIM is a process that requires a serious change in workflow and the comments your colleague made are in my view and that of many others inaccurate..

Answer this for me.

“Autodesk products, such as the Revit series of BIM applications and Navisworks, offer more interoperability between divergent CAD and BIM platforms than any other applications in the marketplace.”

How does Autodesk offer “MORE” interoperability between the divergent CAD and BIM platforms? what specifically gives it “MORE” interoperability?

Also

“Clash detection and conflict resolution can occur much earlier and continuously during the modeling process, when all systems are modeled within one brand of BIM application.”

Does Autodesk provide all their applications with the same file extension? are they 100% compatible with each other that it makes working in other applications troublesome? my experience shows that I can provide clash detection and conflict resolution early on when using Archicad and my consultants are using Autodesk products such as AutoCAD MEP and Revit Structures..how does it facilitate CD & CR when your using one brand?

You guys are getting off topic. If we’re gonna start comparing BIM software let’s do it in a different thread please. Let’s get back on topic on the issues of the industry being busy and leaving the BIM discussion associated with it pertaining to that effecting the industry, not which software and interoperability package works best.

In my 23 years of residential experience, I have always been approached by clients directly when they are educated professionals who are seeking to hire a professional. The clients that are referred to me through a builder (which happens frequently) are typically not at the same level as the previous group I mentioned. At first they are not quite sure what I am there for or what I do. So I am in a position of teaching as I am designing. I am not saying that one client is better than the other, I am simply stating where my clients come from and the difference in their intellect, education and expectations.

The more educated clients seem to value architects. That is probably why we should attempt to teach the general public the value of good architecture. Difficult to do, but in the long run it will create more demand and respect of our profession.

Contractors are able to obtain projects like facade restorations, utility building renovations, re-roofing installations and other various similar projects for which an architect is not deemed necessary either by the owner or the building code enforcement office, or for which such architectural services as necessary may be subcontracted by the contractor.

You’re more than welcome to change your mind and pursue these projects either as an architect or as a design-builder.

I would say the GC’s that haven’t gone under may have residual or niche projects…that isn’t going to last in residential or commercial (millions of office workers have lost their jobs…each job occupied 240 sqft of commercial space which is now vacant and will remain that way for 3 to 5 years, same with vacant and or foreclosed primary and second homes…lots of inventory, not a lot of new buyers that are actually occupying these homes.)

However, as the market collapses you have several factors at work. One which has always existed is that some GC’s are builders by default and a cocktail napkin, not a plan, is how they roll.

Some “reuse” or copy plans without permission (stealing).

Now with very little work, it is all about price and the one area many GC’s can cut corners, at the expense of quality and service, is by not having plans, having incomplete plans or poor plans, especially in the case of uninformed residential homeowners. So architects will suffer unless they go out and get the jobs and then feed them to the GC.

I thought I would answer your question from a different angle. When I started my Landscape Architectural Design and Build business, my approach was always to be proactive, not reactive. Seek out the professionals, trades, companies, ( BUSINESS ) etc. that will produce the type of work/opportunities I respect/appreciate, would compliment the qualities, details and values I try to incorporate into every one of our projects and companies that have the same methodology. I believe in mutual chemistry on a personal and professional level (where we respect each others expertise, we have the same goals and we check our egos at the door). If your mutual values are not aligned, then the relationship will never amount to much. To me it is all about TEAM and COLLABORATION !

When you use the term ” Sales", most people and professionals (especially Architects) have the same two responses. Either they interpret that sales means “Sellout ” or they say I was never trained to be a saleman (it’s below me, my craft and my profession). I did’t go to school to be a “salesman” ! We are all salesman, on a personal and professional level, never forget that !

I had the same problem with my own landscape architects, but I would always tell them the same thing. There is nothing wrong with selling, because that is how you communicate your ideas, thoughts, passions and visions to your clients. Aren’t you proud and excited to share with your clients your ideas ? Don’t you want them to be as enthusiastic as you are about your design.

If not, you are going to have a hard time getting paid for your services and staying employed or in the business.

I never sell, all I do is educate, share my knowledge and passion for what I do and look out for my clients best interests (act as a consultant). I never feel like I am a sellout, but a person that has value to offer.

The lack of training and developing that skill set (marketing, communication, networking and selling) is sorely missed and needed in your industry and many others. I didn’t have a choice, I was self employed at 18 years of age and was forced to develop those skills over time.

The other problem, especially now into todays market, is everyone thinks they can live on their reputation alone. That just doesn’t get it done anymore, nor did I ever take that for granted. You need to prove yourself everyday (because your clients haven’t experienced what you are capable of yet), but most people/professionals can’t step out of their comfort zone (really the uncomfortable zone). Again, you need to be proactive, not wait for the phone to ring.

You can be the most talented person/professional in the world, but if they don’t know that and cannot find you, how are they going to appreciate what you can do for them.

I have been in business for 33 years, I am still amazed about how big the world is and how many people/professionals I still don’t know and work with. The inventory and opportunities are less than they ever were, but there are still opportunities out there.

Infact, with the internet, you have more access/opportunity to reach more people/professionals than ever at your finger tips. I had to do it the hard way, hit the pavement ! Again, everyone will say I was trained to draft/create, not sell.

If you are not going to take an active role, then you better find someone who will in your firm or create systems that will do it for you, but you will never replace the value of a personal touch. That’s how you build true relationships, aliances, trust and business/jobs !

I could provide so many examples, but I think you get the idea. Align yourselves with what I call obvious aliances or direct connects. I have referred business (actual jobs and clients, to builders, developers, investors, trade partners, etc.) to many architects over the years.

Bookmark and Share Send Feedback | Permalink
The "new" definition of "Architect"?
by Katy Purviance on 11/01/10 @ 07:44:43 pm
Categories: Architects | 2268 words | 569 views

I found this thread on the ARCHITECT group on LinkedIn. Thought you might like it. I took out all the names since I didn’t ask anybody if it was okay that I reproduce their words here.

Some years ago I was running a department that included both architects and designers. Some of the architects were not licensed in the state, although they had licenses in other (US) states. Some were recent graduates. The State Board of Architects had me withdraw all their business cards and reissue them with the word “architect” removed unless they were locally licensed. What’s more, there was to be no mention of the word “architect” or “architectural” to denote those positions–whether in the books or on business cards–unless they were licensed in the state. I had to reissue many business cards and change the company policy on the positions they held to reflect this.

Now it seems that anyone who works with computers can be called an architect, whether they are IT Architects, Data Architects, Systems Architect, or just plain Architect. It is frustrating to see a want ad for an “Architect” online or in the papers just to read the details and find out that they are looking for a computer programmer.

Now, why are the State Boards so strict about the usage of the word when it pertains to real architects who struggled through college and licensing procedures yet they turn a blind eye to those who call themselves architects and are really not?

I have tried to contact the State Boards about this but to no avail. I would appreciate any suggestions and possibly some way to find a way to prohibit the usage of that title unless they went to traditional architecture schools and graduated as real architects.

We see the same thing here in Australia. Likewise, our States are quick to take notice of any infringement of the use of the name Architect for unregistered graduates, interstate architects or foreign architects. However, it seems the word ‘architect’ has been hijacked by other professions. Now the use of the term architect for a construction professional is in the minority.

Likewise, here in New Jersey, we have experienced the same thing, but to make matters worse the state board of architects now permits anyone to call themselves a designer and to advertise “design services".

I know. I am in NJ too. Anyone in the State Boards listening? Can we do something about this?

The same thing in Canada. It seems to me that the only concern of our provincial architectural associations is to watch how the term “architect” is used. You cannot use this term even if you’re licensed in another province, not to mention foreign trained architects (doesn’t matter the experience, knowledge or anything else). And to become licensed architect in Canada you have to go through the hell…. Really weird situation!

No wonder Canadian architecture sucks. No wonder that Frank Gehry who was born and raised in Toronto has designed his fisrt project here in the age of 70+…It is very sad. Bureaucrats fight for stupid labels and quality of profession suffers.

I heard in Europe situation is different (besides UK).

You miss the point. I am happy to have agencies protect our hard earned careers. I am NOT happy that now anyone who does computer assistance can be called an “architect". That is not what either we nor they studied.

About Europe: I was managing an architectural group in Ireland and, besides myself, there was only one other real architect and she was foreign. The rest of the staff were what they call there, “architectural technicians", which means that they are designers with experience–and some didn’t even have the last one. License to practice architecture was not needed.

I do agree that certain protective measures are needed. But if the reality out there is different (as you clearly described above) then the agencies / associations should be flexible and change their obsolete conservative rules. Architectural agencies are not able to dictate to other industries (especially to much more powerful IT industries) their rules. So it is better to adjust.

I see not problem to minimize requirements and to let people with appropriate education (let’s say B.Arch) and some basic arch. experience (let’s say 3 yrs) to carry the title without any limitations. Wouldn’t affect anything.

I know (based on my personal experience) two countries where the system works this way: Norway & Israel. Both are way in front of us (N. America) in terms of architectural development. In every aspect of it: be that architectural aesthetics, sustainability or overall use of modern technologies in the process of design and constructions.

Using the tern “Architect” after your name should have a very specific meaning. In most states and Countries it means that your have completed all of the educational and experience requirements of the region you are working in and have been certified by that region or state to practice Architecture.

You would not want to have the doctor that treated you in the emergency room to have only gone to school a little bit or trained a little bit but never completed their training and obtained certification. The same should apply to Architects and the term Architect.

Having said that, many states use the process of providing reciprocal licensure as a way of keeping the competition out. There should be an easier and simpler process of proving your ability and experience as a licensed architect when you relocate. NCARB is really not much better if you happen to not have a 5 year B-Arch degree.

No one seems to me argues the necessity of having some sort of procedure for gaining the Title. The issue is just what is the best possible way. How far the restrictive measures should go.

Should it be a current rigid, conservative, weird, protectionist structure. Or just a logical requirements that will let young professionals to grow and our industry to compete without crying how “those bad IT guys are using our term"…

this is not happening in Greece (yet?) but to be honest with you I was thinking recently to start a topic like this. I think the problem exists at the anglosaxonic countries mainly. If p.e. you insert the term “Architect” to search in any british job agency, it is almost impossible to descry a real Architect between the thousands of ads about IT architects!

And they’re tens of specialties: java architect, semiconductors architect, software architect, hardware architect, database architect, integrated circuits architect and much more. Searching that way you can also find solution architects, project architects etc. I don’t know how this started, it’s a mess. Being greek I understand the real meaning of this word, indeed you can use it everywhere nevertheless professionally it cannot fit elsewhere. Who is this “conspiracy architect"?

Yes, it is Anglo-Saxon world only. And apparently it has nothing to do with the quality of architects. This bloody title…

Look at small nations free of such idiotic formalities: Norway, Dutch, Denmark, Israel… Fantastic modern architecture, bright professionals, no bureaucratic barriers or conservative ridiculous traditions. No one cares about it in the modern world. Wake up architects - it is 21st century!

Well we could go back to the days where if a building failed the Architect would be put to death!

However short of that States and Countries do need to have some defined set of criteria that establishes what is necessary to call oneself an Architect (or Doctor, Lawyer, Accountant etc.)

One problem comes when licensed professionals from one jurisdiction try to obtain a reciprical license from another jurisdiction. How do they compare different standards of licensure? How do they attribute the value of a career of professional service and experience vs educational requirements. How do they test that a professional from one jurisdiction is actually qualified to perform work in a different jurisdiction where there may be special geographical needs or requirements (i.e. hurricanes, earthquakes, extreem heat or cold etc.), different codes and laws or different materials and methods of construction.

NCARB has in place a method for making this evaluation. However in practice it is a long and difficult process and is implemented in an arbitrary and capricious manner. I personally had to argue with NCARB for over a year to permit me to count a MBA (Masters of Business Administration) degree from an accredited US University as the equilavent of a single semester business class for architects. In the end I failed to qaulify for an NCARB certificate because NCARB would not count current licensure in three US states, 25 years of professional Architectural experience 15 of which were as the Owner of a Architectural firm as the equavelent to a 5th year design studio. The NCARB review committee actually had the nerve to tell me that I should go back to school and take the 5th year studio course.

Yes but I still can’t find real architect vacancies because of this :-)
“Et on touera tous les affreux” :-)

This seems to be bigger issue than the State Architects Board, since the board only regulates the architectural industry (as it pertains to constructing buildings) and doesn’t have jurisdiction over other industries or business at large.

Historically architects built buildings (some countries/languages say architectural engineer) but apparently there is no law that prevents a data engineer from calling himself data architect. If we really want to make the use of the title Architect exclusive to the architectural industry we have to make it law. A job for the AIA PAC to push for a law that would make it illegal for anyone who isn’t a state licensed architect to call themselves architect regardless of what profession they’re in.

Yeah… keep dreaming. I would suggest to make a law for public execution of all of those (from all the fields and industries) who use term “architect” without a “permission” or damn license from such a “high” authority as AIA or any other bureaucratic institution.

P.S. I bet, Gaudy or Michelangelo would not have a chance to be architects under current system. What we have today is a ridiculous bureaucracy, corruption and protectionism instead of good taste, professionalism and talent. Yeah… talent, which is is the most significant thing for architects - you can’t get license for that.

It’s not about a title and who’s deserving it, it’s about the MESS! If someone calls himself a doctor that doesn’t mean he’s a threat for doctors’ society or dangerous for anyone, exept of course if he plays the doctor too!

By the way because I have renovated some buildings they were sick and I operated on them, I’m thinking of calling myself a Surgeon Engineer from now on :-P

Not to be any misunderstanding: I consider as a mess the title of Architect at IT professions ONLY, and that is what Felix started in this topic if I’m not mistaken. For the rest of them in our profession I don’t care at all. Here p.e. a decorator can have the inspiring idea to call himselsef an Architect but that practically doesn’t mean anything since he cannot officialy stamp and sign anything at all. So I don’t think anybody of us has a problem with that.

I have found a common misconception by the lay person that having AIA after ones name means that you are an architect and if you don’t have it then you must not be one. When in fact those of us in the industry, know that it is just a pay to belong membership organization or club for architects. This is an mis-conception that the AIA does nothing correct and in fact enjoys the benefits of. I personally am a member of the AIA solely because I got tired to expalining to people (including zoning officers and building sub-code officials) that the RA after my name means Registered Architect and that the AIA is just a club.

But getting back to this issue of the term Architect and the licensing of Architects. Unfortunately, the licensure of Architects in almost all states and countries is a test of minimum skills and not necessarily those skill that are needed to perform as an architect.Creating beautiful tastefull and timeless buildings is a subjective criteria and should not be a significant part of the testing or licensing procedure. However creating buildings that solve a functional issue, stand up, are safe and meet all codes is and should be the minimum criteria for licensure in any jurisdiction.

However, just because one is a talented designer and can create beautiful designs, images and renderings of buildings does not make them an Architect. They are and should remain a designer (no matter how talented they are) until they complete the necessary requirements of their jurisdiction to qualify and be certified as an Architect. In the end having a license to practice Architecture is just a statement by our government that you have completed the minimum requirements and criteria of your jurisdiction to design buildings.

Missing the point!! Again!!

Here is an example:
“ARCHITECT. Bachlr degree in CIS of equivalent. 2 years in job or as Analyst. Tech Lead in Java Developer. Enterps scalemiddlewr/SOA. Skills Reqd: RSA? Entrpr Architect. UML Class/sequenceDiagrams. Oracle 10G using ORM tis hibernate ot TCS-MstrCrft. HSQLDB-Java embedded database.JMS XML Agent, 12EE, Junit, Web Services development. APP Svce Weblogic 8.1; Eclips SVN using Subversion/STRT Agil &TDD.” (sic)

Is that an architect?

I assure you that if Social Workers started calling themselves “Family Attorneys” they would be sued by… yes, attorneys.

Bookmark and Share Send Feedback | Permalink
So you want to be an architect? [8 videos]
by Katy Purviance on 10/29/10 @ 09:05:01 pm
Categories: Architects, Videos | 39 words | 302 views

Okay, now take a look at this: http://www.xtranormal.com/watch/7429337/

Bookmark and Share Send Feedback | Permalink
It's time to kick some ass before a Lloyd Wright building is destroyed
by Katy Purviance on 10/29/10 @ 08:09:22 pm
Categories: News | 489 words | 298 views

I just received this…

Dear Friends:

This is a project that will demolish one of of Lloyd Wright’s most distinct homes and replace it with a repulsive example of TacoBellitecture. The existing home is of course one of the best homes ever built in Southern California. The proposed replacement a elephantine eyesore.

Please take the time to write or call this RPV official and comment that the project alternative does not consider the retention of rare exquisite,valuable historic, cultural and architectural resources, along with perhaps not failing to mention the obvious that the property owner is a Butt Head for even thinking of such a thing…….

NOTICE OF COMPLETION AND AVAILABILITY OF AN ENVIRONMENTAL IMPACT REPORT
TO: All Interested Agencies, Parties, Organizations, and Persons
FROM: City of Palos Verdes Estates, California
SUBJECT: Notice of Availability of a Draft Environmental Impact Report

PROJECT TITLE: 504 Paseo Del Mar Project

PROJECT APPLICANT: Mr. Mark C. Paullin

PUBLIC REVIEW PERIOD: October 27, 2010 to December 10, 2010

PROJECT LOCATION: The Project Site is located at 504 Paseo Del Mar in the City of Palos Verdes Estates. The Assessor Parcel Number (APN) for the Project Site is 7540-006-002.

PROJECT DESCRIPTION: The Project proposes the replacement of an existing 3,376 square-foot single-family home, constructed in 1959, with a new single-family home approximately 5,935 square feet in size. The new structure would not exceed the existing structure’s ridge height. Parking would be provided in an approximately 700 square-foot attached parking garage. The existing building on the Project site would be removed.

SIGNIFICANT ENVIRONMENTAL EFFECTS: The existing single-family home has been determined to be eligible for listing as a historic resource. The project proposes the demolition of the existing single-family home, which, if approved, would result in a significant and unavoidable environmental impact.

DOCUMENT REVIEW AND COMMENT: An Environmental Impact Report (EIR) has been prepared by the City of Palos Verdes Estates, serving as the lead agency pursuant to CEQA. The Planning Department welcomes all comments regarding environmental impacts of the Proposed Project. The Draft EIR will be made available for a 45-day public review period beginning on October 27, 2010 and ending on December 10, 2010.

NOTICE OF AVAILABILITY: During the 45-day review period the Draft EIR will be available at the following locations: 1. On the City’s website at: http://www.pvestates.org/2. At City Hall: 340 Palos Verdes Dr. West, Palos Verdes Estates, CA 90274. Hardcopies of the EIR will be available in the City’s Planning Department to review during normal business hours (Mon-Fri 8:00 AM - 5:00 PM). 3. At the Malaga Cove Library located at 2400 Via Campesina, Palos Verdes Estates, CA 90274. Operating Hours: Monday – Saturday 10:00 AM - 5:00 PM.

WRITTEN COMMMENTS: Written comments on the Draft EIR must be submitted to the City of Palos Verdes Estates Planning Department office by no later than 5:00 p.m. on December 10, 2010.

Please direct your comments to:

Stacey Kinsella, Associate Planner
Department of City Planning
340 Palos Verdes Drive West
Palos Verdes Estates, CA 90274

Email: skinsella@pvestates.org
Fax: (310)378-7820
Phone: (310) 378-0383

Bookmark and Share Send Feedback | Permalink
It's Bricktacular! Plus you could win $10,000!
by Katy Purviance on 10/25/10 @ 04:23:26 pm
Categories: Competitions | 160 words | 446 views

I just got this. I thought of you.

I know you are interested in the cool stuff going on in architecture and I thought you might be interested in Potomac Valley Brick. They created an International Design competition called “BrickStainable.” The challenge is to design a sustainable building using clay masonry units (brick) as the primary material. This net-zero design competition already has teams from 45 different countries registered, with the registration deadline being three weeks away. The entries from last year are very innovative and if you were interested in taking a look at them, they are posted on BrickStainable’s website at www.brickstainable.com. Since brick is intrinsically sustainable and often overlooked, it’s a great competition, trying to push brick to the forefront of energy efficient design in this green era. Winners get prizes, the top winner receives a $10,000 cash award. Just thought you would enjoy hearing about this competition that brings together designers from all over the country!

Bookmark and Share Send Feedback | Permalink
We Get Letters...from Colombia
by Katy Purviance on 10/24/10 @ 12:48:59 am
Categories: Applying to Grad School, Grad School | 997 words | 446 views

Hi, I suffer also of architecture addiction, love the name of your blog.In fact many people think am boring speaking all day about architecture.

I would like to ask you about grad school. I am in the process of applying to top Ivy league schools in the us: Harvard, Columbia and Yale. I am Colombian (South America) with an American father, so I am also American but the reality is I’m Colombian and I did my BA of architecture in Colombia. I’ve always wanted interesting programs in Chile and Spain, countries that have an architto graduate from a school like the ones I mentioned you before, but now I’m very confused and terrified with the idea of starting my professional life with such a huge debt and not knowing if its worth it. I’ve seen other programs in Chile and Spain, countries that have an architecture I deeply admire and the programs are quite cheap, but again I have the idea ivys and top schools in the US are so much better. What do you think about this? about putting on my back a debt I don’t know how I’m going to pay or for how long I’m going to pay it. Should I struggle and try to get into that schools and pay the many millions is worth wearing the “ivy hoodie” ha ha or should I spend the money traveling, buying books and attending programs that cost 1/10 of Harvard? It may sound as if have set up my mind, but when I see the programs, the great professors, the facilities, the prestige I get son confused. Can you help with your opinion? I know its a decision I have to take, that depends on many variables (getting in) etc but I would love to hear an insight from someone who knows more about education in this top schools!

Bye, sorry for all this confused thoughts and my Latino English!

[Name Withheld Upon Request]


Thank you for writing. I wish back in 2007 when I was applying to grad school I had asked somebody exactly what you asked me.

Third: I have mixed feelings about having gone to Harvard. First, I should say that I was awarded a grant for about half of the tuition and expenses. Even with that grant, I gained an additional almost $30,000 in debt for the year I was at Harvard. That would’ve been almost $60,000!!! if I had not received the grant. I was very disappointed with the education I received at Harvard. I attended the University of Idaho for my undergraduate degree, which, at the time I left, cost me less than $3,000 for one year, no grants. In other words, I could have attended the U of I for 10 years for the same price of Harvard (with the grant) or for 20 years (without the grant).

Aside from the expense, I felt the quality of the education was very poor. I had better professors at Idaho.

Two good things came out of my going to Harvard. One: my fellow students were some of the most amazing, talented, creative people I’ve ever met. I am glad to know them. Two: if I hadn’t been so disappointed with Harvard, I probably would never have founded VERB. I wish I could tell you to just apply to VERB, but it doesn’t exist yet. It is a radical departure from traditional architecture schools. Whereas at most schools you graduate with a piece of paper and a mountain of debt, at VERB you graduate with a business, a network of building and design professionals, and three years designing and building experience, AND NO DEBT. I am in the process of getting funding so that we can open out doors and let students like yourself in.

So what advice do I have for you? Let’s begin with the end in mind. What is it you hope to accomplish as an architect? I didn’t know this when I was applying to grad school, but I discovered that, since all I wanted to do was residential architecture, I didn’t actually need to be licensed in some states! I wish I had known that before I got another $30,000 in debt!

If you too just want to design houses, and you intend to practice architecture in a place that doesn’t require a license for that, I suggest that you get to know architects and builders in that area. Find one or two you like and offer to work for them for cheap, or free, so that you can learn from them. Travel as much as you can so that you can learn more
about the buildings, the places, the spaces that really move your soul. Draw as much as you can. In this process, you’re not only becoming an architect in the true sense of the word, but you’re also refining your personal and professional interests. You are refining yourself.

Let’s say that you want to design much larger buildings, things that would require a license. I would say, find your heroes. Find the living architects who are doing exactly what you want to do. Chances are they also teach. Go to those schools. If they don’t teach, apply to the same schools they attended.

I’ve come to realize that the Ivy League brand name only really means something to all those people who have never been there. It’s a marketing gimmick that sounds good on your CV, and a very expensive one at that. Buy the hoodie used off ebay. They’re $80 at the student store!

Please keep in touch,
All the best,
Katy

[UPDATE]

Hi I received your answer to the doubts I expressed to you about going to grad school and all its’ financial implications vs. its’ benefits. Thank you so much, It was so kind of you to answer in such a responsible way! Again thanks a lot for your advice, it’s great to know the opinions of people who attended this type of schools.

[Name Withheld Upon Request]

Bookmark and Share Send Feedback | Permalink
Our first VERB school rap video
by Katy Purviance on 10/21/10 @ 09:04:35 am
Categories: Grad School | 102 words | 446 views

With undergrad, grad school, internship, and testing, it takes architecture students an average of EIGHTEEN YEARS to become a licensed architect. In the process, they accrue HUNDREDS of THOUSANDS of DOLLARS in DEBT!

What if there was a way to be a design/builder with a viable business, a network of professionals, and years of actual hands-on experience in only three years and for only $36,000?

http://verbschool.com

I know, not the greatest video.

Wanna make me a better one? If rap’s not your thing, I’d also be up for iambic pentameter. Or interpretative dance. Or anything, really.

Bookmark and Share Send Feedback | Permalink
My sister drew a picture of me as a dinosaur
by Katy Purviance on 10/19/10 @ 07:59:00 pm
Categories: Observations | 0 words | 500 views

Katysaurus

Bookmark and Share Send Feedback | Permalink
Four Green Projects that Paid Off. Four that Didn't.
by Katy Purviance on 10/19/10 @ 06:11:00 pm
Categories: Articles | 55 words | 427 views

I just read this article in the LA Times by Susan Carpenter that I thought you might like to read.

She invested in a gray water system, solar panels, rain barrels, earth works, a water wall, edible landscaping, a composting toilet, and chickens.

Read about the things that worked well…and the ones that didn’t.

Bookmark and Share Send Feedback | Permalink
Okay, new letter policy
by Katy Purviance on 10/19/10 @ 01:02:49 pm
Categories: News | 161 words | 427 views

I’ve been getting some really great letters from you. You write to me about your school. About applying to school. About what your studio is like. About your hopes and dreams and disappointments, and your hopes in spite of your disappointments.

And I want to share that with the world.

Your studio critics might make you feel like shit about yourself, but I want you to know that you are powerful indeed. You have a voice. And I want to share what you have to say with the world.

When I get a really good letter, I write back and ask if it’s okay to share it here on the blog.

New policy.

When you write to me, it’s with the understanding that it’s okay with you if I publish your letter.

If you don’t want me to, that’s okay. Just tell me and I won’t. But I hope you’ll take this opportunity to share your message with our worldwide readership.

Bookmark and Share Send Feedback | Permalink
Bioneers 2010: Images from Day Three
by Katy Purviance on 10/19/10 @ 12:13:48 am
Categories: Events | 136 words | 549 views

SUNDAY

Bioneers

Lynne Twist shared the message of FOUR YEARS. GO.

Here’s how you can stay in touch.

Bioneers

AND GUESS WHO WE SAW NEXT?!

Bioneers

Jane Goodall!!

Bioneers

Libby Roderick repeats Caroline Casey’s Aramaic translation of Jesus’ words.

Libby Roderick’s Closing Song

After lunch of a fig and maca smoothie, I went to Unleashing the Entrepreneurial Spirit in the New Economy with Adam Davis, Michelle McGeoy, and Greg Hoffman.

For the second afternoon session, I went to Wake Up! Making & Disseminating Transformational Cinema with John Raatz, Louis Schwartzberg, and Louis Fox. Louis Fox is the guy who did the film for The Story of Stuff, Grocery Store Wars

and The Meatrix

THANK YOU BIONEERS FOR A FANTASTIC WEEKEND!!

Bookmark and Share Send Feedback | Permalink
Bioneers 2010: Images from Day Two
by Katy Purviance on 10/18/10 @ 11:37:15 pm
Categories: Events | 546 words | 454 views

SATURDAY

Bioneers

We had a PSA from a couple of sperm…

Bioneers

They told us how birth rates in polluted areas are down because toxins reduce sperm counts.

Bioneers

Also during the Plenary session, we heard Mary Gonzales’ talk, Environment & its Relationship to Equity & the Economy. Mary is a stick of dynamite! She told us the story of being a poor mother in a poor neighborhood in Chicago. She felt alienated from her community, and worse, alienated from herself. She felt that she wasn’t smart enough, and that she had nothing to offer. But her priest kept pushing her to get involved in some social justice issues. Eventually she relented, and she found her voice. She found her strength, and she found her purpose in life. Now she is truly a force to be reckoned with! What a powerful woman!

Next, Bioneers awarded the LaCrosse DoubleCross Sovereignty Award to the Iroquois LaCrosse team. I found a video to show you the story…

We also got to hear John Warner’s talk on Intellectual Ecology: Green Chemistry & Biomimicry. John was a boy wonder chemist with hundreds of patents under his belt early in his career. And when his two-year-old son died from a birth defect, John lay awake wondering if it was something that he touched that caused his son’s birth defect. He told us how in four years of undergraduate and three and a half years of graduate courses, he never once was made to take a course on toxicology. In fact, he said, you could look up the course requirements of any chemistry program at any university in the nation, and you will not find one required toxicology class. Why do chemist make molecules that cause cancer? Because they were never taught what makes one molecule toxic, and another molecule safe. In chemistry [I myself have a minor in chemistry], the way you create new molecules is you apply outrageously high temperatures, or exceptional pressures. Why not, John posits, make new molecules the way nature does, by allowing molecules to come together naturally as they have evolved to do naturally?

Then it was time for lunch.

This bird is made of trash that washed up from the ocean.

Bioneers

Bioneers

Bioneers

After lunch I went to Moonrise: The Power of Women Leading from the Heart with Nina Simons, Jean Shinoda Bolen, Anneke Campbell, Anna Lappe, and Gloria Feldt.

Then I went to Permaculture for Humanity with Louie Hena and Larry Santoyo.

Bioneers

I’m embarrassed to admit this, but I didn’t know what permaculture was. I thought it was just super hard core gardening. I was wrong. It’s super hard core EVERYTHING.

Bioneers

That’s Larry Santoyo on the left and Louie Hena on the right.

Bioneers

“People say to us, we can’t do it because we don’t have land, and then I say, well then why don’t you just die, but then I remember I’m a nice spiritual person, so I backtrack a little and say that the mother-approved, time-tested method is to get a job, save money, and buy some land.” -Larry Santoyo, Bioneers Conference, 5:38pm, 10-16-2010

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

“Stop worrying and go do something. Go learn something. I should say that first. Learn something and then go do something.” -Larry Santoyo, Bioneers Conference, 5:52pm, 10-16-2010

Bioneers

DAY THREE!

Bookmark and Share Send Feedback | Permalink
Bioneers 2010: Images from Day One
by Katy Purviance on 10/18/10 @ 09:53:20 pm
Categories: Events | 174 words | 360 views

FRIDAY

Bioneers

Bioneers

I told this guy about my day so far. It was a short conversation. Because it was still morning. Then I asked him about his day, but he let me know that he was more in a listening kind of mood.

Bioneers

The Cliff booth had a swarm of people around it the whole three days.

Bioneers

Bioneers

So those things that look like painted plastic bottles? They’re filled with sand, so you can walk by and give it a good shake and it makes a nice loud shaka-shaka sound as it reverberates.

Bioneers

Bioneers

This Lydia’s Lovin’ Foods is where I had lunch all three days. Day One was a kale salad and a fig & maca smoothie. Day Two was a red cabbage salad and a raw kale & avocado & lemon juice soup. Day Three was the fig & maca smoothie again and a piece of their raw chocolate, which has three ingredients: cocao + coconut oil + agave.

Bioneers

In the afternoon, I attended The Cutting-Edge of Earth Systems Science: Re-Wiring the Brain with Geo-Visualization.

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Bioneers

Day Two!

Bookmark and Share Send Feedback | Permalink
We Get Letters...from San Francisco
by Katy Purviance on 10/07/10 @ 10:35:28 pm
Categories: Grad School | 752 words | 412 views

I’m Jay. I just graduated from Virginia Tech’s architecture school and now live in San Francisco.

I agree with you about the state of architectural education (at least, that it is not as valuable as it once was). “Learning by doing” is an important tenet upheld by many architecture schools that emphasize craft over…well… being educated. It’s better to learn how to be a student than to, let’s say, teach how to be a teacher.

That being said (though I’m not quite sure I understand it myself), I have been getting rather tired of admonitions to “educate the public!", especially concerning matters of developing a sustainable culture.

So–hang on!–I’m trying to get to the question. I’m seeing a problem with the concept of an educational institution in a world where knowledge can freely be exchanged through the internet. Such institutions exist because they provide a sense of value. And this value exists because of a scarcity. So what happens when knowledge is made freely available? Like with Wikipedia or the free online coursework of MIT, Stanford, Berkeley, etc.

So my real question: if a school existed in order to give a free education to anybody willing to learn, what do you think it would look like?

If it’s a school about lectures, this is already being done (like the TED Talks). If learning is by rote memorization, Wikipedia works perfectly. As for a design environment, the old apprenticeship model seems to be the best approach–as long is it includes a broad (perhaps “liberal") approach towards learning. Why should we even have schools of architecture? What value do they add?

I ask this partly because I’m pathetically unemployable, and partly because I spent many years designing buildings while in Middle School and High School, completely on my own. Getting into college, I realized that I had taught myself more in those years than most students were learning over the course of their college years.

So…that was a long question. Any thoughts?

Jay


Hi Jay!

First: thank you for writing!

Second: I like to publish select emails to my blog. May I publish yours?

Third: You have an excellent question. My team and I are still searching deep into our souls to figure out what VERB will look like, who it will serve, how it will work, and how it can be useful to the people who most need what it will have to offer.

I want to clarify my idea that the school be free. Cooper Union is free. If you can get in. So is VERB something wonderful and free for just a few people? Maybe. Maybe not.

Or do I open it up and make what some of VERB has to offer online so that anyone from NY to Timbuktu can learn a few things?

Right now I’m looking more at the middle ground. I believe that students will gain the greatest benefit if they are on-site. Not in a classroom, not the web site, but on the physical dirt site. And maybe some of the preliminary “education” can be web-based. So we’ll probably do a combination of the two. We also want this to be an option for recent grads who need a faster way to get their IDP credits. On the average, it takes people 12-15 years to get their 3 years of IDP credits. Which is totally unacceptable! And of course, I’d also like to get accredited for people who’d like to come for their M.Arch, so that will play a part in shaping what VERB looks like.

Fourth: I too spent a lot of years designing buildings in Junior High and High School. The biggest difference between designing on my own and designing at Harvard? Well, the experience was infinitely more joyful when I did it on my own, and fraught with misery when done for the academics.

Fifth: I welcome your input on what you think VERB should be. Have you taken my survey? If you haven’t please do. I take this kind of feedback seriously. It will shape VERB in a very real way.
http://blog.architectureaddiction.com/index.php/a/2010/08/07/take_the_perfect_architecture_school_sur?utm_source=twitterfeed&utm_medium=facebook

Sixth: I want to stay in touch with people who share my frustrations with the current architectural education. Please become a fan of Architecture Addiction on facebook - I update that with news more frequently with a blog. http://www.facebook.com/pages/Architecture-Addiction/105104166195161

All the best
Katy

Bookmark and Share Send Feedback | Permalink
It's Time to Get Angry about Architecture
by Katy Purviance on 10/07/10 @ 01:54:00 pm
Categories: News, Articles | 53 words | 334 views

Curtis B. Wayne, host of Burning Down the House, sent me this
Congress of Residential Architecture Position Paper.

Let the manifestos begin!

CORA Position Paper

CORA Position Paper

I strongly encourage you to read more. MANY architects have responded to this paper. Some wholeheartedly agree with it. And some think it will create enemies among the other building professions.

Bookmark and Share Send Feedback | Permalink
Licensed to Learn
by Katy Purviance on 10/01/10 @ 09:46:59 pm
Categories: Articles | 32 words | 589 views

Curtis B Wayne, host of Burning Down the House on the Heritage Radio Network, has had a letter published in the most recent issue of The Architect’s Newspaper.

Read Licensed to Learn.

Bookmark and Share Send Feedback | Permalink
Bioneers 2010! I'm in!
by Katy Purviance on 09/30/10 @ 09:13:07 pm
Categories: Events | 292 words | 588 views

Full Scholarship to Bioneers 2010! Thank you Jesus!

Dear Katy,

Thank you for your application for a scholarship to Bioneers 2010. We are very pleased to offer you full scholarship to this year’s conference, three full days of inspiration and information. Please confirm receipt of this email right away.

For Bioneers 2010, we’re very excited to have over 130 amazing speakers. You’ll hear from Dr. Jane Goodall, Dr. James Hansen, Mallika Dutt, Lynne Twist, and many more. Take a look at the Bioneers brochure or the conference section of our website (http://www.bioneers.org/conference) for the full line-up of presenters. You can find out more about these speakers in the biographies section of our website (http://www.bioneers.org/presenters).

In return for your scholarship, we ask that you send a brief summary of your experience at Bioneers 2010 to our office in Portland. Your summary will assist us in acquiring foundation funds for ongoing support of the Bioneers Scholarship Program.

Again, we’re very excited to have you join us for this dynamic gathering of the Bioneers! Please feel free to email me with any questions, and if by chance you are unable to come to the conference, please let me know immediately so that I may award your scholarship to another worthy applicant.

In partnership for the Earth,
Kelli

****************
Kelli Webster
Project Manager
Bioneers / Collective Heritage Institute
503-233-1477
831-536-1624 fax

http://www.bioneers.org
Community Site: http://connect.bioneers.org
Store: http://store.bioneers.org
http://www.facebook.com/bioneers
http://www.twitter.com/bioneers

I’m still looking for a place to stay there in San Rafael. Any suggestions? Are you attending? Let me know by filling out the contact form on the right side of this page!

Bookmark and Share Send Feedback | Permalink
We Get Letters...from Finland
by Katy Purviance on 09/16/10 @ 01:40:34 pm
Categories: Grad School | 518 words | 595 views

Dear Katy Purviance,

I just listened your discussion at Heritage Radio Network and it was very enthralling!! I am really enthusiastic that there is someone like you out there in this world!

I really support your ideas and criticisms about architecture, system of education, society…. life. I totally agree that there is not any philosophical approach in architecture, especially in the working-world.

I graduated in architecture 3 years ago from the University of Florence and I was kind of happy about my education. I had a lot of theory, philosophy and whatever the task was, the analysis part was always very important. But on the other hand, I didn´t have a lot of practical or technical education and this is why I went to study in Finland for 1 year where I found a lot of good designing and “doing”.

But after my graduation, I faced with reality: the job-market is mainly looking for Cad-monkeys or 3D-genius… no Architects. Thus, after some experiences, I decided to work independently as an freelancer-illustrator (mainly for architecture studios). In this way I have more time to dedicate on my visuals projects: using art as media instead of architecture, the intent of my work is to criticize our build-environment, make people wonder, ask questions, inspire people to search for meanings, show alternative points of view of our “reality”. Architecture that is responsible for so much of the built environment around us doesn’t do enough. This is why I am more interested in designing images rather than buildings.

You can also see some projects here: www.serraglia.com

I am sorry for this long email, but I really felt to share these things with you!

I hope we can meet or collaborate in the future… maybe one of your University class in Finland?!

All the luck for your project!

Best Regards,
Lorenzo Servi
Visual Artist, Architect


Lorenzo

Your email makes me very happy; thank you for writing!

With your permission, may I post your email on the blog? I have discovered that there are a LOT of people out there who feel the same way that you and I do, and I want to publish your email to encourage other students, to let them know that their feelings of disappointment with their education are normal, and that they are not alone.

I would also love to hear more about your story. What university did you go to before you went to Finland? I looked at your site – I like it very much! I also really like your manifesto!

You can help me. I’m conducting a survey to find out what architecture students really want out of their education. I need as many people as possible to take the survey. Would you mind taking it and having your friends take it as well?
http://blog.architectureaddiction.com/index.php/a/2010/08/07/take_the_perfect_architecture_school_sur?utm_source=twitterfeed&utm_medium=facebook

Another thing you can do is join the Architecture Addiction page on Facebook to get the latest news:
http://www.facebook.com/pages/Architecture-Addiction/105104166195161

Keep in touch!
All the best,
Katy

Bookmark and Share Send Feedback | Permalink
Disappointments with Harvard's Graduate School of Design
by Katy Purviance on 08/19/10 @ 01:58:46 pm
Categories: Events, Grad School | 2173 words | 1814 views

Yesterday I discussed my disappointments with Harvard’s Graduate School of Design with Curtis B Wayne on his radio program, Burning Down the House.

Also on the show were Prof Roderick L Knox of Cooper Union and the architect Matthew Arnold.

You can listen to the show right on the Heritage Radio Network.

To prepare for the show, I was asked to be ready to tell about some of the bullshit I experienced at the GSD. I wrote up about 6 pages of notes. I only got to use a couple of my tales. I thought I’d share the rest with you. Think of it as a behind the scenes treat.

NUMBER ONE

They have a weird way of wanting us to be creative. The way I work, is I feed my brain. I get my brain drunk on the things that interest me, that delight me. I travel. I read things that fascinate me. I talk to interesting people. I try to keep my brain satiated. Then, when I have a design challenge, I give my brain the problem, and then I go about my business, and usually by the next day, or even in the middle of the night, my brain says, “Okay, here’s a solution.” And it will show me the entire idea in detail. It will zoom in and zoom out. It will pan and rotate. And then I draw it up, or design it in the computer, or make models. And in every art class, or design class, I’ve ever taken, I was the best. It was such a wonderful feeling to create such delightful things so easily. It felt so good to walk into my studio at the University of Idaho on pin-up days, and it was like, “What did Katy do this time?”

How they want you to create at the GSD is very different. They want you to sit at your desk and labor as long as it takes, methodically working out every iteration of an idea that you can until you can’t see straight and your legs go numb from sitting so long. I hated it. If I try to pull an idea out of my subconscious, it essentially aborts the idea, and a partially-cooked idea is no good to me.

I remember talking to a few classmates first semester about this, and one girl told me that this isn’t the way she likes to create either, but hey, we’re at Harvard, so let’s just try it their way and try to learn something from it.

So okay, that’s a good point. I tried it their way. I didn’t like it. I wasn’t happy with my work. I felt like I was accomplishing a small percentage of what I could be accomplishing, but I’m also thinking, okay, maybe this will teach me something useful.

The problem is, this method requires copious amounts of output, but leaves little time for input, what I called feeding my brain. After a while, it’s like trying to squeeze blood from a turnip.

I keep at this until maybe about mid-semester of the Spring. I have a heart to heart with myself, and I’m like, this method just is not working for me. I really want to go back to my usual way of creating. And the way I had to do that was to feed my brain. So I took the day off from my 7-day-a-week school schedule and I walked into Boston. I took pictures of some buildings that I liked. I love Boston, and I just focused on enjoying myself. That’s it. And in the late afternoon, I felt pretty good, so I went home, started up AutoCAD, and just like that, drew up plans, sections, and elevations for a project that I had been stuck on. I was more productive in 4 hours – four hours of easy work – than I had been in my entire time at the GSD.

I plotted it all out the next morning in time for studio, and my critic was very happy with what I had done. So I think to myself, ah, we’re getting somewhere. So I told her about my method. She called it the Boston Method, and she encouraged me to keep doing it. I was elated. And I had the best review of my time at the GSD.

But you know what, when I did it again a couple of weeks later for our final project, she was upset with me for missing class. When we started this final project, despite how happy she was how it worked out on the other project, she continued to want me to draw out every iteration of the idea as it progressed. Even though my method works, she insisted that I go back to this laborious way of doing things.

So when I missed class again so that I could simply, easily, and quickly move forward on this project, she was upset, she told me I was behind, that I wouldn’t finish in time, and without any input on my part, had decided that she was going to give me an Incomplete and that I could finish studio at the end of Summer. Which means that the few weeks I had left to complete the project would be stretched out for another 3 and a half months.

NUMBER TWO

The first studio project of my Harvard experience was the Odd Fellows Hall in Cambridge. We were supposed in insert an elevator into this building, so I thought it would be a good idea to go take a look at it and see where the best place would be. I found the building, and my reaction was: there should NOT be an elevator in this building! It had the most beautiful staircases I’d ever seen. On the right side of the building, the stairs start by circling up clockwise. You get a couple of stories up, and the stairs reverse direction, so that now you’re ascending counter-clockwise. And on the left side of the building, you’ve got the mirror image of another staircase. They’re absolutely beautiful. And when you look at the plans, all of the rooms fit together so intelligently, it seemed like a shame to disturb any of that with an elevator.

Back at the GSD, our critic told us to “go crazy.” He even suggested knocking out all the walls and starting over.

The way they wanted us to do our drawings, they kept telling us to “diagram” things. I still don’t know what that means. My classmates did diagrams by, for example, drawing lines on the plans connecting the midpoint of every window together, you know, that kind of thing. Some totally arbitrary thing that reduces the complexity of the building down to some meaningless lines. And then they would use those lines to generate a new set of plans that had only a tenuous relationship to the actual building.

My classmates came up with some pretty crazy designs, alright. It looked like they were designing spaces that would be used to psychologically torture inmates. And I just couldn’t do it. I had visited the building, and it made me heartsick that we were supposed to destroy it just for a stupid elevator.

I didn’t see the point of doing these diagrams, and it seemed like a really ridiculous way to design, but I was also under a lot of pressure to make a set of diagrams anyway. So I diagrammed a person’s movement through the building, which is not in straight lines, nor is it possible to predict a person’s precise movement through the space. It shouldn’t be. But because my diagram diagrammed something arbitrary and unpredictable instead of arbitrary and unchanging, the critics gave me a lot of grief during the final review. And they equally berated me over my drawings in which I carefully positioned the elevator so as to cause the least amount of disturbance possible. I felt like they wanted me to be crazy and ridiculous for the sake of being crazy and ridiculous. I walked away thinking, Man, this place is really fucked up.

NUMBER THREE
I attended GreenBuild 2008 in Boston, and I went to a panel discussion on architectural education. In short, I was outraged. RMJM Hillier polled 20 of the top architecture schools. The research found that students wanted to learn about green design…and professors thought they were doing a GREAT job in teaching green design…and the firms that hired the graduates though that these grads knew very little about green design.

NUMBER FOUR

Partway through spring semester, we students were having a discussion in studio. One student raised the point that the things that drew him to be an architect were not the things that were being taught in our program. A few others agreed. It was true for me as well.

I often felt that the only way that I could learn what I went to the GSD to learn was if I skipped class – in order to create time – and went to the library to read about the topics that actually interested me. And whenever I did this, I was mad. I couldn’t help but think, “I am getting tens of thousands of dollars in debt when I could’ve just bought a couple of books.”

Anyway, our critic came into the studio, and we shared our concern with her. She laughed and said, “You’ll spend hundreds of thousands of dollars and years of your life before you ever do what you want to do.” REALLY???

NUMBER FIVE

I actually liked my Energy, Technology, & Building class a lot because I am very interested in designing climate-appropriate houses. As a treat for the last day of class, we got to take a field trip to an old building that had been restored and was being used as an office building. It had some level of LEED certification. And you know I’m not a big fan of LEED, but it was really nice, really educational, to walk around inside a building that got it’s daylighting and natural ventilation right. It was great. I thought it was simply the most useful thing we had done all semester – well actually it was a half-semester course. And I told our professor that we should have a class that was nothing but field trips to buildings. He agreed with me – he thought was a great idea, but he seemed to say something along the lines that such a class wouldn’t work.

NUMBER SIX

We had five studio projects fall semester, and as an afterthought, they thought maybe that was too much. So spring semester we had three, and two of those were libraries. The first project, we had to design a structure out of brick.

It turned out that the project was NOT about building something that could rest securely on a foundation of firmness, commodity, and delight. It turned out the project was about seeing what kind of ridiculous things you could make a brick do.

NUMBER SEVEN

Spring semester we had this intolerable class called Scripting. It’s full name was Digital Design: Algorithms & Scripts. It was three hours every Tuesday night. It’s essentially a class where we were to learn to program 3D modeling software such that it would automatically create architectural form. Sounds cool, no? The problem was, the professor tried to teach us how to do this by showing us Power Point slides of what the code looked like, in tiny, tiny font.

I learned HTML & CSS at the University of Idaho, and though that was about 10 years ago, I learned it well enough that I still know how to do it, and I have made money off from these skills. Those classes were taught in a very different way: the professor, Frank Cronk, would spend about 20 minutes sitting with each student, guiding us, talking about life, talking about all the great things we would one day do, and answering our questions.

For this scripting class at the GSD, the entire first year class – about 60 students – took the class at once. Partway through the class, we had a special study session led by an older student. We were all so lost. One of my classmates said, “This is a foreign language, and it’s like you’re trying to teach us sentences. We haven’t even learned the letters yet.”

I got one question right on the midterm, and I don’t know what I got on the final. I do know, however, that the final exams were due the day after the deadline for final grades. I passed the class.

NUMBER EIGHT

We had twenty credit’s worth of required classes each semester. For fun (irony? cruelty?) they hosted a sleep expert to come in and tell us how important, how vitally, critically important it was for us to get regular, adequate sleep. He told us all about how unhealthy and psychologically damaging it was to be habitually sleep-deprived. No matter, we still had twenty credit’s worth of required classes each semester.

Bookmark and Share Send Feedback | Permalink
How Architecture Schools Neuter their Students
by Katy Purviance on 08/18/10 @ 05:05:49 pm
Categories: Articles | 26 words | 976 views

On this week’s episode of Burning Down the House we discussed a sociological study of architectural education.

Here it is!

How Architecture Schools Neuter their Students

Bookmark and Share Send Feedback | Permalink
The Problem with Architectural Education
by Katy Purviance on 08/17/10 @ 06:06:08 pm
Categories: Events | 61 words | 982 views

I’ll be on Curtis B Wayne’s radio program, Burning Down the House tomorrow, Wednesday August 18th at 4 pm PST / 7 pm EST to discuss my experience with graduate level architectural education, and the broader issue of the ineffectiveness of a lecture-based pedagogy.

I advocate a hands-on approach to learning architecture. You can learn more about my ideas for a new architecture school.

Bookmark and Share Send Feedback | Permalink
Just so we're clear, I think LEED is a bunch of crap
by Katy Purviance on 08/13/10 @ 11:36:02 pm
Categories: Green Design | 297 words | 997 views

I was listening a podcast of Curtis B Wayne’s radio program, Burning Down the House, Episode 3, last night. Towards the end, they started talking about LEED.

I think anything that uses “points” as a system of determining quality or value is a bunch of crap. For example, school grades, SAT scores, GRE scores are all crap. I wish I had known that before I went through all the trouble of making sure I got high grades and high scores. But I digress.

Curtis said he thinks it’s crap too. Guest Gennaro Brooks-Church rejoined by saying that he was a LEED AP…

…but that he too thought it was crap. “I think it’s a good starting point. It’s better than not building…”

Curtis: “As a consciousness-raising…”

Gennaro: “No. If you’re a total moron developer, who has no scruples, I think if you gave him a LEED checklist, it would make a better building. But if you’re a green builder I think it’s a useful reference.”

He also mentioned Henry Gifford who did a study of LEED-certified homes. Turns out that they tend to use MORE energy than a non-LEED-certified home.

I did you the favor of finding the article for you.

http://www.finehomebuilding.com/item/5872/is-the-leed-program-a-fraud

The LEED rating system is “a tragedy,” according to Henry Gifford, resulting in buildings that use more energy, not less, and “a fraud perpetrated on U.S. consumers trying their best to achieve true environmental friendliness.” Henry is a mechanical systems specialist in New York City and, apparently, a vocal critic of the U.S. Green Building Council’s Leadership in Energy and Environmental Design program.

Read the whole thing.

UPDATE

You can listen to Episode 12 of Burning Down the House to hear Henry Gifford.

And here’s Henry Gifford’s personal blog.

Bookmark and Share Send Feedback | Permalink
Architect v Machine in early 20th-century Germany
by Katy Purviance on 08/12/10 @ 11:32:51 am
Categories: Books | 38 words | 1108 views

I just finished a graphic book called Architecture for Beginners by Louis Hellman. It’s great. I love it. You should read it.

I particularly wanted to share a couple of pages with you about early 20th-century German architecture:

Bookmark and Share Send Feedback | Permalink
ROUND PRE FAB
by Katy Purviance on 08/09/10 @ 10:22:10 pm
Categories: I love this building | 42 words | 1172 views

My sister Lila shared this with me. Yes. The time has come.

ROUND PRE FAB!

Because of its unique shape and the generous natural light from the roof dome, the ‘Pod’ actually looks bigger on the inside than the outside.

Read More!

Bookmark and Share Send Feedback | Permalink
Take the Perfect Architecture School Survey
by Katy Purviance on 08/07/10 @ 10:09:36 pm
Categories: Grad School | 78 words | 1703 views

I want to know more about what YOU want in architecture school.

So I made a survey.

It’s on the right side of this page and down a little.

Please take it. And have your friends take it. I’m using this information to help design a new kind of architecture school, and I need your honest input. I’m not sure how long I’ll keep the survey open, but I will post the results from time to time.

Thanks!

Bookmark and Share Send Feedback | Permalink
Does it count as architecture if it's built by beavers?
by Katy Purviance on 08/07/10 @ 07:01:45 pm
Categories: News | 300 words | 922 views

In northern Alberta a giant rampaging beaver has devastated local communities. While the local military has made several attempts to no avail, local communities are at a standstill as its giant pancake style tail flattens buildings and maims children….

That is what this article should have began like. However, both disappointing and fascinating at the same time is a giant beaver dam that can be seen from space. While tracking permafrost in Wood Buffalo National Park in northern Alberta, researcher Jean Thie stumbled upon the massive beaver dam. Originally found in 2007 using satellites and google Earth the beaver dam was discovered 190km north of Fort McMurray in Alberta.

Working since the 1970s these creatures don’t disappoint their “busy beaver” moniker having several generations hard at work constructing the 850m structure (2800 feet). Normally these dams reach roughly 10 - 100m and rarely do they ever get bigger.

“Several generations of beavers worked on it and it’s still growing,” Jean told AFP in Ottawa.

According to Geostrategis.com the actual search strategy was based on analysing hundreds of dams across Canada and using broad characteristics, certain areas were considered having the highest probability of high density beaver dam landscapes. Using Canada’s national Air Photo Library in Ottawa and Google Earth images the new dam was found and would have remained hidden without such technology.

Beavers were hunted extensively for their pelts for many centuries throughout north america. Thie also describes how they are not only repopulating areas but even “re-engineering the landscape,". Beavers use these dams to create deep water which allows the them to be more mobile and they are an essential part of creating Canada’s wetland habitat. With all the trees it took, I think we can rest with that whole “who ruined the environment” search we’ve all been on.

Source

Bookmark and Share Send Feedback | Permalink
Zip Cabins
by Katy Purviance on 08/04/10 @ 12:03:19 pm
Categories: Pre Fab | 155 words | 1148 views

Christopher Thompson wrote in to tell us about Cabin Fever. They design and manufactur prefab cabins and cottages out of Florida.

We make a range of smart, stylish, and affordable prefabs, and I just thought you might be interested in our newest product. We call it the ZipCabin and it is a very exciting SIP and wood-frame hybrid that is designed as a small-scale, easy-to-build structure for use as a backyard accessory building or small getaway camp. They make perfect pool cabanas, yoga rooms, home offices, and art studios.

The standard ZipCabin is 10′x12′, permit-exempt in many areas, and has an optional 6′x12′ covered deck. The whole structure sits on a robust platform raised on steel feet for easy installation on any surface.

Our first two ZipCabins were recently shipped to Alaska.

Zip Cabin

Zip Cabin

Check out their website www.cabinfever.us.com to see their other prefab products, including our flagship model, the curved-roof Maxwell.

Bookmark and Share Send Feedback | Permalink
A Radio Show for Architect Enthusiasts...and I'm going to be on it
by Katy Purviance on 08/03/10 @ 12:36:01 pm
Categories: News | 176 words | 671 views

Architect Curtis B Wayne has a radio program especially for architecture enthusiasts called Burning Down the House.

Which was my favorite song in 1984, BTW.

Architecture is the laser focus of Burning Down the House, a weekly discourse on all things built, destroyed, admired, and despised. Each week Curtis B. Wayne, your Tudor tutor, invites a posse of authors, critics, builders, designers, and other architecture fiends to reflect on various topics related to perhaps the most functional of art forms.

Curtis B Wayne is a graduate of the Cooper Union in New York City and of Harvard Design School. He has designed and built projects ranging from the Bridgehampton National Bank Headquarters to restoration of the torch of the Statue of Liberty.

For more info, take a look at http://burningdownthehouse-radioarchitecture.blogspot.com

Curtis and I are going to talk about the main problem with architecture: architects don’t know how to build!

Listen live on Wednesday 18th August at 7ET/4PT on Burning Down the House

You will also be able to download the podcast from iTunes.

Bookmark and Share Send Feedback | Permalink
Help me Name my Architecture School
by Katy Purviance on 08/02/10 @ 07:04:49 pm
Categories: News, Grad School | 161 words | 572 views

As you may know from reading the box to your right and down a little called “places where you could probably learn more about designing and building in just a few days than I did after a year of grad school,” I am starting my own architecture school.

And I need your help coming up with a name.

I have a few ideas. Tell me what you like. Tell me what you don’t like. And if you have some ideas of your own, I’d love to hear them. You can also vote and post your ideas directly on our Facebook page.

My ideas so far:

  • Hands-On School of Domestic Architecture (or HOSODA for short)
  • Hands-On School of Residential Architecture (or HOSORA for short)
  • Design/Build School of Domestic Architecture (or DBSODA for short)
  • Design/Build School of Residential Architecture (or DBSORA for short)

UPDATE!

I have named the school.

It’s name is VERB. Because architecture is a VERB, not a NOUN!

Bookmark and Share Send Feedback | Permalink
The 22 Stages of Architecture School All-Nighters
by Katy Purviance on 08/02/10 @ 06:33:26 pm
Categories: Grad School | 1706 words | 832 views

Yes, I totally stole this from drewprops.

Students of Architecture intimately know the meaning of the term “all-nighter” and as an alumnus of Georgia Tech’s architecture program I feel that it is important that I share with you, my internet pals, each of the various stages that you pass through during an all-nighter so that you might better navigate the dicey straits of educationally-induced sleep deprivation if ever you chance to find yourself staring down the barrel of an 8:30am class deadline. What follows is a typical night before the deadline for a typical architecture student….

STAGE ONE – 6PM
You have officially entered into evening. The studio is half full and you begin to feel the tug of “quitting time” as you see students with other majors walking back to their dorms. Some of your fellow students drift out to grab some dinner. Go ahead and join them, you might as well have something in your stomach for all that’s about to follow.

STAGE TWO – 8PM
Welcome back to the studio! You’re full of food, full of spirit and full of commitment to make it home in time to get some sleep. With the feeling that you currently possess there’s a good chance that you might finish by Midnight and head home to get a great night’s sleep, shouting “So long suckers!!!” at your classmates on your way out the door. Now: where’d you put your 45 degree triangle?

STAGE THREE – 9PM
Hmm, still going strong… but you just remembered that you need to do a bird’s eye view of the project and you haven’t touched the rough pencil-lined version you made about a week ago…. crap, your professor just HAD to go and “help” you “radically improve the design” two days ago. Man that chump just added two hours to your schedule. Still, making it out of here by 2am isn’t bad. Hey, did somebody just take your electric eraser?

STAGE FOUR – 10:37:04PM
Wow. You just had a really calm moment just now, but then you kind of forgot what you were drawing. The Morissey coming out of Stephen’s boombox ten feet to your left just mixed with the Billy Bragg coming out of Laurie’s boombox ten feet to the right and made MollyBraggissey right in the middle of your head… and who’s going to clean that muck up?? Still, the little jib-jib-jab-jab of sad Brits is creating a noise cancellation zone right in the middle of your soul and it’s helping you to make those short little tick marks for the brick pattern you’re drawing. Love the brick pattern, hate to ink it. How much farther to go? Let’s see… hey, two rows finished!! Out of.. mumble, mumble, carry the three, mumble,mumble…. oh crud. This is going to take a bit longer than you thought. What time did you say you’d be getting out of here? No I can’t remember either. Anyway, it’s coming up pretty soon now. Just keep drawing.

STAGE FIVE – 11:15PM
Okay, time to stand up and stretch. Heck, get up go downstairs to the vending machine and treat yourself to some Ho Ho’s – after all, you didn’t eat dessert while you were at Wendy’s. On your way through the studio take notice of exactly how many boomboxes are actually playing now; lots of them. The noise blends from step to step to step.

STAGE SIX – 11:50PM
Wow, Midnight is almost here and you’re not nearly as finished as you told yourself you’d be. Do you always overestimate like this? Work, work, work. Put your head down and work. Hey, you have to work on your model some…..

STAGE SEVEN – 12:46AM
Did you feel that? Your consciousness just sort of ‘rippled’ for a split-second. I think your body is wondering why you’re not laying in bed watching TV right now. What are you supposed to be doing right now? Oh yeah, a model. Well it’s not so bad now, that ripple was nothing. The model? Yeah, yeah, yeah I’m ON IT.

STAGE EIGHT – 1:00AM
Feelin’ pretty good now. Two drawings are 85 percent finished and the model is looking pretty darned sweet. That tower is like, the coolest thing going. Maybe it could use another X-Acto blade poking out of its roof. It’s looking so good that you’d best turn your attention back to the…… the…. um, oh yeah, the third drawing.

STAGE NINE – 2:17AM
Well, that clock sure did spin around pretty quickly – but look at what you have to show for it! Your watercolor isn’t really the best you’ve ever done but the blue sky really sets off the area that you masked off so you could ink in the details of your drawing. You know, you never really figured out what’s happening on this end of the building.. but that’s okay, Carey’s designing a building made entirely out of men’s stand-up urinals – who’s going to notice an undetailed wall when your sky looks this good!

STAGE TEN – 3:02AM
Okay, just five hours until you have to be done. You’re getting close to getting out of here on your schedule…. wait, no, that would’ve meant you’d have left the studio an hour ago and that didn’t happen did it? Did it?

STAGE ELEVEN – 3:30AM
Time for coffee and maybe some chocksalot donuts. Heh, did you just say “chocksalot” instead of “chocolate”? Heheheh, that’s kind of funny. And hey, Magnus just walked by with a piece of toilet paper stuck to his foot….hehehe – oh my gosh, Joel’s drawing looks like a giant robot penis and Mike just stuck his X-Acto in his hand AGAIN!! AAHHH HA HA HA HA HA HA!!!! Wooooooo, this is the most amazing moment you’ve ever experienced in your entire life!! Color are brighter, sounds are lush, the fugue rolling around in your head is exhilarating and you are the funniest you’ve ever been in your LIFE!!

STAGE TWELVE – 3:32AM
Who ARE these people around you and why are they all so gosh-darned LOUD!!!! Oh my GOD they’re so damned loud!! Can’t they see that you’re trying to…. to DO something with these things in front of you…. with a pen maybe, or… some glue?

STAGE THIRTEEN – 3:59AM
Hey, your model isn’t done yet and there’s another thing you need to do…. what was it? Maybe if you lay down under your drafting table for a five minute nap you’d be able to remember what that thing was?

STAGE FOURTEEN 4:01AM
All about you is carnage, you’re going to die alone. Why is Erica yelling at Chris? Why is Chris curling up on the floor? Did you just see Tony walk past you with red marker streaks all over his face? Channing just took his drafting stool apart and glued it to his model. Oh shit. The model, did you do it yet? DID YOU!!!?? Hey, Andy just showed up and started doing his first drawing!

STAGE FIFTEEN 5:15AM
Screw the drawings, they’re as done as you’re going to do them and if that fat-head professor has anything to say to you about it you’ll drag his smarmy ass out into the parking lot and beat the ever-lovin’ puddin’ out of him with your electric eraser and HEY you found your electric eraser!!! And you’re staring at your outstretched hand like a one year old. Snap out of it.

STAGE SIXTEEN 5:43AM
Okay, your model needed that coat of black spray paint – it really gave it that certain “ummph” that the white spray paint didn’t have (especially since there was a coat of candy apple red spray paint under that). Whenever you have time you need to ask somebody how long you should wait between coats of paint because it’s looking kind of…. kind of “saggy”.

STAGE SEVENTEEN 5:44AM
No WONDER the tower in your model looked so BIG!!! It’s the wrong damned scale!! Who’s going to build a thirty story turret on a community library anyway!!??? Just don’t…. okay, tell me you didn’t just touch the tower because — alright, tell me that you didn’t just lean on your rendering, you know, the one with the really nice blue sky??

STAGE EIGHTEEN 6:20AM
Okay your model repair is halfway decent, thank goodness that Tim had an extra piece of wood that he was decent enough to let you have. Nevermind that your model is made of paper that looks like it was intentionally spray painted to look like lava. Next time remember to a) hold the spray paint tip more than ONE INCH away from your target, and b) don’t touch what you spray paint within TWO SECONDS of the paint hitting it. What’s left to fix? Nothing? Wait, no, something.

STAGE NINETEEN 6:25AM
Bloody Hell, the bird’s eye view drawing – you haven’t even touched it yet. No time for drawing perspective lines now, this has got to be finished BY HAND. What could possibly go wrong?

STAGE TWENTY 6:54AM
Curses, the sun is rising. Why are you STILL here?? Oh no, is that nausea that you’re feeling? Is your head a little swimmy? For real, you need to go throw up. You just watched the sun go down a little while ago – this isn’t natural.

STAGE TWENTY ONE 7:30AM
Serenity. You have lived through a night of horrors, your drawings are as done as they could possibly be, the model has been repaired, there is nothing but the sound of working – the music has faded to silence. Life: it’s for the living – you’re a survivor. There’s a Zen to being Zenned out in Zen-ness and you are the still point of that Zenninnity.

STAGE TWENTY TWO 8:25AM
The professors just showed up and announced that your class can have another six hours to finish your projects. You just thought of something you can do with that extra X-Acto knife blade… and it involves car tires.

Bookmark and Share Send Feedback | Permalink
Lots of unusual homes...but it all happened so fast.
by Katy Purviance on 08/02/10 @ 12:43:35 pm
Categories: Videos | 6 words | 478 views
Bookmark and Share Send Feedback | Permalink
When you're famous architect you get to have your picture on Time magazine
by Katy Purviance on 08/02/10 @ 12:39:05 pm
Categories: Architects | 80 words | 488 views

I just saw this on Architizer about famous architects that make the cover of Time.

What would the Time magazine cover look like with YOUR face on the front?

Post your Time cover on our Facebook Page.

Here are a few precedents to get you started:

Buckminster Fuller
R. Buckminster Fuller, Jan 10, 1964 by Boris Artzybasheff via Time

Le Corbusier
Le Corbusier, May 5, 1961, by Boris Chaliapin via Time

Philip Johnson
Philip Johnson, Jan. 8th, 1979 by Ted Thai via Time

Eero Saarinen
Eero Saarinen, July 2, 1956 by Boris Artzybasheff via Time

Bookmark and Share Send Feedback | Permalink
DOMO VITAE - The House of Life
by Katy Purviance on 07/31/10 @ 01:56:04 pm
Categories: Architects, Green Design | 571 words | 711 views

I met architect Quentin Dart Parker at Dwell on Design. He was showcasing his DOMO VITAE home. He had a cool model, plus plans and elevations. I thought you would want to learn more about him and his work.

Domo Vitae

What is a modern vacation home?
We have designed a unique, custom floor plan with loft-style layout, to accommodate eight for informal holiday congregations, as an escape from the ordinary retreat- both efficient, and spacious at the same time. Two loft bedrooms overlook the great room below, with exposed 25 ft. high open beamed ceilings, highly insulated walls and other exquisite luxury amenities. No expense is spared in the finish selection and use of FSC cert., green LEED building products. The Domo Vitae Home is a highly efficient, cozy, cabin-retreat that is both modern and traditional.

Domo Vitae

Domo Vitae

What is special about the Domo Vitae design?
The concept is a spacious, loft-style layout with two large, second floor bedrooms. In temperate climates, the wood-burning fireplace, centrally located on the lower floor, heats the air space with both radiant and conductive application. The re-circulating, silent ceiling fan draws the rising hot air from the highest point in the ceiling plenum and redistributes it to the lower level. The main radiant heat flooring system is zone activated, and keeps the room temperature cozy without drying out the air.

Domo Vitae is a state-of-the-art, high-tech living accommodation, yet simple, efficient and dramatic in layout. The fourteen foot wide PV layered roof surrounds a covered porch. This serves as additional living space during the temperate months, and buffers winter climates by keeping snow, wind and rain at a comfortable distance from the house perimeter with generous, three foot roof overhangs. In tropical settings great cross-ventilation and conductive air distribution keeps the loft interior shaded and cool. Optional Murphy-style queen-size beds offer overflow porch sleeping accommodations doubling the capacity to eight.

The Domo Vitae design is ideal for storing recreational vehicles safely in the spacious, 30 Ft L x 30 Ft. W x 10 ft. H basement garage. That’s room for a 16 ft. day-sailer/trailer, a double snowmobile/trailer, two dirt bikes and two full size cars, or any combination thereof. This space can be converted (future expansion) with a third, full mezzanine level bedroom/bath/walk-in closet- and still have room for two cars and a tow trailer. Alternately, the basement can be constructed in shallow water as boat and rec vehicle docks with stair adjusted access to the porch above. On the upper level the pocket, sliding door openings on the main floor have barn-style, secure solid wood exterior doors for board-up security. The two porch access stairways to the porch can be locked, (draw bridge style, vertically) to discourage unwanted intrusion off-season.

Domo Vitae is unique because of the innovative structural footing design and the floor plan ability to adapt to many site conditions: Whether upslope to access, down slope, -or side slope, the square layout and large, cantilevered porch and primary exposure can be rotated 90º in any direction to meet specific site needs. With financing ,the panelized component manufacturing facility can be built at foreign locations to engage the local workforce. It is as simple in construction as building a unitized dog shed. Assembly and finish component installation takes no more that 3 months from start to completion on unprepared sites.

Domo Vitae

Domo Vitae

Domo Vitae

Domo Vitae

Domo Vitae

Domo Vitae

Check out better photos of the model than what I took!

Contact Domo Vitea to find out more.

Bookmark and Share Send Feedback | Permalink
Fresh vine-ripened produce on every corner
by Katy Purviance on 07/30/10 @ 12:05:56 pm
Categories: Grow Your Own Food | 336 words | 378 views

You know how there’s a Starbucks on every corner?

What if there was also a fresh fruit and vegetable stand on every corner?

And what if those fruits and vegetables were grown right there, in that building?

And – imagine now – instead of eating produce that had been picked green, that had traveled thousands of miles, that had been sprayed with ethylene gas to get it to “ripen"…

WHAT IF you could eat produce that had been ALLOWED TO RIPEN NATURALLY?

WHAT IF you could eat produce that had been picked just HOURS after it had been picked?

WHAT IF you could eat produce that had traveled a FEW FEET instead of THOUSANDS OF MILES?

How?

Put a greenhouse on every building.

Reader Orion has written in with his idea for just such a design - the Urban Green House.

I am a big fan of green houses. I illustrated The Earth-Sheltered Solar Greenhouse Book. I wrote my Big Paper my first year at Harvard on the use of greenhouses throughout history to affect the microclimate of homes. And someday I will grow my own food out of a greenhouse.

Orion’s letter has me excited about the future of widespread commercial greenhouses.

Visit his site urbangreenhouseproject to learn more. Like what you see? Spread the word to others! This is a fantastic project that will need the help pf others to bring it to fruition. Can you help? We need:

  • Fundraising
  • An architect to make a design study on how it would be built and draw up plans.
  • A cost analysis on how much it would cost to build.
  • An environmental engineer to look at the plans and to make suggestions for automation.
  • These plans will have to be looked at from a business standpoint and see how much the cost would be to start and run a business as a break even analysis.
  • A marketing firm would have to identify areas where people would support such a business.

Contact Orion here: orion@urbangreenhouseproject.org

Bookmark and Share Send Feedback | Permalink
Design/Builder: Gary Stefen
by Katy Purviance on 07/28/10 @ 01:51:51 pm
Categories: Architects | 362 words | 462 views

I met Gary Stefen at Dwell on Design and really liked his work.

Gary Stefen

Gary Stefen

I thought you might like to learn more about him.

Gary Stefen

Gary Stefen Silverston is sensitive in understanding the delicate nature of building ones home. It is all about collaboration. Whether this is your first house or your twenty-first house or your primary residence or a vacation home, Gary knows that each house is entirely unique to his client. He sees each project through the eyes of his clients. His projects evoke the client’s particular sensibilities, not just visually but emotionally. His projects reflect not only where a client is today but where they are going. The proper environment can create a profound future. He is deeply committed to the notion of “green” utilizing all technologies the project or client will permit.

Biography
Gary worked with his father brainstorming, designing, and building projects throughout his childhood and into his adulthood. As a young carpenter, Gary immersed himself in the building world. Initially in Colorado, his work brought him to California where his natural creative proclivities mingled with practical experience to form a remarkably original art of his own.

Gary readily navigates complexities in the building world, producing entirely 21st century homes, created of the finest quality components. His lifetime devotion to architecture and construction has facilitated in him an imaginative style that communicates itself the minute you walk into a room. Highly respected and with access to immense inventive resources, Stefen’s homes are in high demand for the most unique home building requirements. His three dimensional mindset allows him to craft and reflect the mind’s eye of his clients, creating chic and livable environments.

SERVICES PROVIDED:

* Project Management & Post-Disaster Coordination
* New Home Construction
* New Home Design (Interior/Exterior)
* Remodeling
* Restoration/Reconstruction
* Commercial Project Design (Interior/Exterior)
* Commercial Project Construction
* Project Construction Management and Supervision
* Blueprints’/Plans’ Acquisition and Expedition
* Consultant for Residential and Commercial Projects
* Office Interiors/Tenant Improvements

AREAS SERVICED: Central Coast & Southern California:

Santa Barbara
Montecito
Carpenteria
Encino
Camarillo
Malibu
West Los Angeles
Santa Monica
Beverly Hills
Bel Air
Palisades
Hidden Hills
Orange County
San Diego County

Take a look at Gary’s work.

Bookmark and Share Send Feedback | Permalink
Design your dream home online. Yes, please. [Autodesk HomeStyler]
by Katy Purviance on 07/28/10 @ 01:47:13 pm
Categories: News | 807 words | 470 views

I saw this at Dwell on Design. I thought you would be interested.

The Autodesk Homestyler. You can design your dream home online. You don’t have to download anything.

AND IT’S FREE.

HomeStyler

Autodesk® Homestyler™ free online home design software bring your interior design plans to life. Easy drag and drop, brand name products, and 3D views make using Autodesk Homestyler the best way to start your next home design project.

It’s free, completely web-based, and instantly accessible online.

Start with a design from the Gallery
Why start from scratch? There’s a good chance someone in the Autodesk® Homestyler™ community has already created a design that’s similar to your vision. There are thousands of designs to choose from, all free to use, edit, and develop however you’d like. Find inspiring ideas for kitchens, bathrooms, and living rooms, or even offices, retail space, and more.

Create multi-level plans
It’s easy to create multiple levels for your floor plan. Choose to clone the layout of your first floor or create an upper level with its own unique dimensions and layout. Easily toggle between floors in your design.

Landscape your exterior
Explore different looks, basic plants, and surfaces for outside areas. Create areas with lawn, pavement, decking, pathways—or even pools and water features. Add in trees and shrubbery to create the landscape design you’re looking for.

Decorate with thousands of items. Get a 3D view with one click.
Choose from over 15,000 generic and brand name items in the Autodesk® Homestyler™ product catalog. Easily drag and drop to place items where you want. Each item includes behavior rules to speed placement and improve accuracy.

Choose manufacturer brands
See how your kitchen remodel or new bathroom looks with actual appliances, fixtures, and furnishings from top manufacturers’ brand catalogs -luxury kitchen appliances, cabinetry, countertops, sinks, faucets and more. You won’t have to worry whether you’ve got the dimensions right, simply choose the exact products- in the actual size, color and finish options available.

View real product imagery
See high quality photos of manufacturer products in the catalog to get an exact view of the actual item. It’s ideal for comparing and choosing between brands and product models.

Print your shopping list
Autodesk Homestyler automatically compiles a list of the products in your new home design, including information such as brand name, model, color, and more. It tallies approximate quantities for countertops, flooring, baseboards, and paint, so you’ll know exactly the amount of materials to buy. Simply print your list and bring it with you when you head out to shop.

Try out styles, colors, and finishes. Without spending a dime.
You can save time and money when you use Autodesk® Homestyler™ to try out different design ideas. Not sure how to arrange interior walls, windows, and furnishings? Wondering how paint colors will work from one room to the next?

Tons of options to try
Products in the catalog have numerous options - sizes, colors, styles and more—that you can swap out with the click of a button. Try an entirely new look for your design—the variations are endless!

View in 3D - with one-click
As soon as you’ve laid out your space, view it in 3D with just one click. There’s no messing with camera placement or complicated rendering. Just click and view. Rotate your design to see it from different angles. Switch between 2D and 3D views in an instant.

Change options in 3D view
While you view your design in 3D, just click to change options like countertops, wall color or floors. You’ll be able to flip through options quickly to see which changes you like.

Get input! And make more confident decisions.
Share your design ideas and get feedback from friends, family, design professionals, and tradespeople. Simply save your work and send it out via email, place it in the Design Gallery, or post it on social sites like Facebook.

Share in the Gallery, web, or social sites
There are numerous ways to share your designs. Share designs in the Autodesk® Homestyler™ Gallery or use email to send a link to your design. Share on social sites like Facebook, Twitter, and many others to open up your ideas for group discussion. You can even embed a design on your web site — Autodesk Homestyler makes it fast and easy.

Print out designs
Easily print out your designs, including dimensions, to bring with you when you meet with vendors and contractors. You’ll have all the details you need to discuss your ideas and make planning decisions.

Export as an image, or in professional format
Save your plan as a simple JPEG image file, or in the DWG™ or RVT formats used by professional designers, architects, and engineers.

How cool is that? I’d love to see what you do with the Homestyler. Post your designs on the Architecture Addiction Facebook Page.

Bookmark and Share Send Feedback | Permalink
Finally Some Pictures from Dwell on Design 2010
by Katy Purviance on 07/25/10 @ 12:13:06 pm
Categories: Events | 11 words | 242 views

Bookmark and Share Send Feedback | Permalink
Upcoming Sustainable Living Workshops!
by Katy Purviance on 07/11/10 @ 12:15:00 pm
Categories: Events | 48 words | 239 views

July 17: Raising Backyard Goats
August 7: Raising Backyard Chickens
August 28: Urban Beekeeping
September 4-5: Build an Earth Oven
September 9: Do-It-Yourself - Plumbing
September 10: Do-It-Yourself - Electrical
September 11-12: Do-It-Yourself - Carpentry
September 19: Intro to Herbal Medicine

For a complete list of all Sustainable Living workshops in 2010, please click here.

Bookmark and Share Send Feedback | Permalink
Natural Building Intensive
by Katy Purviance on 07/10/10 @ 04:04:13 pm
Categories: Events | 215 words | 258 views

The Solar Living Institute interns and caretakers have just returned from a fantastic five-day natural building workshop held at Ingel-Haven Ranch in Potter Valley, CA – a 5th generation family ranch that raises 100% grass-fed beef and acorn-finished hill hogs.

The workshop was led by Massey Burke, Co-Founder of the natural building company and school Vertical Clay in Berkeley, and was designed for both first-time builders as well as professional builders and contractors. The course focused on earthen building, providing hands-on experience with cob, adobe block, earth bags, light straw clay (slip straw), and wattle and daub.

As a complement to the hands-on portion of the course, Massey (who incidentally was a former SLI intern) led discussion sessions on the philosophical and theoretical dimensions of natural building. These discussion sessions covered building design and siting, passive solar design, foundations and drainage, natural plasters, and electric and plumbing for earthen buildings.

Our next natural building workshop is Build an Earth Oven on September 4-5, where students will help construct an earth oven in a community garden in the San Francisco Bay Area. This workshop will cover: basic oven functions and designs, proven construction methods, and resources for students to build an oven of their own!

Please click here for more information or to register for this workshop.

Bookmark and Share Send Feedback | Permalink
Robert F. Kennedy Jr. to be Keynote Speaker at SolFest
by Katy Purviance on 07/09/10 @ 11:57:19 am
Categories: Events | 336 words | 313 views

The Solar Living Institute is thrilled to announce that Robert F. Kennedy Jr. will be the keynote speaker at our 14th annual SolFest on September 25, 2010. Mr. Kennedy is a visionary environmental business leader and advocate who has developed a global reputation for his inspirational public speaking. This will be Mr. Kennedy’s first visit ever to the Mendocino/Sonoma County area, so we look forward to welcoming him to this part of California.

Robert F. Kennedy Jr.’s reputation as a resolute defender of the environment stems from a litany of successful legal actions. Mr. Kennedy was named one of TIME magazine’s “Heroes for the Planet” for his success in helping Riverkeeper lead the fight to restore the Hudson River. The group’s achievement helped spawn more than 160 Waterkeeper organizations across the globe. In 2009, he was named one of Rolling Stone’s “100 Agents of Change".

Currently, Mr. Kennedy serves as Senior Attorney for the Natural Resources Defense Council, Chief Prosecuting Attorney for the Hudson Riverkeeper, President of Waterkeeper Alliance, is a partner in the clean tech work of Silicon Valley’s VantagePoint Ventures, and is the environmental advisor to Napo Pharmaceuticals. He is also a clinical professor and supervising attorney at Pace University School of Law’s Environmental Litigation Clinic and is co-host of Ring of Fire on Air America Radio.

Mr. Kennedy has worked on environmental issues across the Americas, and has assisted several indigenous tribes in Latin America and Canada in successfully negotiating treaties protecting traditional homelands. The New York City watershed agreement, which he negotiated on behalf of environmentalists and New York City watershed consumers, is regarded as an inspirational model in stakeholder consensus negotiations and sustainable development.

Please join us in welcoming Robert F. Kennedy Jr. to Mendocino County for his first visit ever!

SolFest XIV
September 25 & 26, 2010
Redwood Empire Fairgrounds
Ukiah, California

Keynote Speaker:
Robert F. Kennedy Jr.
Saturday, September 25, 3-4 pm.

Tickets are now on sale! Please click here to purchase tickets for SolFest 2010.

Interested in becoming a volunteer? Please click here for volunteer opportunities.

Bookmark and Share Send Feedback | Permalink
ANNOUNCING IBE'S ANNUAL ELECTROMAGNETICS SEMINAR!
by Katy Purviance on 07/08/10 @ 02:39:02 pm
Categories: Events | 121 words | 222 views

Moccasin Lake Nature Park, Clearwater, Florida
August 23 thru 27, 2010

Click here, Register by 15 July, Save $100

This five-day interactive seminar provides techniques for identification, detection, and mitigation of electromagnetic radiation (EMR), based on practical examples and case studies from actual home inspections.

Particular emphasis is placed on EMR in the bedroom as well as on how EMR can enter buildings via our public water supply system. This seminar includes lectures, hands-on labs for instrumentation usage, research assignments, and interactive discussions.

Electromagnetic radiation (EMR) permeates our daily lives, affecting our health and wellbeing at home and at work. Understanding the causes and numerous harmful effects associated with EMR is of crucial importance to each and every one of us.

Register now, click here, save $100

Bookmark and Share Send Feedback | Permalink
University of Idaho students design/build in Panama
by Katy Purviance on 07/07/10 @ 07:17:17 am
Categories: Building | 720 words | 511 views

I just read this article about my alma mater by Becca Johnson called “Building on an Architecture Degree with Service.”

The University of Idaho trains its students to be leaders and make a global impact.

This spring, eight architecture students and professor Wendy McClure traveled to a remote farmstead near El Cope, Panama, to help one community.

“Although the university’s architecture program has completed dozens of outreach projects with community partners in the intermountain west during the past 25 years, our brigade to Panama launched an exciting new chapter in this legacy of outreach by venturing into a partnership with an impoverished community in the third world,” says McClure.

Last fall, graduate student Tyler Macy founded the University of Idaho chapter of Global Architecture Brigades. GAB supports ventures in Panama and Honduras though student service-learning projects, and specifically design-build projects, for architecture participants.

GAB and its Panamanian partner organization, Patronato de Nutricion, assigned the university’s chapter a priority design-build project on the farmstead Granja de Loma Bonita.

After arriving in the country, Idaho brigadiers hiked to the farm carrying packs on steep terrain, slept in tents and lived in relatively primitive conditions for six days. This didn’t stop them from accomplishing a great deal during their stay.

Three elderly people, who also are siblings, manage the farm and participate in the Panama government’s program to promote better nutrition in rural areas and organic farming practices.

“Though skilled farmers, they cannot keep up with needed repairs to facilities. They lack places to store and dry crops and must sleep in separate huts under leaking roofs,” says McClure.

During daylight hours, the team repaired leaking roofs, built a solar greenhouse dryer out of materials found on site, hoe rice paddies and built a new iguana cage. At night, the team worked by headlamps supplemented by a small generator to design a new community meeting room and living quarters for local farmers.

“Our aim for this trip was to not only help out a community in need, but also to learn about their way of life and design appropriate architecture for the rural area using traditional methods and locally available materials,” Macy says.

The construction required the team to use creative thinking to scrounge for local materials, such as bamboo and green rough-cut lumber, and to employ primitive tools, such as hand saws, machetes and twine, to accomplish the simplest of construction tasks.

“Taking part in and actually seeing your design built is an amazing feeling that most architecture students do not experience,” says Macy. “This design/build experience is very valuable in our field of study, and to do so in a culturally different and economically restrictive environment makes it all the more challenging and worthwhile.”

A second brigade of University of Idaho students will return to Panama this August to construct new housing, crop storage and community structures.

“The approaching rainy season makes their lives even more challenging,” says McClure. “Our spring brigade’s primary purpose was to gather site information and input from community partners in support of upcoming design and construction. Given the pressing need for shelter from the elements, participants became quickly engaged in making emergency repairs to address the most basic needs as communicated by the farmers through a translator.”

“This experience was transformative for all of them. They worked effectively as a team and accomplished significant tasks using a minimal amount of available technology and resources,” McClure says.

“When you commit to helping someone, you are a lot more likely to get out of your comfort range of skills to get a job done,” says Molly Marineau, sophomore architecture student. “Volunteering is a really good way to learn skills from meeting new people and new cultures to making adobe. Service work also makes trusted connections between people, which I believe is important in a quickly globalizing world.”

The project received support from the school, friends, family and local businesses such as Moscow Building Supply, Wheatberries and Moscow Food Co-op. However, most of the money for the spring break trip was raised by McClure and the individual students.

“Our students were stellar ambassadors of the university,” McClure says. “They exhibited an unusual degree of commitment under extremely difficult circumstances. As their faculty adviser and co-worker, it was truly a privilege to be part of their team.”

Source

Bookmark and Share Send Feedback | Permalink
Dwell on Design 2010: 2 videos & 0 pictures
by Katy Purviance on 06/27/10 @ 12:13:50 am
Categories: Events | 182 words | 339 views

Well, I have good news and bad news.

The good news is that Dwell on Design was AWESOME! And I took like 200 photos. And I was planning on posting EVERY SINGLE ONE OF THEM here for you to see.

Bad news? Almost two weeks of dealing with a malware/virus has rendered my photoshop dead. Which means I can’t resize the photos to a decent size. Really. I tested this. If I put a photo directly on the site, each one is probably bigger than your screen. Which is not so fun when there’s 200 of them.

So photos will have to wait until I can get this fixed

In the mean time, I do have two videos I took for you. Let’s called them “short films” because that sounds artsier.

I merge with a stranger on the other side of the Mirror Wheel. (I’m the one holding the camera, not the one with the blue scarf who walks away at the end.)

The most useless – but most fun – table.

Bookmark and Share Send Feedback | Permalink
Reclaimed Space at Dwell on Design
by Katy Purviance on 06/17/10 @ 07:46:09 pm
Categories: Events, Articles | 510 words | 780 views

Among the highlights at last year’s Dwell on Design was a cozy modular home created by Reclaimed Space, who hauled their one-of-a-kind structure made from reclaimed and repurposed materials all the way from their Austin, Texas, headquarters. The 400-square-foot home was rolled right onto the floor of the Los Angeles Convention Center, and served as a fitting entrance to the Dwell Outdoor pavilion. Attendees lounged in the comfy confines of Reclaimed Space’s weathered wood walls, drooling over each of the fully functional appointments in the modern surf shack.

This year, Reclaimed Space is busy building another home just for Dwell on Design. This year’s show home will be slightly larger—28′ x 14′—with an extended overhang for a covered outdoor area and a separate bedroom. Since Reclaimed Space uses one-of-a-kind salvaged wood and fixtures, the house itself also comes with an impressive history. Materials ranging from reclaimed galvanized metal to long-leaf pine shiplap were gathered from an 1830s German farmstead home in New Braunfels, Texas, a homestead and barn in Belton, Texas, and its most prestigious address: A Shiner, Texas livery stable built in the 1880s. “It is one of the oldest remaining structures in Shiner,” says Reed-Barber. “Well, it was.”

But this modular house is also unique due to the fact that it can be purchased from the comfort of your own home: The house, along with most of its furnishings, are for sale on eBay. “Last year when we decided to take a space to Dwell on Design, we also decided that we didn’t want to bring it back to Texas,” says Kimber Reed-Barber. “We came up with the idea to auction the space off during the convention, both as a way to sell the structure and raise money for charity. Who else would you use to auction other than eBay, everyone knows of them, right?”

Another popular detail from last year will be making a return to the Dwell on Design Reclaimed Space: Zem Joaquin from Ecofabulous will once again be curating the interior space, making all sorts of decisions from paint to appliances to furniture that showcase sustainable goods. “Ecofabulous will have its hand in everything involving the design this year,” reports Reed-Barber. “I’ve heard of a Miami Beach feel with some hot colored appliances!” Ecofabulous also selected this year’s non-profit beneficiary of some of the house’s proceeds, Global Green. Last year, $10,000 went to Habitat for Humanity. For those hoping to bid on this year’s house, you may have some competition. Actor T.J. Thyne, from the Fox show Bones, purchased last year’s home for $75,000 and it looks like he is hoping to start a collection, says Reed-Barber. “He intends to find property in California and purchase more Reclaimed Spaces to make a community for family and friends.”

Watch Ecofabulous’s MODERN LIVING site or follow #ecofabhouse on Twitter for the link to the eBay auction, which goes live on June 24 at 4pm PST.

The Reclaimed Space show home is part of the exhibition at Dwell on Design, happening June 25-27 in Los Angeles. Register now!

Bookmark and Share Send Feedback | Permalink
Upcoming Natural Building Workshops!
by Katy Purviance on 06/13/10 @ 02:55:07 am
Categories: Events | 229 words | 381 views

The Solar Living Institute will be offering its two most popular natural building workshops back-to-back around the Summer Solstice. Celebrate the beginning of summer by learning how to build structures using natural materials from the earth!

Build a Strawbale House: June 19-20
Solar Living Center, Hopland, CA.

This popular course will introduce you to the fundamental concepts and skills needed to build your own strawbale house. The course will cover: successful strawbale design, proven construction techniques, foundation systems, framing doors and windows, interior details, building to code, and other important topics. Students will help to build a small load-bearing structure - including foundation and roofing - and will have the opportunity to mix and apply various plasters.

Natural Building Intensive: June 21-25
Magruder Ranch, Potter Valley, CA.

This workshop is designed for both first-time builders and professional builders and contractors who want to delve more into building with natural materials. The course focuses on earthen building, offering hands on experience with cob, light straw clay (slip straw), adobe block, and wattle and daub. Students will learn how to smoothly integrate various natural building materials to create the best possible building solution for each individual situation. This workshop will be held at Magruder Ranch in Potter Valley – a 5th generation family ranch that raises 100% grass-fed beef and acorn-finished hill hogs.

See the complete list of all Sustainable Living workshops in 2010.

Bookmark and Share Send Feedback | Permalink
An 8-foot wide house between two other houses
by Katy Purviance on 06/12/10 @ 12:55:42 pm
Categories: Articles | 1048 words | 853 views

On an eight-foot-wide site in London, architect Luke Tozer cleverly squeezed in a four-story home equipped with rain-water-harvesting and geothermal systems.

When Luke and Charlotte Tozer learned they were expecting their first child, they knew it was time for a bigger house. Luke, an architect, was not averse to a challenge, so they went looking for a building that might need a renovation. What they found might have made other potential buyers flee—–a constricted site in London’s Notting Hill occupied by a derelict 1950s cottage—–but the Tozers used their imaginations to see the potential. “Only an architect would have been crazy enough to buy it,” says Luke, a director at Pitman Tozer Architects.

The front of the cottage was a mere eight feet wide, expanding to the rear where it nestled among the back gardens of neighboring buildings dating from the 1860s. It was immediately clear that obstacles would arise not only in the design process but also in accessibility during construction on this unusually narrow lot. “We had always wanted to build a house for ourselves,” Luke reflects, “but looking at this site, I couldn’t quite work out if it was my dream or a nightmare.”


The glass walls that separate the living area from the courtyard fully retract to allow a smooth passage between the two.

Though the cottage was in poor shape, having an existing building provided a starting point from which to draw. “With the new design we were able to go up, back, and down,” says Luke. “We dug out the whole back of the site, and we were able to increase the floor area of the new house by about half compared to the original.”

At each stage, the slimmed-down nature of the site required creative thinking to get around access problems, from building a hut for the contractor that could be moved around on wheels to finding a drilling rig narrow enough to reach the backyard to drill the 165-foot-deep boreholes that are key parts of the geothermal system.

The ground-source heat pump, which uses natural subterranean warmth to heat the floors and water, was one of a multitude of measures the Tozers took to make the house as sustainable as it would be beautiful and livable, from overhead to underfoot. On the roof and under the courtyard garden, a rainwater-harvesting system was installed in order to use reclaimed water for the home’s toilets. Materials for the timber-and-steel-frame house were carefully selected from responsible sources, including the wood for the custom staircase, which is sustainably grown larch composite board. Operable skylights in the stairwell and the sitting area allow for natural passive ventilation on hot days, while the orientation of the glass to 
the sun maximizes solar heat gain on cold days. Many of the green features in the house are common sense, including high-efficiency glazing and lamb’s-wool insulation.

Throughout the house, built-in storage and shelving is cleverly positioned in alcoves and recesses, as in the dining area, which allows clutter to be easily cleared away.

Ultimately, the Tozers were rewarded for their painstaking process. Having bought the site in 2005, they finally moved in two years later and were just within their $987,000 budget. The finished interior maximizes every square inch of space yet avoids any feeling of claustrophobia. The narrowest, street-facing section of the house is essentially an entrance area on the ground floor, topped by a stack of three bedrooms.

By placing the sleeping quarters in the leanest region of the house, the living zones gain the more expansive back area, which unfolds dramatically into a semi-open-plan kitchen, dining area, and sitting room, enriched by banks of retractable glazing that open out onto a courtyard. The indoor and outdoor floor levels match up for a seamless transition. “We enjoy looking out onto the garden year-round,” says Luke, “but on a nice day, with the gatefold doors open, we have a much greater sense of space. It becomes one big room within this rather Californian indoor-outdoor idea.”

For the Tozers’ two young boys (their second son, Alexander, arrived two years after Mark), the openness of the main floor makes for a great place to play. “It’s very well suited to two small kids who can have the run of the ground floor during the day,” says Charlotte. In order to make it equally suited to adults, built-in storage means toys and clutter can be tucked away after the kids go to sleep.

Their children are one reason why Luke and Charlotte chose to emphasize sustainable design—–both to teach the boys environmental awareness and to keep their carbon footprint small. “With young children we do a lot of flushing,” says Luke. The couple encourages turning off lights and taps but try not to be too overbearing.

One more bonus of the green approach: “It is cheap to run,” Luke says, “but none of that is especially noticeable. It’s about trying to design in a sustainable manner without making a song and dance about it. We did superinsulate the house, and the glazing is very high spec. It’s in excess of what you have to do in the UK, but the benefit is worth it.”


At the back, the building steps down to the courtyard garden in a ziggurat formation, with the main living spaces on the lowest floor.

The rainwater-storage system saves on the family’s water use, providing recycled water to flush the four dual-flush toilets. No special allowances were required for the system, which comes under standard UK building regulations. The Tozers considered graywater recycling to reuse bath and shower water, but decided that the simplicity of the rainwater system suited them best. They did, however, install a separate rainwater-collection barrel for watering the courtyard 
garden, even though the plants were selected for their low-water needs.

Though the environmental upshots of their home are many, Luke and Charlotte are perhaps most pleased that the unique constraints of the site became its best asset: By having to situate the majority of the living space to the rear, with just a sliver of the facade exposed to the street, the Tozers ended up creating their own private world, turning a dejected lot into a safe haven where their family can grow.

Source

Bookmark and Share Send Feedback | Permalink
SolFest 2010: Now in Ukiah!
by Katy Purviance on 06/11/10 @ 09:54:40 pm
Categories: Events | 218 words | 532 views

The Solar Living Institute is thrilled to welcome back the Greenest Show on Earth after a one-year hiatus that allowed us to focus on expanding our educational mission. 2010 is a year of transformation and growth, as the green economy expands to provide new opportunities in renewable energy and sustainable living. SolFest is a celebration of this new expansion, and we are excited to reinvigorate a long tradition of environmental leadership by welcoming back this annual fundraiser on September 25 & 26.

In an effort to reach out to the broader community and to reduce the ecological impact of SolFest on the Solar Living Center in Hopland, Solfest will be relocating to the Redwood Empire Fairgrounds in Ukiah. As always, the two-day celebration will feature world-class workshops and demonstrations, amazing musical performances, speakers, wine tasting, raffle prizes, Silent Auction, Film Center, Kid’s Stage, and much, much more!

We look forward to celebrating this new era of environmental consciousness with you. Please stay tuned for details on our website as they develop.

SolFest 2010
September 25 & 26, 2010
Redwood Empire Fairgrounds
Ukiah, California

Ticket Information:
Tickets will be available beginning June 15th.
Ticket Prices: $30 Saturday; $25 Sunday OR $45 for the full weekend.
Camping: Weekend pass + camping (with showers) is $100 before July 15th; $125 after July 15th.
RV Camping: $125 before July 15th and $150 After July 15th.

Learn more!

Bookmark and Share Send Feedback | Permalink
A House in Singapore
by Katy Purviance on 06/11/10 @ 08:12:12 pm
Categories: Articles | 894 words | 424 views

I just read this article in Dwell (dot com) about a family from the Netherlands who moves to Singapore.

In December 2007, Nicolette de Waart, her husband, Joost Dop, and their four children moved from Heemstede, the Netherlands, to Singapore. While Dop began his new job, De Waart set out to find someplace for them to live. In the process of turning a house into their home, she also found a footing for her interior design business, Design Doctors, an extension of her well-established Dutch company, De Stijlfabriek. De Waart tells her tale of procuring (and piecing together) a place for her family in the big city.

We moved to Singapore for my husband’s job. We worried about being far away from family, but there are always reasons why you shouldn’t do something. We decided to look at it as a big adventure and just do it.

When we first moved here, we lived in a 24th-floor apartment. It was quite shocking for us, because in Heemstede, a suburb of Amsterdam, we lived in a house with a nice garden and an outdoor kitchen. Looking out the windows of our apartment in Singapore, we could only see concrete. There was always construction noise, as we were living close to Orchard Road, the main shopping street. For Singaporeans, it was really great, but for us, it wasn’t ideal.

Finding a place to rent was hard. We were used to living in a green environment, and that was really important to us. Singaporeans, however, are less focused on their gardens than on their houses, which seemingly should be as big as possible and completely air-conditioned. Our first real estate agent showed me properties with closed, dark rooms. When I switched to an agent who understood what I wanted, we found the right home in two weeks. The house is on a street with what were originally seven other similarly designed residences, all built in the 1970s. Our home is the only one that remains unchanged. All the others were renovated to enclose the balconies and add more interior rooms.


“Every house we looked at had curtains over all the windows,” De Waart says. “Our first real estate agent thought it was strange that I wanted to remove them, but Dutch people like to have very open spaces.”

The house has three floors. The lowest floor is where you enter and where I have my atelier. The main space has a living room, dining room, kitchen, office, and guest room. Go up one more level and there are four bedrooms and a big family room. There are balconies and a garden all around the house, so it’s nice and green. There’s a weird place cut out of the back where, in the past, a chauffeur could have waited. Most people would have closed it up and added it as another room, but we turned it into an outdoor play space.


De Waart added a chalkboard to the kitchen for writing memos and for drawing, as Tammo does here.

The house had sat empty for nine months before we moved in. Here, it’s tropical and always in the high 80s, so everything falls into disrepair twice as fast. The kitchen was horrible, but we were lucky because the landlord let us renovate it. We kept it simple and stuck to white to make it look bigger. We almost always cook at home and eat outdoors. The kids like to draw in the living room and play in the family room. We really use the whole house; I try to make every room somewhere you’d like to be.

We brought all of our furniture with us from Holland. We’re attached to our stuff—–not in a materialistic way but because everything has a story behind it. I wanted to surround myself with pieces that would be recognizable. It made the kids feel immediately at home.

Missing, though, were bookcases. I designed some myself and had a local carpenter build them as a trial run for whether he’d be able to execute my other designs, which have since included work for a restaurant and many homes here. In Holland, I’m accustomed to working together with a carpenter to create a design. Here, the individual tasks are managed by different shops, so fabricating an item requires many players. I did a lot of research to find tradespeople and suppliers, and I went to many shops and factories. Everyone was shocked that I, a white woman and a stranger, came to the stores myself and didn’t just send a messenger. They found it funny, but in the end, a lot of people have asked if they can work with me.

We love living here. Singapore has a lot of development and there is construction 24 hours a day, but there’s so much natural beauty too. We cycle and hike. There’s an eco-farm where you can see where a banana comes from and what kind of tree a papaya grows on. The kids love to swim in the lake there, and they have a nice restaurant for lunch. Singapore might seem like one big shopping mall from the outside, but there’s so much to do and see when you peel back the layers. That’s what I love about it.

Source

Bookmark and Share Send Feedback | Permalink
A House Built with Shipping Containers
by Katy Purviance on 06/08/10 @ 08:39:08 pm
Categories: Architects, Articles | 646 words | 4874 views

I just read this article on Dwell (dot com). I thought you might like it because it involves building a house out of shipping containers.

Having purchased a 3.5-acre plot of land in Topanga, California, with a very rustic, 750-square-foot cabin on it several years ago, architect Christof Jantzen found himself in need of a fairly quick, low-cost house expansion for his family (wife Lauryn and three young sons). Jantzen, principal of the Venice, California, office of the firm Behnisch Architekten, soon came upon the idea that more space could be achieved by redesigning a series of recycled and modified shipping containers, which would drastically reduce the typical time-consuming process of a traditional remodel.

“Building my own house made me realize that this was doable,” says Jantzen. “Most of the prefab structures on the market are very expensive, so I tried developing these container structures that would bring the cost margin of prefab down, which I think should happen.” At a cost of around $100 to $150 per square foot, the structures can be customized, stacked and combined into one of six Jantzen designs ranging between 320 and 2,400 square feet. With builder Eric Engheben of 44 West Construction, Jantzen has completed, among other designs, a poolhouse in Brentwood, California, and is in the permit stage on a 2,400-square-foot, 18-container atrium house in Topanga.

“In order to create a unity between the old and the new, I used a freestanding steel roof supported by I beams to cover both the cabin and the containers,” says Jantzen, who passed on installing A/C in favor of integrating natural cooling elements into the design. “The roof has an interesting climate-control effect; it almost functions as a sun umbrella hovering over the house with a buffer providing an airflow that helps keep cabin cooler, especially in summer.” The containers at front hold two side-by-side bedrooms; at left is the living area.

Jantzen was able to leave most of the sloping lot intact by anchoring the structure onto concrete piers of varying heights. He installed floor-to-ceiling insulating glass on one side of the bedrooms, consulting with a structural engineer to shift load-bearing elsewhere to compensate for the removal of the original steel panel.

On the opposite side of the house stands an old oak grove; the views to it are enhanced by floor-to-ceiling sliding doors, which, when opened, create a natural breezeway through the house. Jantzen was able to sneak the roofline in just under an existing branch. At left is the small bedroom of the original cabin.

Jantzen sheathed the living area’s walls and floor in furniture-grade plywood paneling, behind which he placed thermal insulation to retain heat in the winter. He then sealed the ply in a water-based, low-VOC clearcoat to prevent any fumes from escaping from the ply.

The dining area overlooks the oak grove; the original cabin can be seen beyond the glass doors. Jantzen placed the addition about two feet higher than the cabin, reached by a small staircase at right. “The containers are not only recycled, they’re very sturdy—stacking up to eight stories high on cargo ships—they are the perfect building material,” he says.

The owners of the Kelly residence in Brentwood, California, designed by Abramson Teiger Architects (which was on the AIA tour of Los Angeles in 2008), chose a Jantzen container design for their small poolhouse, which was pre-designed and fabricated, then lifted onto the site with a crane.

A rear wall of the container in front was covered in wood, with the opposite walls designed to be left completely open to the elements.

Made up of two containers, the poolhouse, built by Eric Engheben of 44 West Construction, was placed on the prepped foundation in three hours.

Jantzen designed a new, multi-story 2,400-square-foot house in Topanga, California, still in the permit stage, out of 18 containers, incorporating an existing tree into the atrium design.

Source

Bookmark and Share Send Feedback | Permalink
A Conversation with Buckminster Fuller [video!]
by Katy Purviance on 06/08/10 @ 12:47:42 pm
Categories: Videos | 4 words | 234 views
Bookmark and Share Send Feedback | Permalink
CoARQ's First International Architecture Student Competition!
by Katy Purviance on 06/05/10 @ 12:15:26 pm
Categories: Competitions | 25 words | 325 views

I just got an email from CoARQ. They are inviting architecture and design students to participate in their first international architecture student competition!

Learn more.

Bookmark and Share Send Feedback | Permalink
Pop Up Model at Cornell
by Katy Purviance on 06/04/10 @ 12:58:42 pm
Categories: Videos | 4 words | 269 views
Bookmark and Share Send Feedback | Permalink
Field Trip prices are still low...lock in yours before the fare increase
by Katy Purviance on 06/03/10 @ 11:41:10 pm
Categories: Field Trips | 61 words | 320 views

Beat the price increase! Enroll by June 25th and you’ll lock in your low field trip fare.

That means when field trip fares increase, yours will stay the same.

And did you know that you can lock in your low price for AS LITTLE AS $95!

Join us in Athens

Join us in Peru

Join us in Japan

Join us in Barcelona

Bookmark and Share Send Feedback | Permalink
Sukkah Building Competition!
by Katy Purviance on 05/30/10 @ 09:45:54 am
Categories: Events, Building | 397 words | 364 views

Biblical in origin, the sukkah is an ephemeral, elemental shelter, erected for one week each fall, in which it is customary to share meals, entertain, sleep, and rejoice.

Ostensibly the sukkah’s religious function is to commemorate the temporary structures that the Israelites dwelled in during their exodus from Egypt, but it is also about universal ideas of transience and permanence as expressed in architecture. The sukkah is a means of ceremonially practicing homelessness, while at the same time remaining deeply rooted. It calls on us to acknowledge the changing of the seasons, to reconnect with an agricultural past, and to take a moment to dwell on–and dwell in–impermanence.

Historically, the sukkah’s permanent recurrence is not as a monument, archetype, or typology, but as a set of precise parameters. The basic constraints seem simple: the structure must be temporary, have at least two and a half walls, be big enough to contain a table, and have a roof made of shade-providing organic materials through which one can see the stars. Yet a deep dialogue of historical texts intricately refines and interprets these constraints–arguing, for example, for a 27 x 27 x 38-inch minimum volume; for a maximum height of 30 feet; for walls that cannot sway more than one handbreadth; for a mineral and botanical menagerie of construction materials; and even, in one famous instance, whether it is kosher to adaptively reuse a recently deceased elephant as a wall. (It is.) The paradoxical effect of these constraints is to produce a building that is at once new and old, timely and timeless, mobile and stable, open and enclosed, homey and uncanny, comfortable and critical.

‘Sukkah City: New York City’ will re-imagine this ancient phenomenon, develop new methods of material practice and parametric design, and propose radical possibilities for traditional design constraints in a contemporary urban site. Twelve finalists will be selected by a panel of celebrated architects, designers, and critics to be constructed in a visionary village in Union Square Park from September 19-21, 2010.

One structure will be chosen by New Yorkers to stand and delight throughout the week-long festival of Sukkot as the Official Sukkah of New York City. The process and results of the competition, along with construction documentation and critical essays, will be published in the forthcoming book “Sukkah City: Radically Temporary Architecture for the Next Three Thousand Years.”

Register by July 1
Enter by August 1

Find out more

Bookmark and Share Send Feedback | Permalink
The Life of an Architecture Student
by Katy Purviance on 05/25/10 @ 12:51:33 pm
Categories: Videos | 5 words | 341 views
Bookmark and Share Send Feedback | Permalink
University of Minnesota architecture student help rebuild after Katrina
by Katy Purviance on 05/24/10 @ 12:47:56 pm
Categories: Videos | 3 words | 536 views

Bookmark and Share Send Feedback | Permalink
Architecture Student Profile: August Miller, University of Missouri
by Katy Purviance on 05/20/10 @ 12:43:23 pm
Categories: Grad School, Videos | 819 words | 463 views

What’s your favorite structure on campus? It’s a logical question to ask August Miller, an outstanding graduating senior in architectural studies.

Miller diverges from the norm when asked to name a preferred MU landmark. Most students point to Jesse Hall, Memorial Union or the Columns as most-attractive features, but Miller waxes poetic about the Life Sciences Center, added in 2004.

He likes the building’s sweeping lines, functional space, light-filled atrium and the ground-floor walkway that invites visitors to stroll through the building.

Miller may be slightly prejudiced in his pick because he has a special connection to the architectural firm that designed the Christopher S. Bond Life Sciences Center.

After a national search, Anshen + Allen architects selected Miller for a prestigious internship for spring semester 2009 at the international company’s headquarters in San Francisco.

Miller worked on in-design and under-construction projects with the educational-facilities team, including a dormitory renovation for the University of California—Santa Cruz. Interns typically serve at the whim of an architect as an extra pair of hands to do the work.

“August was more than just an intern,” says Al Lee, senior project director. “He was a junior member of the team and able to handle real drafting assignments. We treated him as a team member. Lots of interns come, and it’s a hand-holding session. He required very little attention. He’s self-initiated and understands quickly.”

Drawn to design

Miller knew when he applied for the internship it was unlikely he would be chosen. It’s difficult for students from small programs (MU architectural studies has seven full-time faculty members) to compete successfully against students from schools with 60 to 70 faculty members. But he was determined to try.

Creating designs that evolve is Miller’s normal operating procedure. He worked at least 40 hours on a portfolio for the internship application, then spent another month making changes.

“Clearly, August is the standout student in the department,” says Ronald Phillips, associate professor of architectural studies. “His strength is he’s an incredible diagnostician. He has an unbelievable way of looking at the world and has the skills to match.”

Faculty members and fellow Mizzou students consider Miller a young man of few words who doesn’t make a big deal of his achievements. He’s not much on social activities or athletics either, so as attractive as the new Student Recreation Complex is, he doesn’t spend much time there.

Class time and free time are pretty much the same for Miller, who prefers to work on his architectural designs through sketches or computer applications. “I’m a nerd. I read and draw,” he says.

He figures the constant drawing he did during classes, particularly in high school in his hometown of Springfield, Mo., may have annoyed some teachers. But the sketching — an intersection of mathematics and art — keeps him focused.

Miller’s notebook demonstrates artistic talent mixed with architectural form. There are pages of details of curves and angles; views of chairs with u-shaped backs; intricate metal work; roofs with solar panels; soaring vertical lines on exterior walls; a pavilion for outdoor classes; and complete buildings with topography.

He likes the whole problem-solving process of architectural studies. What could be more fun than producing designs to fit a client’s need, staying in budget, understanding the engineering and creating a beautiful building that is structurally sound?

Building plans

Miller loved playing with building toys, particularly Legos, as a kid and may have inherited an interest in architecture from his grandfather, who drew designs for several houses in a small Alabama town.

After Miller’s high school record and national test scores brought scholarship offers, he opted for a Mizzou education, funded through Curators and Bright Flight scholarships.

By his senior year, Miller had demonstrated his ability to work independently. He received permission to do an individual capstone project rather than a studio project with several students presenting designs for a terminal building at Columbia Regional Airport.

Miller’s capstone expanded a project he had begun in 2008, an animated computer segment of a design proposal for a $30 million education and resource innovation center targeted for construction near Boonville, Missouri. Fundraisers, marketing specialists and an architectural firm already are using the animation, Phillips says.

Miller will receive a bachelor’s degree May 14 from the MU College of Human Environmental Sciences. Going from wearing a mortarboard to working in the world of brick and mortar is part of his personal master plan. He will attend the University of Cincinnati School of Architecture and Interior Design — one of several schools that accepted him into their master’s programs.

He expects to complete a degree in three years and will then follow some advice from Anshen + Allen to get back in touch.

Source

Would you like to be profiled here? Send me a YouTube link of yourself and/or your work, along with a narrative.

Bookmark and Share Send Feedback | Permalink
Here's the heating/cooling solution that a lot of developers miss
by Katy Purviance on 05/19/10 @ 04:52:37 pm
Categories: Articles | 1205 words | 1018 views

Some time ago I wrote about how some developers like to plop the same kind of house down in all climates. Which is DUMB.

So I was delighted to read this article in my latest issue of Natural Home Magazine called Climate Control by Carol Venolia. It’s about the which housing typologies are approriate for different climates. THANK YOU.

In the hot Southwest, thick adobe walls help keep heat out.

The first time I flew into Honolulu, I was surprised to find buildings that could have been air-lifted from Los Angeles built on distinctly Hawaiian beaches and volcanoes. Only at tourist attractions did I see replicas of native tropical homes – raised above the ground on posts with deep overhanging roofs and air-permeable walls – designed to maximize the cooling effects of shade and breezes. Honolulu isn’t unusual. Nationwide, we’ve divorced ourselves from the specifics of climate and place through massive consumption of fossil fuels. Furnaces and air conditioners keep us warm or cool as we forget the energy-saving role of building design itself.

Before the industrial era, people built with local materials in response to local climate, topography, vegetation and culture. They looked to the sun for heat and light, augmenting it with fire. For cooling, they used shade, breezes and evaporation. This gave rise to regional styles as distinct as the Southwest’s adobe pueblos, the New England saltbox, the Southern dogtrot home and the Nebraska sod house.

“Design in response to local climate is the most powerful thing you can do to save energy and restore a sense of place,” says John S. Reynolds, professor emeritus of architecture at the University of Oregon.

Climate regions

Climate is defined by the combination of sun, wind, water and topography in a given area. In broad terms, the continental United States has four basic climate regions: cold, hot dry, hot humid, and temperate mixed.

A climate region is named for its most challenging season – for example, “hot dry” to describe the Southwestern desert. The Southwest also has cold and wet seasons, and the cold northern Midwest has hot summers. If you design to meet the greatest climatic challenge, it will take less energy to address other challenges.

Climate challenges

Your particular climate may offer additional challenges. Living near a large body of water, in a canyon, in dense forest or in hurricane country makes a difference.

Your local building codes may include climate-related criteria. Current codes typically incorporate minimum energy-efficiency standards linked to local climate challenges. A local energy-efficiency consultant can help you navigate these codes – preferably exceeding minimum standards.

Cold North

In cold northern states, the main challenge is to get heat indoors and keep it there. You need efficient heat sources, tight construction, thick insulation and solar heating. When you keep warm by preventing fresh air from entering the home, attention to indoor air quality is a must.

Passive solar heating – letting the sun shine directly onto interior thermal mass so it can radiate its stored heat when temperatures drop – is a boon in winter if your site receives sufficient sunshine. This strategy involves three main components: south-facing glass to admit midday sun; interior thermal mass (stone, earth, concrete, brick, tile or thick plaster) to store solar heat; and insulation to retain the heat.

Designing for cold climates

  • For passive solar heating, get south-facing windows with a high Solar Heat Gain Coefficient, or SHGC (check labels).
  • On east, north and west sides, use high-performance low-E glass to retain heat in winter and reflect solar heat in summer.
  • A compact building form will minimize heat loss through exterior walls and roof.
  • Deflect cold winter winds by planting windbreaks and sloping your roof low on the windward side.
  • Locate the garage and storage areas to the north or on the house’s windiest side for further insulation.

Hot dry Southwest

Dry summer heat is the thing to beat in the desert. The region’s traditionally thick-walled adobes were built to keep heat out. Natural cooling and passive solar heating work well in this climate.

Designing for hot dry climates

  • Shading walls, windows and even the ground surfaces around the house with trees or overhangs will minimize solar heat gain in summer. Shaded windows don’t let in direct sun, and shaded ground doesn’t reflect sunlight toward the house.
  • Light-colored exterior walls and roof reflect solar heat outward.
  • Use shading devices that are either movable or designed in response to the difference between the high summer sun and the low winter sun.
  • Small, well-insulated skylights—especially the tubular type—save on lighting energy and avoid heat generated by light fixtures.
  • Courtyards combine shading, thermal mass and evaporation to aid natural cooling.
  • Adding insulation to the walls’ exterior makes the home even less subject to outdoor temperature swings.
  • In a dry region, evaporation can help cool you. Place a misting hose, greenery or damp curtains between you and an incoming breeze.

Hot humid Southeast

In the Southeast, hot, muggy summers are the issue. Climate-responsive design emphasizes shading and ventilation, supported by good insulation. The same shading and reflection techniques that help in a hot dry region apply here, with special care to invite cooling breezes. Traditional Southern buildings maximized natural ventilation.

Designing for hot humid climates

  • Energy-efficient paddle fans augment natural airflow; sit directly beneath them for maximum effect.
  • High ceilings collect warm air away from dwellers.
  • Cupolas and transom windows let hot air escape.
  • Long, narrow buildings with windows on both sides are easily flushed by cooler night breezes.
  • Louvered shutters admit air while blocking the sun’s heat.
  • Moisture control is crucial. Make sure water vapor doesn’t condense on cold surfaces and get trapped in walls.
  • Avoid vinyl wallpaper, which blocks moisture transfusion.

Temperate mixed Midwest

The challenge in the middle regions of the United States is that there isn’t an outstanding challenge; summer heat and winter cold can be equally uncomfortable. All of the strategies mentioned above may be applicable at some point.

The trick is to be able to switch between different strategies—to have what John Reynolds calls a “switch rich” house. A switch is anything that can be used in more than one position, offering different benefits. A retractable awning or operable shutters can be open or closed, depending on the season, and deciduous vines provide shade when you need it most.

Resources

Builder’s Guide to Cold Climates by Joseph Lstiburek

Builder’s Guide to Hot/Humid Climates by Joseph Lstiburek

Builder’s Guide to Mixed-Humid Climates by Joseph Lstiburek

Builder’s Guide to Hot-Dry & Mixed-Dry Climates by Joseph Lstiburek

Sun, Wind & Light: Architectural Design Strategies by G.Z. Brown and Mark DeKay

Climate responsive architecture: A design handbook for energy efficient buildings by Arvind Krishan, et al.

Climate Responsive Design: A Study of Buildings in Moderate and Hot Humid Climates by Richard Hyde

Climate Responsive Building: Appropriate Building Construction in Tropical and Subtropical Regions by Paul Gut

Desert architecture: Climate responsive design as a means to energy efficient homes and buildings by Pat Guthrie

The Climatic Dwelling: An Introduction to Climate-Responsive Residential Architecture (Eur (Series) by Eoin O. Cofaigh

Courtyards: Aesthetic, Social, and Thermal Delight by John S. Reynolds

Source

Bookmark and Share Send Feedback | Permalink
Warehouse turned house in Chicago
by Katy Purviance on 05/18/10 @ 08:52:33 pm
Categories: Articles | 1813 words | 1517 views

I just read this article called “At Home in the Future: An Urban Warehouse Renovation” in a recent copy of Natural Home Magazine by Jessica Kellner. I thought you might like it too.

Frances Whitehead and Jim Elniski’s Chicago warehouse-turned-home is filled with artwork, antiques and oddities they have collected during world travels or inherited from family.

Frances Whitehead and Jim Elniski’s revamped warehouse home in Chicago houses an array of art and artifacts from around the world and is also a contemporary artist’s studio. Part Swiss Family Robinson tree house, part greenhouse and garden, the home integrates nearly every type of alternative energy technology available—thanks to a concept Frances coins “radical multifunctionality,” the ability to solve more than one problem at a time.

Living in a Rubik’s cube

Jim considers their home “a moving Rubik’s cube” because the spaces constantly change their relationship to each other. Inside the simple square building, rooms shift in and out of each other and around a central interior courtyard. Above the front living area, a single bedroom and half bath float on a mezzanine. At the home’s core, an outdoor courtyard spills light into a hallway leading to the ground-floor studio. From Frances’ cool, concrete-floored workshop, a winding metal staircase leads upstairs to a small guest bedroom. Outside is a greenhouse, and beyond it an extensive roof garden surrounding sleek solar panels. An outdoor boardwalk overlooks the courtyard below and connects to Jim’s bright, airy studio. Above, sculptural wind turbines rise from the green roof.

“Once we figured out that there was going to be this circulation, we also became conscious of designing different climatic experiences, different light and space experiences,” Frances says. “Downstairs, it’s sonorous and private, cool and moist. Upstairs in summer, it’s sunny and bright. It’s like a trip to the Mediterranean. There are tomatoes and cacti, and it’s sunny and hot and windswept.”

Capturing the sun

One of Frances and Jim’s motives for renovating a decades-old warehouse is to show that, with a little imagination, abandoned city buildings can be reused. In a neighborhood sitting between industrial and residential areas, their home demonstrates the elegance of reuse, the power of good design and the promise of new energy technology.

The central courtyard was crucial to the vision. As a young artist, Jim lived and worked in a small Nigerian community for a year and a half. “In Nigeria, family compounds typically have an inner place, and families live around this central area,” he says. “I also taught in Mexico and spent some time in Spain, and the inner courtyard is the breathing mechanism, and the well of light comes in there. It gives a kind of open-air container of social engagement.” In Jim and Frances’ building, the atrium is also a crucial source of interior light; tall neighboring buildings block any potential windows on the building’s long sides.

Solar panels were also a must-have. “We love the way solar panels look. We think they’re beautiful,” Frances says. “I was excited to live with them and learn with them for my own intellectual pleasure. Some people want a fur coat; for me, it’s solar panels. I think they’re a symbol of the future.”

A green home collection

While discussing with the systems engineer whether to install solar thermal collectors (for hot water) or photovoltaic panels (for electricity), Frances and Jim had a seminal moment. “We opted for one of each,” Frances says. “And as soon as we said ‘one of each,’ we thought, one of each what? What is the full range of things you could do? That’s the moment when this became a demonstration home. That’s when the light bulb went off for my husband and me. That’s when the house became an art project.”

Frances began researching sustainable building and decided to create “a complete set” of potential green building elements. “If you collected Harlequin Ware, you would want the whole set—cups, saucers, plates—and you could say you had ‘the complete set,’” she says. “This concept of the collection is something we’ve played with in our art practice.”

The complete set

Jim and Frances’ home has two types of solar panels, a green roof, geothermal heat, wind turbines, a greenhouse and a wide range of locally sourced, consciously made materials. “I tracked the miles from every source material,” Frances says. “That also kind of became a game—who is making ceramic tile here? Is it all coming from Spain or Mexico? We found glazed brick from Nebraska, tile from Ohio…we began sleuthing.”

Through Horigan Urban Forest Products, the couple sourced wood flooring from elm trees that Chicago metropolitan municipalities had to take down. For the rainwater cisterns, Frances tapped a long-term relationship with a local tank fabricator. After years of asking for help on sculptures, “we went to him and said, ‘OK, Fred, for the first time ever you get to make the thing you’re really in business to make,’” Frances says. “That was really fun—it was like the investment in this relationship with a local family business came full circle.”

Living art

Just as they transformed their home, Jim and Frances’ home transforms them.

Jim, who collaborates with human service organizations and neighborhood associations on community-based art projects, sees his home as a way to model alternative energies and engage the community. The wind turbines, solar panels and green roof are physical representations of a sustainable world, he says. “Sustainability is a regenerative, ongoing process of give and take.”

As a result of living in her home, Frances has connected deeply with urban environmentalism. She initiated an “embedded artists” program within the Chicago city government, seeking new models and solutions for environmental problems. Working with the Chicago Department of Environment, she’s remediating gas station brownfields (formerly industrial land tracts that have been polluted and abandoned) through phytoremediation, or plant-based remediation.

Frances is seeking ways to make remediation efforts even more beneficial, both culturally and ecologically. “The basic idea is to connect a few more dots: If we do phytoremediation, what else can we achieve at the same time?” she says. “If we’re planting plants to clean up, can we simultaneously create habitat? Can we make it beautiful? Now it’s remediating, it’s habitat, it’s beautiful—can it be educational?”

And, full circle, the project has personal significance for Frances. “Our own house is on a brownfield,” she says.

It’s a dilemma

How do artists build the space they needwithout making it so eccentric no one else can use it in the future?

For Jim Elniski and Frances Whitehead, this puzzle was fun to ponder. They solved it with a few simple design modifications such as detaching bathrooms from bedrooms to avoid overly determining space function. They envision a family of four filling their space when they’re gone. The large back studio and bathroom could become a family room and bedroom suite with the addition of one wall. The front room could become a large dining room. Jim’s studio could be converted into one or two bedrooms. The mezzanine could become an office, yoga room or library.

With a few tweaks to conventional design, Jim Elniski and Frances Whitehead made the first floor of their home more accessible and multigenerational. Following accessibility guidelines, they widened doorways to 36 inches, installed grab bars and chose lever-style door handles. Frances’ favorite part is having ramps instead of stairs. “We don’t know why people don’t do it more often,” she says. “It makes us more ‘visitable,’ and it’s fun. We slide around in our socks like in Risky Business!”

A chat with the homeowners

Which room aligns most closely with your artistic viewpoints?

Jim: The nested levels of social interaction, activity and physical space reflect my community-centered art practice.

Frances: I love the “radical multifunctionality” of the bathrooms. The “industrial chic” studio sinkroom converts into a punchy guest bath.

What’s great about where you live?

Frances: Our home is in the middle of a Chicago neighborhood, a short public transit ride to the city center. And we have great neighbors. We are within walking distance to everything we need: local and ethnic foods, parks, banks, copy shop, great pizza and coffee cafes.

What’s always in your refrigerator?

Jim: Orange juice from Florida and limes from our greenhouse. Italian white bean soup made around the corner at Bari market is a staple.

What’s your favorite activity on a spring morning?

Frances: Coffee in the courtyard to see what spring flowers are coming up.

The good stuff

Architect: William James (lead architect), Mhari McVicar, Matthew Snethen (project architects), James and Kutyla Architecture, Chicago
Builder: William James, Greenworks Construction
Interior Design and Landscaping: Frances Whitehead and Jim Elniski
Systems engineering/installation: Lesch Heating and Air (HVAC systems engineer—geothermal and solar thermal); Tangarie Energy (wind system); Standby Power System Consultants (photovoltaic system)
House Size: 4,500 square feet
Bedrooms: 2, could convert to 5
Bathrooms: 2 1⁄2
Cost per Square Foot: $180

Energy

Heating/Cooling System: GeoComfort Heat geothermal pumps; geothermal de-superheaters for domestic hot water; 4 Solargenix solar thermal panels; zoned heating; energy recovery ventilator; 5 Sharp photovoltaic panels; 2 Windside wind turbines; OutBack wind turbine inverter; radiant floors; passive-solar design
Electricity: grid-tied 1-kilowatt solar photovoltaic array; grid-tied 2-kilowatt wind turbines, tiered systems use all energy produced onsite before importing
Lighting: fixtures manufactured within 10 miles of site; compact fluorescents and dimmable incandescents; passive natural light in all spaces; central atrium and north-facing skylights;
airtight cans and fixtures
Appliances: Energy Star
Insulation: formaldehyde-free recycled cellulose
Waste Reduction: reused 90 percent of original brick building and 25 percent of original roof structure; reusable materials donated or saved for future projects; beams made with engineered materials; reused 2-by-10 lumber; trusses made with small-dimension lumber; designed for future reuse
Water Conservation: rainwater harvesting with cisterns and rain barrels; Wisy diverters; onsite storm management; low-flow showerheads; dual-flush toilets; low-flow faucets; undersink water filter
Site and Land Use: reclaimed brownfield site; alternative energy systems demonstration on roofs; upstairs decks encourage neighborhood interaction; roof gardens and greenhouse
Landscaping: pervious materials for paving and walkways; natural fertilizer; trees for summer shade; edible plants and fruit trees; native landscaping; green roof

Exterior: reclaimed stone pavers; Endicott Clay Products glazed façade brick from Nebraska; garage door fabricated in Detroit; paint-free exterior; recycled-content Galvalume metal siding; 100 percent recycled HDPE plastic deck lumber from within 50 miles of site
Roof: Greengrid extrinsic roof system (minimum 30- to 50-year); extrinsic xeriscape green roofs; Texas Greenhouse Company rooftop greenhouse
Floors/Walls: locally milled flooring from salvaged Chicago-area trees; concrete floors with moisture barrier; zero-VOC floor finish; 40 percent recycled ceramic wall tile from Texas and Ohio
Fixtures: Kohler bath fixtures from Sheboygan, Wisconsin; low-E, double-glazed Quaker Windows from Freeburg, Missouri; low-formaldehyde flatpack IKEA cabinetry

Source

Bookmark and Share Send Feedback | Permalink
A Salute to Edward A Killingsworth
by Katy Purviance on 05/17/10 @ 12:16:02 pm
Categories: Architects | 58 words | 435 views

I’m pretty sure this isn’t the first time I’ve seen Edward Killingsworth work, but I just saw one of his buildings in an ad in the Dwell on Design preview book. Historic preservation architect Kelly Suthland McLeod’s office lives in one of Killingsworth’s designs:

Let’s take a moment of silence to enjoy a few photos of his work:

Bookmark and Share Send Feedback | Permalink
Long Beach Historic Preservation Architect
by Katy Purviance on 05/16/10 @ 12:07:32 pm
Categories: Architects | 55 words | 314 views

I just read about Kelly Sutherland McLeod in Dwell on Design’s preview book. She’s an architect in Long Beach who does historic preservation. Check out her site for some incredible before and after photos of historic homes. (I particularly like her work with the Gamble house and other relics of the Arts and Crafts era.)

Bookmark and Share Send Feedback | Permalink
2010 2x8: VERGE
by Katy Purviance on 05/15/10 @ 12:02:39 pm
Categories: Events | 138 words | 330 views

The American Institute of Architects Los Angeles is pleased to announce the opening of the 2010 2x8 Student Exhibition on Saturday June 26, 2010 at the Los Angeles Convention Center. This year’s exhibition will be held in conjunction with Dwell on Design, the west coast’s largest modern design event, and Mobius LA.

2x8 is an annual exhibition sponsored by the AIA|LA, showcasing exemplary student work from architecture and design institutions throughout California. Each of the participating academic programs selects two projects that exemplify its core vision. The students’ design work will be judged by a noteworthy panel of architects and designers, who will then announce the winners at the exhibition opening and convene in a forum to discuss the successful work.

I won a scholarship at the 2008 2x8 exhibit and am looking forward to seeing this year’s entries!

Bookmark and Share Send Feedback | Permalink
Great architecture license quote
by Katy Purviance on 05/14/10 @ 09:52:42 pm
Categories: Observations, Events | 82 words | 290 views

Read this. Thought of you. It’s a tiny excerpt of Dwell’s interview with ceramist Adam Silverman in the Dwell on Design Preview Guide.

Dwell: “Sounds like a nice life as a potter, but do you miss working as an architect?”

Silverman: “You know, I keep paying my dues to stay licensed. It was so painful to get it that I just can’t give the damn thing up.”

I’m going to Dwell on Design, June 25 - 27 at the LA Convention Center. Are you?

Bookmark and Share Send Feedback | Permalink
AltBuild 2010
by Katy Purviance on 05/08/10 @ 08:36:43 am
Categories: Events | 1052 words | 488 views

So yesterday I went to AltBuild 2010 in Santa Monica.


This… art? … is out front of the Santa Monica Civic Auditorium. I think it’s a… bomb explosion? Made out of chain.


This is from cedg. It’s called the Apex block that provides three times the insulation of typical construction. It’s 80% recycled and is naturally resistant to mold and termites, and also acts as a 4-hour fire wall. It’s just styrofoam and cement.

cedg has another product that’s 80% syrofoam and 20% cement. They’re notched bricks that even unskilled labor could assemble.

Microview:

Macroview:

Also they had a photo of this table that you can slide through a wall to create either more kitchen prep space or more dining space:

Next I saw a booth for the Building Industry Association with a bright yellow sign that read, “The Builder is in!” There was a man and a woman there, so I said, “Okay, who’s the builder?” The woman pointed to the man.

I told them how I’m an architecture student and that I consider the fact that architecture schools just teach you how to sound smart when discussing ideologies and how to make pretty pictures on our computers is a failing of architectural education. “I just want to learn how to build!”

“Okay,” the woman said. “How can we help?”

“I don’t know.”

She handed me a flyer for WE Build – a volunteer day for women to build on a Habitat for Humanity project in Pacoima on Monday, May 24th. The builder, Gus, tells me that he’ll make me a deal. If I go, he’ll go.

“Okay, I’ll see you there.”

Then he tells me that he can take me around to construction sites and help me to learn how to build.

“You know,” I said, “becoming an architect is like becoming a doctor. It takes so long and is so expensive. I don’t want to talk about ideologies or spend all day staring at my computer. I want to get dirty and build!”

“Become a builder,” he smiled. “I’ll help you.” He handed me his card.

I’ll tell you, that was the highlight of the AltBuild for me. Here are some other things I saw.

The Building Doctor will tell you where your house leaks energy.

You can see where the home isn’t insulated and the energy loss here:

Here’s the latest in fireplaces:

Oh, here’s a couple that makes these odorless plumbing-less toilets – the Enviro Loo. They have installations in 15 states and say that their toilet is good for rural areas, camps, parks, and even your own home.


The people at California Solar have this set up to heat your pool:

But what I really liked is their integrated PV panel/solar thermal panel. It has channels on its backside for the water:

handmade, whyrHymer, and The LA Box Collective were there with their awesome furniture:


Okay, this is funny. That morning, I shared a link on the Architecture Addiction page about a rocking chair that powers its own lamp. So I said to the admin, what if you had a bike that would power your tv. And here it is:


The lady at the booth said that Ed Begley Jr uses his to power his tv.

SCI-ARC adn Caly Poly were on hand to show their work for the Solar Decathalon.






Wait. What’s this? It looks like after you make your way up the wheelchair ramp you have to push a heavy piece of furniture out of your way. What?

I had lunch, which was hosted by a company called “lemonade.” Guess what they specialize in? The guy rambled through half a dozen flavors that I forgot as soon as he said them so I told him to surprise me. I got cucumber mint. Which was very very good. And then a marinated tofu avocado on a cibatta roll.

Then I went to a talk called “AIA COTE: Beyond PreFab - Containers, Dirt, & Other Affordable Green Strategies for Residential Construction.” Now, I know a few people who are very interested in building with containers. I am not. But I was very interested in the dirt architecture segment by Polly Osborne, AIA, Principal of Osborne Architects.

Here’s a comparative analysis of the steps involved in manufacturing gypsum board v. adobe bricks v. pise walls:

Here’s what you make your adobe bricks out of:

Here’s the test they do in Africa to make sure their adobe bricks are good:


And here’s how you can try to make sure that your rammed earth walls are okay around here (good luck):

Here’s how you make a rammed earth wall:

Here’s what your rammed wall could look like if you vary your material:

The power of the arch!


Here’s a slide from the container guy during the requisite Complaint About the LA Building Code portion of the presentation:

After that I left for a walk. Here’s the fire department:

I walked to the 3rd Street Promenade,


took pictures of the chia pet dinosaurs for you,

and inadvertantly gained the advice of an elderly “Community Ambassador” who recommended I try Santa Monica’s new library.

Which cost $70 million dollars to build.

I was awash in righteous indignation until he told me that the library has a courtyard with a cafe. So we’ll let the $70 million dollar thing slide.

I walked over to Santa Monica Blvd and 6th and said to myself of its blase exterior, “So this is what $70 million dollars looks like.” And I walked right in. And when I walked right in, I was delighted. Because when I walked right in it was as though I had walked right in to a new kind of outside.

The entrance orientated me to the corner of the courtyard, the enormous windowed doors had been rolled back,


and I walked right out into the sunny xeriscaped courtyard.

It even had a sparkly faux stream thing, with a little bridge over the sparkly faux stream thing to a cafe.




I went back into the library, grabbed the December 2009 copy of Architect magazine (The Education Issue),


then headed outside, across the bridge to the cafe, and soon thereafter was enjoying a unique libraristic synergy: free periodical + iced tea + sunshine. Beat that, every other library in the world.

And thank you, residents of Santa Monica for your $70 million dollars in taxes.

Bookmark and Share Send Feedback | Permalink
AltBuild is coming to a town near you!!! (if you live near Santa Monica)
by Katy Purviance on 05/06/10 @ 09:56:55 am
Categories: Events | 2031 words | 2766 views

I’m so excited! AltBuild is TOMORROW, May 7 and runs through May 8th.

This year it’s at the Santa Monica Civic Center, a couple of blocks from the Promenade. Here’s how to get there.

And did I mention it’s FREE?!

The only thing you might pay is $8 for parking, but I suggest taking your bike (they have free bike valet) or taking the Santa Monica Big Blue Bus. I think just about all of their lines converge over there.

Here’s the schedule:

Friday, May 7, 2010
9:30 AM Developers Go Green
Panel will demonstrate how real estate developers are currently and successfully developing highly sustainable projects, proven to be cost effective and well received within a competitive marketplace.
Moderator:
Wally Geer, President, Greymar Associates
Panelists:
Dennis Allen, President, Allen Associates
Jonathan Budner, Manager of New Construction & Sustainability, Southern California Edison
Peter DeMaria, AIA, Principal Architect, DeMaria Design Associates
Mike DiGiovanni, CEO, Comstock Homes

10:00 AM
West Lobby Take the LEED: The New Landscape & Irrigation Standards in Santa Monica
Discover how the new water-efficient landscape & irrigation standards in Santa Monica set a new bar for green building landscapes. Learn how building to our local code can gain LEED points. Also find out how greywater and rain harvesting fits in the sustainable landscape.
Presenter:
Russell Ackerman, Water Resources Specialist, City of Santa Monica

11:00 AM CalGreen: What Does It Mean?
This panel will explain the development process of the code, the first in the nation, including particular challenges that this code faced from environmental groups, industry trade groups, and other associations. These experts will explore the relationship of the code measures to LEED: how different code requirements map to LEED credits and what the implications are for jurisdictions with LEED mandates. In addition, the panelists will cover an abbreviated technical review of the code requirements and the implementation of this code, drawing on collaborations with the City of Los Angeles and the experience of the City of Santa Monica, which has had green code requirements since 2000.
Moderator:
Brenden McEneaney, Green Building Program Advisor, City of Santa Monica
Panelists:
David Walls, Executive Director, California Building Standards Commission
Osama Younan, P.E. Chief of Mechanical Engineering Section & Green Building Unit, City of Los Angeles

12:15 PM BIA: Financial Rebates & Agency Incentives for Green Building
Hear the top experts in the industry discuss the most-up-to date news on governmental and utility company financial incentives for green building and green remodeling. This presentation and Q & A will include the many programs – some new, some old, and some about to begin – that provide financial incentives and rebates that can make an investment in green remodeling more feasible. The panelists will help explain how all in the building industry can understand the myriad of programs that exist and how you can help your clients achieve the best results from their construction or reconstruction.
Moderator
Holly Schroeder, Director, Building Industry Association (BIA)
Panelists:
Jonathan Budner, Manager of New Construction & Sustainability, Southern California Edison
Howard Choy, Office of Sustainability, County of Los Angeles

1:00 PM
West Lobby AIA COTE: Beyond Prefab - Containers, Dirt & Other Affordable, Green Strategies for Residential Construction.
This one hour panel discussion will include three presentations and open Q & A sessions from the state’s most innovative and green leading architects and contractors. Presentation will include discussion on the use of indigenous dirt and cement materials to form and build blocks to construct affordable housing; the use and retrofit of recycled ISO containers to build contemporary and affordable homes, and the use of panelized construction on home building.
Moderator:
Walter Scott Perry, AIA, Co-Chair COTE; Ecotech Design
Panelists:
Eric Engheben, President, 44 West Construction Inc.
Polly Osborne, AIA, Principal, Osborne Architects
Kevin Radanovich, President and CEO, Green Walls-US

1:30 PM Legal Issues for Green Buildings - Issues and Solutions for Success
This one-hour presentation will touch on the legal issues in four different areas:

* Design Professionals
* Construction Professionals
* Real Estate Developers and Project Managers
* Property Management / Leasing

The panel will identify some of the most significant legal issues in each of these areas and offer practical risk management solutions.
Q & A Session will follow.

Moderator:
Douglas White, Esq., Weintraub Genshlea Chediak
Panelists:
Steve Jones, Esq., Shareholder, Greenberg Traurig
Shawn Kraatz, Alliant Insurance Services, Inc.

2 :00 PM
West Lobby Build It Green: Green Retrofitting & Remodeling
Expand your business. Prepare to take advantage of the robust, energy retrofitting and green building industry being created in California. Federal stimulus money is being used throughout the state to design and implement energy efficient retrofit programs. Learn about the Southern California program being developed now. You will learn:

* What is the local retrofit program and how do I participate?
* What financial options will be available to my clients?
* How to make an energy efficient retrofit into a green home?
* What training and certifications are available?

Presenters:
Tenaya Asan, GC - Program Manager, GreenPoint Rated, Build It Green
David Blanke, Division Director, Southern California, Build It Green

2:45 PM AIA: A Focus on Performance, Instead of Points
A performance centered approach to designing and retrofitting buildings will not only improve a building’s overall quality, with regard to aesthetics, livability, and utility, it will also obviously reduce the amount of energy and water it consumes to the benefit of the environment. This presentation, A Focus on Performance, Instead of Points, is an acceptance and acknowledgment that California’s new green building code, Cal Green, is a performance-based approach to sustainable building. Hear discussions on the design and the proper installation of a thermal boundary (thermal envelope) for both new and existing single-family (Type V) homes, plus much more.
Moderators:
Scott Young, Associate AIA, LEED AP, GC, CGBP, GPR, GPR-EH, President, Restore 2 Green
Robert Meiklejohn, AIA, LEED AP, Associate Partner, Hablinski+Manion Architecture
Panelists:
Wes Harding, CEO, Harding Construction & Sustainable Solutions
Judy Rachel, HERS, CGBP, GPR, Green Achers Sustainable Solutions

3:00 PM
West Lobby Effectively Selling Green Homes
Talk confidently and effectively with customers about the benefits of a green house. Learn marketing and advertising techniques and best practices. Research shows your customers are looking for healthier, more comfortable homes that are affordable to operate and easier to maintain. Do you know how to speak with them about how your green home can deliver the goods? In this session we will address:

* The benefits of green building
* The value of a green label - GreenPoint Rated and LEED-H
* Effective selling and marketing techniques

Presenter:
Marc Richmond, LEED AP, HERS, CGBP, GPR, President, Practica Consulting

4:00 PM Green Building Council - LA Chapter: Living in LEED… Or Not?
Green Homes, LEED Rated or Not - a Designer’s and Home Owner’s Perspective.

Moderator:
Erik Lerner, Real Estate Broker, AIA, CGBP, LEED AP, RealEstateArchitect.com
Panelists:
Glen Boldt, LEED AP, CGBP, GBWorks
Marco DiMaccio, Principal, PUNCHouse ecodesign group
Kyle Moss, AIA, LEED AP. Principal, Levitt & Moss Architects
Warren Wagner, AIA, Principal Architect & Founder, W3 Architects
Carl Welty, Principal, Claremont Environmental Design Group

More info


Saturday, May 8, 2010
11:00 AM Detroit & Despotism: a plan to save a City
After all of this talk in the past decade about the need for green buildings, the question is no longer WHY we need to go green, the question is HOW. American cities are confronting serious issues and are they are in dire need of tangible, deployable & affordable solutions.

This talk explores the lost city of Detroit by analyzing its decline from the once great “American Dream City and mapping out a plan for transforming it into an urban oasis of sustainability. The lessons learned here could be applied to every rust belt and industrial city in the country.

This “bullet-point free” talk is presented by the acclaimed author of “Green Building for Dummies.”

Presenter:
Eric Corey Freed, Principal, organicARCHITECT

11:30 AM Sustainable Remodeling & Adaptive ReUse
Today’s homeowners and commercial property owners wish to remodel in a sustainable, responsible and cost effective manner. This panel will presents ways of integration of recycled materials, building components and building systems that go a long way towards cost effective sustainable remodeling and retrofitting. This panel will also demonstrate cost effective solutions to integrate salvaged and recycled materials into remodeling or adaptive reuse projects.
Moderator:
Wally Geer, President, Greymar Associates
Panelists:
Eric Corey Freed, Principal, organicARCHITECT
Ted Reiff, President, The ReUse People of America
Leland Walmsley, Principal and Founder, everGREEN landscape architects, inc.

1:00 PM Integrating the Whole System - The practice of Living System and Regenerative Design
Sustainability is ultimately about sustaining all life. The current trend of making buildings, cars, light bulbs, products and processes more efficient is simply the beginning point for achieving this goal. Bill Reed introduces the practical concepts of integrating technical and living system design. This is not as hard as it may seem; but it is a real change in the way to think. Learn about it all from the expert.
Keynote Speaker – Bill Reed, AIA, LEED, Hon FIGP
Internationally Recognized Green Building Expert: Proponent & Practitioner in Sustainability and Regeneration

2:00 PM Making the Dollars Work - Practical Financial Analysis for Energy Efficiency Retrofits.
Distinguished members of the US Green Building Council, Commercial Real Estate and Finance Sub-committee (CRE&F) will offer their perspectives of “Making the Dollars Work", as well as provide outreach, education and networking opportunities. The panel will address the sustainability business case and discuss how residential and commercial property owners may yield a higher return on investment in connection with green building and retrofit initiatives.
Moderator:
Roger Williams II, Director - Finance Services, SPC Building Services
Panelists:
Jeff Bricmont, CGBP, Lighthouse Capital Group
James Finlay, VP, Wells Fargo Bank
Dan Thomsen, President, The Building Doctors

3:00 PM The Facts about Cisterns, Greywater and Drip Irrigation for Home Gardens
These experts will share the information you need to know if you’re thinking about installing cisterns, greywater systems or drip irrigation in your garden. Making these changes can save you thousands of gallons of water each year. But a beautiful and sustainable garden can only be achieved when you choose the right products and plants for your garden, understanding laws governing landscaping and irrigation and installing and maintaining it properly.
Moderator:
Kim O’Cain, Water Resources Specialist, City of Santa Monica
Panelists:
Pamela Berstler, Founder, Flower to the People, Co-Founder, G3 - The Green Gardens Group
Pam Bottaro, Principal, Red Lemon Landscape Design
Paula Henson, Designer, Terra Bella Landscape Design
Sam Milani, Managing Director, Advanced Waste Water Systems (AWWS)

More info

AND here are the Exhibitors!
Acme Environmental, Inc
Acorn Engineering
Acrylatex Coatings & Recycling
Advanced Waste Water Systems
AIA
AirLab
All American Energy Products
Alternative Environment
Angelus Block
Aqua-Flo Supply
The Architect’s Newspaper
Arto Manufacturing
Axiom Home Resources
BIA
Build It Green
The Building Doctors
Bushman
California Energy Commission
California Green Designs
California Solar
Carlton’s Custom Floors
Caseandgrain
City of Santa Monica - Green Building Department
City of Santa Monica - Office of Sustainability and the Environment
City of Santa Monica - Watershed Management
Claremont Environmental Design Group
Clark Adams Co.
Cliff Spencer Furniture Maker
Cyber-Rain
Danmer Custom Shutters
D.A. Foster Construction
Denizen Design Gallery
Dwell
Eco Safety Products
eco stucco
EcoSmart
Edward Pine Stevens
Environmental Solar Design
Environmental Specialty Products
Freelite Skylights
General Electric Appliances
Go Green Construction
Green Energy Barrier
Green Planet Building
GreenGrid ®
GreenRock
Greymar Associates
Habitat for Humanity - ReStores
Handmade
Haven By Design
Hennessey + Ingalls
Invest Green
Jill’s Paint
Kingspan Insulated Panels
LA Box Collective
LifeSource Water Systems
Livingreen
Loll Designs
Los Angeles County Smart Gardening
Marilyns’s Own
Neoporte Modern Door
Oxygen Ozone
Pacific Coast Teak
Pacific Gas and Electric Company
PermaCity Solar
Progressive Insulation & Windows
Real Goods Solar
Reclaimed Woods of the World
Rent-A-Green Box.com
The ReUse People
Riiska Design
Robert Apodaca
Royal Plywood
Samuel Moyer Furniture
San Diego Gas & Electric
SCI-Arc / Caltech Solar Decathlon Team
Sempra Energy
Sidecar Furniture
Southwest Septic Loo
SolarCity
Southern California Edison
Southern California Gas Company
Stranger Furniture
Sun Aire Skylights
Sustainable Industries
Sustainable Works
SYNLawn
Theodore Payne Foundation for Wild Flowers and Native Plants
TimberSIL Wood California
Timbron International
Topher Paterno
TORO
Trex Company, Inc.
Tri-C Organics
TRU Architectural
Urban Woods
U.S. Green Building Council - LA Chapter
Vast Pavers
Vernare
Waste Management
Western Roofing Systems
Weston Solutions
whyrHymer
Woca Oils

More info

Bookmark and Share Send Feedback | Permalink
Just $230 holds your place for our life-changing 9 day field trip to Peru
by Katy Purviance on 05/02/10 @ 06:21:16 pm
Categories: Field Trips | 633 words | 637 views

Learn more and enroll now.

Day 1
Fly to Peru.

Day 2 Hola Lima
Arrive in Lima.

Lima Guided Sightseeing Tour – Experience the vibrant culture and breathtaking architecture of this capital city overlooking the Pacific Ocean. See the vast neo-colonial Governmental Palace, the towering Cathedral of Lima with its 14 side doors and main “door of forgiveness”, go past the upscale San Isidro district and visit the San Francisco Convent

Museum of Archaeology & Anthropology visit – Get a thorough grounding in Peru’s history and culture in this fascinating museum. Exhibits trace the country from prehistoric times through the present with collections of weapons, carvings, textiles, Inca jewelry, and ancient mummies and funeral objects. Check out the interactive model of Macchu Picchu, which explains the various sectors of the mysterious city.

Day 3 Lima – Cuzco
Fly to Cuzco

Cuzco Guided Sightseeing Tour – Colorful Cuzco was an important Inca center, and sites surrounding the town testify to the power of the empire. Begin your tour at Tambo Machay, the ritual baths probably used by nobility. Underground water bubbles up over the intricately carved stone platforms, creating a shower as it tumbles over the edge. The impressive stone at Qenko had a slightly less cleansing purpose – each year, priests would pour llama blood over the top and watch its progress through the complicated zigzag pattern to determine the luck for the coming planting season. Puca Pucara was likely a hunting lodge or vacation home for the emperor; from its high position, you can gaze out at the glaciers in the south.

Think of the photographs you’ll take and the memories you’ll make.

Day 4 Sacred Valley
Travel to Pisac via Ollantaytambo & Urubamba Valley – Built to resemble an ear of maize, Ollantaytambo is one of the few remaining examples of Inca urban grid architecture. Get an overhead view from the fortress, still impressive all these centuries later. Continue on through the lush Urubamba Valley before reaching Pisac, which hosts a renowned crafts market three days a week. Ollantaytambo Fortress – Travel to this old town surrounded by the stunning snowcapped Andes Mountains to see the best surviving example of Incan town planning. The fortress itself is encased in impressive terrace walls that served the Incas well against the Spanish Conquistadors.

Day 5 Cuzco – Machu Picchu
Explore Machu Picchu – Get the best view of the most impressive site in South America as you arrive at Intipunko, or the “Sun Gate,” overlooking Machu Picchu. Machu Picchu is a stunning complex of buildings clinging to the surrounding mountains and above the Urubamba River. Much of the extensive city is still intact, showcasing the agility and skill of Inca stone work. (Legend claims that the Inca knew of leaves that would dissolve rock, allowing them to meld stones together when building; birds in the surrounding jungle have been known to melt nesting holes in the mountains themselves, supporting the theory, but the leaves have not been identified.) Archaeologists disagree about the purpose of Machu Picchu – many believe it was a country retreat, others think it may have been a university.

Hike to Intipunko – Climb the steep stairs up to Intipunku, or “The Gate of the Sun”, for a gorgeous aerial view of Machu Picchu below.

Want some free time in Machu Picchu? Okay.

Day 6 Machu Picchu – Cuzco
Machu Picchu free time

Transfer back to Cuzco

Day 7 Cuzco
Rafting excursion down the Urubamba River – Raft through the Sacred Valley, which winds through major Inca sites and beautiful scenery. Ancient fortresses loom on cliffs high above, while the river makes its slow way into the jungle.

Day 8 End Tour
Fly Back to Lima

Fly home – In most cases, your flight home is overnight. You will return home on Day 9.

Day 9
Return Home

Just do it.




Bookmark and Share Send Feedback | Permalink
LAST DAY to take $100 off the price of your field trip to Peru!
by Katy Purviance on 04/30/10 @ 10:02:59 am
Categories: Field Trips | 119 words | 574 views

Today is the last day to take $100 off the price of your field trip to Peru.

Our enrollment deadline is May 10 – Just ten days from now.

We can only accept 20 people.

If you get three of your friends to enroll, you can also take another 15% off the price of your field trip. Make sure you tell me who these three friends are, and make sure that they tell me that you referred them, so that I can properly credit your account.

I’m also offering your choice of a $50 gift card to your choice of Amazon.com or Target for the NEXT person who enrolls.

Go here to learn more and to enroll. http://fieldschool.architectureaddiction.com/PRU.php

Bookmark and Share Send Feedback | Permalink
University of Buffalo students live in the structures they've built. Like what all architects should do.
by Katy Purviance on 04/29/10 @ 07:23:29 pm
Categories: Observations | 307 words | 657 views

I just read about The Living Wall, built by first year students at the University of Buffalo. I’m all for students going outside and getting dirty building something.

Even better: the students also have to live in their dwelling for 24 hours. This is how students at Taliesin West do it – they build and live in their own desert structure while at school. And this is how Jersey Devil did it – they’d camp out in the building site so that they’d have intimate knowledge of what design problems needed solving. And this is how I think all architects should do it.

Here’s the article:

100 first year students in the Department of Architecture at the University at Buffalo are developing proposals to design and construct a minimal dwelling unit that they will occupy for a period of 24 hours. Each unit must accommodate an entrance, internal circulation, and sleeping areas for a minimum of three people. Individual units are placed adjacent to one another and share boundaries thus creating a party wall condition between adjoining structures where unique structural and programmatic conditions might begin to evolve.

Once transported to the site projects will be reassembled and assume their final position as a linear community of buildings, titled the Living Wall. The students will have a unique opportunity to spend a 24-hour period in their structures after they are reassembled on site. This experience will enable the students to better understand the consequences of their decisions and to explore the successes and shortcomings of their structures.

The proposed structures that you see on exhibit have been studied at progressively larger scales and various modes of representation. They will ultimately be constructed at full-scale and transported to the Griffis Sculpture Park (Located in Cattaraugus County between Ashford Hollow and East Otto) where they will remain on display through October 23, 2010

Source

Bookmark and Share Send Feedback | Permalink
Surprise bonus: next person to enroll in the field trip to Peru gets a $50 gift card
by Katy Purviance on 04/27/10 @ 10:10:28 am
Categories: Field Trips | 38 words | 539 views

Here’s how.

  1. Go here to learn more about the field trip.
  2. Enroll
  3. Tell me you enrolled and tell me if you want a $50 Target gift card or a $50 Amazon gift card.
  4. Prepare for the adventure of a lifetime.
Bookmark and Share Send Feedback | Permalink
What are you doing next year?
by Katy Purviance on 04/26/10 @ 09:51:50 pm
Categories: Field Trips | 5 words | 541 views

Be here.

Sign up now

Bookmark and Share Send Feedback | Permalink
Only Five Days Left to Claim Your $100 Discount Off Peru
by Katy Purviance on 04/25/10 @ 11:50:45 pm
Categories: Field Trips | 152 words | 561 views

I’m offering $100 off for EVERYBODY who enrolls in our trip to Peru IF you book by April 30. And I may be offering other bonuses as well.

  1. Go to Architecture Addiction’s Sign Up Page and click Sign Up Now
  2. Enter personal contact information ensuring that first and last name match passport exactly
  3. Create Log In information
  4. Enter emergency contact information
  5. Click Change Selections if you would not like to purchase the Travel Protection Plan, if you would like to upgrade your rooming, or if you would like to select an alternate gateway or extended travel dates
  6. Below the price break down, there is a box that states: “I have a voucher code!” Enter in the voucher code: Bloom100 and click “Redeem” by 4/30/10
  7. Select payment plan Step 10: Make first payment with a Visa, MasterCard or electronic check
  8. Make first payment with a Visa, MasterCard or electronic check
  9. Confirm all details and pack your bags!

Bookmark and Share Send Feedback | Permalink
Yes, their whole house in covered with plants. Because they're cool. And you can go see it May 1.
by Katy Purviance on 04/24/10 @ 09:56:17 am
Categories: Green Design, Articles, I love this building, Grow Your Own Food | 1449 words | 1071 views

Just read this in the LA Times (dot com) by Debra Prinzing about a couple in Venice covered their exterior walls with plants, put a meadow on their roof, and planted a vegetable garden. How jealous are you right now?

Green Cube, Vanice

The exterior walls of the new wing of the Bricault family’s Venice home are clad in sedums and other succulents, which soften the contemporary architecture so it looks like a plush, verdant floating cube. Paul Bricault likes the way the horticultural house gets people talking.

“Everyone who comes here looks at it with this quixotic expression. We get all sorts of questions, including, ‘Do we have roots coming through the inside walls?”

The plants, including their roots, are actually contained by a modular green-wall system that Marc Bricault, Paul’s brother and a Vancouver, B.C.-based architect and furniture designer, specified while designing the 1,700-square-foot home addtion. Prior to the renovation, Paul, his wife, Cicek, and Marc had been intrigued on a trip to Paris by the vegetation-draped walls that designer Andrée Putnam installed at Hotel Pershing Hall. Marc also spent time in Japan, where he saw other inspiring examples of planted walls.

Those influences can be seen on three sides of the new master bedroom, which extends from a two-story section to create a carport below. The living walls are visually tied to the courtyard foliage and to a rooftop meadow and vegetable garden overhead. To create the planted walls, Marc researched a number of methods until he landed on a modular planted-panel system manufactured by ELT Easy Green in Ontario, Canada, and distributed in the U.S. The pre-planted cells are mounted on a membrane-moisture barrier and irrigated by captured rainwater.

Paul says the green cube generates so many inquiries that he keeps a stack of ELT’s brochures to hand out.

The planted addition is one of many greener lifestyle changes the Bricault family realized when they enlarged their pre-war Venice bungalow. Completed in 2008, the project has nearly doubled the home’s size while using passive cooling, solar panels and a rainwater recycling system – among other sustainable construction approaches, indoors and out.

The Bricault home is one of 31 properties open to the public on May 1 on the Venice Garden & Home Tour. Gardens on the ground level and roof and portions of the Bricault home are included on the tour, which benefits the Neighborhood Youth Assn.’s Las Doradas Children’s Center. It was only fitting to agree to join the event, Cicek says. “When we first bought our home, we went on the Venice tour and were so charmed by seeing other people’s gardens. To open up our home for this year’s tour hits a sweet spot for us.”

The couple – Paul, who is working in local venture capital after spending 16 years as a partner at William Morris Endeavor, and Cicek, a longtime producer and designer of online communities – liked the vintage cottage when they first saw it as newlyweds in 2000. Originally a 515 square-foot beach house built in 1911, the residence had been given a contemporary, 1,000-square-foot addition in the 1990s by previous owners. “The older facade gives a nod to the history of Venice, but when you walk inside, it is modern with 25-foot ceilings,” Cicek says.

By 2006, though, after the births of their children, the couple thought about finding something larger or expanding to add more bedrooms. Paul says he was influenced by two advisers. His architect-brother Marc “convinced us that even though the footprint of our lot was small, we could do a lot with the space by expanding to the second level.”

Paul also was inspired by a chance meeting with “cradle to cradle” sustainability guru William McDonough, whom he met in 2005 at a conference in China and later reconnected with at a TED gathering. “I became friendly with him and his cutting-edge work on green architecture internationally,” Paul says. “When we started the house, I called Bill for counsel and he sent us to Bill Wilson, who designed our water retaining system.”

Cheered by the discovery that their 5,000-square-foot lot could accommodate more house, Paul and Cicek began to re-imagine their environment in a new way. “We felt like we had an open canvas for being creative,” Cicek says. “And we decided to go as green as we could.” They didn’t have a huge wish list other than asking Marc to make the addition “neighbor-friendly,” and to give them a roof garden.

Marc Bricault’s design solution begins with an open connection between the dining-kitchen area and a glassed-in family room that Paul and Cicek call the “terrazzo terrarium.” The room’s east wall faces a semi-transparent fence that allows morning light to filter through plantings and illuminate the interiors. The room’s west wall is connected to the 475-square-foot “courtyard” via five side-by-side, fir-and-glass doors. The massive doors pivot open, leading to a terrazzo ledge that floats above the tiny garden, where flowering shrubs and vines attract hummingbirds and other pollinators. When the doors are open, the space feels more like an open-air pavilion than a room; in fact, Marc calls it a “breezeway.” Its shaggy green wool rug playfully suggests indoor grass on top of the terrazzo floor. In the northeast corner of the room, a curved steel-and-walnut staircase leads upstairs to the second floor and rooftop garden.

Paul and Cicek are pleased that the see-through addition feels inviting. “We did not want a fortress house with completely opaque walls all the way around,” Paul says. “We wanted to see our neighbors through the windows and not be closed off from them.” Their connection to pedestrians and passersby extends to the alley, where strangers often stop to thank Paul and Cicek for beautifying an otherwise neglected thoroughfare. “It was a gesture from Marc to create a pretty thing for people to look at,” she says.

By elevating most of the new square footage to the second level, the addition doesn’t feel claustrophobic, Paul says. “Even though we reduced the footprint of the backyard, it now feels even larger, because of the accessibility of the addition and an indoor-outdoor connection.”

On the roof, the staircase tower doubles as a funnel to draw cool air to the interior. It opens onto a green meadow planted with native grasses; walkways and decking are made from Trex, a recycled composite material. The vegetable garden only takes up a 3-by-12 foot slice, but it is “one of the biggest draws that pulls everyone to the roof,” Marc adds.

“I have an amazing amount of produce up there – including artichokes, cucumbers, zucchini, tomatoes, peppers, celery, parsley, blueberries, raspberries, strawberries, plus a lemon and orange tree,” Paul says. “People think you need massive amounts of space or a big backyard, but this is just a tiny triangle.”

The Bricault brothers were raised in Canada by parents who worked for the country’s Department of Environment. “Our father used to foster our interest in nature by teaching us the Latin names of plants,” Paul says. “You do that for our children now,” Cicek says, adding that 6-year-old Melise and 4-year-old Destin usually agree to try her cooking ” if the ingredients come from the roof.”

The Bricault youngsters don’t spend all of their time gardening, though. They can often be found playing in the secret hideout that occupies the narrow space between the home and the church next door,. Marc built it as a surprise for them, recycling extra building material instead of taking it to the landfill. “All that leftover lumber and tile was piled up near the alley and - MacGyver-like - Marc turned it into a little playhouse,” Paul says. “We added recycled rubber tires on the ground so the children can bounce around. It’s their own backyard sanctuary.”

Cicek plans to add one final touch to the play area when her mother, an artist, visits later this summer. “We’re going to paint a mural on the wall with the children,” she says.

The Bricault house:

Architect: Marc Bricault, Bricault Design, Vancouver, B.C. (www.bricault.ca)

Contractor: Martin Leon and Gabriel Simon, Alisal Builders, Marina del Rey (www.alisalbuilders.com)

Interior millwork: Richard Draut, Blue Sand Construction, Venice (blue_sand@verizon.net)

Landscape design: Richard Grigsby, the Great Outdoors Landscape Design & Construction, Topanga

Environmental consultant: Bill Wilson, Bill Wilson Environmental Planning, Mill Valley, Calif.

Venice Garden & Home Tour

Start location: Las Doradas Children’s Center, 804 Broadway (corner of Broadway and Pleasant View Avenue, one block west of Lincoln Boulevard), Venice

Time: 10 a.m. to 5 p.m. (rain or shine)

Date: May 1

Tickets: $60 in advance (until 3 p.m. on April 30), $70 at the door

Children under 12 are admitted free

Contact: (310) 821-1857 or http://www.venicegardentour.com

How it works

Source

Bookmark and Share Send Feedback | Permalink
Make Your Own Clay Plaster
by Katy Purviance on 04/23/10 @ 10:21:18 pm
Categories: DIY | 421 words | 670 views

Just saw this in Natural Home (dot com) about how to make and apply your own clay plaster. Which I would love to do as soon as we move out of this apartment. But, if you have a house, you should try this. If you do, tell me about it. I’ll make it so you can send pictures. I’ll post them. You’ll be famous.

Before you apply plaster, conduct this simple test to find out if your wall substrate is suitable for clay: Spray, flick or paint water onto the wall. If the wall absorbs it in about five minutes, your walls have adequate absorption for clay plaster. If the wall absorbs the water very quickly (in less than one minute), the wall will require a natural primer to prevent the plaster from drying too quickly. Surfaces must be slightly rough so plaster can grip the wall. Prepare flat, smooth surfaces with a sanded primer.

1. Use a spade or shovel to access the ground’s sub-soil layer (generally 20 inches under the topsoil).

2. Take at least three soil samples over one area to assess clay levels. Mix the earth with a little water and observe how it behaves: Is it sticky? Can you make it into a cylinder without it breaking? If so, clay is present.

3. If the soil appears to have high clay content, excavate the amount you need, by hand or with a front loader.

4. Mix clay and water to make a slurry: Fill roughly 1⁄3 of a container with water, then add clay soil until the container is 3⁄4 full. To help break down the clay, stir the soaked material with a spade or using a whisk attachment on a drill. Let the mixture sit for at least 24 hours.

5. Strain soaked clay through a large sieve—1⁄4-inch mesh for a base coat plaster, 1⁄8-inch mesh for a topcoat plaster. (This removes larger sand particles so you have a smooth clay to work with.)

6. Combine clay with well-graded (particle sizes from .15 to 4 mm) sand. Play with different combinations to achieve the texture you need. To add more texture to base coats or decorative topcoats, mix in thicker natural fibers such as chopped straw or hemp. Add water to produce a mousse-like consistency and apply to the wall. Create several test samples to find the best mix for aesthetics and functionality. Ideal plasters often consist of 10 to 25 percent clay and 75 to 90 percent well-graded aggregate.

7. Wet walls before application unless you’ve applied a primer. Do not wet walls if you use primer.

Source

Bookmark and Share Send Feedback | Permalink
Pretty pictures of Peruvian [p]awesomeness
by Katy Purviance on 04/22/10 @ 08:55:14 pm
Categories: Field Trips | 42 words | 519 views

My alliteration failed. What’s a synonym for “awesome” that starts with a “p"?

No matter. Enjoy the pretty pictures of the stuff you’ll see when you join us on our field trip to Peru.

Peruvian Market

Peruvian Ruins

Peruvian Ladies Weaving

Awesomeness

Learn more. Sign up. Go. It’ll be awesome.

Bookmark and Share Send Feedback | Permalink
A tiny house on top of a big building
by Katy Purviance on 04/21/10 @ 11:12:35 am
Categories: I love this building | 1490 words | 650 views

I just read about this tiny 800 square foot house that Tom Bayley built atop a warehouse.

Here you go.

Throughout history, great works of art have required great patrons. In 16th-century Rome, Cardinal Daniele Barbaro left a legacy sponsoring Andrea Palladio, who designed villas throughout northern Italy. A century later in England, Charles II gave the royal seal of approval—and funding—for the construction of Sir Christopher Wren’s concepts, such as St. Paul’s Cathedral. More recently, in the United States, the Kaufmann family famously commissioned works by Frank Lloyd Wright and Richard Neutra, and today in Washington State, Tom Bayley is doing his part, taking on the role of a modern-day patron, to ensure the continued construction of triumphant buildings.

Bayley comes from a long line of what he refers to as the “sawdust aristocracy.” In 1888, his great-grandfather, C. D. Stimson, moved the family milling company from the Midwest to Seattle. The company acquired property throughout the Pacific Northwest, and established a mill on Salmon Bay. The mill has long since been torn down—though the company is still thriving—and replaced with the Stimson Marina, 12 acres comprising a 250-slip marina and 200,000 square feet of office and warehouse space in four buildings. On the roof of the building nearest the water is Bayley’s chef d’oeuvre: the Sky Ranch, his 800-square-foot home.

Bayley’s previous home was a 3,500-square-foot monster. “You had to traipse around from where you read to where you ate to where you sat,” he says. He was ready to downsize and fulfill his dream of living in a loft, and a friend suggested taking advantage of the views from atop the marina warehouses. As the president of the C. D. Stimson Company, which owns the Stimson Marina, Bayley discovered that he could build a caretaker’s unit on the property, despite its industrial zoning. The wheels started turning, and Bayley soon found himself composing an email to Miller Hull Partnership, a Seattle-based architectural firm that has built modern buildings throughout the city.

The missive, sent in late June 2005, was short and to the point. It read: I am at an early stage of planning an 800-square-foot house—a caretaker’s residence by code, capping the size—that would go on the roof of an industrial building in Ballard. I envision it being built in the parking lot, with special concern being given to lightweight materials, and lifted up with a crane to about 25 feet. Would you be interested in helping me on this and if so, who would you have me contact?

As Miller Hull Partnership only takes on four or five residential projects per year, most inquiries are politely given a pass. Bayley’s email, however, caught partner Scott Wolf’s eye. It hit every note needed to pique his interest: small in square footage; intended to be prefabricated; and located in Ballard, an industrial working-class neighborhood north of downtown Seattle that had recently come into its own, much like the Belltown area had beforehand. “We were just salivating and wondering if he was serious,” Wolf recalls.

By July, Wolf and his Miller Hull associates were deep in the design process. “With 800 square feet, you have to be pretty economical,” Wolf says. “It wasn’t ‘How are we going to squeeze all this in?’ but ‘Here’s the space; how do you want to use it?’” They organized the home as a simple 20-by-40-foot rectangular box divided into the “nonview” utility side—backing onto the 1.5-acre roof and consisting of an entrance, mechanical and laundry room, bedroom closet, and bathroom—and the “view” living side—overlooking Salmon Bay and made up of the kitchen-dining-living room and bedroom. They wrapped a 500-square-foot partially covered deck around two sides, nearly doubling the usable space.

The layout remained constant throughout the design process; the materials are what required steady scrutiny. Local building code necessitated that the exterior walls be built to a more rigorous fire-safety standard than normal ground-based homes. To achieve this, Wolf added two layers of exterior sheathing over the two-by-six wood framing and kept them at five-eighths-inch thicknesses so the building structure would remain relatively light, as weight was a constant consideration. The corrugated-metal cladding was another lightweight choice and fit well with the industrial setting. Bayley’s original wish for interior concrete floors was quickly scrapped, however, and replaced with bamboo covering.

The other major change was the whereabouts of the construction site: It became apparent that prefabricating the house in the parking lot and lifting it to the roof with a crane—or helicopter, which was also considered—would be far more expensive than building the house in place. But before a single board could be laid directly on the roof, the warehouse required a drastic $200,000 retrofit.

Warehouse roofs are not built to hold more than the weight of the buildings’ mechanical and HVAC units plus any snow that accumulates. Shoring up the structure was a task that would have deterred most from finishing the home, which tiptoed close to failure several times. Wolf’s enthusiasm—and Bayley’s patronage—kept it going. “He was so enamored with the project,” Bayley says. “I couldn’t let him down.” To ensure the roof could bear the load of the Sky Ranch, a crew had to hammer three pin-pile foundations down until they hit hard ground, which ranged from 70 to 100 feet deep. They installed steel I-beams to shorten the roof spans to better carry the weight and reinforced the roof-wall connections so the building would be seismically sound.

Construction began the day after the retrofit was complete, in the fall of 2006. Bayley sold his 3,500-square-foot house and lived in a boat docked in the marina, which turned out to be a good warm-up for compact living. By late 2007, the Sky Ranch was ready for Bayley to move in. There are several entrances to the warehouse, but none are a proper residential front door. Bayley enters through the door next to the loading docks and ascends via an existing stairwell that was extended to access the roof. The door to the roof requires a key to open it, so when friends stop by he throws one over the edge.

Somewhere between the boardwalk that leads from the door to the roof and the entrance to the vestibule, the Technicolor gets switched on, like Dorothy’s arrival in Oz: The dreary roofscape (and weather) give way to the warm, colorful home. Sweet smells fill the air—thanks to the tenant below, India Tree Gourmet Spices and Specialties. Light filters in through the windows that comprise the south, east, and west facades; they open to expansive views of Salmon Bay, Queen Anne Hill, and, on clear days, the Olympic Mountains.

A 40-foot-long bookcase separates the utility area from the living space. “One strategy we had for compensating for the small size was to make walls that did something else. One was conceived of as a bookcase, another with built-ins,” Wolf says. The wall between the great room and bedroom is occupied by the fireplace, linen closet, and a smaller bookcase.

Being up in the air presents a unique set of challenges. “It’s like living in the Sahara,” Bayley jokes. “It’s totally unprotected.” In the summer, he wears sunglasses in the house, and when he leaves, he always closes the remote-controlled roll-down blinds, as the roof reflects both light and heat into the home. The wind is also amplified: “The clothes dry in ten minutes on the outside line,” he says.

Though the warehouse roof makes the perfect perch, it’s not the solution to Seattle’s housing crisis. “It’s a one-off because the city doesn’t want industry to go away and condos to take its place,” Wolf says. It does, however, open up an interesting look at ways of living: taking advantage of underutilized landscapes, such as rooftops, and redressing the belief that bigger is better. “Little houses and smaller spaces have real charm and appeal,” Wolf says. “They force you to be more conscious about what you have in your life and how you live in your residence.”

Bayley doesn’t think he’ll live in the Sky Ranch forever. “There will come a day when this will all be bulldozed,” he says of the buildings on the company property. He’s contemplated relocating the house to a barge, but then he’d lose the deck. Moving it to the suburbs is out of the question since it would mean staring at the neighbors all day—and having them be able to stare at him at night. “It’s a view house,” he says. “It’d be great on an island. The I-beams are already in place underneath the base of the house to move it to another location.” Perhaps it’s just Bayley’s way of preparing for his next grand, or not so grand, commission.

Source

Bookmark and Share Send Feedback | Permalink
Grow Your Own Food in Your Own Backyard
by Katy Purviance on 04/20/10 @ 11:06:45 am
Categories: Grow Your Own Food | 368 words | 391 views

I just read this article by Amanda Thompson in Natural Home Magazine (dot com) about growing your own food. Enjoy.

It doesn’t look like much more than an icy patch of dirt now, but over the summer, that patch was my parents’ backyard food oasis.

My parents’ organic food garden cost $85 and a little elbow grease to get everything ready to turn a 3-foot-by-14-foot patch of manicured lawn into an organic food garden. The organic food garden is stocked full of tomatoes, zucchinis, cucumbers, broccoli, lettuce, Italian sweet peppers, basil, cilantro and other goodies. My parents didn’t spend a dime on any chemical fertilizers to help the garden grow, and they still managed to produce some organic vegetables that would put grocery store produce to shame (the record zucchini length stands at 21 inches!).

BeforeAfter

My parents are among millions of other Americans who have decided to grow their own food. From 2008 to 2009, seven million more households made a commitment to grow their own organic fruits, veggies, herbs or berries from home, according to a National Gardening Association, survey. Millions of those at-home gardeners are planning to grow organic food using only all-natural fertilizers, pest and weed controls. The number of people who wanted to grow organic food more than doubled based on NGA studies done in 2004 and 2008.

Many Americans are giving organic gardening a try in an effort to save money. The same NGA survey estimates that a well-maintained organic food garden can save a household $500 when balancing the investment of the organic food garden and the price of food. My parents spend most of their $85 on rubber tubing (to mark off the garden from the rest of the yard) and some much-needed gardening tools. Because they already bought the basics, the cost of maintenance will be even lower this summer.

Another possible money saver? My dad held out on getting medicine to control his cholesterol until the end of the summer. By the time he went back to the doctor, he was told his cholesterol was well under control and that he no longer needed any medicine. With a garden a few feet out your back door, it’s hard not to eat well.

Source

Bookmark and Share Send Feedback | Permalink
Know Before You Go: Quick Facts about Peru
by Katy Purviance on 04/19/10 @ 08:16:32 am
Categories: Field Trips | 525 words | 366 views

While perusing the recently released Architecture Addiction Field Trip to Ancient Peru and Machu Picchu, take a look at some quick facts about Peru

Population:
27.9 million

Size:
1,285,220 square kilometers

Capital:
Lima

Language:
Spanish, Quechua, Aymara

People:
Amerindian (54%), Mestizo (32%), Spanish descent (12%), Japanese (1%), Chinese (1%)

Religion:
Roman Catholic 93%, Protestant (6%)

Temperatures
Average monthly high temperatures in Lima (°F)

Jan    79
Feb    80
Mar    80
Apr    76
May    72
Jun    69
Jul    67
Aug    66
Sep    67
Oct    69
Nov    72
Dec    76

Geography:
Peru is geologically diverse. It is divided into three main regions—costa (coast), sierra (highlands) and selva (jungle). It spans from the Pacific Ocean to the snowcapped Andes mountains to the tropical Amazon rainforests. In addition to its Pacific coastline, Peru borders Ecuador, Colombia, Brazil, Bolivia and Chile.

Climate:
Peru has a temperate climate. Average temperatures range from 55-65 Fahrenheit in August to 66-82 degrees Fahrenheit in February. Temperatures and climate do vary considerably from up in the Andes to the tropical Amazon rainforest. Flora and Fauna: As it is geologically diverse, Peru is extremely ecologically diverse. The country is home to more than 400 species of mammals, 300 species of reptiles, 2,000 species of birds and 50,000 species of plants.

Culture:
The Peruvian culture is a stunning blend of the ancient Incan tradition and the more recent Spanish influence. The Incan past is evident in the remains of their advanced civilization, most notably at the legendary city of Machu Picchu.

Government:
Peru is a constitutional Republic. Alejandro Toledo is the president, acting as both the chief of state and head of government.

Food:
Peruvian cuisine is varied to match its diverse geological makeup and remains a blend of indigenous and European influences. On the coast, the focus is on seafood and shellfish. In the highlands, you’ll find more meat, rice, corn and potatoes. In the Amazon jungles, the mainstays are river fish, especially trout.

Clothing:
Light, loose-fitting layers with lightweight, comfortable walking shoes are recommended. A lightweight jacket and emergency rainwear is advised. Most Peruvians do not wear shorts except on the beach.

Health:
It is strongly advised that you drink only bottled water or other bottled beverages while traveling in Peru; avoid tap water. It is also advisable to avoid fresh fruits and vegetables except those that can be peeled.

Shopping:
Textile weaving and pottery make for great shopping items. Visitors often go home with handmade wool sweaters, scarves, blankets or hats, as well as ceramic pieces created in the ancient Incan tradition.

Money:
Currency is the nuevo sol. Credit cards are widely accepted.

Tipping:
As a rule of thumb, tip waiters 10% and an additional 5% or some extra coins for good service. There is no need to tip taxi drivers. It is customary to offer your Tour Director and driver a token of appreciation at the tour’s end. We recommend $2 per person per day for the driver and $3-5 per person per day for your Tour Director.

Passport/visa:
A valid passport is required, but no visa is necessary.

Time:
Five hours behind Greenwich Mean Time. If it’s noon in New York, it’s 11:00 am in Peru.

Electricity:
220 volts, 60 cycles AC with two-prong outlets that accept both flat and round prongs. Some large hotels also have 110-volt outlets.

Bookmark and Share Send Feedback | Permalink
Picture yourself here
by Katy Purviance on 04/18/10 @ 08:14:37 am
Categories: Field Trips | 87 words | 260 views

Check out this video of a trip to Cusco and Machu Picchu –

It’s about four minutes long and it highlights just a few of the places we’re going to see. We’re going to be there for 9 days.

Join us. Read more about the Architecture Addiction Field Trip to Peru.

When you come along with Architecture Addiction, you don’t have to worry about airfare.

It’s included.

Accommodations?

Included.

A bilingual tour guide?

Included.

Meals?

Breakfasts, dinners, and lunches are included.

What else?

Find out.

Bookmark and Share Send Feedback | Permalink
The town Cusco and the ruins of Sacsayhuaman
by Katy Purviance on 04/17/10 @ 08:40:09 am
Categories: Field Trips, Videos | 30 words | 256 views

This is one of the places we’ll visit during our 9 day field trip to Peru next year.

Wanna come?

Lock in your low price now.

Bookmark and Share Send Feedback | Permalink
It's pronounced "Sexy Woman."
by Katy Purviance on 04/17/10 @ 08:12:29 am
Categories: Field Trips, Videos | 339 words | 289 views

Because (almost) nothing is more intriguing than ancient Incan stonemasonry (HOW DID THEY DO IT???), let’s talk about a little of the history behind the ruins at Sacsayhuamán.

Sacsayhuamán (also known as Saksaq Waman) is a walled complex near the old city of Cusco, in Peru.

Some believe the walls were a form of fortification, while others believe it was only used to form the head of the Puma that Sacsayhuamán along with Cuzco form when seen from above. Like much Inca stonework, there is still mystery surrounding how they were constructed. The structure is built in such a way that a single piece of paper will not fit between many of the stones. This precision, combined with the rounded corners of the limestone blocks, the variety of their interlocking shapes, and the way the walls lean inward, is thought to have helped the ruins survive devastating earthquakes in Cuzco.

The Spanish harvested a large quantity of rock from the walls of the structure to build churches in Cuzco, which is why the walls are in perfect condition up to a certain height, and missing above that point. Sacsayhuamán is also noted for an extensive system of underground passages known as chincanas which connect the fortress to other Inca ruins within Cuzco. Several people have died after becoming lost while seeking a supposed treasure buried along the passages. This has led the city of Cuzco to block off the main entrance to the chincanas in Sacsayhuamán[1].

On March 13, 2008, archaeologists discovered the ruins of an ancient temple in the periphery of Sacsayhuaman; it is believed to have been built by the Killke culture which occupied the site between 900 and 1200 AD.[2]

Thanks, Wikipedia!

We’ll be looking at the Incan ruins of Sacsayhuaman during our Field Trip to Peru. To give you a pre-trip glimpse, I found this video taken at Sacsayhuaman. It’s got some pretty rad computer models (”Reconstrucción Virtual“) of what the site used to look like.

Reserve now!

Bookmark and Share Send Feedback | Permalink
Clayworks, Natural Builders in the UK
by Katy Purviance on 04/16/10 @ 09:17:21 pm
Categories: Green Design, Building | 145 words | 366 views

Clayworks

Adam Weismann and Katy Bryce over at Clayworks in Cornwall, UK, sent me a lovely email. I took a look at their site – WOW!

Clayworks

One of the first projects we were involved in was the rebuilding of a Victorian folly called ‘Alice’s Seat’, at Trebah gardens, that had crumbled to the ground. We remixed the cob by foot and hand dug the extra clay that we needed from a pit next to the folly. This was the point at which we reviewed our use of machinery! From this point forward we have always used a JCB or mini digger to mix our cob. We decided that ‘sustainable building’ must encompass the sustaining of oneself as well as the planet.

Adam and Katy are also the authors of two natural building books:

Building with Cob  Using Natural Finishes

ClayworksClayworks

Check out their site and their blog to learn more!

Bookmark and Share Send Feedback | Permalink
Come see Cusco
by Katy Purviance on 04/16/10 @ 09:43:43 am
Categories: Field Trips | 53 words | 238 views

Architecture Addiction’s 9-day Field Trip to Peru features a guided sightseeing tour of Cusco.

I found this day-in-the-life style video taken in Cusco that I thought you’d like to see.

Check out all the details of the Field Trip.

We leave July 30, 2011, and return August 7, 2011.

Reserve your spot now!

Bookmark and Share Send Feedback | Permalink
FAQ about the field trip + $100 off
by Katy Purviance on 04/15/10 @ 12:53:48 am
Categories: Field Trips | 36 words | 243 views

Get a bunch of your questions answered about our upcoming trip to Peru.

Have more questions? Let me know!

Ready to sign up?

Remeber, if you sign up by April 30, 2010, you get $100 off your field trip!

Bookmark and Share Send Feedback | Permalink
$100 off our field trip to Peru if you book by April 30 2010!!!
by Katy Purviance on 04/13/10 @ 05:55:36 pm
Categories: Field Trips | 166 words | 358 views

I’m offering $100 off for EVERYBODY who enrolls in our trip to Peru IF you book by April 30. And I may be offering other bonuses as well. https://explorica.com/Purviance-5801

  1. Go to www.explorica.com and click Sign Up
  2. Enter the Tour Center ID Purviance-5801 and click Go
  3. Click Sign Up Now
  4. Enter personal contact information ensuring that first and last name match passport exactly
  5. Create Log In information
  6. Enter emergency contact information
  7. Click Change Selections if you would not like to purchase the Travel Protection Plan, if you would like to upgrade your rooming, or if you would like to select an alternate gateway or extended travel dates
  8. Below the price break down, there is a box that states: “I have a voucher code! Enter in the voucher code: Bloom100 and click “Redeem” by 4/30/10
  9. Select payment plan Step 10: Make first payment with a Visa, MasterCard or electronic check
  10. Make first payment with a Visa, MasterCard or electronic check
  11. Confirm all details and pack your bags!
Bookmark and Share Send Feedback | Permalink
14,985 people can't be wrong
by Katy Purviance on 04/11/10 @ 09:43:38 pm
Categories: News | 44 words | 273 views

Every year on April 12 my Clustr Map resets. I took a screen shot tonight so that I can remember all you beautiful people who came by for a visit before it resets. Tomorrow, it’ll look like nobody’s ever been here.

Visitors to Architecture Addiction 2009-2010

I love you guys!

Bookmark and Share Send Feedback | Permalink
architecture schools' hands-on studios move design from the ivory tower to the edges of town
by Katy Purviance on 04/11/10 @ 08:44:12 pm
Categories: Articles | 2552 words | 943 views

I just read this article by Cheryl Weber about studios that, you know, do stuff in the sunshine. Like how it should be.

As an undergraduate at Auburn University in 1994, Jonathan Tate, a white suburban kid from Huntsville, Ala., signed up for Rural Studio, where he helped to design one-of-a-kind “charity houses” on a shoestring budget. The university-affiliated program was only in its second year, but director Samuel Mockbee was a compelling figure who offered two things Tate wanted: exposure to the poverty-stricken rural South and a chance to build something unique. As it turned out, he got more than he expected. “It’s not how to hang a door in a frame that I carry with me,” says Tate, a partner at New Orleans-based building studio and an adjunct assistant professor of architecture at Tulane University. “It’s the strong confidence in who I am as an architect and the role I can play to affect people in this world.”

On the West Coast, Geoff Piper chose the University of Washington’s architecture program because of the design/build studio offered through BaSiC Initiative. As he worked alongside community folks to build a library in Mexico in 2000, he, too, became less focused on the pragmatics of building and more attuned to architecture’s social power. During the course of his studies, Piper worked with BaSiC Initiative founder and director Sergio Palleroni on several low-income projects, including a straw bale house in South Dakota. Today, he divides his Seattle practice, Fivedot Design/Build, between traditional design/build/development and nonprofit international projects.

Just 10 years ago, community-based design/build studios were a novelty in architecture schools. But now they’re commonplace. When Fivedot organizes a project and looks for students to participate, “we’re competing against 30 design/build programs happening over the summer, as opposed to about two when I was going to school,” Piper says. It’s as though the profession is rediscovering social agendas after a long hiatus following the failed public housing experiments of the 1960s. It’s not that architects didn’t care about social issues, Tate says. But in Mockbee’s hands, Rural Studio may have marked a point where they could once again be involved, by raising the idea that it was time to get over the stigma and back into the discussion. “For a few decades, architects were afraid to step out and say something about these things, not to mention that there was a period of heavy intellectualizing about what architecture was,” he says.

As Mockbee brilliantly illustrated, doing good and doing good architecture can be the same thing. And when students are involved, everyone wins. They get to experience the thrill of building their ideas while also leaving a legacy. But it’s not just the hands-on time that’s ultimately of value. Community-based design trains budding professionals to work as a team rather than as a single genius architect, to take control over complex real-world conditions, and perhaps most important, to have a greater sense of agency in the world. In short, it exposes them to the side of architecture that schools tend to miss.

mixing altruism and ego
Back in 1995, another designer observed the disconnect between classroom conjecture and real-world design—and decided to do something about it. But The University of Kansas’ award-winning Studio 804 was born almost by accident. As professor Dan Rockhill tells it, his firm, Rockhill and Associates, needed help on a project out in the country. He enlisted his students, who were wildly enthusiastic. In 1999, Studio 804 was incorporated as a 503© organization, and the model evolved over the years. After stick-building five affordable houses, the group began designing prefab structures that could be transported to sites farther away. And unlike many school studios, this one is run as a business, without university subsidies. Rockhill borrows money from the community development corporation that sponsors each speculative project. When the house is sold, he pays back the loan with interest and plows any profits back into Studio 804. Meanwhile, he gets a salary from The University of Kansas and students get credit for the course.

Although participation isn’t mandatory, Rockhill truly believes that having their hands in the concrete makes his students better architects. And by working in poor communities where there are few English speakers, students see a side of life they never knew existed nearby. “Helping them be accountable to sustainable practices is another thing I feel good about,” Rockhill says. “Students are anxious to produce buildings that are responsible to the environment. They’re the ones who will bring about change.”

Accountability is the big bonus at Tulane’s URBANbuild program, too, according to director Byron Mouton, AIA. In this case, he says, it’s about helping each other maintain energy, stay on schedule, and practice diplomacy with colleagues and city agencies. Unlike design studios in which students work on a project at their desk and stand up alone to defend it to jurors, fieldwork is all about collaborating. “I like watching these guys figure out how to control their anger and deal with disappointments, but most of all how to come together in support of each other,” says Mouton, who became semi-famous when a 12-week URBANbuild class was filmed for the reality TV series Architecture School, which aired last year on the Sundance Channel.

Occupying the gap between theory and practice can be painful. The documentary-style Architecture School series drew some criticism—mainly that the finished house didn’t blend with the Central City neighborhood and that no locals could afford to buy it. Mouton admits that encouraging innovation within nonprofit parameters can be a tricky balance to achieve. The agency with whom URBANbuild works asks for a 1,200-square-foot, three-bedroom, two-bath home because it’s the easiest model for matching low-income buyers with government subsidies. So size and function are non-negotiable. And to keep things interesting, URBAN-build experiments with different building systems each year. The first house, built in summer 2006, used familiar wood framing to ensure that the project could be completed in 12 weeks with unskilled labor. The second project featured prefab metal panels, the Architecture School house was made with SIPs, and LEED Silver certification is the current project’s goal.

But Mouton is unapologetic about giving students a long design rope. “We won’t ask a group of 12 students to work for free on a tight schedule and then just produce a Habitat for Humanity house,” he says. “What we give them is design opportunity.” Sometimes that means allowing students to design special components that aren’t cheap but that can be eliminated without compromising the basic scheme if the house is reproduced with paid labor. As hard as URBANbuild works to keep costs low, finding qualified buyers in down-and-out neighborhoods is daunting. “They have to find people who have a perfect credit score and have had the same employer for three years,” he says. What’s more, “we’re trying to resurrect old neighborhoods that are often dangerous, and it’s difficult to find buyers who want to take that plunge. It will take a decade of just dropping the seeds into the neighborhoods, and it’s a slow, agonizing process.”

Indeed, a project’s location has a huge influence on how funding, construction, and legal terms are structured. Programs located in places with no building codes or officials have very different educational opportunities than those in red tape-entangled urban environments. All, however, share the belief that the logistics can’t be handed off as though they were the responsibility of other entities. Students learn to work with trade contractors, understand the process by which a piece of equipment or building material arrives at the site, and the environmental impacts of construction. If they’re cutting a material, they need to know the ordering lead time and how and where it’s made. “All of those things are abstract until the moment it’s your obligation to deliver it to someone,” says David Lewis, director of The Design Workshop at Parsons The New School for Design, where nine of the design/build projects in the New York City-based studio’s 11-year history have been urban. “More important, your design won’t be erected if you don’t understand how those things operate and control them.”

William Jelen, director of The Catholic University of America School of Architecture and Planning’s CUAdc program, agrees. “There’s a certain kind of maturity in being able to follow through on a real project, because you have to be responsible and self-motivated; these are real people’s money and lives you’re dealing with.” He’s noticed that students are energized by those dynamics and the deeper understanding that comes from exposure to neighborhoods they never would have visited as an outsider. That’s why, for Jelen, an integral part of architecture education is its relationship to clients and the community.

“I always felt that you have all these talents and skills in school that are underutilized in terms of harnessing that creativity and applying it to real-world problems,” Jelen says. “In school I wondered why we had to tackle some theoretical problem in Abu Dhabi, United Arab Emirates, instead of dealing with issues in Philadelphia.” He adds that there is strong ongoing interest in the university’s design/build program; some alumni even jump in on local projects. “A lot of times, young people in architecture firms have little responsibility; this is something they do have responsibility for,” he explains. “And there’s a desire to do something for the common good.”

public-spirited entrepreneurship
There’s no doubt that for many young, idealistic architects-in-training, designing and building for the disenfranchised is a powerful experience. But does it change their career aspirations? David Buege, one of Rural Studio’s first participants, doesn’t think so. “If there were a kind of methodological study of what has happened with people who’ve gone through such programs, I’d say the impact would be pretty subtle,” says Buege, director of the architecture program at Philadelphia University. “Even in good times, survival strategies take over.”

And in a tough job market, it’s even harder for debt-strapped graduates to act on their newfound passions. Just ask Wes Janz, Ph.D., RA, associate professor of architecture at Ball State University and co-director of CapAsia, which takes students to South Asia for 11 weeks every other spring. He’s also led field trips to border towns in Northern Texas and Skid Row in East Los Angeles, as well as Midwest distress tours to Rust Belt cities that have been failing for years. He says he gets too many e-mails from former students saying they’re dissatisfied with their jobs or altogether disillusioned with the profession, like the graduate in Fort Wayne, Ind., who was working on construction documents for a Holiday Inn.

“I say, Just calm down, keep paying off debts, try to be patient, and do some volunteer work,” Janz says. But he feels their angst. “As educators we need to have a better answer to the question, What is this bridge after graduation? If I could, I’d probably bring a social entrepreneurship curriculum to the architecture school, because in the end I think becoming aware of entrepreneurship at an early age might be the foundation piece students need to create roles for themselves.

Ted Smith thinks so too. That’s why he created the master’s in residential development program for architects at Woodbury University in San Diego. With its focus on affordability, it’s one way for socially conscious designers to invent their own opportunities. The premise is simple: Instead of trying to work within the limits imposed by cash-starved community development corporations, architects are taught how to conceive, finance, and sell a project, often leveraging affordability by taking advantage of zoning loopholes. Smith says it creates a different kind of dynamic than simply designing something cool.

“The nonprofit sector puts huge constraints on building by specifying minimum bedroom size and a certain number of closets, so that by the time you’re done, you’re stuck with a cookie-cutter project to get the tax credit,” Smith says. “It’s about not letting the client make the wrong decision, which is so often the case. Very often the goal of affordable housing is to make it look like every other house, but every other house is 50 percent too big. My son grew up with his crib in a closet with the doors removed; it’s those sorts of crazy solutions that are efficient.”

Working with Mockbee’s former partner, Coleman Coker, in a practice that serves both mainstream and marginalized clients, Tate says Rural Studio had a profound personal impact. It’s taken a good 10 years, he says, to begin to structure his practice nontraditionally, but he sees more young graduates finding ways to do so immediately.

And there’s another, perhaps unintended, outcome of community-based university studios: Architects are doing a better job of designing forward-thinking homes that aren’t prohibitively expensive. “More and more people are beginning to realize that custom progressive homes are, in fact, accessible,” Mouton says. “We’re not just training architects to make cool houses; in a culture where most houses are designed by builders, we’re showing people that there are affordable options.”

Hands-on skills surely give affordability a boost. The Yale School of Architecture’s community-based Building Project studio, for example, teaches students to challenge the prevailing notion that architects should not build. “We have quite a few students who’ve tried to address larger social issues through design/build in their practice,” says director Adam Hopfner, who launched his own design/build firm after participating in the program.

The hope is that, with their real-world focus, these studios are creating a different kind of architect — one motivated by imagination and public spirit. “Students coming out are raising interesting questions about how one practices today,” says Parsons’ Lewis. “We’re seeing alumni translating the knowledge they get into design/build or offices with a more immediate relationship to construction economies.” That’s good news—not just for the profession and nonprofits, but for everyone.

good fellows
Graduation from architecture school brings with it energy, idealism, and an appetite for self-invention, but it often brings a mountain of debt too. What’s a socially conscious young graduate to do? One option is the Frederick P. Rose Architectural Fellowship. Established by the late developer Frederick P. Rose, of the New York City-headquartered Jonathan Rose Companies, and run by Enterprise Community Partners (ECP), the program pays a community development corporation (CDC) to bring an architect on staff for three years.

ECP chooses the CDCs and drafts the work program, which typically includes the roles of project manager, green guru, and vision keeper. In exchange, recipients receive more than the security of a regular paycheck. In addition to being sponsored for licensing and LEED accreditation, the nine fellows (three are chosen annually) meet several times each year for formal training on such topics as understanding tax credits, how to use a financial calculator, and negotiating skills. “Our goal is to create a next generation of architects who understand the community development process and can be leaders in that field,” says fellowship director Katie Swenson.

Through May 1, ECP is accepting applications for the next round of fellowships, which begin in September (www.rosefellowship.org/join). “We look for good designers with a demonstrated commitment to social and environmental justice and an entrepreneurial spirit,” Swenson says, adding that this isn’t the Peace Corps. “We don’t look for people who want an experience, but for people who want to make a career in this work.”

Source

Bookmark and Share Send Feedback | Permalink
Schools that Excel in Sustainable Design
by Katy Purviance on 04/11/10 @ 05:41:47 pm
Categories: Articles, Grad School | 413 words | 540 views

I just read this article by Amanda Kolson Hurley about the top three sustainable design architecture schools.

It made me think of you.

California State Polytechnic University, Pomona
College of Environmental Design
Department of Architecture
Pomona, Calif.
csupomona.edu/~arc/

B.ARCH., M.ARCH.

Located on a rolling campus 30 miles east of downtown Los Angeles, Cal Poly Pomona remains committed to the “learn by doing” polytechnic mission, and accordingly, the Department of Architecture is known for producing workforce-ready graduates. But it’s as green as it is pragmatic—housed in the College of Environmental Design, the department rubs shoulders with (and participates in) the John T. Lyle Center for Regenerative Studies, an interdisciplinary institute that researches low-energy architecture and other “regenerative” strategies. The M.Arch. has concentrations in sustainability and historic preservation; courses in these concentrations are open to undergraduates.

——————————————————————————–

University of Oregon
School of Architecture & Allied Arts
Department of Architecture
Eugene and Portland, Ore.
architecture.uoregon.edu

B.ARCH., M.ARCH., B. Iarc., M. Iarc., Teaching Technology Certificate, Ecological Design Certificate

It’s no surprise that, in surveys, faculty nominated this university in the Pacific Northwest as a sustainable-design leader more consistently than any other. UO’s Department of Architecture, located in both small-town Eugene and big-city Portland, teaches students to become stewards of the future built environment through collaborative inquiry with practitioners; explorations of ecological urbanism; and study of cultural and vernacular traditions. Studio work is evaluated using individualized discussion and written assessments, rather than letter grades. Through the designBridge program, students can take part in design and design/build projects for local nonprofits, and they can study abroad in Italy, Japan, Germany, Finland, or Denmark.

——————————————————————————–

University of Texas, Austin
School of Architecture
Austin, Texas
soa.utexas.edu

B.S. Arch. Studies, B.ARCH., B.Arch./B.S. Architectural Engineering, B.Arch./B.A., M.ARCH., M.S. Arch Studies

One of the smaller schools in a 50,000-student-strong flagship state university, UT Austin’s School of Architecture reflects the breadth and diversity of that context, with specializations in architectural history, preservation, urban design, interior design, planning—and, yes, sustainable design. New sustainable initiatives include a full-scale thermal lab for investigating light control, ventilation, and direct and indirect use of solar energy. The Center for Sustainable Development integrates the study of design and ecology with economics, policymaking, and social justice issues. UT Austin participated in the Solar Decathlon in 2003, 2005, and 2007, and is preparing a proposal for 2011.

Source (and stats)

Bookmark and Share Send Feedback | Permalink
Jay Vanos: Browning Residence
by Katy Purviance on 04/11/10 @ 11:11:27 am
Categories: Architects | 69 words | 365 views

I was reading today’s View. It’s a full-color insert in the LA Times of tony houses for sale in the LA, Ventura, and Santa Barabara counties.

I came across Sweetwater Mesa, a Jay Vanos house with an interesting roof line, so I looked him up for more pictures.

And then I saw another house he did in Hawaii. Which I love EVEN MORE.

Jay Vanos Browning Residence

Jay Vanos Browning Residence

Jay Vanos Browning Residence

Jay Vanos Browning Residence

More about Jay Vanos

Bookmark and Share Send Feedback | Permalink
Jay Vanos: Sweetwater Mesa
by Katy Purviance on 04/11/10 @ 10:47:04 am
Categories: Architects | 56 words | 996 views

Jay Vanos Sweetwater Mesa

I was reading today’s View. It’s a full-color insert in the LA Times of tony houses for sale in the LA, Ventura, and Santa Barabara counties.

I came across Sweetwater Mesa, a Jay Vanos house with an interesting roof line, so I looked him up for more pictures.

Here you go.

Jay Vanos Sweetwater Mesa

Jay Vanos Sweetwater Mesa

Jay Vanos Sweetwater Mesa

Jay Vanos Sweetwater Mesa

Jay Vanos Sweetwater Mesa

Jay Vanos Sweetwater Mesa

Jay Vanos Sweetwater Mesa

Learn more about Jay Vanos

Bookmark and Share Send Feedback | Permalink
Dear Architecture Schools: For the love of God, will you teach us how to BUILD?!
by Katy Purviance on 04/09/10 @ 10:52:31 pm
Categories: Architects, Articles, Grad School | 658 words | 323 views

I just read this article from one of my favorite architects, Steve Badanes, co-founder of the Jersey Devil design/build practice and Howard S. Wright Professor at the University of Washington

Design/Build: Let Them Build It, They Will Come

The AIA has targeted the teaching of how buildings are made as the weakest aspect of architectural education, and there is some merit to this charge. Because of time constraints (among other things), most traditional studios result in what can only be called schematic design. Design development, construction documents, materials and methods, and structures generally are taught as isolated subjects, and the transfer of that knowledge into studio design often is negligible.

But technology is most meaningful when integrated into the studio context, and there is no substitute for hands-on experience. Three-dimensional reality suggests solutions that are elusive or simply impossible to detect at the drawing board or computer screen. The best architects understand the logic and poetics of construction, and the best way to teach this is to build.

The design/build movement emerged out of ’60s counterculture architecture, which looked to ecology, new technologies, social experimentation, and community outreach. In 1967, Charles Moore started The Yale Building Project as a way to harness student interest in social justice issues and their frustration with hypothetical “paper architecture.” Storefront community design centers were started at many schools at the same time.

Students today don’t look like the students of the ’60s, but there’s an undercurrent of the same activism, and that is fueling the resurgence of design/build studios. Students are frustrated with theory-driven virtual architecture and a profession that works at the top of the food chain. They are pushing for outreach, hands-on experiences because they want meaning in their lives and want it to be embodied in their education.

Tips for schools embarking on design/build programs: 1. Start small—be realistic about available time, money, and skills. 2. Design by consensus, to avoid creating a hierarchy within the class. 3. Keep it simple (identify core ideas and eliminate fussy details). 4. Think Globally, Act Locally–avoid the ambulance-chaser approach.

Finally, 5. Make it fun. Students love to build. Working in groups is fun, and most nonprofit clients are incredibly grateful. All the pieces are there: It’s up to the instructor to keep the process as fabulous as the product.

Source

UPDATE

When I post new blogs, they post to Facebook as well (Be a Fan!). My Pasadena architect friend Steve Lamb had this to say in repsonse to this post.

But Bedanes while I like him is wrong about one thing: “The design/build movement emerged out of the 1960’s counterculture architecture movement.” This is FALSE. It first emerged out of R.M. Schindler’s studio as the only way he could get his stuff built because contractors wouldn’t bid on it. In doing so, Schindler was violating California law at the time.

As a movement it emerged in the mid 1930’s out of TALIESIN and Frank Lloyd Wright’s practice. Wright trained each of his apprentices how to actually build. They went forward and often acted as both the Architect and Contractor at a time when the AIA was running around making it illegal in many states to be both the Architect and Contractor of a building. in Texas they attempted to have Harwell Hamilton Harris put in JAIL in the late 1950’s for designing a building and being a partner in the construction company that built it. His case struck down the law forbidding such practices in Texas and was the start of striking down those laws throughout the nation.

Architecture students should spend at least a year on a building crew and those of us who spent many years on a construction site beofre going to Architecture school should get credit for that year instead of the Architectural community saying construction experience is worthless until you’ve passed the structures portion of your exam and counts for nothing.

Bookmark and Share Send Feedback | Permalink
NEWS: New building workshop this summer in South Dakota
by Katy Purviance on 04/09/10 @ 08:29:14 pm
Categories: News | 294 words | 279 views

I just learned about architect Paul Neseth’s great idea.

It’s pretty much what I’ve been saying.

Architecture students NEED to get outside and actually BUILD something instead of being cooped up in studio staring at their computers all day.

So Paul’s holding a workshop July 26th through August 6th in the beautiful Black Hills of South Dakota.

The Abode workshop will be an intimate and unfiltered exploration into all aspects of the architectural process. Our focus is to understand the broad range of characteristics related to people, place and material assets that inform the appropriateness of design. The RAW experience will exercise your observation skills and intuitive insight, enabling you to better understand these characteristics when you design. We will then trade sketchbooks and drafting pencils for toolbelts and translate this knowledge into thoughtful and efficient construction.

We are packing a lot of experience and learning into two short weeks. During the workshop we will stimulate our minds and bodies rock climbing and mountain biking within the Black Hills area. We will explore features of the pristine RAW Dakota site on foot, horse and bike and learn about the site’s history through lectures and tours by area experts.

We will design and build beginning the first day, starting with small projects that get you warmed up. After site orientation and meetings with the client, we will begin the work of designing and building sleeping structures, the first built structures on the site, using the principles of sustainable design and construction.

A detailed description and schedule will be sent out before the start of the workshop.

Real Architecture Workshop

I’m estatic. My wedding is in July, so I’m not sure yet if I’ll be able to go. But you should definately look into it!

Bookmark and Share Send Feedback | Permalink
It's not just a hole in the ground.
by Katy Purviance on 04/09/10 @ 08:34:06 am
Categories: I love this building | 165 words | 366 views

Architect Byoung Soo Cho’s Earth House is quite possibly one of the classiest dugouts ever built. Set amid peaceful woods and rice fields an hour east of Seoul, Korea, the subterranean structure consists of six tiny unadorned rooms (kitchen, library, two bedrooms, and a bathroom) and a 23-by-23-foot courtyard.

Cho describes the house, dedicated to Korean poet Dong-joo Yoon, as a place for self-reflection. He says the concept goes back to his 1991 graduate thesis at Harvard, where he began exploring Taoist ideas about negative and positive space, and the question of just how much (or little) space we need in order to live comfortably.

Sixteen years and several unsuccessful attempts at selling an underground house later, Cho finally decided to build one for himself. Earth House was completed in February 2009 on a lot down the road from Cho’s more conventional vacation home, the square-shaped Concrete Box House. He currently uses the Earth House for weekend gatherings and stargazing.

Read the whole thing

Bookmark and Share Send Feedback | Permalink
Anyone up for a field trip to Machu Picchu?
by Katy Purviance on 04/08/10 @ 09:13:02 am
Categories: Field Trips | 95 words | 254 views

I have a meeting with my field trip adviser today and we’re looking at a trip to Machu Picchu, plus an island made of reeds, and Peruvian ruins!

Do you want to go? I’d like to hear from you – if you would go, when you’d like to go, how long you’d like to go for – so that we can design a trip that you and your other arch friends would LOVE!

Come over to my Facebook Page to let me know what you think!

UPDATE:

Learn more about the trip and sign up!

Bookmark and Share Send Feedback | Permalink
Take that! Stupid Studio Project! [video]
by Katy Purviance on 03/31/10 @ 12:10:32 pm
Categories: Videos | 3 words | 374 views
Bookmark and Share Send Feedback | Permalink
We now have a facebook page
by Katy Purviance on 03/31/10 @ 11:38:22 am
Categories: News | 68 words | 346 views

Back in 2008 Architecture Addiction got it’s own Facebook Group. And I kinda forgot about it until now when I tried to connect my blog RSS to it. Which you can’t do. Apparently.

So I started an Architecture Addiction Facebook PAGE instead. Which does allow me to connect the RSS feed.

Please become a fan and ask your friends to do the same! Thanks! You’re awesome! I like you!

Bookmark and Share Send Feedback | Permalink
Learning how to build the right way
by Katy Purviance on 03/30/10 @ 03:26:46 pm
Categories: Field Trips, Applying to Grad School, Building | 508 words | 467 views

Yesterday I showed you some cool brickwork at this house in Del Mar. I woke up this morning remembering a conversation I had with my fiance while we were there.

“You know, in all my years of architecture school, I don’t think we ever went to see an actual construction site. This is very helpful. You know, in The Pyramid of Learning, they say that the best way to learn somethng is to actually do it, and the worst way to learn something is to sit and listen to someone else talk about it, which is exactly how school is conducted. No wonder it takes so long. I wonder how long school would really take if you were out doing the real thing that you wanted to learn to do?”

The Pyramid of Learning

This was my complaint I made while at the GSD:

Unlike last semester’s Building Construction class I took here at the GSD where we copied line drawings out of books in order to fulfill the requirements of our assignments. I didn’t know what all those little black and white lines were, or what they meant. What they were for. Why they’re important. All I knew is that I only had a couple of hours to whip it out so that I could go back to trying to please my insatiable studio critic. In other words, I learned squat about building construction (except what I remember from my Materials & Methods class at the U of I.)

How HELPFUL would it have been if we had just gone to a real live construction site and seen all the layers that go into a building instead of trying to figure out which line weights represented which materials?

How much would I have LEARNED if we could just spend an hour walking around a place half-built instead of paging through our Building Construction IllustratedChing books?

How QUICKLY could we get through architecture school if we spent that time watching people build and then building ourselves?

Half a year ago, one of my former TA’s announced that he was finally an architect. I asked him, “How long did this take you?”

He replied:

Bachelor of Architecture: 6 years
Intern Development Program: 3.5 years
MArch: 1 year
Architect Registration Examination: 5 years (which is really 1 year + a 3 year break + 1 year at the end)

In contrast, you could learn design and building much quicker by attending hands-on workshops.

At Yestermorrow, you could learn timberframing in 6 Days. Stone masonry in 2. Strawbale in 5. You could learn how to design and build an entire home in 12 days.

True, you wouldn’t be able to legally call yourself an architect. You wouldn’t be able to design parking structures and strip malls. But you could also save yourself about $100,000 and years of your life.

Take a look at a few other schools offering short-term workshops:

Have you attended any of these workshops? I’d love to hear from you!

Bookmark and Share Send Feedback | Permalink
Cheaper than a ticket to Rome
by Katy Purviance on 03/29/10 @ 12:08:54 pm
Categories: I love this building | 22 words | 322 views

Now you can see every detail of the Sistene Chapel with some nice choral overtones from the comfort of your own home.

Bookmark and Share Send Feedback | Permalink
I thought Harvard ruined me for bricks, but I LOVE this house in Del Mar
by Katy Purviance on 03/29/10 @ 11:39:13 am
Categories: I love this building | 74 words | 351 views

Faithful readers will recall my br*ck project I did at Harvard, which featured, among other things, a two-flue chiminey.

And then yesterday I saw a four-flue chiminey. In real life. Which is way better than Sketchup.

My finace’s dad is a cabinet maker, and he’s working on this house in Del Mar, so he took us along. It took me about .3 seconds to whip out my camera when I saw all the brickwork.

Bookmark and Share Send Feedback | Permalink
Isn’t an Architect Just an Art School Dropout with a Tilty Desk and a Big Ruler? [video]
by Katy Purviance on 03/26/10 @ 08:46:56 am
Categories: Videos | 3 words | 862 views
Bookmark and Share Send Feedback | Permalink
Well, you could just plant your garden in the back of a pick up truck
by Katy Purviance on 03/19/10 @ 07:03:46 pm
Categories: News | 1803 words | 1963 views

Have you watched King Corn yet? I saw it on hulu last summer, but it was gone when I went looking for it there again last month.

The filmmakers, Iam Cheney and Curt Ellis, have since grown a garden in the back of a pick up truck. No joke. How rad is that?

Ian Cheney (left) and Curt Ellis prove food can be grown just about anywhere—including the back of a pickup truck.

Natural Home magazine interviewed them:

In their Peabody Award-winning documentary King Corn, Brooklyn-based filmmakers Curt Ellis and Ian Cheney traveled to Iowa and planted a bumper crop of corn on 1 square acre of land. The pair’s newest project, Truck Farm—a community-supported agriculture (CSA) program and forthcoming film—sprouted from one unlikely question: How do you grow your own food in the big city if you don’t have any land?

What sparked the idea to plant a farm in the back of a pickup truck?

Ian: We wanted to grow some of our own food. But where to do it in New York City? The back of my granddad’s old 1986 Dodge pickup truck was the only land we had.

How much did it cost?

Ian: About two hundred bucks. Paul Mankiewicz, this brilliant, quirky scientist, has developed this awesome lightweight soil called GaiaSoil (gaiasoil.com). It cost a hundred bucks to buy enough to cover about 20 cubic feet. We also bought about 50 dollars’ worth of compost and potting soil. Another 50 dollars bought the seeds.

Curt: And a friend of mine gave us a big thing full of worms.

Did anyone help you out?

Ian: We have neighbors who are savvy community gardeners, and they have not only taught us how to weed, but also simply done the weeding themselves on the way to work. And when July became hot and we realized we needed to water the truck at least twice a day, Fulvio, the owner of Red Hook’s new Italian restaurant, O’Barone let us hook up our hose to the front of his restaurant. He also gave us wine.

Who told you to drill the holes in the bottom?

Ian: My brother. He used to be a green-roof advocate, so he walked us through how it would work and explained that we needed to have some way of getting rid of the excess water. But it was my brilliant idea to drill…

Curt: …a hole in the gas tank.

Did you really drill a hole in the gas tank?

Ian: No, but I thought I did.

How did you know how many holes to drill?

Ian: I made it up. You get to know your pickup truck and where the water collects; I just put like ten holes in those corners. We have these videos on the Internet that show people how we made this thing. I wish we could’ve made the back of the truck transparent, though, so you could see a cross section of how it works. Because a lot of people ask what’s underneath.

(Before you ask, I already found them for you. Here you are.)

You’re going to turn Truck Farm into a mobile greenhouse for the winter?

Ian: That’s the plan. We’re going to use thin strip steel to kind of keep with the aesthetic of the truck, and have it hooped over like a covered wagon. And the cover will be just standard greenhouse plastic, so people can still see in.

And you think things will grow?

Ian: Time will tell. I didn’t think Truck Farm would grow anything in the summertime!

What did you plant initially?

Ian: Tomato seedlings, basil, broccoli, parsley, nasturtium, arugula and three different types of lettuce. We got the seeds from the Seed Savers Exchange in Decorah, Iowa. It’s a group that does two things: If you’re a member, you can exchange the seeds you’ve saved from your old heirloom plants for other funky, difficult-to-find seeds.

Curt: From somebody’s grandma somewhere in another country.

Ian: For nonmembers, the company grows a certain amount of seeds that anyone can order via their catalog.

Curt: The Seed Savers Exchange is the source of some of the nicest vegetables!

Ian: In exchange, Fulvio was encouraged to grab basil from the truck whenever he needed it.

How many harvests did you have?

Ian: Four! The last one was for the peppers. We got 15 to 20 jalapeño and habanero peppers and made hot sauce. I had been very worried that the jostling of the truck on my neighborhood’s old cobblestone streets would wreak havoc and uproot the plants. But they thrived. Truck Farm grew! It grew and grew!

Any challenges?

Ian: We had one neighbor, a 13- or 14-year-old kid, who began decimating the parsley population. Because he loves fresh parsley. I was pleased that he was eating the parsley; I just didn’t want him to eat all of it.

Truck Farm has to be the smallest example of community-supported agriculture around. How much did you charge subscribers?

Curt: Twenty bucks each. We ended up with about twenty subscribers, each of whom, at the end of the day, is getting the DVD of our Truck Farm movie, a tiny, tiny bottle of Truck Farm Hot Sauce, and some of the produce—generally one or two bags of lettuce. Except for our European subscribers, who don’t get shit. But we can’t be held accountable for people in England trying to join a Brooklyn CSA.

People didn’t just swipe things from Truck Farm—they also put things in, right?

Ian: It changed almost daily. We would come out to find that people had put in plastic farm animals, superhero figurines, all kinds of little toys.

Curt: I really love that Truck Farm has that kind of changing dynamic. It’s a public space where—whether we invite them to or not—people feel welcome to pull weeds or have a green tomato or leave behind a toy or something. That’s pretty cool.

Truck Farm definitely seems to have a personality; it’s like a really great dog or something. What kind of response do you get from strangers when they see it?

Curt: If you drive Truck Farm around the block, it’s almost a guarantee that somebody will honk their horn, roll down their window, and tell you a story about their connection to growing food. And it’s people from all backgrounds. The last time we were in Truck Farm, in fact, a guy came out of the bodega next to where we were parked and told me all about his grandmother’s garden in Puerto Rico and how he loved the taste of a fresh tomato and how she grew the spiciest peppers he’d ever had in his life. He loved Truck Farm because it reminded him of his grandmother. And when we were driving along Third Avenue in Brooklyn a month or so ago, a guy in a big heating-oil delivery truck rolled down his window and yelled out the side that he loved what we were doing.

What’s ahead for Truck Farm — the truck, not the film?

Ian: Next year, I want to get into one of the farmer’s markets. And we’ll explore making the Truck Farm food available to food pantries and homeless shelters. And one of the projects for winter is to make our own compost. The soil inside the truck is a fixed, closed system; we had to buy some organic plant food this summer because it seemed like the plants were getting a little weary and nutrient-deprived. The food scraps we throw out every day could help rejuvenate the soil. The more we can loop our food, through compost, back into that soil, the longer we can keep the farm running. We would love to be able to close the energy loop a little bit more.

Have you heard from other people who have made their vehicles into farms?

Ian: There’s a guy, Daniel Bowman Simon, who somehow plunked an upside-down school bus on top of a regular school bus and planted a bunch of vegetables in it and drove around the country to try to spread awareness about local food [thewhofarm.org]. The idea was to get an organic garden planted at the White House. [Note: He succeeded.] People have also sent us pictures of expired trucks that have become gardens because they were left alone in a field too long. And we heard about people who have built beautiful, elaborate, high-tech greenhouses on the backs of their newer trucks.

Curt: I got added to the mailing list of this project in Chicago to make a railcar garden. There’s a really powerful thing going on right now: People are hungry for ways to reconnect to food, to the land, and to growing things. People love seeing food grow. And they love the taste of fresh garden produce. They just can’t get enough.

Ian: We see Truck Farm less as a leader of the pack and more of a joining the ranks of quirky agricultural projects.

What’s your favorite thing about Truck Farm?

Curt: The way that it has accidentally engaged people as they walk down the street. And made them laugh and smile and hoist their kids up on the bumper to show them what a tomato looks like on the vine. That makes me really happy. It’s going to be what helps that family decide to plant a flowerpot with some salad greens and herbs for a little kitchen garden the next spring.

Ian: Beyond the joy of conducting a humorous experiment that did not go completely awry, it’s just nice to grow yummy food in a rusty old truck. It’s like that feeling you get seeing a flower sprout up in some unexpected city sidewalk. It’s cheesy, but: Sometimes the smallest examples of how the world can change for the better are the most exciting ones. Because they’re empowering. They can make us feel not like the miniscule beings that we are, but part of a larger whole.

Curt: A lot of the bigger problems out there seem insurmountable.

Ian: Truck Farm doesn’t solve those big problems, but it does provide a glimpse of the kind of creativity and take-it-into-your-own-hands attitude that we need more of.

What lessons do you want people to take from Truck Farm?

Curt: Anybody can grow food, no matter where they live. We want people around the country to start growing food in window boxes, on their kitchen windowsills, on their rooftops, in the backs of their pickup trucks or their Toyota Celicas. We want to see more fresh food everywhere!

Take a Look at Ian and Curtis’ site, Wicked Delicate!

Source

Bookmark and Share Send Feedback | Permalink
Ugly Track Home on the Outside, Earth Cave of Love on the Inside
by Katy Purviance on 03/19/10 @ 06:19:38 pm
Categories: Green Design | 133 words | 441 views

I just read about this how Carol Venolia over at Natural Home magazine coated her walls with clay with helpp from her friend Janine Bjornson, owner of the natural building company Clay, Bones, and Stones. (P.S. check out Janine’s oven in the shape of an owl!)

This story started with a tree branch crashing through my roof, leaving me temporarily homeless, and ends in the most comforting home I’ve ever had. I’d been planning to “naturalize” my house since I moved in more than three years ago. I wanted to replace the plastic laminate flooring, cover the white walls with earth-toned clay plasters and turn my office into a studio. I don’t recommend disaster as a spur to remodeling, but in my case, it worked.

Read the whole thing

Bookmark and Share Send Feedback | Permalink
I love this little Henry Yorke Mann house
by Katy Purviance on 03/19/10 @ 06:02:21 pm
Categories: I love this building | 527 words | 1271 views

Kathy recently wrote to tell me about her rammed earth houses.

I really like the idea of architecture “vacations”

I live near the Nk’Mip Desert Cultural Centre in Osoyoos, BC and besides that structure I can think of three houses (one mine) and three other non-dwelling type rammed earth structures. I bet that could make an interesting architectural tour especially for those that enjoy wine tasting.

Have you heard of Henry Yorke Mann? He lives up the hill from me and though he has designed no earth structures, his houses, which are scattered around the valley, are very interesting as well.

I loved your portfolio, I found the work you did for the underground greenhouse guy most edifying.

One of these old days I am going to have some rammed earth wall workshops and when I do I will let you know.

(I put Kathy’s rammed earth blogs just under this post, past the ad for making your own energy at home, where it reads “other blogs i like". CHECK IT OUT!)

Anyway, I hadn’t heard of Henry Yorke Mann until Kathy told me about him. And then, just today, I was reading through my subscriber print copy of Natural Home magazine when what do you know? There was an article by editor Robyn Griggs Lawrence about a little house called Quietude designed by none other than Henry Yorke Mann himself. Small world.

Denise Franklin needed a healing place. She’d been through a major illness (more than 20 years earlier doctors had told her she had six months to live) and had walked away from a house and husband. She yearned for “a place to pray, meditate, prepare my food and entertain my friends, and a warm place to lay my head at night.”

Denise had $28,000 to spend. She knew it might be an impossible dream. But she also believed in magic.

Finding a design shaman
In 1999, Denise secured a long-term lease on a half-acre plot in the Okanagan mountains near Oliver, British Columbia. Set atop a wooded knob, her land was perfect for growing herbs and vegetables and offered kaleidoscopic views of the Okanagan and Similkameen mountain ranges. All she needed was a design wizard to make her mountain cottage a reality. “When building a dwelling of any size, it’s wise to seek out a professional in the field, a good architect who will listen to your needs, wants and, at times, your impossible dreams,” Denise says. “This is particularly true when you go to him with a total sum of $28,000 in savings, a disability pension and no other means of financial aid.”

Architect Henry Yorke Mann is something of a wizard. The grandson of a master builder, Mann has been designing and building houses in British Columbia since 1962. His homes are built to enhance the human soul; he deems any house that doesn’t a failure. Mann describes the architect, at his best, as a shaman producing sacred works. “Even with an extreme budget, it’s possible to build an environmentally sound home that enhances the joy, life and soul of humans,” he says.

For Denise, he did just that.

Read the whole thing!

Bookmark and Share Send Feedback | Permalink
A thing to celebrate architects who don't have their licenses yet
by Katy Purviance on 03/19/10 @ 10:29:27 am
Categories: Events | 278 words | 445 views

I just got this in my Facebook Inbox from Matthem Fochs of the American Institute of Architecture Students group. (Are you a member?)

In recognition of Architecture Week 2010, the American Institute of Architecture Students is proud to present a collection of work, art and designs from emerging professionals all across North America. All of the displays will be works completed by individuals who are along the path to becoming licensed in the field of architecture but have not yet gained their license. What better way to celebrate Architecture Week 2010 than by inviting the next generation of architects and designers to show off their ideas and designs? Displays will include completed work from students in the AIAS Freedom by Design™ Program, AIAS Design Competitions, ACSA Design Competitions, Fall 2009 and Spring 2010 student work from a collection of architecture schools, as well as work from recent graduates that are well on their way to becoming architects. Along with the submitted designs there will be informational boards talking about the profession and the many paths emerging professionals can take after graduating. The AIAS hopes that the exhibit will not only promote the great work of the next generation of architects but also inspire professionals to mentor and engage the many brilliant and motivated emerging professionals across the country.

To learn more about the exhibit or to submit your work to be displayed, visit http://www.aias.org/news_detail.php?nid=327.

I want to hold an event for Emerging Amateurs – regular people who have just learned how to build their own house with their own hands. Have you done this? Send me pictures. Tell me about yourself. I’ll feature you here.

Bookmark and Share Send Feedback | Permalink
LA Launch of Architizer
by Katy Purviance on 03/12/10 @ 03:57:12 pm
Categories: Events | 61 words | 459 views

March 18, 6:30 PM

Architecture and Design Museum-LA, 6032 Wilshire Blvd Los Angeles, California 90036

In partnership with Haworth, Dwell, LA Forum, SCI-Arc, and BLDG BLOG, the event will be an evening to meet fellow Los Angeleno architects as well as a celebration of Los Angeles architecture culture.

If you are in the Southern California area, please attend. RSVP to rsvp@architizer.com.

Read more

Bookmark and Share Send Feedback | Permalink
Maybe Los Angeles doesn't suck as much as I thought it did
by Katy Purviance on 03/09/10 @ 02:38:14 pm
Categories: Green Design | 324 words | 464 views

I just read this article on Natural Home Magazine (dot com) by Carol Venolia about the Los Angeles Eco Village.

I know.

How can there be an eco-village in one of the most consumptive, car-based, sprawling, polluted cities in this country?

Exactly.

L.A. Eco-Villagers have planted a dozen organic gardens and more than 100 fruit trees in their two-block neighborhood; developed a community revolving loan fund that made it possible to purchase and eco-rehab two apartment buildings (which will be converted to co-ops); composted sixty cubic yards of green neighborhood waste; diverted twenty tons of brick from the landfill (from the 1994 earthquake) for Eco-Village beautification projects; and held weekly community potlucks to build a sense of community.

Future projects include developing eight live/work spaces; purchasing more buildings; bio-remediating several brownfields; creating a demonstration “slow street” (already funded by the city), where landscaping and pedestrians have priority and cars move slowly; installing a graywater system and a demonstration neighborhood “living machine” for sewage treatment; demonstrating innovative solar heating and cooling systems; starting local green businesses; organizing organic food buying and car co-ops; creating a training program for urban eco-villages; and establishing a local currency system.

Oh Los Angeles, you are my constant complaint. I hate your poison air and your constant traffic, your gridlock, your plastic people. But maybe there is the tiniest little ray of hope emanating from your cold dark heart.

When you stay put and gradually transform your neighborhood’s vitality, you can improve existing buildings (less wasteful than new eco-building); avoid invading rural land; educate neighbors who aren’t already part of “the choir;” grow healthy food that doesn’t need to be trucked in; help cool the urban heat island; recharge the water table; bring birds, bees, and butterflies back to barren areas; reduce car use; and lower crime while increasing a sense of belonging by increasing community.

Just so you know, I’m still moving.

Read the whole thing.

Bookmark and Share Send Feedback | Permalink
Courtyards are sexy
by Katy Purviance on 03/09/10 @ 02:16:18 pm
Categories: Articles, I love this building | 439 words | 1547 views

World travelers, she and Dan have been heavily influenced by the European villa-style architecture with central courtyard that, in turn, serves as another room of the house. “We didn’t want a patio or a porch,” says Karen. “We wanted an outdoor living area.”

I just read about Karen and Dan Forey’s courtyard house in Denver on Natural Home (dot com), and because I love courtyard houses so much, I just had to share it with you.

Courtyard in Denver

Guests who enter the house are embraced by design that, indeed, replicates a European villa. Textured walls in warm ­colors, rich leather furniture, a hand-crafted stone fireplace, ornate chandeliers, and arched entryways create the feeling of an Old World country house where the inhabitants can relax and enjoy the good life. The courtyard reinforces this scene.

To create design continuity between the interior and exterior, Karen turned to natural materials. She opted for rugged Colo­rado flagstone for the terrace floor, a perfect extension of the multicolored Indian slate used inside. The textured interior walls melt into creamy exterior stucco walls. The iron and metalwork that distinguish the dining room and kitchen chandeliers are echoed by wrought-iron trellises, balcony railings, and the burnished lanterns that provide ­outdoor lighting. The arbor that leads to the courtyard recalls the interior eyebrow arches.

An outdoor room requires natural practicality. The umbrella and furniture cushions are covered in a waterproof cotton fabric that will not mildew. The wicker has been treated to be impervious to weather. Two limestone end tables can withstand the worst rainstorm. From early spring to late fall, the courtyard is intact, ready for use on a beautiful day.

To capture the outdoors that the Foreys so love, Karen has focused on two natural elements: plants and water. Attracted to red, fuchsia, and purple—punctuated with splashes of yellow—she’s created a flower garden that explodes with riotous color. Bright red Spanish trumpet vines climb the trellises; pots of red roses flank the outdoor fireplace. Flowers cascade off the shallow balconies that overlook the courtyard. A mature ash tree provides shade and privacy, and the arbor is smothered in grapevines that allow just enough sun through to nourish the ground cover between the flagstones. Shrubbery and other of Forey’s flora are hydrated with a computer-operated, drip-irrigation system that requires little maintenance and helps conserve water.

A stunning two-tiered fountain recycles water, minimizing the “splash” factor. The soothing sounds of the fountain water obliterate the sound of traffic, just a half block away, and it reminds Karen of the rushing stream that ran near her Rocky Mountain home.

Read the whole thing

Bookmark and Share Send Feedback | Permalink
The Unreal America: Architecture & Illusion
by Katy Purviance on 03/08/10 @ 11:50:27 pm
Categories: Books | 2864 words | 453 views

I read The Unreal America: Architecture and Illusion by Ada Louise Huxtable a little while ago, and I just came across my notes. I thought I’d put them up here so you can read them, get intrigued, and maybe go read the book yourself.

Americans prefer entertainment, nostalgia, or never-never land to real places.

The publics is addicted to fakes and fantasies.

Instead of public architecture, or an architecture integrated into life and use, we have “trophy” buildings by “signature” architects.

Illusion has become a major part of the economy – it is the community used to fill that vacuum of imagination and ideas when commercial expediency builds to the bottom line.

In saving the thing, the thing is lost and a substitute provided; the past is as evanescent and irretrievable as time itself.

Vernacular is real.

What is being built is the result of the most successful marketing in history; the product is rigidly and restrictively formulaic.

Profit, not planning or, even remotely, public interest, is the generation.

“We have a hunger for something like authenticity, but we are easily satisfied by an ersatz facsimile.” – Miles Orvell

Architecture is the most immediate, expressive, and lasting art to ever record the human condition.

We pay homage to landmarks but are cavalier about their contect. The artificial environments we flock to in preference are one-dimensional con games by contrast, their attractions and satisfactions limited, illusory, and equally out for the money.

The change in the way in which we see the world around us – or, rather, don’t see it – has had a profound effect on our attitudes toward it. The inherited and inherent principles of the interaction of building and society are either actively ignored or deliberately overturned.

Serious architecture is…sidelined, trivalized, reduced to a decorative art or a developer’s gimmick, characterized by a pastiche of barrowed styles and shaky, subjective references, it is increasingly detached from the problems and processes through which contemporary life and creative necessity are actively engaged.

“The American imagination demands the real thing, and to attain it, must fabricate the absolute fake…for historical information to be absorbed, it has to assume the aspect of a reincarnation…the ‘completely real’ becomes the ‘complete fake’…absolutely unreality is offered as real pretense.” – de Tocqueville

The popularity and progeny of Williamsburg have taught us to subvert reality on a grand scale, to prefer – and believe in – the sanitized and selective version of the past.

The act of preservation turns what has been “saved” into something else, as the same time that the improvements provide the economic base that “saves” it.

Sooner or later, image and function are defined and fixed in an artificial formula that combines sentiments, fashion, and tourist appeal.

“Will there be nothing in the historical centers of America or Europe between a tourism that denatures them and a squalor that degrades them?” – Andre Corboz

“Historic reproduction” is a semantic trap – its definitions and desires are set by the seductions of what survives – those rare, real, evanescent, and evocative pieces of the past that are ultimately betrayed or excised by the unreality of the restoration.

To express profound unease – when so many dedicated professionals struggle with the enormous tast of dealing with complex regulations, uncertain finances, and growing commercial competition while they try to keep what they know should not be lost – is to be considered remote and unsympathetic.

One is perceived as an enemy of the cause. I do not deny the need for the past, or the legitimacy and necessity of the movement that carries the preservation name, or the tragedy of the lost past when the destructive is brutal and willful. But I believe we can no longer wvade the reality of what we have achieved by expedient distortion or deliberate simulacrum, in forms to suit transient tastes and economic imperatives. In fact, to raise these issues at all, one must love the past very much.

The improved re-creation is valued over the flawed original or shabby survival; it is considered more iconic, representative, ideal, and congenial. For most, it has become the reality.

The perfect fake or impeccable restoration lack the hallmarks of time and place. They deny imperfections, alterations, and accomodations; they wipe out all the incidents of life and change. The worn stone, the chaffed corner, the threshold low and uneven from many feet, that marks on walls and windows that carry the presence and message of remembered hands and eyes – all of those accumulated accidental, suggestive, and genuine imprints that imbue the artifact with its history and continuity, that have stayed with it in its conditioning passage through – or absent or erased… The objects and places simply do not resonate. They are mute. They are hollow history.

We have invented a new past according to a set of criteria designed to satisfy our own current needs and standards. In today’s fractured and deeply troubled society the need is for something that comforts, reassures, and entertains – a world where harsh truths can be suspended or forgotten for a benign and soothing, preferably distracting, substitute. The nostaligic simplification of feel-good, participatory, romanticized history are the popular and profitable answer. To reinforce the myth of more rigorous “interpretation” and accuracy, we use increasingly sophisticated tools of invention and support: the “scientific” research of chemistry, the computer, skilled domestic achaeology, the discipline and discoveries of material culture. The familiar, formulaic procedure defines the brand of preservation that has become a staple of today’s tourism, and is an increasingly importatn part of local economies, often the main support of small historic towns that have lost their business base to suburban malls.

This is called “extermination by museumfication.” – Baudrillard

Public policy in the country, particularly in Republican administrations, is to see expenditures for preservation as in a league with original sin. In the US, the public sector has no funds for urban investment, least of all for anything that involves appropriate planning and design. Private investment defines quality of life as some up-front luxury trim and a few recreational amenities thrown in by the developer. Public policy militates against anything better; private interests recognize only exploitative and potentially profitable flourishes.

More people have experiences Disney’s fantasy environments than have visited the places that have inspired them; the clean and cozy, abbreviated and adulterated versions of the Vieux Carre of New Orleans, divested of the distractions of dirt, crime, and ethnic diversity, are preferred to the city itself.

Disney’s Main Street USA evokes entertainment and thereby cancels out the meaning and value of history and form.

Duany-Plater-Zyberk have reduced the difination of community to a romantic social aesthetic emphasizing front porches, historic styles, and walking distances to stores and schools as an answer to suburban sprawl.

People of our mobile, family-fragmented society crave the kind of neighborhood community that disappeared with an extinct way of life. Modernist and neotraditionalits alike rely on aesthetic solutions to the social problems created by urban sprawl. Also like the modernist, who “created machine-age images of “rational” cities that, when actually built, often functioned miserably” (Herbert Muschamp), the appealing and simplistically pretty towns ignore the history and messages of reality for an idealized small-town reality. It is an architecture for the Prozac age.

Perhaps there is a different message nobody wants to hear.

We were told taht criticisms were irrelevant because the Disney product, good or bad, is clearly what people want. That begs the question of how people know what they want without options, including products and opportunities they have never seen nor experienced.

The fact that City Walk is witty and sophisticated has not kept it from being an instant success…restained understatement is not a component of today’s pop sensibility.

It is a truism of American business praactice that standards are raised only when competition demands it.

“I define wit and fantasy differently: as a freeing if the mind and spirit to explore unknown places, rather than a handshake from some unconvincingly costumes actors in a totally predictable and humdrum context.”

These places fill a need that is not about to go away. It is not that people are voting for these enterprises in positive terms; they are simply responding to the satifaction of a need in the most passive way.

The real now imitates the imitation. Towns are remaking themselves, and developments are casting themselves in the theme park image, given a stage-set presence from a look to a complete concept carried out to the last “authetic” touch.

This is not Hometown America; it is upscale Never-Never Land with pricetags in the millions to match. It is a new kind of developer house – a two-story atrium entrance, with the omnipresent Palladenoid window above double doors, is designed specifcially to impress. This grand entry leads to the Great Room, as it has been named by real estate sales offices, into which the kitchen-family room has evolved.In this large, all-purpose social and entertaining center, the latest equipment coexists with current decorating fashions. There is an exit to an outdoor deck (gone is he bugless screened porch of yesteryear) with a ritual gas or charcoal grill. A vestigial living room has become an extention of furnishings for “gracious living.” Cathedral ceilings soar, topped with skylights galore…

The gesture most commonly made is the wrong one: the commissioning of “celebrity” architects to produce “signature buildings,” themed trivia that only celebrates and compounds the degenerative process.

John Cheever, writing in 1978 of the New England fast-food stands that resemble the House of Seven Gables or Colonial Williamsburg, believes that these images are “not picked for their charm or their claim to a past; [but] because we are a homeless people looking at nightfall for a window in which a lamp burns, and an interior warmed by an open fire, where we will be fed and understood and loved…” Cheever sees it as an escape from the solitary and mundane that marks so much of the present human condition. “The rash of utterly false mansards, false, small-paned windows, and electric candlesticks is the heart’s cry of a lonely, lonely people.” Eco discerns another kind of emptiness in the rage for replicas. “A vacuum of memories,” he calls it, “a present without depth.”

There are generations for whom the mall is the substitute urban experience. Thus the ultimate absurdity is achieved: an edited and appropriated version of exactly those distinguishing, organic features of a city that characterizes it, reducced to a merchandizing theme – the city as sales promotion.

The American shopping center is not, as commonly believed, an indigenous, spontaneous expression of instinctive or intuitive cultural and consumer patterns, something as American as the lag, as natural and inevitable as free choice and free enterprise can make it…It is, of course, a one-sided con game, in which the investor, not the consumer, always wins. There are no real choices, either those of natural selection or of a free market. Both concept and design are calculated elements in a skillful and strategic marketing plan, specifically targeted and carefully replicated. Whether the complex takes the form of a converted landmark or glitzy new construction, the underlying principle is the same. Whatever the style, the result is rigidly and exclusionistically shaped by a carefully devised formula based on the essential kind and number of shops – department store anchors, specialty retail and restaurant chains – considered necessary for an established level of merchandizing profit. In every case, success or failure is measured strictly in terms of dollars per square foot.

The real estate, financing, and marketing expertise and the scale of investment required have limited the field to large developers with major resources, virtually eliminating competition. Established patterns are repeated rigidly and uniformly; no one tinkers with what works. The look, quality level, and general ambience are determined by meticulously researched consumer profiles that go beyond income analyss and buying habits to “psychographics,” which identify “aspirations as well as needs…identity as well as income.” Thism in turn, sets the nature of the stores, their merchandise and mix, number and location. The deadly sameness that marks these places is absolutely intentional. This fine-tuned calculation is repeated for simmilar areas, subject to adjustment as needed. Restrictive clauses in leases set and maintain guidelines that specify everything from design to rpices. This standardization of setting and goods is meant to guarantee a meticulously conceived and predictable profit formula and cash flow, as much as the better-publicized aim or acceptable uses and atmosphere.

But the more one experiences the “mall miracle,” and the more it replaces the downtowns and small communities that it destroys and makes obsolete, becoming progressively and increasingly shabby and empty, the clearer it becomes that something crucial and vital is missing. What is not so clear to the consuming public is that this something is exactly what has been deliberately eliminated from all the calculations by those who have control of them. THere has been little awareness, and less scrutiny, of the kind of controls exercised and what has been deliberately eliminated or lost.

Entrepreneurship has nothing to do with what Anerica wants; it is instead a function of alnd values, lending practices, leveraged real estate development, and conglomerate corporate ownership looking to the enormous bottom line.

The mall has become the substitute for the publuc square, minus our constitutional freedoms.

Our culture is a function of investment economics.

“Faux” fits. It is everywhere today, because it is so right for what is so wrong. Skewed in meaning, rather than indicating falseness, it gives a stamp of approval to the blantantly unreal, a suggestion of class to the frankly inferior. Using athe French faux makes the fake chic; it gives the phony cachet. It goes with the same state of mind that sees architecture as a gift wrap and accepts tarted-up history. Something real has been perverted, and something important has been abdicated. The result is faux architecture.

This state of mind has made possible the drearier aspects of postmodernism – pompier works with Tootsie Roll moldings and cartoon cartouches, cardboard cutouts and apaer thin pretensions. These buildings are not witty and learned references to anything; they are carcatures, stand-up jokes, ponderous one-liners.

We love those retro cottages and freshly minted Classical villsa to which everyone can instantly relate witout being of the manor and money–born; no matter that their expensively and consciously understated and overdone detail turns correctness into a too perfect grossness…We admire glib contectual solutions that are as unreal and irrelevant as their fake stonework trim and as permanently meaningful as the next building cycle. We tolerate sloppy free-fall history and surface novelties where paraphrase is considered an act of creative design and, supposedly, of irony and art. We accept the casual rip-off Punk Pallaidian skyscrapers with breathlessly overscaled, drop-dead lobbies above which everything else is shamelessly standard bottom-line. Games are being played, with marginally convincing results that are far less witty and wonderful than advertised. This theatrical pseudoarchitecture gets all the lines – praised, publicized, and generally accepted as the real thing.

We are being told that it has become more important for architecture to be than to serve, to send messages than to fill needs, to exist as an art object in itsef than to be integrated through its art into the rich and complex totality of life and use that makes this the most far-reaching art of all. From there it is not far to the revolutionary claim that architecture can completely reject its intrinsic nature as a social art because of the antisocial nature of the time.

Style as become divorced from both use and structure; style is its own excuse for being. Today form follows feeling. Desire was the suppressed word for both the Victorian and the modernist; today desire, not utility, dictates design. Style responds to a different purpose and vision. Style is dream, inventionm wish fulfillment. “Appropriate” is in the eye and mind of the creator and/or beholder, and the definaition changes with the dream… Identity is a product of the mood and the moment; the persona is the clothes that hang in the closet.

History used like wallpaper trashes both history and architecture.

In spite of their size, these structures hardly command a second glance. There is something so flat, so lacking in density and conviction that their offensiveness virtually evaporates; they fail even at being seriously awful.

To design without the challenge and discipline of solving real problems is to go beyond trivialty to irrelevance. To speak of background buildings vs. signature buildings turns context into a visual game, instead of an accomodation with history and society’ it reduces the city to absurdity.

Only the outrageous gets attention today, and the outrageous in architecture has a limited usefullness. Without the accelerated shock apeal that keeps other art forms in the public eye, the audience for innovative buildings, or for buildings as an art form, consists largely of professionals or patrons; it barely reverberates with the general public. The new architecture may be the best kept secret in the arts.

Art never stands still.

Read the whole thing

Bookmark and Share Send Feedback | Permalink
I also want to visit Mercer and Fonthill Museums
by Katy Purviance on 03/08/10 @ 08:38:55 pm
Categories: My Travels | 751 words | 428 views

Tiny JPG Theatre presents…

Mercer & Fonthill Museums

Mercer Museum

Mercer Museum History
By 1897 handmade objects were being discarded in favor of new machine-made goods. Historian and archaeologist Henry Mercer (1856-1930) recognized the need to collect and preserve the outmoded material of daily life in America before it was swept away by the Industrial Revolution. Mercer gathered almost 30,000 items ranging from hand tools to horse-drawn vehicles and assembled this encyclopedic collection in a system of his own devising. To enhance the collection’s educational value, and to share it with the public, Mercer decided to design and build a museum to display the artifacts.

Redware exhibit In 1916, Mercer erected a 6-story concrete castle. The towering central atrium of the Museum was used to hang the largest objects such as a whale boat, stage coach and Conestoga wagon. On each level surrounding the court, smaller exhibits were installed in a warren of alcoves, niches and rooms according to Mercer’s classifications – healing arts, tinsmithing, dairying, illumination and so on. The end result of the building is a unique interior that is both logical and provocative. It requires the visitor to view objects in a new way.

As gifts to the Bucks County Historical Society, the collection and building were maintained by the trustees without benefit of professional staff until 1971. With a resurgence of interest in early American crafts, an ambitious program to develop and promote the Mercer Museum as an institution of national significance was then undertaken. The Museum has made major advances in collections management and care, exhibitions and interpretation bringing the Museum in line with contemporary standards while, at the same time, respecting the historical integrity of the site. In 1985, the Mercer Museum was recognized as a National Historic Landmark and achieved subsequent accreditation by the American Association of Museums in 2005.

Family viewing stoveplate collection The Board of Trustees successfully completed a Capital Campaign in 1994 to address restoration needs. The Museum announced in October 2006 a $10M Capital Campaign for expanded exhibit and program space. Mercer’s collection and museum are enjoyed annually by more than 65,000 visitors from around the world. The collection has grown to some 40,000 objects. Among museum professionals, technology scholars, and tool collectors, the collection is considered to be the most complete of its kind in America. Interactive programs provide insights into early American history in enjoyable and educational ways, and changing exhibits provide a reason for visitors to return.

Fonthill

Fonthill History
Built between 1908-1912, Fonthill was the home of Henry Chapman Mercer (1856-1930). Archaeologist, anthropologist, ceramist, scholar and antiquarian, Mercer built Fonthill both as his home and as a showplace for his collection of tiles and prints. The first of three Mercer buildings in Doylestown, Fonthill served as a showplace for Mercer’s famed Moravian tiles that were produced during the American Arts & Crafts Movement. Designed by Mercer, the building is an eclectic mix of Medieval, Gothic, and Byzantine architectural styles, and is significant as an early example of poured reinforced concrete.

Upon his death in 1930, Mercer left his concrete “Castle for the New World” in trust as a museum of decorative tiles and prints. He gave life rights to Fonthill to his housekeeper and her husband, Laura and Frank Swain. In accordance with Mercer’s Will, Mrs. Swain resided in the house and conducted occasional tours until her death in 1975. Upon her death, the Trustees of the Mercer Fonthill Museum determined to operate Fonthill as a historic house museum and contracted with the Bucks County Historical Society to provide professional care and management. In 1990, the Bucks County Orphans court appointed the Trustees of the Bucks County Historical Society as the permanent Trustees of the Mercer Fonthill Museum thus solidifying the commitment to professionalism at the site. Fonthill Museum remains a separate legal entity from the Historical Society.

From 1976 to the present, Fonthill has evolved into a unique professional museum that provides a full range of museum programs related to Mercer and his collections while maintaining a strong commitment to the preservation and conservation of the building and its collections. In 1985, Fonthill was designated a National Historic Landmark; the site achieved subsequent accreditation by the American Association of Museums in 2005. Today, Fonthill attracts over 30,000 visitors annually from nearly every state and more than 35 foreign countries. It has been featured in numerous print and electronic media including the Arts & Entertainment Network’s popular “America’s Castles” series. Fonthill is one of the original associate sites of the National Trust for Historic Preservation’s Historic Artists’ Homes and Studios program.

Learn more.

Bookmark and Share Send Feedback | Permalink
I want to visit Olana
by Katy Purviance on 03/08/10 @ 08:30:34 pm
Categories: My Travels | 379 words | 335 views

Olana is the Persian-style home of fames Hudson River School painter, Frederic Church.

Olana

Scroll to the bottom of this page to see 360 views of the Vestibule, the Great Hall, the Dining Room, and the Sitting Room.

History of the House
When Frederic Church purchased the property for Olana in 1860, he hired architect Richard Morris Hunt (who was later to build several of the “cottages” in Newport, R.I.) to design a small house in which he could raise a family. Called “Cosy Cottage", the house was occupied in the early summer of 1861. Soon Church and his wife had two children filling Cosy Cottage, but, tragically, both children died of diphtheria in 1865.

In 1867 Church purchased an additional 18 acres at the top of the hill overlooking his property. Before building his new house, he and Isabel and their infant son Frederic Joseph left for an extended tour of Europe and the Middle East.

Frederic and Isabel Church, impressed by the architecture they saw in cities like Beirut, Jerusalem and Damascus, envisioned a home at Olana that incorporated Middle Eastern elements and designs. Drawings by Richard Morris Hunt document that Church considerd using him as an architect, but ultimately decided on Calvert Vaux. Church spent the next two years working with Vaux designing and building a home that would be, as he called it “Persian, adapted to the Occident”

In the fall of 1872, Church and Isabel and their growing family of children moved into the second story of the new house while Church continued to decorate the ground floor. He designed stencils and chose the colors with which to decorate the walls and ceilings. Eclectic furnishings soon filled the house, gathered from NYC and abroad, and eventually, from the Church family home in Hartford, Connecticut. Frederic even designed a few pieces of furniture. The couple filled the house with thousands of objects meant to direct the attention to the great civilizations of the past.

Church continued to work on the house for much of the rest of his life. In 1885 he began a campaign to repair and improve the house, and in 1888, began the studio wing, with guest rooms and a glassed- in observation room in the tower. By 1891, the house was essentially complete, looking much as it does today.

Learn more.

Olana

Bookmark and Share Send Feedback | Permalink
Earth Construction: yesterday, today, and tomorrow
by Katy Purviance on 03/05/10 @ 11:06:25 pm
Categories: Green Design, Vernacular | 200 words | 450 views

Some of the oldest buildings on the planet are made of earth. currently it is estimated that one half of the world’s population - approximately three billion people on six continents - lives or works in buildings constructed of earth.

Earth is a 100% eco-friendly building material. it is neither manufactured nor transported.
a wall made from raw earth serves as a natural air conditioner, being warm in winter and cool in summer. When the building is demolished, the earth returns to the soil and can be recycled indefinitely.

Largely shunned since the arrival of its close cousin ‘concrete’ in the 1950s, earth is now back in fashion as its ecological and aesthetic benefits attract the attention of an increasing numbers of contemporary architects and eco-builders. industrial sectors devoted to earthen building are currently emerging as this sustainable material wins over.

The misconceptions associated with earth architecture is that many assume it’s only used for housing in poor rural areas - but there are examples of airports, embassies, hospitals, museums, and factories that are made of earth. current research efforts are focused on increasing its resistance and processing speed in order to make it a modern and competitive material.

Read more

Bookmark and Share Send Feedback | Permalink
A Pile of Earth is Turned Into an Eco-Dome
by Katy Purviance on 03/05/10 @ 04:38:55 pm
Categories: Architects, Green Design, Videos, I love this building, Building | 14 words | 295 views

Check out Nader Khalili’s super adobe Eco-Dome!

Learn more at Cal-Earth.

Bookmark and Share Send Feedback | Permalink
Handmade School in Bangladesh
by Katy Purviance on 03/05/10 @ 03:55:38 pm
Categories: Green Design, Videos, I love this building, Vernacular, Building | 814 words | 1630 views

I got this from Design Boom.

METI school in rudrapur dinajpur, bangladesh

Hand-built in four months by architects, local craftsmen, pupils, parents and teachers, this primary school in rudrapur, a village in north west bangladesh, uses traditional methods and materials of construction but adapts them in new ways. The architects, Anna Aeringer from Austria and Eike Roswag from Germany, made every effort to engage the skills of local craftsmen, helping them refine processes and learn new techniques that they could then use to improve the general standard of rural housing.

Sunlight and ventilation can be regulated through the use of shutters.

In Rudrapur, the traditional local materials are bamboo for constructions and earth for walls and foundations, straw for the roofs and jute rope for lashing constructions.

Earthbound materials such as loam and straw are combined with lighter elements like bamboo sticks and nylon lashing to create a environmentally sustainable foundation.

Thick walls assure a comfortable climate on the ground floor of the building.

1st floor: open space

a view into the classroom

The philosophy of METI (modern education and training institute) is learning with joy. The teachers help the children to develop their own potential and use it in a creative and responsible way. The building reflects these ideas through its materials, techniques and architectural design.

a view into the classroom

a view into the classroom

moulded ‘cavespaces’ – an area to retreat into for contemplation/concentrated work

The design solution used in this rural town may not be replicable in other parts of the Islamic world as local conditions vary. however, new design solutions can emerge from an in-depth knowledge of the local context and new ways of building. This provides a fresh and hopeful model for sustainable building globally. The final result of this heroic volunteer effort is a building that creates beautiful, meaningful and humane collective spaces for learning which enrich the lives of the children it serves.

The construction method used is a historical earth building technique similar to cob-walling which is ideal for ‘self building’. The wet earth is mixed with straw and applied to the wall in layers. Each layer is approximately 50-70 cm high, and after a couple of days drying, it is trimmed on the sides with a sharp spade to obtain a regular flat wall surface.

After a second drying period, a further layer can be added. the earth in this region is well-suited for such construction and the stability of the mixture was improved by adding rice, straw and jute.

Earth construction: the most important technical improvement in comparison to traditional buildings is the introduction of a damp proof course and a brick foundation. The traditional building technique (which uses very wet earth) has been replaced by the ‘weller’ technique that is quite similar to the traditional one.

The school building was built by experts and volunteers from Germany and Austria along with craftsmen, teachers, parents and students from Bangladesh over the period of September to December 2005.

The aim of the project is to improve existing building techniques, to contribute to sustainability by utilising local materials and labour and to strengthen regional identity.

the joints are secured with a steel pin fixed with a nylon lashing

The ceiling consists of three layers of bamboo poles arranged perpendicularly to one another with bamboo boarding and an earth filling as the surface of the floor. The same construction in a modified form can be used for general residential buildings.

section

the second step was planning and construction of private housing

Society in Bangladesh is changing. Although it is still strongly rooted in agriculture, people are getting more educated - privacy and individuality are gaining more importance.

A house is no longer just a shelter to store things or to sleep in at night. It has evolved to becoming more defined as a home.

METI school in Rudrapur Dinajpur, Bangladesh
Built area: 325 m2
Cost: $ 22,835

Commission: January 2004
Design: March 2004 - August 2005
Construction: September 2005 - December 2005
Occupancy: December 2005

Client: Dipshikha/ METI non-formal education, training and research society for village development

Design and concept: Anna Heringer

Technical, detailed planning and realisation: Anna Heringer and Eike Roswag

Anna Heringer (b. 1977) studied architecture at Linz University of the Arts, Austria. Since 2004 she has held a lecture there, and is project manager at BASE - habitat/architektur konzepte, Linz University of the Arts. In 2006 she began her doctoral studies at Munich Technical University, on strategies for sustainable building in Northern Bangladesh.

She is vice chairwoman of Shanti, a German-Bangladeshi partnership founded in 1983, with the aim of arranging exchange programs such as the transfer of professional volunteers.

Eike Roswag (b. 1969) completed his architectural studies at Berlin Technical University in 2000, after which he took on freelance architectural work and consultancies. In 2003, he joined ZRS Architects and Engineers to plan and build a variety of projects using earth as a building material. In 2006, he joined the staff of Berlin Technical University and founded Roswag & Jankowski Architects Partnership.

Founded in 1978, Dipshikha - informal education, training and research society for village
development is a Bangladeshi development organization set up to encourage the independence
of communities in rural Bangladesh through sustainable development.

The METI school won the Aga Khan Award for Architecture 2007

All images © Kurt Hörbst

Source

Bookmark and Share Send Feedback | Permalink
Nader Khalili explains in 30 seconds the solution to sustainable, environmentally sound, inexpensive, disaster relief, and nature resistant shelter.
by Katy Purviance on 03/05/10 @ 02:57:06 pm
Categories: Architects, Green Design, Videos, I love this building | 8 words | 370 views

Learn more at Cal-Earth.

Bookmark and Share Send Feedback | Permalink
Bamboo + Thatch house [video with subtitles]
by Katy Purviance on 03/05/10 @ 01:40:35 pm
Categories: Green Design, Videos, I love this building, Vernacular | 195 words | 543 views

Let us bow our heads and give thanks to In the Name of Good Architecture

Thank you, Facebook Profile “In the Name of Good Architecture,” for gracing my life daily with awesome examples of vernacular architecture. You are more highly regarded in my NewsFeed than all of those stupid FarmVille requests that I delete. Amen.

Here’s the latest: a video of three non-professionals building a bamboo and thatch house in like a day. “Non-professional” is my new favorite hyphenated word because it implies a lack of student loan debt. Which is sexy. And smart. A kind of smart that they don’t teach you in school. But I digress.

Here’s the video!

I know, you want more videos of bambook structures. Me too. Here you go:

Time-lapse photography makes it awesomer:

A class builds a bamboo + clay house:

Time-lapse construction of a bamboo plantation:

A living bamboo house in Hawaii, fun facts on the superiority of bamboo, and pre-fab bamboo houses:

People in Ghana building a bamboo dome:

Bookmark and Share Send Feedback | Permalink
Build Your Own Home Like the Cool Kids Do
by Katy Purviance on 03/03/10 @ 06:00:35 pm
Categories: Building | 924 words | 365 views

Here’s how you can save 30% to 40% when building your own home…for just $17.95. Which is less than a week’s worth of Starbucks.

  • Save between 30% to 40% of the cost of a new home by contracting it yourself without having to do any of the hands-on work. Save even more if you plan to do a few jobs yourself.
  • Build your own home without quitting your job. Even with a full time job elsewhere, you can contract your own home successfully!
  • Choose a home design that saves you the most money without sacrificing your “must have” features. Learn the secrets of effective home design that can you save thousands on the same size home.
  • Find the best location to build your home. Discover the major land traps and how to avoid them.
  • Finance your building project to maximize your profit potential. Learn the strategies for getting lenders to give you construction and permanent financing.
  • Create a solid estimate of how much your home will cost. This critical step can save you thousands or cost you thousands if not done right!
  • Find the best quality subcontractors and learn how to get them to do what you want.
  • How to buy materials at the best possible price. Learn the secrets and tricks that builders know.
  • Learn all the construction terminology you need to know to understand the process and talk effectively with bankers, subcontractors and suppliers.
  • How to develop a construction management system to keep your project on time and on budget.

Learn More

Sometimes you decide to take on a challenge and your life changes profoundly as a result. Deciding to build your own home is one of those life-changing challenges.

Your home is not just a “roof over your head” but an expression of your lifestyle, your personality, your hopes and dreams, and even your financial position and security in the world. By building your own home, you are taking control of two of the most fundamental aspects of life — your shelter and your financial well-being.

Why let someone else make critical decisions and choices about one of the most important emotional AND financial possessions in your life—your home? With a little knowledge and some perseverance, YOU CAN build your own home, save substantial money, and increase your own net worth – essentially creating a bank account for your future!

Ask yourself these questions:

  • Do you want to save up to 40 percent of the cost a builder would charge?
  • Do you want to make ALL of the decisions about your new home?
  • Do you want to take control of your financial future?
  • Do you want to gain valuable knowledge and skills?

If you answered “yes” to any of these questions, then my book, The Ultimate Guide to Contracting Your Own Home: Save 30 to 40 Percent on the Cost of Your New Home, tells you exactly how.

Why listen to me? I’ve built more than 200 custom homes for clients and for my family over the past 30 plus years (I started my career as a construction superintendent for a custom home builder in 1977) and I’ve learned the hard way what to do, and just as importantly, what NOT to do. And I’ve gotten good at it…very good. In fact, I’ve turned my own personal homes into a wealth building machine of sorts, but that’s another topic altogether that you’ll learn about in a bonus free gift when you buy the book.

I’m not going to pretend that building your own home is the easiest thing you will ever do, but I do know that it will be one of the most satisfying and rewarding accomplishments you will ever achieve. So, if you are ready to take control of your own home and your own financial future, my book will teach you everything you need to know.

In short, the book condenses my 30 years of professional building experience into an industry insider’s guide detailing the strategies, procedures, and thinking that builders live by. It’s a concise system for building your own home that I’ve employed over and over again and have made substantial money as a result.

Even if you are just in the thinking stage about building or remodeling your home, this book is the best investment you can make. You’ll gain a “must have” insider’s knowledge and an action plan that could change your life forever. The book’s price of $17.95 is small amount to pay for something that could potentially make such a positive impact on the way you live and your financial security as well! For the cost of going out to lunch, you might just discover how to change your entire way of life!

Maybe you’re thinking that I’m being overly dramatic, but I’m really not. Building my own
personal homes over the years (not to mention the 200+ I’ve built for others) has created a wonderful way of life for my family and me and I know it can for you too! There is nothing more rewarding than watching a home that you’ve planned come to life. The feeling is truly powerful.

I’ve received some wonderful compliments over the years from people who have asked me to help them build their own homes (see some of their comments on the sidebar). In fact that’s why I decided to write this book. I wanted to help other people achieve the same goals and dreams that I have. I want to add you to that list as well! I look forward to learing from you as you embark on this exciting and lucrative journey!

Learn More

Bookmark and Share Send Feedback | Permalink
Fake Leaves Make Real Energy!!!
by Katy Purviance on 03/01/10 @ 11:20:20 am
Categories: News | 409 words | 408 views

Some of you know that Janine Benyus is one of my heroes, and that her book Biomimicry: Innovation Inspired by Nature
was one of the things that helped me make the leap from my undergraduate degree in microbiology to a career in architecture.

So check this out! Scientists have made fake leaves that are capable of photosynthesis!!!

(NaturalNews) Researchers from Imperial College London have launched a £1 million ($1.6 million) study to create what they call an “artificial leaf,” mimicking the process of photosynthesis that allows plants to generate energy from the sun.

Plants use solar radiation to power a chemical reaction that converts water and carbon dioxide into sugar. Part of this reaction entails splitting water molecules into their component hydrogen and oxygen parts, something that remains very expensive using modern technology.

Photosynthesis is so efficient, however, that scientists estimate that it could meet all the Earth’s power needs for a year from merely an hour of sunlight. An artificial photosynthesis system that used only 10 percent of the light hitting it could meet all global energy needs if it covered only 0.16 percent of the Earth’s surface area (about 315,000 square miles).

“We know that plants have already evolved to do it and we know that, fundamentally, it’s a workable process on a large scale,” said John Loughhead of the UK Energy Research Center. “Ultimately, the only sustainable form of energy we’ve got is the sun. From a strategic viewpoint, you have to think this looks really interesting because we know we’re starting from a base of feasibility.”

In contrast to other alternative energy sources such as solar panels or windmills, which produce electricity directly, the Imperial College researchers want to use photosynthesis to produce fuels – either hydrogen for fuel cells, or sugars for biofuel engines. Even though the burning of these fuels would still produce carbon dioxide, the researchers believe it would be balanced out by the carbon dioxide that the artificial leaf removed from the air to make the fuel in the first place.

As one of their first steps, researchers are working on an artificial copy of the enzyme, photosystem 2, that plants use to split water into hydrogen and oxygen.

“It doesn’t mean that you try to build exactly what the leaf has,” researcher James Barber said. “Leonardo da Vinci tried to design flying machines with feathers that flapped up and down. But in the end we built 747s and Airbus 380s, completely different to a bird.”

Source

Bookmark and Share Send Feedback | Permalink
Convert Your Car to Run on Electricity
by Katy Purviance on 02/23/10 @ 07:52:29 pm
Categories: Products | 81 words | 1252 views

Maybe this isn’t so related to architecture. Except that my main interest in architecture deals with making it more…natural. Less toxic.

Also I live under the brown smog mantle that embraces LA like a cancer hug. So for God’s sake convert your car to run on electricity already so that we can drop the incidence of lung cancer a little bit. Please.

Here’s how. It’s not that hard. And if I hadn’t already sold my car, I’d do it too.

Bookmark and Share Send Feedback | Permalink
People in Hell want Ice...
by Katy Purviance on 02/23/10 @ 07:33:57 pm
Categories: Green Design | 124 words | 271 views

…and people in Los Angeles want something natural.

Check out this local business I just learned about called Farmscape.

Farmscape installs raised-bed vegetable gardens in front or back yards and offers organic-method garden maintenance and consulting. Our business aims to increase the accessibility and quality of sustainably-grown food in the Los Angeles area.

Check out this timelapse installation.

Farmscape will reduce the complexity and geographic sprawl of your food supply. You and your household can learn by example how to grow your favorite fruits and vegetables the simple way. As a member of our service, you can rely on our friendly service staff to ensure your garden thrives even if you’re often too busy to look after the pest control, soil amendments, harvesting, etc.

Bookmark and Share Send Feedback | Permalink
Use Sunlight as a Material
by Katy Purviance on 02/23/10 @ 01:31:13 pm
Categories: Green Design | 97 words | 423 views

I just read this article in Natural Home Magazine about designing with daylight. I love the historical tidbit:

The Romans used sunlight as a material, like brick or stone, to define and enhance space. “In Pompeii, courtyards brought daylight and fresh air into the center of the home so light became internal and no longer focused on the periphery,” Pittsburgh architect Gerard Damiani says. “It becomes a private thing the homeowner can share with guests, like a piece of furniture.”

This article has a LOT of great tips on how to design with daylight. Check it out!

Bookmark and Share Send Feedback | Permalink
Recycled Homes in North Carolina
by Katy Purviance on 02/23/10 @ 01:12:14 pm
Categories: Articles | 91 words | 425 views

I just read this article in Natural Home Magazine about Builders of Hope. They save homes – and their fixtures – from the landfill.

Creating affordable housing

Americans demolish some 250,000 homes annually, according to the Environmental Protection Agency, and many of them are more solidly built than the new structures that replace them. Though in recent years developers have increased efforts to salvage reusable items such as bathtubs, light fixtures and mantels, mountains of demolition debris still clog our nation’s landfills.

and they rehabiliate them into affordable housing. AWESOME!!!

Read the whole article.

Bookmark and Share Send Feedback | Permalink
Sexy Caribbean Sewage System
by Katy Purviance on 02/23/10 @ 12:54:03 pm
Categories: Green Design, Articles | 185 words | 2007 views

I just read this article in Natural Home Magazine about a couple who moved to St. John and build a charming Caribbean home. You know what I liked the most? Their sewage system.

Caribbean sweetness

The home’s sewage treatment system, developed by NASA environmental engineer Bill Wolverton, is a small-scale biological wetland that duplicates nature’s waste-cleaning processes and encourages plants, animals and microorganisms to interact with the sun, soil and air to improve water quality. Microbes in the plants’ roots aid in the purification process; pathogens in the sewage serve as food for the microbes, which convert wastewater into nutrients for the plants.

Integrated into the landscape design, the Burgamys’ wastewater ecological treatment (WET) system provides terracing that divides the pool deck from the beach area and provides water for the immense plants and vegetation. “You would never know that it was, in fact, the sewage treatment system for the house,” White says.

Constructed wetlands can effectively remove pollutants from wastewater and stormwater. The WET system’s treated wastewater is an alternative water source that reduces the demand for fresh water.

Read the whole thing!

Bookmark and Share Send Feedback | Permalink
Recent College Grad Builds Texas' First Platinum-rated Home
by Katy Purviance on 02/23/10 @ 11:46:42 am
Categories: Articles | 326 words | 883 views

I just read this article in Natural Home Magazine by Robyn Griggs Lawrence about recent college grad Heather Ferrier and the house she built. It’s pretty awesome. I want to build a house.

Recent College Grad Builds a House

Mission Accomplished: A Superefficient Texas Home

With little money, recent college graduate Heather Ferrier wasn’t the likeliest candidate to build the greenest house in Texas.

Heather Ferrier grew up around green building. Her father, Don Ferrier, was crafting earth-sheltered homes in the Dallas/Fort Worth area in 1982. Heather began helping out around the construction company’s offices at age 9. When she graduated from college and later became general manager of Ferrier Construction, Heather wanted to build a deep green house. Not only did she crave a sunny, healthy place to live, but she was determined to show the world it could be done on a budget.

Because of mortgage stipulations and real estate minimum size requirements, Heather found she would have to build a roughly 2,000-square-foot house. That left her with a modest budget of $115 per square foot—and she wanted a house with some flair. “Most clients have much larger budgets, needless to say,” she says.

Her accomplishment is astounding. Her 2,028-square-foot passive solar home, built for $235,000, is the first home in Texas (the third in the United States) to get the U.S. Green Building Council’s highest Platinum ranking. It’s a prototype for the U.S. Department of Energy’s Building America program; was named the 2007 Dallas Builders’ Best Green Home; and won the Gold Energy Value Housing Award, which honors the nation’s energy-efficient elite. Nearly 4,000 people have toured the home.

“Heather wanted to dispel people’s grumblings that only the elite can afford a green home,” Don Ferrier says. Her goal of using the home as an educational tool has worked. “This house has really hit a nerve locally and nationally,” Heather says. “It’s caught the attention of a lot of people.”

Read the rest

Bookmark and Share Send Feedback | Permalink
Way to go, Germany
by Katy Purviance on 02/23/10 @ 10:58:30 am
Categories: Events | 119 words | 8792 views

Germany won the Solar Decathalon. Again. Because they totally beat our asses when it comes to being environmentally awesome. Way to go, Technische Universitat Darmstadt!!!

Team Germany's entry in the Solar Decthalon

For the second time in a row, Team Germany’s demonstration home took first prize in the Solar Decathlon, a worldwide green building and design contest for college students sponsored by the U.S. Department of Energy. Team Germany’s 800-square-foot home was a showstopping example of how cutting-edge technology, space-saving techniques and innovative multifunction design can create a comfortable, contemporary and incredibly efficient home.

Team Germany focused on producing surplus energy and covered every exterior surface with photovoltaic panels. The team’s home scored the maximum 150 points in the “net metering” category.

Source

Bookmark and Share Send Feedback | Permalink
A simple way to slash CO2 using color
by Katy Purviance on 02/23/10 @ 10:54:15 am
Categories: Green Design | 271 words | 313 views

Make your roof a lighter color.

Make your parking lots a lighter color.

Or, if you’re a student, when you’re using your badass expensive prisma colors to color in you design for your studio critic ‘cause she told you to use colors this week, try coloring your parking lots and your roofs white. Think of all the ink you’ll save.

For everybody else, think of all the CO2 you’ll save. Read more:

Anyone who’s crossed a parking lot in August knows that blacktop soaks up a lot of heat. It turns out, rethinking the color of the surfaces around us could help cool the planet.

Roofs and pavements cover 60 percent of urban areas. Scientists from Lawrence Berkeley National Laboratory and the California Energy Commission calculated that lightening their color worldwide could have the same effect on global warming as keeping 48.5 billion tons of CO2 out of the atmosphere. That’s roughly the equivalent of taking every car in the world off the road for 18 years. This elegantly simple solution works because of increased albedo—the degree to which reflective surfaces bounce back the sun’s energy.

Closer to home, color-consciousness does more than fight climate change. Choosing roofing material that absorbs less heat can mean substantial energy savings and may qualify for utility-company rebates. Studies show a “cool roof” can cut air-conditioning bills by 20 percent or more. “It’s not only white roofs” says Michelle van Tijen of the Cool Roof Rating Council. The more than 1,400 products in the organization’s online database come in a range of colors, yet are engineered to reflect more heat than traditional shingles.

Source

Bookmark and Share Send Feedback | Permalink
Green Prefabs on the Cheap (relatively)
by Katy Purviance on 02/23/10 @ 10:38:35 am
Categories: Pre Fab | 536 words | 1934 views

I just read this in my printed, subscriber-copy of Natural Home Magazine about three green prefab homes you can get for under $120,000. Which, if you live in crazy over-priced LA as I do, is about the tenth the price of a “regular” home. If you live in the smack dab of the state of Washington like my friend Trisha does, then these prefab prices are about the going rate for houses. Just so you know.

I’m pro-pre-fab. It’s cheaper, faster, and less wasteful than “traditional” construction, and by “traditional” I mean the way they’ve been building houses since WWII. If we want to change our definition of “traditional” to mean the way people have been building their houses all of the world for thousands of years, then these are very resource-heavy and very environmentally wasteful. So it’s all relative – better than some, but not as good as most.

Anyway, if yo want to be better than some, but not as good as most, here you are:

#1: I-HOUSE
Clayton I-House

Clayton Homes, one of America’s largest prefabricated home manufacturers, has developed the i-house “to create an environmentally friendly house that promotes healthy living at a price people can afford,” says Brandon O’Connor, Clayton’s i-house specialist. The 723-square-foot basic unit costs around $75,000 and can be expanded and customized. The highly efficient i-house’s 4-kilowatt solar-electric system powers it for about a dollar a day.

• Low-E windows
• Efficient appliances
• Solar panels
• Super insulation
• Dual-flush toilets
• Tankless water heater
• Bamboo floors
• Rainwater-collection cisterns
• Zero-VOC paint
• Composite decking from recycled materials

For more information visit Clayton Homes’ website or call (866) 516-1140.

(Why do they call it the “i-house"? To sound trendy?)

#2: COTTAGE IN A DAY
Cottage in a Day

Last August, Cottage in a Day delivered the first of its factory-built homes. Constructed with structural insulated panels (SIPs)—efficient foam sandwiched between two pieces of oriented strand board—the homes exceed the National Association of Home Builders’ green standards. Local suppliers provide materials, and excess materials are rebuilt into furniture, mailboxes and birdhouses. Cottage in a Day’s 1428 SB model offers 375 square feet and a 288-square-foot deck for $117,000.

• 70 percent recycled-content steel roofs
• Energy Star appliances
• Bamboo flooring
• Low-VOC finishes
• Structural insulated panels
• High-recovery electric water heater
• Dual-flush toilets
• Energy Star windows
• Water-saving fixtures
• Electric air-to-air heat exchanger

For more information visit Cottage in a Day’s website or call (231) 946-7741.

#3: BLU HOMES
Blu Homes

Blu Homes save 30 to 50 percent in energy and release half the carbon emissions of a typical home. The 600-square-foot, one-bedroom/one-bath Origin prefab costs around $90,000. The company uses a combination of modular and flat-pack technology to reduce shipping costs. “Our goal as a company has been to provide sustainable homes for ordinary Americans,” says Maura McCarthy, cofounder and vice president of business development.

• Efficient soy-polyurethane foam insulation
• Clerestory windows for passive solar and natural lighting
• Low-water toilets and low-flow fixtures
• 93 percent efficient forced hot air and cooling system
• Bamboo, cork or sustainable wood flooring
• Recycled rubber or metal roof tiles
• Energy Star appliances
• Cradle-to-Cradle-certified interior products
• Heat recovery coil in shower
• Paperstone or other eco-friendly countertops
• Energy Star windows
• Low/no-VOC laminate or wood cabinetry
• Home energy-management system
• CFL or LED lighting

For more information visit Blu Homes’ website or call (617) 517-6163.

Bookmark and Share Send Feedback | Permalink
A Handmade Life: In Search of Simplicity
by Katy Purviance on 02/23/10 @ 10:17:45 am
Categories: Books | 785 words | 777 views

I just learned about William Coperthwaite and his book, A Handmade Life: In Search of Simplicity

Winner of The Nautilus Award 2004 in Ecology/Environment, Honoring Distinguished Literary Contribution to Conscious Living and Positive Social Change.

If you believe in “learning by doing,” here is my personal recommendation for an important book to add to your Library. – Kiko Denzer

William Coperthwaite lives in one of the most beautiful houses I’ve ever stepped into – it also happens to be the only round house I’ve ever been in that really works. He has filled it with many wonderful things he has made, by hand, or books about things that others have made. Perhaps most surprisingly beautiful was the hand made scotch tape dispenser that sat on his writing desk. When I admired it, he said: “why must I have some large ugly plastic thing on my desk?” His book asks and answers similar questions about everything in our lives:

“Can you have ‘culture’ without violence?”

“Is beauty useful?”

“Are justice, democracy, and peace possible if most all of our technologies require violence?”

For the past 47 years, Coperthwaite has walked the same mile and a half trail from the road to his home – or has canoed the waterways to town. When he has to carry heavy stuff down the trail, he uses a hand-made wheelbarrow with a Chinese-inspired shoulder strap that makes the load almost effortless. Why don’t all wheelbarrows come with such straps!? He cooks and heats with wood, which he cuts by hand (he uses just a cord and a half a year). His most basic, useful, and important tools for daily living – his wooden house, bowls, and spoons – he made himself, by hand. Last winter he made brooms, several examples of which stand at the ready in various corners.

When someone gave me his book, I was at first suspicious. It was big, with large-format, glossy color photos of beautiful landscapes, tools, and buildings. But then I started to read, and found the thoughts, experiences, stories, and designs of a (now) 77 year old man who has spent the better part of his life working by hand and with others. He knows why he does it, and it was nourishing to find someone who could carefully and lovingly explain many things which I have felt, and known, but not often heard (much less said myself):

“The quality of a thing comes from the knowledge and beauty it carries more than from its expense.”

“The home is the center of education and emotional security, two of the essential elements of a healthy society. More and more, the functions of the home have been taken over by the school, but a school is no substitute for family, no matter how fine the instructors or expensive the equipment…. There is no foundation more crucial than the sensitive care of the young in building a sane society. What mental insolvency has overtaken us that we can allow the core of our culture to be so denigrated and weakened? What a failure of design!

He also gave me practical directions for the simplest shaving horse I’ve ever come across; a crook knife that I could make with nothing more than a hammer, a vise, a file, and a drill; and a “democratic axe” as well as numerous toys and games that have made handy games and/or lessons for both kids and adults.

Here is a wise voice to remind you that life is personal, intimate, beautiful and passionate; that the beauty of nature is, despite science, still miraculous; that the singing of the birds is more important than asking why they sing. So consider all the “stuff” you take for granted as “essential” to life: car, house, plumbing, wiring; glass, steel, and concrete; paper, ink, and printing. What would it be like to undertake the adventure of living in such a miraculously beautiful world with tools that are equally beautiful and miraculous?

William Coperthwaite is a Maine native who has spent much of his life researching folk-art and subsistence skills around the world. In addition to designing, adapting, and building hundreds of yurts, he has also helped to illuminate and inspire uncounted numbers of trained and untrained builders. He has a doctorate from the Harvard School of Education, and has taught in a variety of innovative settings. His Yurt Foundation promotes sensible and economical self-reliance through workshops, lectures, and publications. They publish a beautiful calendar that is available for $12 from The Yurt Foundation, Dickinson’s Reach, Machiasport, ME, 04655.

Peter Forbes is a long-time leader in the American land conservation movement, both through his work with the Trust for Public Land and his talks, writings, and photography.

Bookmark and Share Send Feedback | Permalink
Rocket Mass Heaters: Superefficient Woodstoves YOU Can Build
by Katy Purviance on 02/23/10 @ 10:11:38 am
Categories: Books | 356 words | 679 views

I just told you about the awesome people over at the Cob Cottage Company, their book The Hand-Sculpted House: A Practical and Philosophical Guide to Building a Cob Cottage: The Real Goods Solar Living Book, and their wookshops.

Here’s another book of theirs that I’m really excited about: Rocket Mass Heaters: Superefficient Woodstoves YOU Can Build

This book is the second edition to Rocket Stoves to Heat Cob Buildings published by Cob Cottage Company. Drawings, descriptions and photos are improved and added to. This time, they provide more clear instruction on the brick assembly, the part of building rocket stove that is all in the design, and mechanically somewhat baffling until you actually do it a few times. The case studies and color photos will get you thinking about the possibilities, and there are extended Troubleshooting and Question-and-Answer sections. The Glossary is still practically non-existent, testament to how simple this is.

From the Introduction, by Ianto Evans:

“Here is a superefficient wood fired heater you can build for yourself in a weekend for less than a hundred dollars. This book explains in detail exactly how to build one, then how to use it in a range of applications.

We discuss materials: where to find them, what to pay and how to make use of found and recycled parts. The section on fire and fuels is thorough but simple; we tried to keep away from numbers wherever possible.

There are success stories, case studies, references and where to find further information, all heavily illustrated. Home heating can be expensive both in capital equipment and in running costs. If we heat by gas, oil or electricity we are supporting a big corporation and impoverishing ourselves.

The new woodstoves are no longer craftsman-made locally. When we buy them, we are paying a distant corporation which sometimes ships them in from Europe. Wood for heating usually supports the local economy and it is completely renewable energy.

By building an extra efficient heating system you will be one more big step off the treadmill and your move to self-sufficiency and true wealth. Good luck with your stove!”

Buy it from Amazon

Bookmark and Share Send Feedback | Permalink
The Hand Sculpted House
by Katy Purviance on 02/23/10 @ 10:05:03 am
Categories: Books | 651 words | 782 views

THe only thing I’ve read so far of The Hand-Sculpted House: A Practical and Philosophical Guide to Building a Cob Cottage: The Real Goods Solar Living Book is the title and I’m already in love.

A Cob Cottage might be the ultimate expression of ecological design, a structure so attuned to its surroundings that the authors refer to it as “an ecstatic house.” They build a house the way others create a natural garden, using the oldest, most available materials earth, clay, sand, straw, and water and blending them to redefine the future (and past) of building. Cob (the word comes from an Old English root, meaning “lump") is a mixture of non-toxic, recyclable, and often free materials. Building with cob requires no forms, no cement, and no machinery of any kind. Builders sculpt their structures by hand.

Cob houses (or cottages, since they are usually efficiently small by American construction standards) are not only compatible with their surroundings, they ARE their surroundings, literally rising up from the earth. They are full of light, energy-efficient, and cozy, with curved walls and built-in, whimsical touches. They are delightful. They are ecstatic.

The Hand-Sculpted House is theoretical and philosophical but intensely practical as well. You will get all the how-to information to undertake a cob building project. As the modern world rediscovers the importance of living in sustainable harmony with the environment, this book is a bible of radical simplicity.

You won’t want to miss The Hand-Sculpted House:

* The definitive guide to Cob and Natural Building.
* Authors Ianto Evans, Michael Smith and Linda Smiley are top authorities in the field.
* 346 pages, 8 x 10, 8-page color section and almost 100 black and white photos, plus 230 drawings by Deanne Bednar. Source lists, bibliography, the only full glossary of Natural Building, seven appendices including Codes and Permits, Earthquakes, Research Needed and Training Opportunities.
* 10 chapters of step-by-step how to do it, 9 chapters of background, including design, siting, budgeting and site preparation.
* Explains how to make a durable, snug, fireproof, bugproof house with cob, a handmade composite of earth, sand, straw and water.

Join the hundreds of people who are already building their own earthen greenhouse, courtyard walls, sauna, oven, cottage or house with cob, the easiest and oldest hand-building system.

Oh my God! Oh my God! They even have WORKSHOPS!!!

Here is just one of MANY workshops on their site:

The $1,000 House! A Complete Cob 17 day Intensive
Start Date: Aug 8 2010
End Date: Aug 28 2010
Location: Coquille, OR
Cost: $1,680
Accommodations: Includes all meals, camping is available free of charge
Registration, Discounts and Related Information: http://www.cobcottage.com/registration
Instructors: Kirk Mobert and TBA
Description:

WANT TO BUILD A $1,000 HOUSE? We have done just that and can show you how. Back by popular demand, this is the most comprehensive cob course available in North America. In the past 15 years, we’ve taught almost 200 major cob courses. In this 17 day intensive, we’ll cover in depth all aspects of cob and the many techniques of building with cob including arches, details, shelving, furniture and earthen floors. In this expanded version of our most popular program ever, we’ll take the ground out from under your feet and turn it into a versatile medium to sculpt a whole house. In the first 4 days, you will learn Siting, Design and Foundations - the core essentials to any successful building. You will have a 2 day rest which you will need to ready yourself for a 9 day intensive in all aspects of building the cob structure. Another 2 day rest period, where the final 4 days you will learn about living roofs and the finishing techniques of plasters and earth floors. This is a workshop for those that want to be totally emersed in the project, with the physical stammina to endure 17 days of intense hands on education. You will leave confident enough to build a $1,000 house of your own! Space is limited to 20 people to allow personalized hands on instruction.

Bookmark and Share Send Feedback | Permalink
Geothermal Savings Calculator
by Katy Purviance on 02/23/10 @ 09:29:32 am
Categories: News | 38 words | 1195 views

I just added Climate Master to the Offical Resource List of Awesomeness.

They do residential and geothermal systems.

Here’s a calculator so that you can see how much money you’ll save when you design/build/convert to geothermal.

Bookmark and Share Send Feedback | Permalink
Kiko Denzer: Builder of Earth Ovens
by Katy Purviance on 02/21/10 @ 08:47:05 pm
Categories: News | 1438 words | 5407 views

I just learned about Kiko Denzer. He builds with earth. And his motto is “that what we learn to do, we learn by doing.” For those of you who know about my fascination with Nader Khalili, you can see why I had to learn more about Kiko.

Now, I’ll delight you with some images of Kiko’s work. Then, I’ll tell you more about his book and how to get it.

Earth Bench

Earth Oven

Making Pizza in ab Earth Oven

Earth Oven embedded in an Earth Wall

Kiko wrote the book Build Your Own Earth Oven: A Low-Cost Wood-Fired Mud Oven; Simple Sourdough Bread; Perfect Loaves.

Denzer, an artist and builder, creates beautiful wood-fired ovens using the most widely available building material: dirt. Some earth ovens are plain while others are formed into the shape of animals or human faces. Denzer offers an explanation of basic concepts such as material selection, oven location, and design and then guides readers through the construction of their own oven. Earth ovens could be produced most anywhere using Denzer’s instructions; he even shows how to build a weatherproof roof. A sourdough bread recipe is included. Appealing to a diverse audience of bakers, outdoor cooks, traditional crafts persons, and perhaps even homeschoolers looking for a project, this title should be part of most public library collections. - Review from Library Journal

This brand new, completely re-written edition features:

  • revised text: updated, expanded, and completely re-organized so as to simplify the making of
  • a super-insulated design that holds heat longer and burns less fuel; as well as
  • a simplified, 4-step recipe for making really good (wholegrain) sourdough bread - written by Hannah Field, a former professional baker who has worked in wood fired and organic bakeries on both sides of the Atlantic (also the author’s wife).
  • Also: a foreword by Alan Scott, grandfather of wood-fired ovens and artisan bread, co-author (with Dan Wing) of The Bread Builders, and an inspiration to many aspiring artisans;
  • an 8-page color gallery of beautiful ovens sculpted both by the author, as well as readers who wanted to share their work;
  • innovations and variations, like mobile ovens, super-efficient “rocket” ovens, hay-box cookers, and more.

You can find it for sale in the bookstore under Shelter/Building or at Amazon.

Build Your Own Earth Oven is a fully-illustrated handbook for making a simple, wood-fired, masonry-style oven. It provides clear, step-by-step instructions for building and firing the oven, as well as complete directions for making sourdough bread in the best (and simplest) artisan tradition.

Earth ovens are as simple as a southwestern horno or European bee-hive oven and every bit as effective as a fancy brick hearth or modern, steam-injected commercial oven. The dense, three-to-twelve inch thick earthen walls store the heat of the fire; after the hot coals are removed, the hot walls radiate a steady, intense heat for hours. The resulting steamy environment is essential for the crisp, flavorful crusts of true hearth loaves, and you can easily build it for less than the price of a couple of fancy dough-rising baskets!

If you like to cook outdoors, an earth oven can also transform fresh fruits, vegetables and herbs into delicious pies, pizzas, and other creations (one of my favorites is fresh vegetables, herbs, and potatoes drizzled with olive oil). Pizza cooks to perfection in three minutes, and you can even use the residual heat to dry your surplus garden produce, and incubate your home-made yogurt!

Building with earth is safe, easy, inexpensive, and extraordinarily effective. Good building soil is usually right under your feet! Many will find it in their back yards. Use it plain, or mixed with sand and straw. Build the simplest oven in a day! Adding a roof and foundation makes it permanent. The simple, round shape makes a beautiful garden sculpture, or can be sculpted into a fire-breathing dragon!

It is a project that appeals to bakers, builders, and beginners of all kinds: The serious or aspiring baker who wants the best lo-cost oven for their bread; Gardeners and outdoor cooks who want a centerpiece for a beautiful outdoor kitchen; People interested in creative uses of low-cost materials and simple technologies; and Teachers who want a multi-faceted, experiential learning experience for their students (the book has been successful with everyone from third-graders to adults).

Illustrated by the author with over a hundred drawings and photos, it includes color pictures of sculpted ovens and their builders, as well as further references on food, baking, and building.

A note from Kiko about the book:

The success of this book has been a (welcome!) surprise. Hand Print Press was launched with a fraternal, good-faith cash loan and 2,500 copies of a book about mud ovens. I thought I might be able to make some interesting sculpture with the books, if nothing else. 20,000 copies and about ten years later, Artisan bread is a multi-billion dollar industry, and sales of “artisanal” bread are growing four times faster than the business as a whole, and almost 20 times faster than white bread.*
*Source: www.nytimes.com, market research from Mintel Consumer Intelligence

I suppose in itself that isn’t so surprising. Specialty foods are a pretty safe bet, if you’re a betting kind of person and looking for faddish things to bet on. What has surprised me is the reception the book has gotten from all kinds of folks. Maybe it’s just a fluke of marketing and good fortune. Maybe it’s just the crest of the fad. Maybe (just maybe), it’s a confirmation of the basic precept of this little press: that what we learn to do, we learn by doing. And what can shopping teach us except debt and dissatisfaction? Man lives not by shopping alone. Nor does woman. Nor do we learn anything essential by it.

Home-made bread, on the other hand, is a basic (and tasty) antidote to buying. OK, that makes sense. And mud is simple and cheap and makes a good oven. OK. But it still doesn’t explain the kind of pride and pleasure evident in the notes and letters I’ve gotten from happy oven builders.

When I wrote it, I was mostly concerned about offering a way to make a good, cheap oven; the “art” was just sprinkled in because I’m a sculptor. But now I wonder? Maybe people want “artisan” bread because a good loaf, like good art, is unique and individual; an event that becomes a part of you.

Perhaps the ovens are real art that anyone can make; perhaps the bread is real food that anyone can make; perhaps, together, they are an antidote to the slavery of consumption, the endless earning of dollars to buy stuff we don’t need to satisfy desires we can’t name, understand, or control.

Perhaps artisan bread means more than just “complexity of flavors,” but also a complexity of relationships: In a traditional artisan economy, different artisans each made something essential to all the others. Their trade was true trade, not just an exchange of dollars, but an intimate interweaving of life and fortune. For example:

“Bernard Clavel, a French writer whose father was a baker, wrote that the bakeshop was on the way to local saltworks, and that his mother would open up at five in the morning so that the salters could buy bread on their way to work. His father sold bread to the wine-growers, some of whom gave a cask a wine in exchange, and to the wood-cutter (huge eight-pound loaves), who in return would deliver the wood needed to fire the bread-oven. When the baker ran out of salt, he would drive up to the saltworks to pick up a sack, paid for - in bread.” [see Clavel’s introduction to The Book of Bread, by Jerome Assire, Flammarion, 1996, Cited in Cooking with Fire in Public Spaces, Friends of Dufferin Grove Park.]

Obviously, we no longer live in such a society, but as much as people hunger for good bread, they also hunger for the kind and quality of relationship that produces good bread. I’m not saying a mud oven is any kind of answer, but it is extraordinary how the simple act of making an oven can give people a confidence in their own ability to participate in and enrich their own lives.

Since that first printing, Earth Ovens have been seen in Country Garden Magazine, Mother Earth News, The Chicago Tribune, the UK’s Petit Propos Culinaire and Permaculture Magazine, among others. I’ve heard from mainstream, weekend gardeners to “simple living,” back-to-the-land, “fringe"dwellers, Peace-Corps volunteers, to do-it-yourselfers, third-graders, graduating seniors, and other artists of all ages!

I am grateful, and curious to see what happens next.

– Kiko Denzer

Read Kiko’s blog and buy his book.

Bookmark and Share Send Feedback | Permalink
musgum earth architecture is so sexy
by Katy Purviance on 02/21/10 @ 05:05:23 pm
Categories: Articles, I love this building | 518 words | 1751 views

I just read this in designboom. It’s pretty awesome.

(It’s not just you; they really don’t capitalize the first letter of any sentence.)

designboom has dedicated a large amount of time to learn more about clay - one of the earliest natural building materials in history of men. our intent is to promote earth also as a building material of the future. it represents an excellent alternative to cement whose manufacture releases considerable quantities of CO2. individual housing units and small apartment buildings can easily be built from earth in every part of the world.

however, concrete remains an essential material for high-rise construction. the research effort should be therefore two-pronged: tailoring earth to the needs of modern construction and making concrete ‘greener’.

in this first article of a series, which we will publish in the upcoming weeks, we’ll examine a few ancient building techniques.

the musgum, an ethnic group in far north province in cameroon, created their homes from compressed sun-dried mud. the tall conical dwellings, in the shape of a shell (artillery), featured geometric raised patterns.

musgum clay houses in cameroon

what strikes at first sight is their almost organic simplicity, a second reading reveals the functions behind the forms. the walls of the houses are thicker at the base than at the summit, which increases the stability of the building.

detail

a characteristic settlement form is the compound, a cluster of units linked by walls

the domed huts of the musgum people are built in shaped mud, a variant of cob. cob building is the most widely used technique in the world, since no tools are needed - hands, earth and water are enough.

construction

the name of these houses (’cases obos’) comes from their similarity with the profile of shells. it is very close to the catenary arch, the ideal mathematical form to bear a maximum weight with minimal material. this profile also reduces the pressure effect of the impact of water drops on the walls. furthermore, the extraordinary height (up to 9 meters) of these houses provides a comfort climate during hot days. the top of the house is pierced with a circular opening, allowing the air to circulate, resulting in the sensation of freshness.

today, these buildings have become somewhat obsolete, with only a few groups still practicing this ‘cases obos’ type of construction.

it is customary to lay the mud spirally in lifts of approximately half a metre, allowing each lift to dry before adding the next.

drawing of a musgum dwelling

cross section of a musgum dwelling

... in the shape of a shell

curves and grooves are the language of natural forms.

the musgum house follows the profile of shells - the arc of a chain.

bows and vaults obtained in this way can be very slim and allow the use of a minimum of material for maximum rigidity. the arc adopting the inverted profile (figure below) will only work in compression and does not produces parasitic twisting or bending moments.

maintenance of a musgum

the decorative surface allows for further refinement and individualization. the veins are also contributing to the drainage of rain. the musgum houses require regular maintenance of the coating and the veins allow people to climb atop the building.

historic images

historic images

the construction technique of musgum clay houses is currently also mentioned in the exhibition ‘ma terre premiere pour construire demain’. it explores how and why we should build with earth. on show at the cité des science et de l’industrie, paris until june 10th, 2010.

Bookmark and Share Send Feedback | Permalink
Who Licenses the Licensors?
by Katy Purviance on 02/21/10 @ 03:17:50 pm
Categories: Articles | 892 words | 2570 views

I was just reading this article by Perry Marshall about how the American Education system turns people into obedient drones to service a planned economy. That’s the short version. If you want the long version, you should read everything by John Taylor Gatto. You should read the works of John Holt, too, while you’re at it.

Something about what Perry Marshall wrote made me think of the licensing process for becoming, technically, legally, an “architect.”

Lee Milteer, who is a professional speaker and coach, was asked to speak at a conference of certified professional trainers. When she told them she charges $250 per hour for her personal coaching services, they were outraged. “You have no right to charge $250 per hour! Certified Professional Trainers are only supposed to charge $85 per hour. And you’re not even certified!”

Lee replied “Who says I have to be certified? And who says what I should be able to charge? And who certified the people who are handing out the certifications?”
That really made them mad.

Most people don’t realize that they’re living in an artificially constructed world in which the only reason others have power over them is that they allow them to have the power. Most of the people who certify you are actually your competitors. It’s their job to impede your progress. Stop giving them permission.

You do not wait for someone else to tell you it’s OK to be an expert, or innovate, or claim a title, or dispense advise. You just do it – and you let the laws of supply and demand take care of the rest.

If you have this idea in your head that you need to wait for someone’s permission, you need to re-examine your assumptions, and the education that formed those assumptions.

You can find this in a 15-page PDF, downloadable here.

If you’re not ar architect, or an architecture student, here is what you currently must do in order to legally call yourself an architect:

Architects must be licensed before they can practice architecture as or call themselves an architect.

There are four main steps to becoming an architect.

Education
In most states, to become licensed, candidates must earn a professional degree in architecture from one of the more than 100 schools of architecture that have degree programs accredited by the National Architectural Accrediting Board (NAAB). However, each state architectural registration board sets its own standards, so graduation from a non-accredited program may meet the educational requirement for licensing in a few states.

Three types of professional degrees in architecture are available:

Bachelor of Architecture: Accredited degree programs awarding the B. Arch. degree must require a minimum of 150 semester credit hours, or the quarter-hour equivalent, in academic coursework in professional studies and electives.

Master of Architecture: Accredited degree programs awarding the M. Arch. degree must require a minimum of 168 semester credit hours, or the quarter-hour 10 equivalent, of which 30 semester credit hours, or the quarter-hour equivalent, must be at the graduate level, in academic coursework in professional studies and electives.

Doctor of Architecture: Accredited degree programs awarding the D. Arch. degree must require either an undergraduate baccalaureate degree or a minimum of 120 undergraduate semester credit hours, or the undergraduate-level quarterhour equivalent, and a minimum of 90 graduate-level semester credit hours, or the graduate-level quarter-hour equivalent, in academic coursework in professional studies and electives.

Internship
Most state architectural registration boards require architecture graduates to complete an internship in order to become licensed. The Intern Development Program (IDP) is a comprehensive training program created to ensure that interns in the architecture profession gain the knowledge and skills required for the independent practice of architecture.

Most new graduates complete their training period by working as interns at architectural firms. Interns in architectural firms may assist in the design of one part of a project, help prepare architectural documents or drawings, build models, or prepare construction drawings on CADD. Interns also may research building codes and materials or write specifications for building materials, installation criteria, the quality of finishes, and other related details.

Examination
All 54 U.S. jurisdictions require the completion of the Architect Registration Examination (ARE). The examination is broken into seven divisions consisting of multiple choice and graphical questions. The eligibility period for completion of all divisions of the exam varies by state.

Licensure
All jurisdictions require individuals to be licensed (registered) before they may call themselves architects and contract to provide architectural services. During the time between graduation and becoming licensed, architecture school graduates generally work in the field under the supervision of a licensed architect who takes legal responsibility for all work. Licensing requirements include a professional degree in architecture, a period of practical training or internship, and passing the ARE. You must contact your registration board to find out their requirements and complete the licensure process.

Before 1897, no legal definition of “architect,” nor any legal requirements concerning the use of the title or the provision of architectural services, existed. In that year, however, Illinois became the first state to adopt an architectural licensing law. It would take more than 50 years for all of the states to follow suit and adopt licensing laws. Today the AIA works in conjunction with the National Council of Architectural Registration Boards (NCARB) to develop and recommend standards regulating the practice of architecture.

Read more about the history of the AIA

Bookmark and Share Send Feedback | Permalink
I love Sarah Susanka
by Katy Purviance on 02/18/10 @ 10:57:07 pm
Categories: Architects | 144 words | 309 views

I just read an excerpt of Sarah Susanka’s “Not So Big Remodeling.”

Natural Home Magazine (dot com) got permission to reprint it on their website. I did not. Not that I tried. So I’ll give you a paragraph and send you over there to read the rest.

I’ve spent the last 10 years traveling the country, describing to eager audiences the attributes and benefits of a Not So Big House—one that’s about a third smaller than you thought you needed but that’s filled with the personalized details that give it that feeling of “home.” Not So Big emphasizes quality over quantity and is designed to fit the way we really live. Everywhere I go, people sit in rapt attention as they come to the startlingly simple realization that a house doesn’t have to be bigger to be better.

The rest…

Bookmark and Share Send Feedback | Permalink
Edible Landscaping
by Katy Purviance on 02/18/10 @ 10:47:33 pm
Categories: Articles, Books | 1289 words | 1431 views

You’ve probably heard of Fritz Haeg’s Edible Estates.

Here’s more info from Carol Venolia on making your edible estate extra awesome.

Beautiful Enough to Eat: Edible Landscaping

If the sun shines on your outdoor space—whether a tiny balcony or a large yard—you can have an edible landscape.

If I told you that one activity could make you healthier, improve the quality of your food, conserve fossil fuels, strengthen your community, increase biodiversity, help children understand that food does grow on trees, and restore your sense of connection with the natural world, would you be interested? I have two words: edible landscaping.

Edible landscaping means using attractive, food-producing plants in a well-designed garden, rather than using solely ornamental plants or planting food crops in utilitarian layouts. An edible landscape can be created in any style, and it can incorporate a mix of edible and ornamental plants.

The standard American “lawn, shrubs and shade tree” yard may provide a certain visual satisfaction, but it does virtually nothing to feed people or to provide a habitat for other critters. By contrast, an edible landscape offers fresh, affordable food, a variety of blooming plants, ever-changing seasonal surroundings, plus provides a home and sustenance for bees, butterflies and birds.

An ancient idea

Ancient Persian gardens celebrated plants’ edible and ornamental virtues. Medieval monasteries supported a rich array of vegetables, flowers, fruits and medicinal herbs and, until the 19th century, suburban English yards combined edible and decorative elements.

But as agriculture developed, food production became a working-class practice. In Edible Estates, Fritz Haeg writes that purely ornamental landscapes came to symbolize wealth and nobility, while food plants were relegated to unseen areas. “To grow food plants around your house 150 years ago implied that you didn’t have the means to pay someone to do it for you,” says Charlie Nardozzi, senior horticulturist for the National Gardening Association.

In the early 1970s, the nascent environmental movement—combined with a fuel crisis and a surge of interest in self-sufficiency—gave rise to a new interest in growing food at home. With the help of Rodale Press, an organic gardening movement began to gain traction. In the 1980s, two seminal books on edible landscaping—Rosalind Creasy’s The Complete Book of Edible Landscaping and Robert Kourik’s Designing and Maintaining Your Edible Landscape Naturally—launched a new trend. Today, kitchen gardens are seeing a renaissance. Within that, edible landscaping is tapping deep roots. “The whole atmosphere around edible landscaping is different now,” Creasy says. “There’s tremendous momentum.”

Why we love edibles

Whether to save money or provide better-quality food for their families, Americans are more interested than ever in growing their own food, Creasy says. “People want to reduce their carbon footprint, get unhooked from industrial farming and eat food that didn’t travel 1,500 miles to the table. And they value vegetables now, which wasn’t always the case.”

At the same time, we have more varieties of attractive edible plants available than ever before. “Twenty years ago, you couldn’t obtain heirloom plants unless you were a member of the Seed Savers Exchange,” Creasy says. “Now we have heirloom apples, tomatoes, melons—varieties that the public is realizing they’ve been denied for decades.” Inspired by this surge of interest, Creasy is thoroughly revising Edible Landscaping for re-release this spring.

Newer and unusual fruits and vegetables allow you to choose plants specifically suited to your site and needs, Nardozzi says. “Some of the variety comes from breeding, some from heirloom seeds, and some by the introduction of species from other continents,” he says. He’s intrigued by newly available dwarf fruit trees that let you “fit a lot of stuff in a small yard.”

In any gardening endeavor, it’s good to start small. Half-barrels make perfect starter containers for edible landscaping, Creasy says. Nardozzi recommends making small changes to standard lawns over time. You can replace sections of the lawn with an edible groundcover such as strawberries; plant a fruit or nut tree where you might have planted a standard shade tree; grow a climbing grape instead of an unproductive vine; or place a berry, currant or hazelnut bush where an inedible shrub once stood.

Design rules

Design is what separates edible landscaping from normal vegetable gardening (a fine thing in itself). “If I just put vegetables in rows,” Creasy says, “my eye goes down the row and out—like driving down the highway. But if I take that same plot, open up a space in the middle for a special plant, curve all the paths around the center like a rainbow, maybe put a bench at the back with a trellis over it for runner beans and some morning glories, and add a few flowers, that is now much more than a vegetable garden—it’s an ornamental edible landscape. It’s going to please your eye and draw you out into the yard, not just to harvest but to experience the garden.”

Design tips

An edible landscape should incorporate traditional landscape design values:

• Create primary and secondary focal points.

• Use plantings and hardscaping (such as paths and patios) to define spaces for various uses and experiences.

• Work consciously with color, texture and seasons of blooming and fruiting when choosing your garden’s palette.

• Pay attention to how you lead the eye from one part of the garden to another.

• Except for featured specimen plants, create groupings of plants to avoid a busy, random appearance.

• Explore the aesthetic potential of plants: Grow vines on arbors; create edible landscape walls with vines and shrubs; espalier fruit trees; use containers as accents; grow decorative borders of edibles.

• Make plants do double duty by shading your house in summer and admitting sunshine in winter, reducing your home’s energy use.

Fit for a queen: sources of inspiration

In 2009, the Queen of England had an organic edible landscape installed at Buckingham Palace. Laid out in concentric circles with a bean tipi in the center, the garden includes heirloom species of beans, lettuce, tomatoes and other edibles.

Creasy has created a large edible landscape garden at Powell Gardens in Kansas City, Missouri. Hers is part of the new 12-acre Heartland Harvest Garden, the nation’s largest edible landscape. Creasy also recommends visiting “one of the best established edible landscapes” in this country at the Chicago Botanic Garden.

For more inspiration, explore Village Homes, a development in Davis, California, where edibles play an integral role in landscape design. Check out Fritz Haeg’s Edible Estates program, in which he transforms lawns all over the country into productive environments.

Small but fruitful

The Ohio State University Extension offers the following tips for getting the most produce from a small space.

■ Put herb pots on the patio.

■ Include cherry tomatoes in a window box or hanging basket.

■ Build a grape arbor.

■ Grow nasturtiums, violas, borage or calendula to use in salads.

■ Plant a fruit tree in the corner of your yard.

■ Grow Red Jewel cabbage.

■ Plant colorful peppers such as Lipstick or Habanero alongside flowers.

■ Tuck lettuce, radishes or other short-lived greens into a flower bed.

■ Replace a barberry hedge with gooseberries.

■ Plant basil with coleus in a planter.

■ Try attractive yellow or “rainbow” chard.

■ Grow chives around the mailbox.

■ Train raspberries up your fence.

Resources

Further Reading:
Edible Estates: Attack on the Front Lawn by Fritz Haeg et al.

Edible Landscaping: Now You Can Have Your Gorgeous Garden and Eat it Too by Rosalind Creasy

Gaia’s Garden: A Guide to Home-Scale Permaculture by Toby Hemenway

Landscaping with Fruit: Strawberry ground covers, blueberry hedges, grape arbors, and 39 other luscious fruits to make your yard an edible paradise by Lee Reich

Landscaping with Fruits and Vegetables by Fred Hagy

Bookmark and Share Send Feedback | Permalink
Grow Your Own Food
by Katy Purviance on 02/18/10 @ 10:35:06 pm
Categories: Articles | 581 words | 1156 views

I’ve talked about growing your own food here before, and while I know that it isn’t strictly related to architecture, I also believe that a lot of my preferences about architecture – namely, that it be vernacular, economical, environmentally-awesome, and DIY – relate very much to my ideas about food.

So here’s an article by Roger Doiron that I just read about a couple who grows all their own food. They decided to weight all of their produce so that they could precisely figure out how much they were saving every year by growing their own food.

(Hint: It’s a LOT)

Here’s the article:

When the Going Gets Tough, Grow Your Own Food

Michelle Obama’s White House kitchen garden got everyone talking about the health and culinary benefits of growing your own food. This Maine family proves its economic value.

Last year, my wife, Jacqueline, proposed that in addition to crunching on our own homegrown produce, we also crunch the numbers to see how much money our garden saves us. This sounded about as appealing as a heaping plate of overcooked broccoli. In addition to raising three busy boys, managing two careers, volunteering and growing most of our own produce, she wanted us to weigh and record every item from our garden and spend leisurely winter evenings doing garden math? Jacqueline, a former economics major and a native French speaker, answered with a simple “oui.” The project began.

We filled our log book with dates and figures, starting with our first salad greens in late April and ending in mid-February with the final cutting of Belgian endive, forced from roots in our basement. We grew 35 crops: 834 pounds and nearly 10 months’ worth of organic food. We calculated what it would have cost us to buy the same items using three sets of prices: conventional grocery store ($2,196.50), farmer’s market ($2,431.15) and Whole Foods ($2,548.93).

Our costs? We spent $130 for seeds and supplies, $12 for a soil test, $40 for water and $100 for locally made organic compost—a return on investment of 762 percent.

What you need to know

1. Size your garden according to your goals and the amount of time you plan to invest in it.

Certain crops are more profitable and space-efficient than others. A small garden planted primarily with salad greens and trellised tomatoes, for example, will produce more economic value per square foot than one planted with potatoes and squash. Start small with the crops you enjoy the most and scale up as you succeed.

2. Location matters.

Kitchen gardens do best in areas that drain well and receive full sun (at least six hours). Be sure the location is convenient for you. The easier it is for you to get into your garden, the more produce you’re likely to get out of it.

3. In cool climates, extend the growing season with cold frames, hoophouses and mini greenhouses.

Our small cold frame made from scrap materials lets us begin harvesting greens a full month before most gardeners in my area have set foot in their gardens.

4. Don’t try to plant all at once; put in crops over a number of weeks.

If you plant an entire packet of beans in a few long rows in early June, you’ll have a bumper crop in late July, but what about August and September? Planting shorter rows early and often ensures a steady supply. It’s less important to spread out the planting of root vegetables, which are likely to go into long-term storage.

Source

Bookmark and Share Send Feedback | Permalink
How much do you hate rendering?
by Katy Purviance on 02/17/10 @ 10:34:00 pm
Categories: Observations, Events | 329 words | 991 views

I just read a review from National Building Museum about an exhibit on early renderings of New England homes.

It was an interesting article until I got to this section…and then I kinda wanted to scream. Or at least throw up a little:

Not until well into the nineteenth century did the majority of American architects, especially in New England, begin frequently to intrude upon the domain of the artist, to project three-dimensional views, or anticipatory presentation perspectives, that became a standard part of their graphic repertory. Furthering their new stature as artists, architects used perspective views as visual aids to their sales pitch. As Benjamin Linfoot put it in 1884, the “architect . . . must keep his client’s enthusiasm alive and active by sending or submitting bright, jaunty little perspectives of his contemplated work.”

Some architects are gifted enough to do their own presentations, which are of course useless as instructions to the builder but useful to persuade the client to build, or—published in the new professional journals—to show off their skills to their peers, but early on there appeared men called “perspectivists” or “renderers,” who specialized in such eye-catching drawings. These renderers existed either in-house, on the staff of one architect, or were itinerant, traveling from office to office, even city to city, to rent their pencils or brushes to any who wanted them. By late in the nineteenth century such views of intended or realized buildings came to exist independently of the construction process. This gave priority to their artistic rather than their utilitarian value. They were exhibited at galleries, museums, and clubs, and published in journals and books, with the drafter’s intention of reaching beyond a specific client to a wider audience.

Oh, Benjamin Linfoot in 1884, if only you knew how this story played out. If only you knew how much time would be spent on making pretty pictures. That’s time taken away from actually designing. And sleep. Boo.

Read the whole thing.

Bookmark and Share Send Feedback | Permalink
100 Women Studied Under Frank Lloyd Wright
by Katy Purviance on 02/17/10 @ 10:21:56 pm
Categories: Architects | 1059 words | 990 views

I just read this interview over at National Building Museum about the women architects who became “footnotes and endnotes” in the history of Taliesin West.

The Making of A Girl is a Fellow Here
Interview with Beverly Willis

What role did women play in the studios of legendary architect Frank Lloyd Wright? According to archival research done by the Beverly Willis Architecture Foundation (BWAF), about 100 women architects and designers worked with Wright as fellows and architects. The short documentary “A Girl is Fellow Here”: 100 Women Architects in the Studio of Frank Lloyd Wright focuses on six of these. Scholars claim that the film, produced by BWAF, “will forever change the way we see Wright.” The following is an interview with the film’s writer-director, Beverly Willis.

National Building Museum (NBM): Beverly, let’s first talk about the genesis of the film. How did the idea originate?
Beverly Willis:
The foundation’s goal is to expand historical knowledge and cultural recognition of women’s contributions to architecture. The foundation funds both public programs and scholarly research that focus on the women practitioners who have helped shape the American built environment. Producing films is, however, not typical of the foundation’s activities. But in this case, BWAF was presented at once with a great opportunity to sponsor a museum program and quite a challenge: The challenge was the dearth of information about women architects associated with Frank Lloyd Wright.

NBM Question: How does the BWAF put together a museum program?
Willis:
The foundation’s typical approach to public museum programs is to find scholars, and ask them to make a presentation including images that can create a panel discussion. In this case, it was not possible. Despite the ton of material by and about Wright, we could not find Wright scholars to populate a panel to discuss the women architects in Wrights’ studio.

NBM: Were you already familiar with Wright—his work, scholarship?
Willis:
Not really — but tucked in the back of my mind was this letter of reference written by Wright for Isabel Roberts, [which is preserved] in the national AIA archives in Washington, D.C.. I did know that historians called Isabel Roberts “Wright’s bookkeeper.” To me, it was so strange—knowing the existence of that letter and how it contradicted what was written in all the Wright history descriptions.

NBM: So you wondered why the history books referred to this woman as a bookkeeper, yet Wright wrote a letter recommending her as an architect? What did you do next?
Willis:
I started reading books by the most prominent FLW scholars and found very few references to women architects or apprentices. I did find occasional names of women whose work was relegated to footnotes and endnotes.

NBM: What did you find next?
Willis:
The Frank Lloyd Wright Foundation sent me the Taliesin Fellowship list from its inception in 1932 to Wright’s death in 1959. I counted up the names of women then added up the fellows and staffers who worked with Wright prior to the 1932 fellowship. I was stunned—it totaled 100 women.

NBM: And how did you decide as an architect—not as a historian—based on the research, to structure the film?
Willis:
I collected sentences from the endnotes and footnotes located in books written by prominent historians and found that this material could create a short narrative. I then located personal information about the women, some from obituaries, and merged personal information with images of their architecture found mostly in the women’s own archives. I wanted to know what these women did after their training with Wright, and if their architecture in their own firms had been influenced by him, and if so, how?

NBM: From these pieces of research, how did the narrative structure fall into place?
Willis:
I decided on two phases of Wright’s career: 1895-1910 and 1932-1959. Phase one started when Wright first opened his own office in 1895. Marion Mahony joined him shortly afterwards. The office grew to about seven staffers—two of which were women—Mahony and Isabel Roberts. While the number of men varied from time to time, the two women stayed on until the office closed in 1910. Mahony and Roberts actually closed the office for Wright by finishing up his work. At the same time, Mahony was also designing her own commissions.

The second phase began in 1932 with the opening fellowship, which was initially populated with 20-25% women members. I then selected four women architects in addition to Mahony and Roberts whose designs I admired and where archival material about their buildings was available.

NBM: Where are the archives located? What was the response?
Willis:
The images and oral histories primarily came from the Frank Lloyd Wright Foundation archive at Taliesin West, the International Archive of Women in Architecture at Virginia Tech, the archive of the American Institute of Architects, and from individual collections, articles, corporate documents, and university libraries across the U.S.—all were very responsive and helpful.

NBM: Do you think you’ve covered everything? Or is there more research to be done?
Willis:
This represents just the tip of the iceberg. Yes, there is a lot more research to be done. For example, the other 94 women—but there are thousands of women architects across the country whose history is lost. We have more than 1500 women in BWAF’s on-line database called the Dynamic National Archive, which is accessed through our web site: http://www.bwaf.org/dna/

NBM: Let’s talk for a moment about your own distinguished career in architecture—you are an architect, and now an accidental historian. Is this a typical evolution?
Willis:
I passionately believe that unless we recover the lost histories of the 20th century, including my own, designers and women architects will continue to be footnotes and endnotes to history. In my 59 years of practice, I have watched this happen. No matter the recognition and accolades received while alive, women architects’ histories are like chalk writing on the black board followed by an eraser.

NBM: It sounds like you’ve discovered some significant disconnects between secondary writings and primary sources?
Willis:
Yes, these disconnects are actually what inspires the work of the foundation. The task of the BWAF is to see that women be put front and center, not relegated to the footnotes, within the narrative of architectural history.

Bookmark and Share Send Feedback | Permalink
LEED points? Fooey!
by Katy Purviance on 02/04/10 @ 03:23:05 pm
Categories: Articles | 624 words | 2328 views

Whenever I come across an article about the LEED rating system, I roll my eyes.

Same with SAT scores, GPA’s, and class rank lists.

When the pursuit of points trumps pursuit of knowledge, you can bet that someone’s priorities are out of order.

I’m a firm believer in learning and applying the principles behind “green” or “sustainable” design, but I’m pretty suspicious of a fill-in-the-blanks approach to sustainability, especially when the list of “acceptable” point items magically changes every few years. The principles behind true green design are as old as the hills, and don’t change according to committee consensus.

And I certainly don’t need a certificate to show off to visitors.

Here’s the article:

I first heard about LEED certification years ago from my husband, John, who works for the Environmental Protection Agency (EPA) and sends lots of environmental information my way. Most Natural Home readers know that LEED certification was developed by the nonprofit U.S. Green Building Council (USGBC). Levels of certification reflect the number of points earned for building a home using methods and materials that increase its energy efficiency and decrease its use of natural resources and toxic materials. The guidelines describe many ways homebuilders can earn points, such as careful planning and management of construction, using environmentally preferable products and protecting indoor environmental quality. The total number earned determines if a home is LEED certified (45-49), Silver (60-74), Gold (75-89), or Platinum (90-136).

When John and I started talking about building a home, we knew we would aim for the highest LEED level. We wanted to co-create our home with our architect and builder, united by the LEED checklist as we made decisions about the house’s structure, building process and materials. That way we’d know we are doing the best we can to minimize our impact within our budget and square footage parameters. We’d have third party verification and documentation that the construction process is optimal for our health, and the health of our organic farm, as we build a durable and efficient house.

We encountered challenges such as local zoning regulations that do not allow use of graywater recycling or composting toilets. We discovered that Forest Stewardship Council-certified wood is not available locally and would have to be shipped from the Northwest (so we’re not using it). We have a creative team that is aiming high with us and expertly completing the extra documentation and work that is required for LEED certification.

I was surprised by the thickness of the LEED guidebook members of our team brought to the table, and by some discussions, such as the reasons concrete siding is valued over local quarried stone (we’re using some of both). Our rural farmhouse is not on a previously developed site and won’t be accessible to mass transit, so we can’t earn those points.

Visitors won’t see the wider spacing of wall studs that reduce the amount of wood use for framing, or the spray-foam insulation that is super-effective. They might not notice quiet and efficient Panasonic Green Whisper light/fans in the bathrooms. They won’t know that materials from construction are recycled (at no extra cost to our builders) or that Jason, our project manager, posted signs to educate workers about our geothermal system, rainwater harvesting and passive solar floor. They will see very efficient mats to clean their shoes at the doorways and places to store them inside entryways to protect interior air quality.

Our Independent Green Rater Carl Seville recently conducted the pre-drywall inspection, scrutinizing the insulation, joints in geothermal ducts and places where wires and hoses penetrate the shell of the house. He confirmed that we are on track for LEED Platinum certification.

Source

Bookmark and Share Send Feedback | Permalink
Harvesting Rainwater Like the Cool Kids Do
by Katy Purviance on 01/21/10 @ 02:42:49 pm
Categories: Articles | 501 words | 802 views

I just read this article in Natural Home Magazine (dot com) by Rebecca Selove about harvesting rainwater.

I know this has become kinda trendy over the past few years what with everybody suddenly caring about the environment and everything. What I don’t get is why this once-common practice went away for so long. And why (and how!) people became disconnected from the most basic idea of survival: collect and protect the water.

Here’s the article:

Our home is a rainwater harvesting tool. The roof was designed to capture 1200 gallons of water each time it rains an inch. The LEED rating system gives us four points for doing this, which is a pretty big pat on the back for reducing our dependence on the municipal water system. Our county’s building codes do not allow us to use that valuable rainwater for washing clothes or flushing our toilet, which we wanted to do. It will go to good use, nonetheless, for irrigating vegetables and blueberry bushes, and for hydrating a few cows and maybe some sheep.

We don’t yet know where we will store the water. We’d hoped to find a bargain of a water tank a little town had outgrown, maybe a quaint round metal tower surrounded beautiful wood. That hasn’t happened yet, so we are looking at polyurethane, concrete and metal cisterns, either above or below ground.

I believe that rainwater harvesting is good, and I also think that most cisterns are not very attractive. I think that we will use more resources if we dig a hole in the ground big enough to hold a 1700-gallon tank, which is what we have been told is our minimum, rather than plopping a 5 foot high green plastic tub beside our screened porch. As with many aspects of building a sustainable home, our decisions are affected by facts and our feelings.

We have gotten information about local contractors from our friend Gwen Griffith, Program Director of the Cumberland River Compact, and from Ronnie Barron, our local County Extension Agent. He has also provided some useful facts, such as these:

• It takes approximately 27,000 gallons of water to supply 1 inch of irrigation to 1 acre. Most commercial vegetable growers try to supply at least 1 inch per acre per seven to 10 days.

• Growing calves will consume about 5-15 gallons of water per day (depending on their size).

In evaluating our options, we are asking where and how the cistern is made, how durable will it be and what impact installation will have in the short- and long-term. Whether we bury it on a gravel bed or stand it above ground on a concrete pad, we’ll be using heavy equipment and hauling resources from off-site. It seems to me that over and over again we put our values on either side of a giant scale, weigh our options, and hope our final decision satisfies us for a long, long time.

I wonder how the facts will affect my perception of what is attractive.

Bookmark and Share Send Feedback | Permalink
"architecturally unique homes" depends on your definition of "unique"
by Katy Purviance on 01/21/10 @ 02:02:24 pm
Categories: Observations, I love this building | 132 words | 374 views

So I’m cleaning out my backpack for my trip to Washington tomorrow, and I came across this ad I had torn out of a magazine who knows how long ago.

It’s an ad for USAarchitecture.com. They “specialize in connecting buyers and sellers of architecturally unique homes.”

Let’s have a look, shall we?

Oh…actually, there’s nothing on that site that’s really that interesting.

All the houses are in Arizona. Don’t get me wrong. I love Arizona. It’s just that…well, how can you call yourself “USA” architecture if you only represent one state?

Another disappointment: Nothing really looked that “architecturally unique.” Especially since all of these homes have the same look to them. In fact, instead of “architecturally unique,” I would put these houses in the “post-post-modernism” (neo-ugly?) category.

Quelle dommage.

Bookmark and Share Send Feedback | Permalink
In the Name of Good Architecture
by Katy Purviance on 01/20/10 @ 01:39:01 pm
Categories: News | 10 words | 352 views

Have you seen this facebook group yet?

You should join.

Bookmark and Share Send Feedback | Permalink
What kind of appliances do you put in your energy-efficient home?
by Katy Purviance on 01/20/10 @ 01:35:55 pm
Categories: Green Design, Articles | 472 words | 371 views

I just read this article over at Natural Home Magazine (dot com) by Rebecca Selove called “Buying Appliances for a LEED-Certified Home

The only kitchen appliance we brought from our old home is the microwave oven. We’d hoped to find someone in a department store who was knowledgeable and motivated to put together an energy-efficient appliance package with a price tag we liked. We found that while some salespeople knew where to look for the yellow Energy Guide tags that list the kilowatt hours used by an appliance in a year, most wanted to focus on which was the least expensive or the “most popular” version of something, such as refrigerators with French doors.

We found helpful information on the Internet about the Energy Star rating program the EPA implemented in 1992. The Energy Star program encourages manufacturers to voluntarily create appliances with reduced water and energy use, and now consumers like us can compare appliances on these factors. In addition to energy efficiency, we had to consider the way our architect designed our kitchen, our budget and what was available in local stores. My husband also checked out consumer ratings of appliances, which, combined with Energy Star ratings, helped us generate a list of our top choices.

Through our builders we met Matt at the local Cenwood Appliance store. He was savvy about energy efficiency and taught us more about cooktops than I knew existed. I’ve never lived where a cooktop was separate from the oven. I learned about fixed and telescopic downdrafts and induction cook tops (not worth their cost to us). I also learned that energy efficiency in a cooktop is due in part to a good match in size of the burner and size of the bottom of the pan it heats. I came home and measured the bottoms of my favorite pans and learned that the largest are 9 inches in diameter. This meant we didn’t want a cook top with a 12-inch burner.

We left our first meeting with Matt feeling pretty good about our decisions, but with a question still on the table about the oven. I had used a convection oven in a cohousing comunity where we used to live, and appreciated its ability to help me get dinner ready on time even when I started late. The Energy Star convection oven cost about $200 more than a standard oven, and from the American Council on Energy Efficiency, a nonprofit organization that provides education and advocacy related to energy efficiency, I learned that the convection oven is generally 20 percent more efficient than the conventional oven. We settled on a GE Profile 30-inch downdraft electric cook top and a GE 30-inch single oven with convection.

You really want some energy efficient appliances?

How about this yogurt maker?

Or this off-the-grid freezer?

Or this grain grinder?

Bookmark and Share Send Feedback | Permalink
Look at this beautiful light-filled kitchen
by Katy Purviance on 01/20/10 @ 01:24:11 pm
Categories: I love this building | 190 words | 316 views

Light filled kitchen

This is the ressult of a kitchen makeover, and Natural Home Magazine wants to know what YOU want madeover in your house!

Do you have a trouble spot in your home that could use a makeover? We can help! Beginning with our next issue, Natural Home will feature a new “Quick Fix” department, offering green design advice for your home’s problem spots. With a little help from our feng shui expert, you can turn that ugly corner into a space you’ll never want to leave.

To submit your space to Quick Fix, e-mail jkellner [at] ogdenpubs [dot] com

I started thinking, what renovations would I want in our place? Hmmm…

  • More closet space with natural lighting
  • A large operable window in the bathroom so that we can have natural light and ventialtion instead of a nasty little “vent”
  • Tiny little white hexagon tiles in the bathroom
  • Large Mexican tiles in the kitchen
  • Wide plank hardwood floors in the living room
  • Tons of skylights

Also I’d like to renovate the exterior. The exterior being smog-choked traffic-congested Los Angeles. But maybe that’s too big of a job for Natural Home?

Bookmark and Share Send Feedback | Permalink
This house looks like a big cord of wood
by Katy Purviance on 01/20/10 @ 01:12:02 pm
Categories: I love this building | 40 words | 927 views

Oh my goodness. Look at this house by Piet Hein Eek.

Wood House

It’s a log house on wheels as study for music-entertainer Hans Liberg in The Netherlands. How jealous are you right now?

See more photos! You’ll be glad you did.

Bookmark and Share Send Feedback | Permalink
2010 Predictions: Green Building Trends
by Katy Purviance on 01/19/10 @ 11:40:34 pm
Categories: Observations | 461 words | 460 views

The editor over at Natural Home Magazine, Robyn Griggs Lawrence, has some green building predictions for 2010.

Here’s her Top Three:

Green Building Trend 1: Modular will be the new straw bale.
At the turn of the century, straw bale was a popular dream-house material. (People purchased a lot of books and magazines about straw bale homes and built a decent number of straw bale homes.) Now, prefab homes are the rage—and unlike straw bale, they’re pretty easy to build. Prefab home manufacturers have popped up across the country, and they’re building affordable, stylish, environmentally friendly homes. Clayton Homes’ iHouse, backed by billionaire investor Warren Buffet, provides 723 hip-looking square feet, complete with solar panels, tankless water heaters and bamboo floors. Start dreaming.

Um. Maybe. Probably. But you know what would be totally awesome? If new straw bale construction could be the new straw bale. I mean, have you ever experienced how…good it feels inside of a straw bale home versus how…eh *shrug* it feels inside of even a top-of-the-line modular home. As far as I’m concerned, there’s no comparison.

Green Building Trend 2: Green remodeling will hang tough in a tough economy.
This year homeowners will capitalize on 2009’s buzz about energy efficiency. Green remodels will be good business in 2010 as the Obama Administration continues to promote energy efficiency and clean energy. Now, more than ever, it pays for taxpayers to improve their homes’ energy efficiency. Market research firm SBI predicts the U.S. home energy renovation market will grow about 15 percent per year until it reaches $35 billion in 2013. Energy-efficient remodeling and renovating is a bright spot in the still-struggling construction business, SBI says.

I hope so. But I wonder what, if any, government incentive programs will be put into place so that the huddled masses yearning to breathe free can get some love.

Green Building Trend 3: We’ll see a lot more “green” building products, and we’ll need to ask more questions.
NextGen Research predicts that the global market for green building materials will grow 5 percent per year until it reaches $571 billion in 2013. That growth will trigger innovations in green building technology—and some who just want to get in on the gold rush. On the upside, green products will look and perform better, and designers’ creativity won’t be limited by finite resources. But buyer beware: It pays to investigate a company’s green claims before investing. Third-party certification will also take on more importance in the coming year.

Dude, I totally agree here. When I went to GreenBuild 2008 in Boston, I saw so much greenwashing it’d make your head spin. I was like, “All you did was add the word “green” to your off-gassing petroleum product! Bastards!”

Want more predictions? You know you do.

Source

Bookmark and Share Send Feedback | Permalink
Okay, I'm going to say it. This addition looks like a parasite
by Katy Purviance on 01/19/10 @ 11:24:13 pm
Categories: Observations | 102 words | 388 views

Parasite Addition

I really like the way the house used to look:

Original House

…but I guess the family grew out of it.

In the mid-1990s, Damon and Claudia Smith purchased a two-level, three-bedroom house, built in the 1920s, and restored it to liveable condition to make it their home. Over the next decade, they expanded the family to include three children and two dogs and in 2006, decided it was time for thir house to grow, too.

With the help of Seattle–based firm Shed Architects, the Smiths added a master suite–and got a covered outdoor dining space along with it.

Watch the slideshow.

Source

Bookmark and Share Send Feedback | Permalink
Architecture Addiction Bookstore
by Katy Purviance on 01/17/10 @ 08:16:48 pm
Categories: Books | 16 words | 1330 views

I made a lot of awesome updates to the Official Architecture Addiction Bookstore.

Check it out!

Bookmark and Share Send Feedback | Permalink
African Safari
by Katy Purviance on 01/17/10 @ 08:15:40 pm
Categories: I love this building | 15 words | 353 views

I want to go on safari here at Zarafa.

Just because I love the building.

Bookmark and Share Send Feedback | Permalink
OMG, I just had a moment.
by Katy Purviance on 01/13/10 @ 12:56:06 pm
Categories: I love this building | 14 words | 399 views

My sister asked me to build this for her.

Tree house

How can I say no?

Bookmark and Share Send Feedback | Permalink
Carbon-negative building material that lasts 700-800 years...is ILLEGAL to harvest in the US
by Katy Purviance on 01/13/10 @ 12:52:00 pm
Categories: Green Design, Articles | 394 words | 725 views

I just read about this incredible material. You can use it to make a different kind of concrete.

A concrete that is resistant resistant to mold, mildew

A concrete that is resistant to fire and insects

A kind of concrete that absorbs carbon, making it carbon-negative

And it’s made out of hemp. Which is illegal to produce in the US. Which means that it has to be imported. Which means that it costs more than it should.

DUMB!!!!

If I were president, I would make it legal to grow hemp. I would also make marijuana legal. Just as legal as a cigarette. And I would tax it. And, with ALL THE MONEY that that tax would generate, I would repeal the income tax.

You’re welcome.

Okay, here’s the article, so that you can be enlightened and outraged (aren’t they the same thing?) just as I am:

Last April I wrote about innovations in hemp as a building material. At the time of that blog post, researchers were developing ways to use hemp as a building block for zero-carbon homes. Because cultivating hemp is illegal in the U.S., all of that research was conducted overseas.

Hemp concrete production

Hemp production hasn’t been legalized since then, but hemp has moved into the U.S. building industry. Two homes in Asheville, North Carolina, are being built using a hemp material called Tradical Hemcrete. The product, sold by Asheville-based Hemp Technologies, mixes four parts ground-up hemp stalks with one part water and one part lime to create durable, resilient walls that European researchers have found can last up to 700 or 800 years.

In addition to durability, hemp concrete walls provide many benefits. They’re resistant to mold, mildew, fire and insects, and the lime absorbs carbon, making the walls carbon-negative.

Check out a close-up of a Hemcrete wall with an electrical box. Photo Courtesy Nauhaus.

Because the materials have to be imported, hemp concrete is more expensive than traditional building materials. Despite this, it’s possible to save money in other aspects of building when using hemp. Hemp construction uses less lumber for framing, and because it’s all-purpose, hemp concrete can be your sheetrock, insulation and moisture barrier all in one. Hemp concrete walls are also energy-efficient, saving homeowners on their energy bills each month.

We think this is a promising material, and we’d like to see more of it. What do you think?

Source

I think hells yeah, that’s what I think!

Bookmark and Share Send Feedback | Permalink
Travel and Volunteer with World-Wide Opportunities on Organic Farms
by Katy Purviance on 01/07/10 @ 11:29:50 am
Categories: Field Trips | 126 words | 489 views

Ever dream of harvesting grapes in Italy, baking bread in France, or tending sheep in Australia?

An international network called World-Wide Opportunities on Organic Farms (WWOOF) helps travelers arrange free room and board on an organic farm in exchange for five or six hours of (mostly manual) work a day.

The WWOOF program links volunteer workers with farmers in about fifty countries throughout Europe, Africa, North and South America, and Asia. The goal is to promote organic farm subsistence and give workers farm experience while allowing them to visit a foreign country on a budget.

Volunteers might pull brambles, milk cows, build fences, and sow or harvest crops. In return for their toil, they gain insight into rural life and help farmers pursue a sustainable lifestyle.

Bookmark and Share Send Feedback | Permalink
Building Global Villages: Volunteer and Travel With Builders Without Borders
by Katy Purviance on 01/07/10 @ 11:28:16 am
Categories: Field Trips, Vernacular | 248 words | 618 views

I just read about Builders Without Builders and it stired both my nomadism and my desire to build something with my hands instead of with AutoCAD. I had to tell you about it.

Builders Without Borders (BWB) is an international network of ecological builders who create affordable housing from local materials. These hands-on humanitarians believe the solution for homelessness lies in training local populations to provide housing for themselves. A nonprofit organization, BWB has accomplished impressive feats since its 1999 inception under the leadership of author and teacher Joseph Kennedy, architect Alfred von Bachmayr, video producer and author Catherine Wanek, and other natural builders.

BWB has undertaken the following projects:

Laguna Pueblo, New Mexico: Partnered with the National Indian Youth Leadership Project to build a straw bale hogan.

Ciudad Juarez, New Mexico: Earth-plaster workshop; volunteers built a straw bale house for a family who lost their home in a fire, using wooden shipping pallets as roof trusses.

El Paso, Texas: Straw bale wall-raising at the Tierra Madre development.

Northern China: Donated teaching materials to the Adventist Development and Relief Agency for a straw bale housing project.

Ethiopia: Donated teaching materials to Voluntary Services Overseas for a straw research project.

Future projects:

Afghanistan: Train Afghanis in natural building techniques.

Gallup, New Mexico: Develop a coalition of housing organizations to address Navajo reservation housing shortages.

Wadi Na’am, Israel: Provide technical support for the construction of a straw bale medical clinic to serve Israel’s Bedouin population.

Learn more…Get Involved

Bookmark and Share Send Feedback | Permalink
2 kids + furniture/loft = the childhood I never had
by Katy Purviance on 01/06/10 @ 10:30:14 pm
Categories: I love this building | 90 words | 1766 views

Check out the big boxy piece of furniture that takes up most of these kids’ room:

If only I could be 4 again.

It looks like it’s just about the coolest thing ever. Take a look at the full slideshow on dwell.com. Inspect all of the little nooks and crannies that Eva and Jean can use to play Pirate Ship, or Airplane, or Castle, or Fort, or Cave…

Adult Invasion!

This reminds me of a fantasy I like to entertain. I want to build a place like Chuck E Cheese. But for adults. And minus the automatron rodent.

A room of one's own.

Bookmark and Share Send Feedback | Permalink
I love this bathrooom
by Katy Purviance on 01/06/10 @ 10:22:35 pm
Categories: I love this building | 130 words | 676 views

I just saw this sexy bathroom on dwell.com. I love how the bathtub faucet is in the shelf.

I want to take a bath here.,/center>

When Pamela Butz and Jeffrey Klug, principals of Butz + Klug Architecture, began renovating the master bathroom of a nearly 120-year-old home in Brookline, Massachusetts, they made “all sorts of horrible discoveries,” Klug recalls. The floors were completely rotted, the structural elements had been compromised by previous plumbing jobs, and prior remodels had left the room in pieces. The toilet, sink, and shower were in one room, the tub was in another, and the two spaces, which also served as the guest bathroom, created traffic between the living room and master bedroom.

And then look at the other side where the sink and toilet are:

Look at how easy it would be to clean the floor!

It’s all so peaceful and streamlined…
Bookmark and Share Send Feedback | Permalink
It's like a greenhouse for growing your Vitamin D
by Katy Purviance on 01/03/10 @ 10:01:25 pm
Categories: I love this building | 381 words | 1188 views

I just came across this home modification – It’s the winner of the refurbishment competition “Don’t Move, Improve” on Mapledene Road in Hackney, London by Platform 5.

Hackney House extension

London-based architects Platform 5 have been awarded the first prize in the refurbishment competition “Don’t Move, Improve” for their extension to a Victorian terraced house in Hackney, London.

The competition, held by New London Architecture (NLA), was open to architects and homeowners who had completed extensions in Britain’s capital in the past five years. The NLA galleries are having all 32 shortlisted and winning designs on display until the end of January.

Hackney House extension

Here is how Platform 5 describe their scheme:

Mapledene Road is situated in a conservation area in Hackney. The property had been stripped of virtually all its period features and had become run down and used as a “crack den” leaving it ripe for modernization.

Refurbishment was conceived of as a landscape of interventions and new components. The cellular ground floor was opened up and extended to the rear to allow the spaces to flow into each other and to the garden whilst the existing layout to the first floor was largely retained. Each room maintains an individual character giving a varied experience as you move through the house.

The kitchen and patio areas are unified by a power-floated concrete floor and London stock brick garden wall giving the internal space an external character. The existing flank wall has been removed and the kitchen is applied as a lining to the rough brickwork. A modern structural glass oriel window lined with cherry wood projects into the garden and juxtaposes with the Victorian bay that projects into the street. The expansive glass roof over the kitchen opens up the view to the sky, you can watch the planes fly over and the swifts catching flies.

Daylight is brought in from above to illuminate previously dark spaces, the walls, floors, roof, glazing and appliances have been upgraded to modern standards for insulation and efficiency. Overheating and glare in the kitchen is managed by shading from the surrounding buildings and trees, high thermal mass and the use of solar-control glass and blinds.

Mapledene Road has also been shortlisted for an RIBA Award, Grand Designs Award and Architect’s Journal Small Projects Award 2009.

Source. And more photos.

Bookmark and Share Send Feedback | Permalink


Categories
our sponsors
Other Blogs I Like
GSD Blogs:
Ben in Paris
A Large Lumpy Rock
Wayfinding with Waxman
Other Blogs:
Saved By Design
Jetson Green
Core 77
Archinect
Rammed Earth is for Everyone
Raw Design Build
Lloyd Kahn's blog
Ouno
Form Follows You Home
Burning Down the House - Radio Architecture
Unhappy Hipsters
Design Vote
Talkitect
Truly Minimal Plan
Archives
2010
 << Current>>
Jan Feb Mar Apr
May Jun Jul Aug
Sep Oct Nov Dec
Search

Search

Me on Burning Down the House
The VERB School
August 18 2010

GO HOME!
October 20 2010

Licensure in the USA
November 17 2010

Become One of Us...Subscribe to Architecture Addiction
Donate
Give the gift of an architecture book to Architecture Addiction
Radio Architecture
Listen live to Burning Down the House, Wednesdays 4PT/7ET
Or download the podcasts from iTunes
Blowfish
 

our sponsors
Get Yourself Notified...
unSchool of Architecture is coming.

Enter your email address below to be notified.

Your Email Address:

After you click Sumbit, you'll simply come right back to this page. Be assured that your email address has indeed gone through. (I've had a few people enter their email address multiple times.)

Architecture School Survey
Contact
Hi. My name is Katy. I like it when you write to me and tell me about the cool stuff you're doing in architecture. Yes, I write back.* I may publish your letter and my reply on the blog. If you don't want me to do that, you can just ask that I withhold your name, or if you're really serious about keeping your letter a secret, you can ask me to just not publish it at all. Of course I'll still write back to you. * I hope you'll take this opportunity to share your thoughts with our worldwide audience.

[Fields marked (*) are required]

Subject:

Your Name:*

Your Email Address:*

Your Question or Suggestion:*

After you click Submit, you'll come right back to the blog!

* Unless you spam me.

Created by Contact Form Generator

places where you could probably learn more about designing and building in just a few days than I did after a year of grad school

Know of some others I can add here? Let me know. Have you already visited some of these places...or planning on it? Let me know and I will feature your story and your photos here!

I am starting a new kind of architecture school. Unlike most architecture schools, you wouldn't have to submit GRE scores or good grades or letters of recommendation. You wouldn't have to put the rest of your life on hold for 3 to 5 years. You wouldn't have to accrue tens of thousands of dollars in debt. At my architecture school, anyone could come for a few weeks and learn how to build a house with their own two hands. My teachers would take skills and concepts from some of these other workshops I've listed above... except classes would be held year-round to make it easy to fit into your schedule. I would have a number of different campuses around the country that would teach building designs appropriate to the local climate. And I need your help. Can you donate land for a campus? Can you dotate books for a library? Can you teach a workshop? Can you provide start-up capital? Let me know.

suggested reading/bookstore

Need more? Visit our bookstore

where is everybody?
Locations of visitors to this page

Who's Online Now?

  • Guest Users: 3
random quote generator

Give me another

our sponsors