I’m going to go right into the slides. And all I’m going to try and prove to you with these slides is that I do just very straight stuff. And my ideas are — in my head, anyway — they’re very logical and relate to what’s going on and problem solving for clients. I either convince clients at the end that I solve their problems, or I really do solve their problems, because usually they seem to like it. Let me go right into the slides. Can you turn off the light? Down. I like to be in the dark. I don’t want you to see what I’m doing up here. (Laughter) Anyway, I did this house in Santa Monica, and it got a lot of notoriety. In fact, it appeared in a porno comic book, which is the slide on the right. (Laughter) This is in Venice. I just show it because I want you to know I’m concerned about context.

On the left-hand side, I had the context of those little houses, and I tried to build a building that fit into that context. When people take pictures of these buildings out of that context they look really weird, and my premise is that they make a lot more sense when they’re photographed or seen in that space. And then, once I deal with the context, I then try to make a place that’s comfortable and private and fairly serene, as I hope you’ll find that slide on the right. And then I did a law school for Loyola in downtown L.A.

I was concerned about making a place for the study of law. And we continue to work with this client. The building on the right at the top is now under construction. The garage on the right — the gray structure — will be torn down, finally, and several small classrooms will be placed along this avenue that we’ve created, this campus. And it all related to the clients and the students from the very first meeting saying they felt denied a place. They wanted a sense of place. And so the whole idea here was to create that kind of space in downtown, in a neighborhood that was difficult to fit into. And it was my theory, or my point of view, that one didn’t upstage the neighborhood — one made accommodations. I tried to be inclusive, to include the buildings in the neighborhood, whether they were buildings I liked or not. In the ’60s I started working with paper furniture and made a bunch of stuff that was very successful in Bloomingdale’s. We even made flooring, walls and everything, out of cardboard.

And the success of it threw me for a loop. I couldn’t deal with the success of furniture — I wasn’t secure enough as an architect — and so I closed it all up and made furniture that nobody would like. (Laughter) So, nobody would like this. And it was in this, preliminary to these pieces of furniture, that Ricky and I worked on furniture by the slice. And after we failed, I just kept failing. (Laughter) The piece on the left — and that ultimately led to the piece on the right — happened when the kid that was working on this took one of those long strings of stuff and folded it up to put it in the wastebasket. And I put a piece of tape around it, as you see there, and realized you could sit on it, and it had a lot of resilience and strength and so on. So, it was an accidental discovery. I got into fish. (Laughter) I mean, the story I tell is that I got mad at postmodernism — at po-mo — and said that fish were 500 million years earlier than man, and if you’re going to go back, we might as well go back to the beginning.

And so I started making these funny things. And they started to have a life of their own and got bigger — as the one glass at the Walker. And then, I sliced off the head and the tail and everything and tried to translate what I was learning about the form of the fish and the movement. And a lot of my architectural ideas that came from it — accidental, again — it was an intuitive kind of thing, and I just kept going with it, and made this proposal for a building, which was only a proposal. I did this building in Japan. I was taken out to dinner after the contract for this little restaurant was signed. And I love sake and Kobe and all that stuff. And after I got — I was really drunk — I was asked to do some sketches on napkins.

(Laughter) And I made some sketches on napkins — little boxes and Morandi-like things that I used to do. And the client said, “Why no fish?” And so I made a drawing with a fish, and I left Japan. Three weeks later, I received a complete set of drawings saying we’d won the competition. (Laughter) Now, it’s hard to do. It’s hard to translate a fish form, because they’re so beautiful — perfect — into a building or object like this. And Oldenburg, who I work with a little once in a while, told me I couldn’t do it, and so that made it even more exciting. But he was right — I couldn’t do the tail. I started to get the head OK, but the tail I couldn’t do. It was pretty hard. The thing on the right is a snake form, a ziggurat. And I put them together, and you walk between them. It was a dialog with the context again. Now, if you saw a picture of this as it was published in Architectural Record — they didn’t show the context, so you would think, “God, what a pushy guy this is.” But a friend of mine spent four hours wandering around here looking for this restaurant.

Couldn’t find it. So … (Laughter) As for craft and technology and all those things that you’ve all been talking about, I was thrown for a complete loop. This was built in six months. The way we sent drawings to Japan: we used the magic computer in Michigan that does carved models, and we used to make foam models, which that thing scanned. We made the drawings of the fish and the scales. And when I got there, everything was perfect — except the tail. So, I decided to cut off the head and the tail. And I made the object on the left for my show at the Walker. And it’s one of the nicest pieces I’ve ever made, I think. And then Jay Chiat, a friend and client, asked me to do his headquarters building in L.A. For reasons we don’t want to talk about, it got delayed. Toxic waste, I guess, is the key clue to that one. And so we built a temporary building — I’m getting good at temporary — and we put a conference room in that’s a fish. And, finally, Jay dragged me to my hometown, Toronto, Canada. And there is a story — it’s a real story — about my grandmother buying a carp on Thursday, bringing it home, putting it in the bathtub when I was a kid.

I played with it in the evening. When I went to sleep, the next day it wasn’t there. And the next night, we had gefilte fish. (Laughter) And so I set up this interior for Jay’s offices and I made a pedestal for a sculpture. And he didn’t buy a sculpture, so I made one. I went around Toronto and found a bathtub like my grandmother’s, and I put the fish in. It was a joke. (Laughter) I play with funny people like [Claes] Oldenburg. We’ve been friends for a long time. And we’ve started to work on things. A few years ago, we did a performance piece in Venice, Italy, called “Il Corso del Coltello” — the Swiss Army knife. And most of the imagery is — (Laughter) Claes’, but those two little boys are my sons, and they were Claes’ assistants in the play. He was the Swiss Army knife. He was a souvenir salesman who always wanted to be a painter, and I was Frankie P.

Toronto. P for Palladio. Dressed up like the AT&T building by Claes — (Laughter) with a fish hat. The highlight of the performance was at the end. This beautiful object, the Swiss Army knife, which I get credit for participating in. And I can tell you — it’s totally an Oldenburg. I had nothing to do with it. The only thing I did was, I made it possible for them to turn those blades so you could sail this thing in the canal, because I love sailing. (Laughter) We made it into a sailing craft. I’ve been known to mess with things like chain link fencing. I do it because it’s a curious thing in the culture, when things are made in such great quantities, absorbed in such great quantities, and there’s so much denial about them. People hate it. And I’m fascinated with that, which, like the paper furniture — it’s one of those materials.

And I’m always drawn to that. And so I did a lot of dirty things with chain link, which nobody will forgive me for. But Claes made homage to it in the Loyola Law School. And that chain link is really expensive. It’s in perspective and everything. And then we did a camp together for children with cancer. And you can see, we started making a building together. Of course, the milk can is his. But we were trying to collide our ideas, to put objects next to each other.

Like a Morandi — like the little bottles — composing them like a still life. And it seemed to work as a way to put he and I together. Then Jay Chiat asked me to do this building on this funny lot in Venice, and I started with this three-piece thing, and you entered in the middle. And Jay asked me what I was going to do with the piece in the middle. And he pushed that. And one day I had a — oh, well, the other way. I had the binoculars from Claes, and I put them there, and I could never get rid of them after that. Oldenburg made the binoculars incredible when he sent me the first model of the real proposal. It made my building look sick. And it was this interaction between that kind of, up-the-ante stuff that became pretty interesting. It led to the building on the left. And I still think the Time magazine picture will be of the binoculars, you know, leaving out the — what the hell.

I use a lot of metal in my work, and I have a hard time connecting with the craft. The whole thing about my house, the whole use of rough carpentry and everything, was the frustration with the crafts available. I said, “If I can’t get the craft that I want, I’ll use the craft I can get.” There were plenty of models for that, in Rauschenberg and Jasper Johns, and many artists who were making beautiful art and sculpture with junk materials. I went into the metal because it was a way of building a building that was a sculpture. And it was all of one material, and the metal could go on the roof as well as the walls. The metalworkers, for the most part, do ducts behind the ceilings and stuff.

I was given an opportunity to design an exhibit for the metalworkers’ unions of America and Canada in Washington, and I did it on the condition that they become my partners in the future and help me with all future metal buildings, etc. etc. And it’s working very well to have these people, these craftsmen, interested in it. I just tell the stories. It’s a way of connecting, at least, with some of those people that are so important to the realization of architecture. The metal continued into a building — Herman Miller, in Sacramento. And it’s just a complex of factory buildings. And Herman Miller has this philosophy of having a place — a people place.

I mean, it’s kind of a trite thing to say, but it is real that they wanted to have a central place where the cafeteria would be, where the people would come and where the people working would interact. So it’s out in the middle of nowhere, and you approach it. It’s copper and galvanize. I used the galvanize and copper in a very light gauge, so it would buckle. I spent a lot of time undoing Richard Meier’s aesthetic. Everybody’s trying to get the panels perfect, and I always try to get them sloppy and fuzzy. And they end up looking like stone. This is the central area. There’s a ramp. And that little dome in there is a building by Stanley Tigerman. Stanley was instrumental in my getting this job. And when I was awarded the contract I, at the very beginning, asked the client if they would let Stanley do a cameo piece with me. Because these were ideas that we were talking about, building things next to each other, making — it’s all about [a] metaphor for a city, maybe. And so Stanley did the little dome thing.

And we did it over the phone and by fax. He would send me a fax and show me something. He’d made a building with a dome and he had a little tower. I told him, “No, no, that’s too ongepotchket. I don’t want the tower.” So he came back with a simpler building, but he put some funny details on it, and he moved it closer to my building. And so I decided to put him in a depression. I put him in a hole and made a kind of a hole that he sits in. And so then he put two bridges — this all happened on the fax, going back and forth over a couple of weeks’ period.

And he put these two bridges with pink guardrails on it. And so then I put this big billboard behind it. And I call it, “David and Goliath.” And that’s my cafeteria. In Boston, we had that old building on the left. It was a very prominent building off the freeway, and we added a floor and cleaned it up and fixed it up and used the kind of — I thought — the language of the neighborhood, which had these cornices, projecting cornices.

Mine got a little exuberant, but I used lead copper, which is a beautiful material, and it turns green in 100 years. Instead of, like, copper in 10 or 15. We redid the side of the building and re-proportioned the windows so it sort of fit into the space. And it surprised both Boston and myself that we got it approved, because they have very strict kind of design guideline, and they wouldn’t normally think I would fit them. The detailing was very careful with the lead copper and making panels and fitting it tightly into the fabric of the existing building. In Barcelona, on Las Ramblas for some film festival, I did the Hollywood sign going and coming, made a building out of it, and they built it. I flew in one night and took this picture. But they made it a third smaller than my model without telling me.

And then more metal and some chain link in Santa Monica — a little shopping center. And this is a laser laboratory at the University of Iowa, in which the fish comes back as an abstraction in the back. It’s the support labs, which, by some coincidence, required no windows. And the shape fit perfectly. I just joined the points. In the curved part there’s all the mechanical equipment. That solid wall behind it is a pipe chase — a pipe canyon — and so it was an opportunity that I seized, because I didn’t have to have any protruding ducts or vents or things in this form.

It gave me an opportunity to make a sculpture out of it. This is a small house somewhere. They’ve been building it so long I don’t remember where it is. It’s in the West Valley. And we started with the stream and built the house along the stream — dammed it up to make a lake. These are the models. The reality, with the lake — the workmanship is pretty bad. And it reminded me why I play defensively in things like my house. When you have to do something really cheaply, it’s hard to get perfect corners and stuff. That big metal thing is a passage, and in it is — you go downstairs into the living room and then down into the bedroom, which is on the right. It’s kind of like a whole built town. I was asked to do a hospital for schizophrenic adolescents at Yale. I thought it was fitting for me to be doing that. This is a house next to a Philip Johnson house in Minnesota. The owners had a dilemma — they asked Philip to do it.

He was too busy. He didn’t recommend me, by the way. (Laughter) We ended up having to make it a sculpture, because the dilemma was, how do you build a building that doesn’t look like the language? Is it going to look like this beautiful estate is sub-divided? Etc. etc. You’ve got the idea. And so we finally ended up making it. These people are art collectors. And we finally made it so it appears very sculptural from the main house and all the windows are on the other side. And the building is very sculptural as you walk around it. It’s made of metal and the brown stuff is Fin-Ply — it’s that formed lumber from Finland. We used it at Loyola on the chapel, and it didn’t work. I keep trying to make it work. In this case we learned how to detail it.

In Cleveland, there’s Burnham Mall, on the left. It’s never been finished. Going out to the lake, you can see all those new buildings we built. And we had the opportunity to build a building on this site. There’s a railroad track. This is the city hall over here somewhere, and the courthouse. And the centerline of the mall goes out. Burnham had designed a railroad station that was never built, and so we followed. Sohio is on the axis here, and we followed the axis, and they’re two kind of goalposts. And this is our building, which is a corporate headquarters for an insurance company.

We collaborated with Oldenburg and put the newspaper on top, folded. The health club is fastened to the garage with a C-clamp, for Cleveland. (Laughter) You drive down. So it’s about a 10-story C-clamp. And all this stuff at the bottom is a museum, and an idea for a very fancy automobile entry. This owner has a pet peeve about bad automobile entries. And this would be a hotel. So, the centerline of this thing — we’d preserve it, and it would start to work with the scale of the new buildings by Pelli and Kohn Pederson Fox, etc., that are underway.

It’s hard to do high-rise. I feel much more comfortable down here. This is a piece of property in Brentwood. And a long time ago, about ’82 or something, after my house — I designed a house for myself that would be a village of several pavilions around a courtyard — and the owner of this lot worked for me and built that actual model on the left. And she came back, I guess wealthier or something — something happened — and asked me to design a house for her on this site. And following that basic idea of the village, we changed it as we got into it. I locked the house into the site by cutting the back end — here you see on the photographs of the site — slicing into it and putting all the bathrooms and dressing rooms like a retaining wall, creating a lower level zone for the master bedroom, which I designed like a kind of a barge, looking like a boat.

And that’s it, built. The dome was a request from the client. She wanted a dome somewhere in the house. She didn’t care where. When you sleep in this bedroom, I hope — I mean, I haven’t slept in it yet. I’ve offered to marry her so I could sleep there, but she said I didn’t have to do that. But when you’re in that room, you feel like you’re on a kind of barge on some kind of lake. And it’s very private. The landscape is being built around to create a private garden. And then up above there’s a garden on this side of the living room, and one on the other side. These aren’t focused very well. I don’t know how to do it from here. Focus the one on the right.

It’s up there. Left — it’s my right. Anyway, you enter into a garden with a beautiful grove of trees. That’s the living room. Servants’ quarters. A guest bedroom, which has this dome with marble on it. And then you enter into the living room and then so on. This is the bedroom. You come down from this level along the stairway, and you enter the bedroom here, going into the lake. And the bed is back in this space, with windows looking out onto the lake. These Stonehenge things were designed to give foreground and to create a greater depth in this shallow lot. The material is lead copper, like in the building in Boston. And so it was an intent to make this small piece of land — it’s 100 by 250 — into a kind of an estate by separating these areas and making the living room and dining room into this pavilion with a high space in it.

And this happened by accident that I got this right on axis with the dining room table. It looks like I got a Baldessari painting for free. But the idea is, the windows are all placed so you see pieces of the house outside. Eventually this will be screened — these trees will come up — and it will be very private. And you feel like you’re in your own kind of village. This is for Michael Eisner — Disney. We’re doing some work for him. And this is in Anaheim, California, and it’s a freeway building. You go under this bridge at about 65 miles an hour, and there’s another bridge here. And you’re through this room in a split second, and the building will sort of reflect that. On the backside, it’s much more humane — entrance, dining hall, etc. And then this thing here — I’m hoping as you drive by you’ll hear the picket fence effect of the sound hitting it. Kind of a fun thing to do.

I’m doing a building in Switzerland, Basel, which is an office building for a furniture company. And we struggled with the image. These are the early studies, but they have to sell furniture to normal people, so if I did the building and it was too fancy, then people might say, “Well, the furniture looks OK in his thing, but no, it ain’t going to look good in my normal building.” So we’ve made a kind of pragmatic slab in the second phase here, and we’ve taken the conference facilities and made a villa out of them so that the communal space is very sculptural and separate. And you’re looking at it from the offices and you create a kind of interaction between these pieces.

This is in Paris, along the Seine. Palais des Sports, the Gare de Lyon over here. The Minister of Finance — the guy that moved from the Louvre — goes in here. There’s a new library across the river. And back in here, in this already treed park, we’re doing a very dense building called the American Center, which has a theater, apartments, dance school, an art museum, restaurants and all kinds of — it’s a very dense program — bookstores, etc. In a very tight, small — this is the ground level. And the French have this extraordinary way of screwing things up by taking a beautiful site and cutting the corner off. They call it the plan coupe. And I struggled with that thing — how to get around the corner. These are the models for it. I showed you the other model, the one — this is the way I organized myself so I could make the drawing — so I understood the problem.

I was trying to get around this plan coupe — how do you do it? Apartments, etc. And these are the kind of study models we did. And the one on the left is pretty awful. You can see why I was ready to commit suicide when this one was built. But out of it came finally this resolution, where the elevator piece worked frontally to this, parallel to this street, and also parallel to here. And then this kind of twist, with this balcony and the skirt, kind of like a ballerina lifting her skirt to let you into the foyer. The restaurants here — the apartments and the theater, etc.

So it would all be built in stone, in French limestone, except for this metal piece. And it faces into a park. And the idea was to make this express the energy of this. On the side facing the street it’s much more normal, except I slipped a few mansards down, so that coming on the point, these housing units made a gesture to the corner.

And this will be some kind of high-tech billboard. If any of you guys have any ideas for it, please contact me. I don’t know what to do. Jay Chiat is a glutton for punishment, and he hired me to do a house for him in the Hamptons. And it’s got a fish. And I keep thinking, “This is going to be the last fish.” It’s like a drug addict. I say, “I’m not going to do it anymore — I don’t want to do it anymore — I’m not going to do it.” And then I do it. (Laughter) There it is. But it’s the living room. And this piece here is — I don’t know what it is. I just added it so that we’d have enough money in the budget so we could take something out.

(Applause) This is Euro Disney, and I’ve worked with all of the guys that presented to you earlier. We’ve had a lot of fun working together. I think I’m from Mars for them, and they are for me, but somehow we all manage to work together, and I think, productively. So far. This is a shopping thing. You come into the Magic Kingdom and the hotel that Tony Baxter’s group is doing out here.

And then this is a kind of a shopping mall, with a rodeo and restaurants. And another restaurant. What I did — because of the Paris skies being quite dull, I made a light grid that’s perpendicular to the train station, to the route of the train. It looks like it’s kind of been there, and then crashed all these simpler forms into it. The light grid will have a light, be lit up at night and give a kind of light ceiling. In Switzerland — Germany, actually — on the Rhine across from Basel, we did a furniture factory and a furniture museum. And I tried to — there’s a Nick Grimshaw building over here, there’s an Oldenburg sculpture over here — I tried to make a relationship urbanistically.

And I don’t gave good slides to show — it’s just been completed — but this piece here is this building, and these pieces here and here. And as you pass by it’s always part — you see it as all of these pieces accrue and become part of an overall neighborhood. It’s plaster and just zinc. And you wonder, if this is a museum, what it’s going to be like inside? If it’s going to be so busy and crazy that you wouldn’t show anything, and just wait. I’m so cunning and clever — I made it quiet and wonderful. But on the outside it does scream out at you a bit.

It’s actually basically three square rooms with a couple of skylights and stuff. And from the building in the back, you see it as an iceberg floating by in the hills. I know I’m over time. See, that skylight goes down and becomes that one. So it’s pretty quiet inside. This is the Disney Hall — the concert hall. It’s a complicated project. It has a chamber hall. It’s related to an existing Chandler Pavilion that was built with a lot of love and tears and caring. And it’s not a great building, but I approached it optimistically, that we would make a compositional relationship between us that would strengthen both of us. And the plan of this — it’s a concert hall. This is the foyer, which is kind of a garden structure. There’s commercial at the ground floor. These are offices, which, really, in the competition, we didn’t have to design. But finally, there’s a hotel there. These were the kind of relationships made to the Chandler, composing these elevations together and relating them to the buildings that existed — to MOCA, etc. The acoustician in the competition gave us criteria, which led to this compartmentalized scheme, which we found out after the competition would not work at all.

But everybody liked these forms and liked the space, and so that’s one of the problems of a competition. You have to then try and get that back in some way. And we studied many models. This was our original model. These were the three buildings that were the ideal — the Concertgebouw, Boston and Berlin. Everybody liked the surround. Actually, this is the smallest hall in size, and it has more seats than any of these because it has double balconies. Our client doesn’t want balconies, so — and when we met our new acoustician, he told us this was the right shape or this was the right shape. And we tried many shapes, trying to get the energy of the original design within an acoustical, acceptable format. We finally settled on a shape that was the proportion of the Concertgebouw with the sloping outside walls, which the acoustician said were crucial to this and later decided they weren’t, but now we have them. (Laughter) And our idea is to make the seating carriage very sculptural and out of wood and like a big boat sitting in this plaster room.

That’s the idea. And the corners would have skylights and these columns would be structural. And the nice thing about introducing columns is they give you a kind of sense of proscenium from wherever you sit, and create intimacy. Now, this is not a final design — these are just on the way to being — and so I wouldn’t take it literally, except the feeling of the space. We studied the acoustics with laser stuff, and they bounce them off this and see where it all works. But you get the sense of the hall in section.

Most halls come straight down into a proscenium. In this case we’re opening it back up and getting skylights in the four corners. And so it will be quite a different shape. (Laughter) The original building, because it was frog-like, fit nicely on the site and cranked itself well. When you get into a box, it’s harder to do it — and here we are, struggling with how to put the hotel in. And this is a teapot I designed for Alessi. I just stuck it on there. But this is how I do work. I do take pieces and bits and look at it and struggle with it and cut it away. And of course it’s not going to look like that, but it is the crazy way I tend to work. And then finally, in L.A. I was asked to do a sculpture at the foot of Interstate Bank Tower, the highest building in L.A. Larry Halprin is doing the stairs. And I was asked to do a fish, and so I did a snake. (Laughter) It’s a public space, and I made it kind of a garden structure, and you can go in it.

It’s a kiva, and Larry’s putting some water in there, and it works much better than a fish. In Barcelona I was asked to do a fish, and we’re working on that, at the foot of a Ritz-Carlton Tower being done by Skidmore, Owings and Merrill. And the Ritz-Carlton Tower is being designed with exposed steel, non-fire proof, much like those old gas tanks. And so we took the language of this exposed steel and used it, perverted it, into the form of the fish, and created a kind of a 19th-century contraption that looks like, that will sit — this is the beach and the harbor out in front, and this is really a shopping center with department stores. And we split these bridges. Originally, this was all solid with a hole in it. We cut them loose and made several bridges and created a kind of a foreground for this hotel.

We showed this to the hotel people the other day, and they were terrified and said that nobody would come to the Ritz-Carlton anymore, because of this fish. (Laughter) And finally, I just threw these in — Lou Danziger. I didn’t expect Lou Danziger to be here, but this is a building I did for him in 1964, I think. A little studio — and it’s sadly for sale. Time goes on. And this is my son working with me on a small fast-food thing. He designed the robot as the cashier, and the head moves, and I did the rest of it. And the food wasn’t as good as the stuff, and so it failed. It should have been the other way around — the food should have been good first. It didn’t work. Thank you very much..

As found on Youtube

[MUSIC PLAYING] MICHAEL HAYES: Architecture is not just about the need for shelter or the need for a functional building. In some ways it’s just what exceeds necessity that is architecture. And it’s the opening onto that excess that makes architecture fundamentally a human endeavor. Architecture is a technical answer to a question. It’s not technical at all, but rather is historical and social. The study of architecture is the study of human thought and human history.

[MUSIC PLAYING] This is about the architectural imagination. It’s how to think about architecture, but it’s also about architecture as a mode of thought. Architecture is one of the most complexly, negotiated, cultural practices there is. And a single instance involves all of the aesthetic, technological, economic, political issues of social production itself. And indeed in some ways, architecture, as we’ll see, helps articulate history itself. Now these are all big planes and will need big ideas to address these claims. It will also need very specific concrete examples of architectural projects and events from history. Welcome to the architectural imagination, an online introduction to the history and theory of architecture. I’m Michael Hayes, professor of architectural theory at the Graduate School of Design. And My colleagues and I will introduce you to some of the most fundamental themes, concepts, and examples of architectural thought..

As found on Youtube

[Narrator] It captures people’s imagination I think. [Narrator] First and foremost architecture does affect people in ways that maybe architects understand only after a building is built. People perceive architecture by simply being an object or a vessel. Within which people are housed. And that’s clearly not what our sense of architecture is. What the hell is an architect What does an architect do, you know? What is the difference between an architect and a builder? We concretize the world. We take human activities and make manifest the physical structures that accommodate all manner of human activity.

The design studio is a place where individual action and individual creativity is measured very directly but the people around them. The students are doing their job with shifting the focus of how we’re talking and thinking. About architecture. [Student] Before you come to architecture school you sort of have this idea about objects and things like that. And then once you get here it becomes all about space. Now all that occupation, people sort of see architecture like children, sort of sculpturely. And there’s a point at which you stop dealing with objects. You know, sort of things to stare at and start dealing with occupation. [Student] I have a lot of friends who find it hard to understand my schedule here and how we function here and being here on strange hours of the day. And working environment. And what studio space is like. [Student] And a way of working, too. [Student] Yeah. [Student] That’s really important. [Student] Yeah. [Student] But also the idea of being critiqued. I know what critique is. [Student] A foreign concept to a business student. [Student] Yeah. [Tom] The design studio is a place where students have to perform on their own.

They have to create something from their own imagination. They have to create something in response to a set of problems that are either given to them or they have to even invent the problem. [Student] There’s not a place where you can get this kind of culture. And we’ve been together for 5 years. The whole group, right? So, we know everybody. Everybody knows everything. It’s like a second home. It’s like a second community of people who are all struggling with the same questions. [Student] Now when I worked at home, it was so much lacking in the projects. There’s nobody to bounce things off of. The inspiration is at a minimum when you’re on your own. [Shigeru] Architectural education in the U.S. is one of the best because of the studio system. All the students hanging around with their own studio. Talking and learning from others.

That is the most important space for the education of architecture. [Student] It’s like having it. They were hitting on Robert Moses. Because he’s so insensitive and he tore down neighborhoods. This, that, and the other. It’s, you know what? Get in the car, drive on the Westside Highway. Take the Triborough into Manhattan. [Student] Ok. [Student] And then you will understand what he was trying to do.

That visual perception in the automobile. Spectacular! [Student] No, no. [Student] It is spectacular [Student} You’re thinking about it now because of the atom. Now, we sit in traffic and look at it. But back then, the city had to make that transformation. [Tom] The great thing about architecture schools is it’s still takes place… in a kind of space where people discuss the work, together. In both a personal way and a on-on-one way. And in a very public way. Ultimately there’s a kind of arena. There’s a public arena where the work is discussed. Where students can present themselves to personally to other people. And show that they have a stake in the work, and what they really think about the work and that’s extremely important, I think, to the development of an architectural project because that’s ultimately how… architecture at certain points has really developed in the real world. And it’s both an important lesson But it’s also a way in which you know, through that kind of intensely personal and human contact that… That the work gets better.

[Student] I do a lot of the culture of studio trappings at the most random times. So, like the most random hours. [laughing] [Student] I have to go through this. [Student] Think the humor adds another level of energy. [Student] So, you got moments where we’re all joking around. We’re doing the work, and we’re joking and we’re vibing [Student] and whatever. Some guys can be like “Well, that’s why you guys never get any work done” [Student] “because you’re always doing this shit.” [Student] [Beep] you! [Student] Go do your project. Live in your little world [Student] by yourself because the human brings the interaction. [Student] And then the interaction brings the energy and the energy [Student] creates an output between everybody. [Student] that we can all feed off of. [Student] Tomorrow morning. Don’t forget, please? [Students laughing and joking] [Student] Now bounce. [Student] Everyone’s hanging out. Smoking cigarettes and [Student] drinking a lot of coffee and not really necessarily [Student] at your desk drawing, or whatever.

[Student] Our teacher school is a really strange, specific [Student] environment. [Student] work into something. Like hours and hours on [Student] you know, 1 drawing, whatever and make it productive. [Student] You know, you could tell an architect that it’s [Student] due tomorrow and they’ll put in the 12 hours [Student] It might actually look the same, as if they spent [Student] a whole week on it. You know? [Student] I should have gone home earlier than I did. [Student] because I just like, every 5 minutes I’d take a [Student] bit of glue and put it somewhere. [Student] Becoming un-stopped. And figuring out what [Student] the hell it is that I just did. [Student] And start clear thinking. [Student] I have this terrible thing that happens to me. [Student] What I call the Design High. [Student] Where I can’t fall asleep because I can’t stop [Student] thinking about my project. [Student] But it’s like, I get home… [Student] the whole time I’m exhausted. [Student] This ease I like, brush my teeth, wash my face.

[Student] I’m gonna do bad. I need to get back to Studio. [Student] Your health is kind of put on hold [Student] to make room for your ideas. [Matthew] Architects are masochists in some ways. [Matthew] You’re in there ’till all hours of the night., [Matthew] You’re cutting yourself at 3 o’clock in the morning. [Matthew] Rush you to the hospital and get stitches [Matthew] Putting these models together that you’re tearing apart and then [Matthew] putting them together again. And you’re [Matthew] going for this iterative process of evaluation [Matthew] that is incredibly personal [Matthew] but yet also very public. And you’re constantly [Matthew] putting yourself on display. Opening yourself [Matthew] to attack and criticism. It’s intense. [Matthew] Why would you subject yourself to that and [Matthew] put yourself in that position if you didn’t love it. [Student] [BEEP] Ahh!!! God [Beep] [Instructor] That’s the conceptual mistake. The structured system [Instructor] does not simply fit with each unit. [Instructor] Usually the style of structure encompasses [Instructor] 3 or 4 units. [talking at the same time] [Student] I understand but I don’t see what that has to [Student] necessarily be the case.

[Instructor] It doesn’t. [talking at the same time] [Student] I understand that I don’t have to but I think [Student] it’s important for the resolution. [Instructor] It’s wrong, that’s why. [Student] Why is it wrong? [Student] Tell us why it’s wrong. [Instructor] Economically. [Student] Not the wrong way. [Instructor] Systems. [Student] You can take his whole project in terms of [Student] the economy of it. [Instructor] But you do it? [Student] Basically there’s [Student] these walls, like this. In terms of his diagram. [Instructor] Yeah, it’s supposed to have the other third [Instructor] with wall structure. [Student] They’re not completely [Student] ruined, so that the area’s in between…

[Instructor] It does not make anything. [Student] It wasn’t necessary to have that conversation. [Student] The point was made. And then that’s it. [Student] I understood the point. They understood my… [Student] I thought he understood my point. [Student] I thought that should be the end of it [Student] and there were more important things to talk [Student] about and other people that had to talk to him. [Student] You know? And still talking about it for 20 minutes [Student] Well, one thing that I always have an issue with [Student] is like, students get so frustrated if they don’t [Student] have a good critique. I think they misinterpret [Student] what a good critique is. I mean, by definition [Student] it’s a critique. It’s a criticism. [Student] So, if you go into a critique and all the critics, [Student] all they can do is blow hot air up your ass and tell [Student] you how great the project looks.

[Student] To me, that’s not a good critique. [Student] They didn’t criticize anything. [Student] To me a good criticism is if you can inspire [Student] enough thought based on what they see [Student] and what they hear. If it inspires enough thought [Student] then they will criticize. Not criticize [Student] in the sense of attacking. Criticize because [Student] whatever you showed them inspired [Student] enough thought that they had their own opinion [Student] about the thing now. That’s a criticism. [Instructor] I’m not gonna argue with you because I have a [Instructor] feeling it wouldn’t be productive. [Instructor] We can go on all night. [Student] We could. I know that’s [Student] not the point. [talking at the same time] [Instructor] We dare to find some resting spot, here. [Student] Where we’re not talking about the same thing. [Instructor] Allow us to help you. [Instructor] The other thing I think is sometimes negative [Kenneth] is the idea that the student should be trained [Kenneth] to do a sales pitch in this jury presence. [Kenneth] I think that first the student should be silent.

[Kenneth] And the jurors should start asking questions about [Kenneth] the drawings and try to understand the [Kenneth] project in a more Socratic way, you know? [Kenneth] Other than this sales pitch followed by criticism. [Instructor] If you’re a smart architecture student, you’re [Instructor] listening very closely because you’re not only [Instructor] interested in how that work is coming out of you [Instructor] but also how other people are seeing it. [Phil] The best architects, in my view, are the ones [Phil] who bring a coherent view of the world [Phil] to design. Those are the folks that become [Phil] the best architects in the sense that they’re the [Phil] ones that progress the profession, innovate, [Phil] create new ideas.

The most important thing about [Phil] being an architect is learning how to think clearly. [Phil] You have to be able to think clearly to [Phil] practice architecture. [Thom] You can, kind of see the same people as singular. [Thom] If your artistic, you’re not practical. You’re practical [Thom] and not artistic that’s totally preposterous. Architecture [Thom] is embedded in both worlds and if anything [Thom] architecture is the connect-a-tissue between [Thom] these two kind of spheres.

And it would be [Thom] impossible without one or the other. [Phil] One, we’d be practical and never produce a piece of [Phil] work of any interest. Yeah, you’d be producing [Phil] work that has no meaning. And no connectivity. [Joe] I think design require a certain kind of smartness. [Joe] It holds those schizophrenic views simultaneously. [Joe] In one’s thinking, even as a young person [Joe] you know whether you can do that. [Joe] and as you mature it’s quite rewarding to have [Joe] those imposing views in your mind at all times. [Terry] There’s not just one role for an architect. There’s [Terry] different kinds of contributions an architect [Terry] can make in the culture. The question of what’s a [Terry] good architect, I think that there are many different [Terry] perspectives that come at the project, [Terry] as it’s developing. And what’s important for the [Terry] architect is to be able to listen to people outside of [Terry] themselves.

And take that, and [Terry] then give something of yourself to a project and [Terry] make something incredibly unique and wonderful. [Terry] It has to be a person who’s really willing to learn in a way [Terry] that architects need to learn, which is they need to [Terry] learn something every day for the rest of their lives. [Terry] You’ve got to be, in a sense, kind of driven by [Terry] that inner force. But I think you always… [Terry] You also have to have the ability to work through [Terry] something and to be able to look at particular [Terry] and be able to listen and learn and examine with [Terry] great patience, some of those questions.

So again, [Terry] it’s kind of left brain, right brain kind of dichotomy that is constantly… Those demands are constantly placed [Terry] on you as an architect. [Maurice] The other disciplines bring other things to the table. [Maurice] But I think our ability to envision, or imagine [Maurice] something that is not there. [Maurice] It’s almost spooky to people. This notion that you can [Maurice] look at a site or look at a parking lot and see [Maurice] and see a building? It’s an extraordinary skill.

[Maurice] And we are one of the few disciplines that can [Maurice] do that. I would not trade for anything [Maurice] the skill-set that I learned in school. [Maurice] Because it’s very, very, very unique to our discipline. [Maurice] And that’s what we bring to the table. [Mary] I don’t believe schools of architecture, either historically [Mary] or today, have particularly prepared young architects [Mary] for the realities of architectural practice. [Mary] Referring to this notion of safe space, where one can [Mary] fail. Where one can push the envelope, in a sense. [Mary] I think the academy always needs to be that.

[Mary] In a certain sense, you’ll get freer of the constraints of the [Mary] real world. We need to understand that those constraints [Mary] also have to be brought into the academy, so that [Mary] students can begin dealing with it and dealing with it in [Mary] an inventive and creative way. [Mary] I think the academy should be a, kind of, idealized space. [Mary] But it also has to be a kind of laboratory, a testing [Mary] ground for the real world. And I don’t think we’re so good [Mary] with the ladder.

We are still that ivory tower. [Student] Sometimes I think we lose a little bit of the reality [Student] of what are job is. And what our profession is really about. [Student] I think people really forget the reality of what it’s [Student] gonna be like to be working as professionals. [Student] Architecture school is really… You need to because [Student] it’s probably the only time that many architecture [Student] students get to work on their own projects. [Student] After that, architecture is basically a service industry. [Student] I think that the profession is a lot different than the [Student] education, in that you never work alone. [Student] It’s hard to design an entire building by yourself. [Student] There’s other people that you have to network with. [Student] Or design with. Or consult. Collaboration is not usually present [Student] in school. Which is a good thing and a bad thing. [Student] Because during school you’re trying to develop your [Student] own sort of way of working. [Instructor] Very fast. And you only go, listen to what I say. [Dan] Education is not preparing them to be [Dan] some kind of architects in the full sense of [Dan] the word, architect.

Being both poets and practitioners. [Dan] They don’t want to be fooled. They’re talented, they’re smart. [Dan] The tragedy is that the students are not sufficiently [Dan] prepared to be independent thinkers. [Dan] If they have the function at the poetic level [Dan] or they function at the pragmatic level. [Dan] The two shall never meet. So we have to, kind of, [Dan] help them put those two together. [Student] Like a series of overlays where you’d start to see if [Student] there’s [inaudible] [Instructor] So the walls are retaining walls. [Inaudible conversation] [Instructor] If you give me a word right now, we can only [Instructor] respond to it. Let me ask you this. [Instructor] Why are they working just to put these things… [Student] They’re making things. Yeah. [Instructor] And they’re making things because they want to [Instructor] create something of value, right? [Student] Yes.

[Instructor] Why do the just want to [Instructor] put it in storage. [Student] Do I think I might not be an architect? Sure. [Student] The likelihood that I work in an office after I graduate [Student] is pretty high though. I don’t think people have to [Student] be stuck there for like 3 years and then [Student] get their license and then they do their own stuff. [Student] I’m gonna start doing my own stuff [Student] and work in an office. [Student] I look forward to… [Student] It’s hard to say what’s gonna happen. [Student] I’m excited to see what my signature ends up being. [Student] I wanna teach and I wanna write, and I wanna work [Student] for a friend that will let me do all these things.

[Student] I wanna get some experience in a larger firm. [Student] to see how they work and see how they operate. [Student] Do that and then hopefully the long term goal is to [Student] you know, start my own practice. [Mary] The remarkable thing to me is how optimistic [Mary] students of architecture are. [Mary] How they sustain that optimism. [Mary] Again, it’s almost a bit like an actor or actress [Mary] truths that they still cherish that belief that they’re [Mary] gonna break out of the chorus line in some way. [Mary] Even though the reality as it is on Broadway [Mary] is very, very different. In part it could be [Mary] how they very quickly imbibe this notion of the [Mary] store architect, and this belief that against all odds [Mary] that they might be able to make it.

[David] Fortunately a lot of people when they think of architecture [David] think of what storeitects. They think of where the [David] handful of brand name architects that they might have [David] heard of. Which to me is rather limiting. [Student] You only know Frank Gehry, you know? [Student] I mean there’s other architects out there that [Student] that are doing better work or work more important [Student] than getting… [Instructor] The problem is that the way we teach architecture [Instructor] right now is we sort of train everybody to do [Instructor] that exact same thing.

The whole sort of pedagogical [Instructor] model right now is around creating [Instructor] the next generation of star architects. [Instructor] That’s actually a flawed model. [Ted] For many years, everyone wanted to be [Ted] like Frank Gehry. They wanted to create [Ted] great sculptures in the landscape. [Ted] Whether those sculptures worked or not [Ted] is largely irrelevant. The ability to use [Ted] aerospace engineering to come up with forms that [Ted] hadn’t been built before. Was considered [Ted] to be a primary task of someone coming out of school. [Ted] That’s over. That’s over. [Evan] I would argue that this current generation of [Evan] beginning students of architecture [Evan] have the capacity to reshape the world [Evan] like we’ve never seen before. And they need to have access [Evan] to as much technology and as much discourse [Evan] meaningful discourse surrounding these techniques [Evan] and these tools. So that they’re fully prepared [Evan] to go out into the world in the future [Evan] to do something positive and productive. [Instructor] Students are coming out. They’re working with [Instructor] individuals around the world who need [Instructor] shelter and who need ways of living that are [Instructor] affordable and supportable and sustainable.

[Instructor] The students themselves have been pushing to force [Instructor] faculty to think differently. About the way faculty [Instructor] see the environment use the environment [Instructor] and create objects that serve, not just the [Instructor] esthetic interests of the architect. [Instructor] It’s fundamental an optimistic profession. [Maurice] You don’t go into architecture if your a pessimist. [Maurice] If you don’t actually believe that [Maurice] the world can get better. [Maurice] So, I think you got a bunch of optimists [Maurice] that go into this designer profession, they actually [Maurice] believe that their buildings are gonna make a difference [Maurice] in somebody’s life. [Student] I think that the best [Student] environment is something that people [Student] have appreciation for. [Student] If you don’t care about this, like what do you care about? [Student] It’s about understanding human behaviour.

[Student] Being a designer of human want. [Student] All the extra is what you experience in your daily life. [Student] On the street, the space of the street, [Student] how you navigate the street, how you relate [Student] to the buildings around you. [Instructor] People tend to think architecture is done [Instructor] for and by other people. [Instructor] But, it’s also done by you if you decide to [Instructor] put a new window in your house or [Instructor] change the traffic flow in your house or your office. [Student] At architecture school you got the freedom to… [Student] You don’t like something? Do something about it. [Student] That’s what they told you for 5 years. [Student] Do something about it. Doesn’t matter what. [Student] Just do something about it. [Instructor] This school is, kind of about a way of thinking [Instructor] And what you’re gonna do in architecture school is [Instructor] not what you think it’s gonna be, you know? [Instructor] They aren’t gonna go in there and [Instructor] you know, be designing [Instructor] a colonial home and things like that. [Student] We don’t just need shelter, we need atmosphere [Student] We live to be inspired. [Student] I think one of the most important things you can [Student] take from this school is not to lose your ambition.

[Student] It’s not just, you know, 4 walls and a roof. [Student] There’s more into it. There’s a life to it that… [Student] I think we get here and we should really take with us [Student] every way to go. [Student] If you’re gonna come to architecture school [Student] I hope you understand the creative process. [Student] I hope you understand the transformation that your [Student] mind and body an psyche is gonna go through. [Student] Because there is nothing absolute about this. [Student laughing] [both laughing] [Student] What do you think about that, Mr.

Zacoy? [Student] Yeah, making a movie, huh? [Student] Trying. [Student] Sure you are..

170417095826 studio symbiosis c1 crop tease super tease - These rising architectural stars could change India's skylines forever

(CNN)“India is the place to be,” said Amit Gupta, architect and co-founder of Indian design firm Studio Symbiosis.

And for the rising Indian architectural star, this certainly seems to be true.
Though the design firm — founded by Gupta and his wife, Britta Knobel Gupta — is only seven years old, it is already looking to shape cities and skylines throughout the South Asian nation.
 
 
 
Of the 40 projects Studio Symbiosis has signed to date, 38 are based in India. This not only includes lone-standing structures, such as hotels and offices, but several large-scale housing and city-planning projects.
For a practice like this one, they said, the scope is unique.
 

India: A booming architectural hub

The co-founders launched their vision in London, first studying together at the Architectural Association, then working with world-renowned architect Zaha Hadid.
They also have ties to Germany, where their firm’s international headquarters is located.
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But it is in India where these designers feel their projects really make an impact.
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“The architecture industry here is transforming,” Amit Gupta told CNN by phone from India.
“And the economic spike in recent years has really increased the demand for new buildings.”
Though established international firms have a strong presence in the Indian architecture industry, Gupta insists it’s time for young, fresh, creative new design houses like Symbiosis to make their mark.
“Yes, there are many international firms working out of India, but more and more Indian architects (are) coming back to the country and setting up base here,” he said. “There is increased building demand, the budgets are good, there is plenty of land. It’s great because there’s room for younger, smaller practices to move in with their bold new designs.”

A competitive edge

But designing innovative new projects in India is only the tip of the iceberg, Gupta said.
“The question quickly shifts from: OK, you can design it, but can you construct it?” he said. “And that’s where you have to be careful.”
Construction in India, he believes, is different from elsewhere in the world.
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“There is a combination of high and low technology processes and tools for construction here, and so you’re working with materials that (are) uncommon or rarely used in other countries,” he said. “It’s very rare in India, for example, to see buildings constructed with steel, but it’s very common to see buildings made from concrete.”
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Setting up shop in India, he said, has given him an edge over his overseas competitors to tackle these issues.
“Although we are newer and younger than other firms, we’ve been able to solve construction problems because we’re spending time in the country and seeing what’s happening on the ground,” he said. “We are able to see the state of Indian architecture up close.”

Tradition meets ‘cool’ new design

And Indian architecture — particularly traditional construction techniques — has served as inspiration for several of Studio Symbiosis’ bold, futuristic designs.
“We’ve spent a long time studying India’s architectural history,” Knobel Gupta said. “Mogul architecture, Wada architecture and of course the famed ancient stepwells. But we then take these historic designs and re-imagine them, and so you may not even recognize it at first because it’s done in a completely new form.”
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In 2016, India recorded its hottest days ever, with temperatures hitting 50 degrees Celsius (122 degrees Fahrenheit).
To deal with the Indian heat, the firm often incorporates water bodies — inspired by Mogul architecture — in its designs, as well as courtyards, which the partners say improve ventilation.
Knobel Gupta also points to a traditional South Asian technique known as jali, which involves creating perforated holes on walls or window screens to cool the space by compressing air.
“It’s a technique we find extremely interesting because it lets in light but does not let in heat,” she said.

Zero-energy design

Similar cooling techniques are seen in one of the firm’s newest projects: the Net Zero Affordable Housing Jhansi.
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“Electricity is a big problem here,” Gupta said. “It often cuts (off) several times a day, so these buildings are structured in a way that prevents overheating. The curvatures allow for an even distribution of wind for an enhanced cooling effect.”
 
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Painting with pollution

 

MUST WATCH

 
 
The term “net zero” refers to buildings that use as much renewable energy as they can produce, aiming for a completely self-sufficient structure with almost no wasted energy.
To achieve this balance, rooftops at the Net Zero Affordable Housing Jhansi are fitted with photovoltaic cells that produce solar-powered energy.

The next step: Shaping future Indian design

 
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Is this the world’s craziest new skyscraper?

 

MUST WATCH

 
 
Studio Symbiosis has also been commissioned to work on several large-scale projects, with three major city-planning designs — Transganga Masterplan Kanpur, Allahabad Masterplan and Chola Masterplan — now in the works.
“City-planning projects are crucial to India,” Gupta said. “Aside from a few exceptions — such as Lucknow and Chandigarh — a lot of cities in India were not planned, and today we can see the repercussions of it.”
“Major cities in India seem to be horizontal rather than vertical, without a skyline and only a few major urban hubs,” Knobel Gupta added. “Of course, we can’t just do this overnight, but it’s something that we hope to work towards over time.”

Read more: http://www.cnn.com/2017/04/16/architecture/indian-architecture-firm-studio-symbiosis/index.html

Frank Lloyd Wright designed some of the world’smost celebrated buildings, but even they, in some cases, fall victim to the ravages of time, neglect, and disaster. Buffalo, New York’s Larkin Administration Building, one of the architects most renowned creations, was razed in 1950. The Rose Pauson House, an organic desert getaway in Phoenix, Arizona, burned down one year after Wright completed it in 1942.

But they’ve recently risen again. Not in drawings or photographs, but a series of hyperrealistic renderings painstakingly crafted by Spanish architect David Romero. 3D tools serve for precisely this reason—to be able to see that which does not exist, he says

Romeroused a powerful combination of Autocad, 3dsMax, Vray, PhotoShop and a long list of plug-ins to create the images.Hismodels nail the lighting, exude just enough depth, and displaythe perfect amount of rawness and texture—a welcome departure from thecustomary sheen in marketing visualizations. For research he combed Wright books and web sites, and collectedvaluable feedback from theFrank Lloyd Wright Building Conservancy and its onlineforums.

The results lookexquisite. Romero’sversion of Larkins 5-story, red-brick and pink-mortar facade jumps out at you in three dimensions, its strong lines, layered masses, and intricate friezes standing in modern contrast to theold-fashionedautomobile and cobblestone streets below it. Inside, natural light floods through its blond, glass-topped atrium. Its impossible not to marvelat Wrights geometric furniture, light fixtures, and detailing.

 

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David Romero

Pauson, in contrast, is the ultimate embodiment of its desert surroundings. Its low-lying field stone and plank wood walls seem to grow from the desert itself; its large vertical windows frame views of the rock-litteredmountains all around. The same materials existinside, where the space feels light, airy, and modern, yet also vaguely cave-like and prehistoric.

Romero also produced a rendering ofWrights unbuilt, spaceship-esque Trinity Chapel in Norman, Oklahoma, and hes working on designsof Wrights abandoned Ocotillo Desert Camp in Scottsdale, Arizona. If he can find enough time away from work as a renderer for a Spanish engineering company, hed like to recreatethe lost workof other Modern architects, like Alvar Aalto, Le Corbusier, and Mies van der Rohe, along with ancient monuments like the temples of Mesopotamia.

Romero says his maingoals are to draw attention to the thousands of exceptional buildings—new and old—under threat today, and to inspire others to reconstruct the past with modern tools. I find it curious that, even with the number of people who today work professionally in the world of architectural visualization, there are very few initiatives like mine, Romero says. Whats missing, he says, is funding.

One such effort, a competition last year called Project Soane, encouraged designersto digitally recreate Sir John Soanes Bank of England, a 19th Century Neoclassical wonder demolishedin the 1920s. (Historians have called its destructionthe greatest architectural crime of the 20th Century.) The contest, conceived by Graham Wyatt, a partner at Robert A.M. Stern Architects, attracted more than 80 submissions, many creating stunningly realistic depictions of the building, with itstemple-likedetailing and soaring glass rotunda. Techgiants like HP and Nvidia sponsored. Perhaps there is enough interest—from designers and financial backers, alike—to revive buildings from all over the world.

Read more: https://www.wired.com/2017/03/beautiful-renderings-resurrect-frank-lloyd-wrights-demolished-buildings/

150508152454 10 things singapore does best 09 super 169 - The rise of the urban jungle

(CNN)What do an avenue of grand oaks, a community park and a rooftop vegetable patch have in common?

They can all form part of a city’s “urban forest”, which numerous studies over the past decade have concluded make people happier.
And that’s not their only job: urban forests protect our cities from extreme weather, climate change and water scarcity.
 
 
 
But with more than 70% of people expected to have squeezed into cities by 2050, this green infrastructure is under threat, according to the UN’s Food and Agriculture Organization (FAO).
 
141003175038 rooftop gardening chris boyette ts orig 00003001 horizontal large gallery - The rise of the urban jungle
 

Where does your food come from?

 

MUST WATCH

 
 
“The cities of the future are going to have major problems in making sure that people live a decent life,” Simone Borelli, an urban forestry expert and co-author of a recent FAO report on global urban forestry guidelines, tells CNN.
 
“If you don’t maintain those forests there’s no clean water, and then there’s no food security. It’s a pretty simple equation but not many people think about it.”
Are we about to lose our urban forests?
 

A broad canopy

You may not associate big cities like Singapore, New York or Pariswith forestry but look closely: each has its own green canopy to varying degrees.
This “urban forest” is defined by the FAO as “the networks or systems comprising all woodlands, groups of trees, and individual trees located in urban and peri-urban areas” — it encompasses everything from grand parks down to a single tree.
And while there are no guidelines on exactly how much forestry a city needs, experts are very clear on its benefits.
“People think trees are dispensable and they’re not,” Stephen Sheppard, a professor in urban forestry at the University of British Columbia (UBC) in Vancouver, Canada, tells CNN. “Green space is critical infrastructure.”
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He lists their advantages: urban forests can protect a city’s land and water supply, acting as natural infrastructure that protects soil and absorbs rainwater, thereby reducing runoff which causes erosion of soil and sedimentation in local water supplies.
“In Vancouver a few years ago, we had a million people without drinking water for almost a month because they had so much heavy rain and it whipped up the mud and the sediment in the reservoirs and it wasn’t safe to drink,” explains Sheppard.
Green areas also enhance and conserve biodiversity by providing a home for native animals and — when such areas are linked — by creating green corridors for wildlife to move around a city.
Brisbane City Council in Australia, for example, pledged last year to invest $90 million to establish and preserve wildlife corridors across the city to protect the region’s struggling koala population, which had fallen by about 80% between 1996 and 2014, according to a recent study by the University of Queensland.
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Tree coverage can also prevent landslides, mitigate the effects of flooding and protect from dust storms, Borelli adds.
And that’s not to mention climate change.
One of the biggest environmental challenges facing the modern world can be mitigated by urban forests: trees store carbon and moderate urban temperatures.
“With climate change, we know we are going to get three, four degrees increased temperatures minimum on average, which means a lot more heat waves,” says Sheppard.
“About the only low-cost way to deal with that is increasing and improving a healthy canopy of trees because they reduce temperatures and the urban heat island effect.”

The winners

So which cities are doing urban forests well?
Singapore is the world leader in terms of canopy cover, according to the TREEPEDIA project, run by the Massachusetts Institute of Technology (MIT), in the US, which measures the level of trees and shrubs in cities using Google Street View data.
Despite its high population density of 7,797 people per square kilometer, MIT gave Singapore a “Green View Index” rating of 29.3%.
Sydney, in Australia, and Vancouver, in Canada, also do green cities well, both scoring a Green View Index of 25.9% — although with its density of just 400 people per square kilometer, Sydney has a distinct advantage compared to Vancouver’s 5,249 people per square kilometer.
 
“Singapore was very much like Hong Kong … about half a century ago. It was densely built-up, very cramped and with very few trees — but then they introduced a clear policy to make sure that the city will … become a garden city,” Jim Chi-yung, chair of geography at the University of Hong Kong and one of the world’s leading experts in urban forestry, tells CNN.
Although Hong Kong’s canopy hasn’t yet been ranked by MIT, the city’s residents have less than three meters of public open space per person in the built up areas, which Jim says is “probably the lowest record in the world for cities of a comparable size.”
“(Singapore’s tagline) the ‘Garden City of Asia’ was made a part of their marketing strategy in a way to attract investors,” adds Borelli. “If you have a pleasant environment, a green city, then people are more willing to invest.”
160810144517 glasshouse gardens by the bay super 169 - The rise of the urban jungle
Singapore is not the only green innovator.
“I think a good case in point is Seoul, in South Korea — they actually took out an entire motorway (in the city center) and put the river in there with trees and plants,” Borelli says, referring to the Cheonggyecheon Restoration Project.
“In Manila, they are establishing miniature parks wherever they can — crossroads, along the railway, old industrial areas — there’s a lot of urban space that is wasteland, so there are areas that can be converted.”

And the losers

Elsewhere, however, concrete is winning the battle against canopy coverage.
Despite its reputation as one of the world’s most beautiful cities, Paris — with a Green View Index of 8.8% — has the least canopy cover of the 17 countries assessed by MIT.
Hindered by its high population density — it packs 21,000 people into each of its square kilometers — the French capital faces similar problems to New York, which has the second-lowest Green View Index at 13.5% and 10,831 people living per square kilometer.
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According to Sheppard, part of the issue for established cities like these is historical, when Paris and New York were urbanizing climate change, for example, wasn’t an issue.
“There’s been a long, fine history of arboriculture and tree care and tree management in an urban setting, but now we have to deal with a lot of other complexities,” Sheppard tells CNN.
“Some is about managing existing tree stocks but some of it is about planning for the future. The green things shouldn’t be what’s just left over. It’s a vital part of the city and it’s at risk of being lost.”
Borelli says that older cities need to look for new, creative ways to get greener.
“For some cities, in a way, there’s not enough space left, so going vertical might be a solution,” Borelli says
Stefano Boeri’s “vertical forest” Milan, Italy, and rooftop gardens around the world, he says, are examples of good solutions in established cities.

Got a plan?

Failing to plan really is planning to fail when it comes to urban forestry, says Borelli.
“More and more we are trying to discuss a city’s forests with landscape architects and urban planners and one of the critical challenges is to make sure that urban forestry is included in the planning from the beginning, not as an afterthought.”
China, he says, has perhaps understood this better than anywhere.
It has recently invested heavily in green belts to restore the environment and protect water systems in existing towns, while new towns are being built around existing vegetation.
150609141700 singapore trees super 169 - The rise of the urban jungle
“In China, they have a national forest city scheme and they now certify cities as national forest cities,” Borelli says, of the National Forest City program, which involved 170 cities and 12 provinces in 2015, according to the FAO report.
It’s had a remarkable impact, with tree cover in these urban communities increasing to 40% or more, up from less than 10 % coverage in 1981, according to the FAO.
But while China says it is hoping to grow “green minds” among its citizens, one of its other aims is monetary.
“The reason (China is) are doing that is really to attract business, to attract conferences, to attract tourists, to attract companies to come in,” Borelli says.

Costs may be the key

Forestry experts in general are upbeat about the growing realization among urban planners and governments about the need to increase greenery.
But Sheppard says, if cities don’t manage to achieve their greenery goals the health and environmental costs “are going to be huge”.
“Anything that looks like open space tends to want to be built on because it’s incredibly valuable per square foot or meter,” he says.
“And if you keep building and you don’t claw back some of that green space inside the cites from roads or future development sites then you are denying access to the things that make people happy and healthy.”

Read more: http://www.cnn.com/2017/04/05/asia/urban-forests-osm/index.html

170411180558 houston pool tease super tease - Glass-bottomed pool 500 feet above downtown Houston

(CNN)If spectacular heights give you that sinking feeling, then this is not the swimming pool for you.

A post shared by Market Square Tower (@marketsquaretower) on

The clip shows a brave soul slipping their bare feet along the pool’s eight-inch-thick plexiglass bottom, which sits out 10 feet from the side of Market Square Tower.
It’s being billed as the tallest pool in Texas and the only glass-bottomed pool in Houston.
 
 
 

A post shared by Market Square Tower (@marketsquaretower)

      on

    Viewers around the world are split between wanting to plunge right in or grab their towel and run.
     
    Anyone wanting to try it will have to befriend a resident though. The pool, which opened in October 2016, isn’t open to the public.

    A post shared by Market Square Tower (@marketsquaretower) on

    The building was designed by Houston’s Jackson & Ryan Architects and is the centerpiece of a wraparound rooftop terrace with views of the Houston skyline and Buffalo Bayou Park.
    For less gung-ho residents, there’s a second resort-style pool on a lower terrace. It’s not the only Houston pool to make a splash recently.
    The 1,000-room Marriott Marquis Houston, which opened in December 2016, has a Texas-shaped lazy river and an infinity pool on its rooftop, 110 feet above street level.
    170120170448 houston marriott marquis lazy river 00001905 super 169 - Glass-bottomed pool 500 feet above downtown Houston
     

    A lazy river in the shape of what?

     

    MUST WATCH

     
     
    And if you’re looking for apartment buildings with that added extra, you could always try Chongqing, China.
    170321115807 02 china monorail apartment restricted super 169 - Glass-bottomed pool 500 feet above downtown Houston
    The southeastern city has been getting creative with its housing and transport solutions to accommodate its 49 million residents.
    There’s a new 19-story apartment building which is not only close to the train station, but has a light-rail passenger train passing right through its middle.
    There’s even a transit stop inside, on the sixth through eighth floors.

    Read more: http://www.cnn.com/2017/04/11/travel/houston-glass-bottomed-pool-texas/index.html

    Man: TO ONLY TALK ABOUT AESTHETICS IS ACTUALLY KIND OF INSULTING TO AN ARCHITECT BECAUSE THAT’S THE RESULT OF SOMETHING. IT’S WHAT IT FINALLY LOOKS LIKE. BUT THAT RESULT, LIKE THE LUNAR LANDING MODULE OR HELICOPTER, IS THE RESULT OF A SERIES OF PROCESSES OF THINKING THAT WENT INTO IT, THAT Allow IT TO BEHAVE A CERTAIN SORT OF WAY. WE’VE GONE FROM I LIKE OR DON’T LIKE THIS BUILDING, TO UNDERSTANDING WHAT THE BUILDING DOES AND TRACING THAT THROUGH TO A BROAD VALUE SYSTEM OR ETHIC OF WHERE WE HAVE TO BEHAVE AS A CULTURE TO FIT IN THE WORLD. Wife: WHAT WE’RE Create HERE IS Best available OF THIS TIME.

    IT IS ABOUT THE FUTURE, IT IS ABOUT WHAT WE’RE TRYING TO DELIVER FOR THE PUBLIC, FOR OUR CHILDREN, TO SEE Best available OF AMERICAN ARCHITECTURE. Mayne: IT’S ABOUT ASKING QUESTIONS AND IT’S ABOUT DEVELOPING, LITERALLY SMART BUILDINGS. SOME PEOPLE WILL LIKE IT AND SOME NOT. BUT IT’S MUCH LESS IMPORTANT THAN ACTUALLY ASKING WHAT THE BUILDING DOES OR DOESN’T DO. CAN RETHINKING A BUILDING’S DESIGN ACTUALLY MAKE PEOPLE WORK MORE EFFICIENTLY , MORE CREATIVELY, MORE DEMOCRATICALLY ? PERHAPS NOWHERE IS THAT RETHINKING MORE APPROPRIATE THAN IN THE FEDERAL GOVERNMENT . THE NEW SAN FRANCISCO FEDERAL BUILDING COMMISSIONED BY THE U.S. GENERAL SERVICES ADMINISTRATION, OR THE GSA , IS ANOTHER SIGN THAT THINGS ARE CHANGING . FOR A PERIOD OF TIME IN THE 1960 s AND’ 70 s, THE FEDERAL GOVERNMENT WAS BUILDING A NOT VERY DISTINGUISHED STABLE OF PROJECTS TO HOUSE THE ACTIVITIES OF THE GOVERNMENT.

    AND WHAT WAS HAPPENING IS 20 YEARS DOWN THE ROAD, Is well OF THESE UNFORESEEN COSTS IN MAINTENANCE AND UPKEEP AND REPLACEMENT. WE’VE HAD THE UNFORTUNATE ECONOMIC IMPETUS TO BUILD QUICKLY, CHEAPLY, AND TURN OVER. BIG WAREHOUSE-LIKE BUILDINGS THAT WERE BUILT ON THE CHEAP, THEY LACKED PERSONALITY, THEY LACKED SOUL. PEOPLE DIDN’T LIKE TO WORK THERE, COMMUNITIES DIDN’T WELCOME THEM — THEY STILL DON’T — AND NOW, THERE’S AN ENORMOUS OPPORTUNITY TO RETHINK WHAT THOSE BUILDINGS CAN BE. AMERICANS ARE ALL TOO FAMILIAR WITH UNINSPIRING , WASTEFUL OFFICE BUILDINGS . MID-LEVEL EMPLOYEES JAMMED INTO FLUORESCENTLY LIT CUBICLES , SPEND MORE THAN HALF OF THEIR WAKING HOURS THERE . THE FEDERAL GOVERNMENT , AS THE COUNTRY’S LARGEST EMPLOYER OF TWO MILLION PEOPLE , HAD AN OPPORTUNITY TO RESHAPE THE WORKPLACE . ALL IT WOULD TAKE WAS LEADERSHIP TO RECOGNIZE THE POWER OF DESIGN INNOVATION . THE GSA IS ACTUALLY THE GOVERNMENT’S LANDLORD, AND THEY ARE RESPONSIBLE FOR ABOUT 300 MILLION SQUARE FEET OF PRIMARILY OFFICE SPACE THROUGHOUT THE UNITED STATES.

    SO THEY ARE PROBABLY THE COUNTRY’S LARGEST DEVELOPER, MANAGER, AND ENTREPRENEUR OF REAL ESTATE IN THE COUNTRY. THE GOAL WAS TO REACH OUT TO THE PRIVATE SECTOR TO FIND TOP-QUALITY DESIGN TALENT FOR NEW GSA BUILDINGS . THE SAN FRANCISCO FEDERAL BUILDING IS ONE OF THREE PARTNERSHIPS BETWEEN THE GSA AND CUTTING-EDGE L.A.-BASED ARCHITECT THOM MAYNE . OUR PERCEPTION HERE — WE WOULD HAVE BEEN THE LAST PEOPLE IMAGINABLE TO BE THOUGHT ABOUT AS DOING FEDERAL GOVERNMENT WORK. THIS — THE COURTHOUSE, THE NOAA PROJECT — FOR ME, IT’S BEEN A REALLY INTERESTING KIND OF RIDE AND IT’S BEEN FINALLY IMMENSELY FULFILLING AS WE NOW COMPLETE THE THIRD OF OUR THREE BUILDINGS. WE WERE USED TO LOTS OF MEDIOCRE PROJECTS. SO WHAT WE REALLY WANTED TO DO WITH DESIGN EXCELLENCE WAS FOCUS ON THE MOST IMPORTANT ISSUE ABOUT THE BUILDING. WHO WOULD BE THE ARCHITECT THAT WOULD BE RESPONSIBLE FOR THE CREATIVITY, New innovations, THE IMAGE, THE FUNCTIONALITY — EVERYTHING THAT IS IMPORTANT ABOUT A Build, THE THINGS THAT LAST FOREVER? IT’S VERY IMPORTANT THAT ONE OF THE MESSAGES MUST BE THAT BUILDINGS MUST CONTINUE TO REPRESENT THE HIGHEST IDEALS OF WHAT WE BELIEVE IN AS A SOCIETY AND AS A CIVILIZATION.

    I Envision, IN THE LAST 10 YEARS, WE’VE BEEN SUCCESSFUL IN BRINGING IN NEW TALENT AND WE’VE BEEN SUCCESSFUL IN SHOWING WHAT AMERICANS, IN TERMS OF DESIGN AND INNOVATION, CAN SHOW IN OUR BUILDINGS. IT HAS TAKEN A BACKWATER, WHICH IS WHAT GSA WAS THIRTY YEARS AGO IN THE ARCHITECTURAL FIEL, AND IT HAS PROPELLED THAT WHOLE DIALOGUE INTO A VERY SPIRITED DISCUSSION AS TO WHAT ARCHITECTURE IS ABOUT OR SHOULD BE ABOUT, AND WHAT IS THE FUTURE OF ARCHITECTURE IN THIS COUNTRY. THOM MAYNE, THE 2005 PRITZKER-PRIZE-WINNING , COUNTERCULTURIST, ICONOCLASTIC ARCHITECT , FOUNDED THE DESIGN FIRM MORPHOSIS IN THE EARLY 1970 s . HIS BUILDINGS ARE KNOWN FOR REFLECTING Is not simply THEIR TIMES , BUT ALSO THE CONFLICTS, CONTRADICTIONS , AND ASPIRATIONS THAT DEFINE THEM . Mayne: WE DON’T PRODUCE THING YOU’VE SEEN BEFORE, WE PRODUCE THINGS YOU’VE NEVER SEEN BEFORE, THAT’S ALL WE DO. WE PRODUCE PROTOTYPES, ESSENTIALLY BECAUSE ALL WE’RE INTERESTED IN IS PRODUCING BUILDINGS THAT RESPOND TO A PARTICULAR SITUATION AND A PARTICULAR PROGRAM, A PARTICULAR SITE. A SET OF PROGRAMMATIC CIRCUMSTANCES NOW, IN THIS TIME OF HISTORY. IN THE U.S.

    ALONE , MAYNE’S WORK SPANS FROM CALIFORNIA TO MARYLAND , FROM HIGH SCHOOLS TO COURTHOUSES . EACH UNIQUE PROJECT REFLECTS A BOLD UNORTHODOX APPROACH WITH ONE UNIFYING ELEMENT — AN UNCOMPROMISING DESIRE TO MARRY FORM WITH FUNCTION . HE’S ALWAYS SET HIMSELF APART AS THE — NOT THE BAD BOY, BUT THE ARTIST, LET’S SAY, WHO WAS SOMEWHAT APART FROM THE ESTABLISHMENT. BUT DOING A FEDERAL OFFICE BUILDING, AND A FEDERAL COURTHOUSE AND A NATIONAL OCEANOGRAPHIC HEADQUARTERS IN MARYLAND, YOU’RE NOT DEALING WITH THE OUTER FRINGES HERE, YOU’RE DEALING WITH MAINSTREAM, MAJOR WORK. SO, HERE’S AN INDIVIDUAL WHO’S EXTREMELY SERIOUS, AND SO HE’S GOT IDEAS ABOUT POLITICS AND PHILOSOPHY, BUT HE’S AN ARCHITECT, SO HE WORKS THOSE OUT IN THE PHYSICAL WORLD.

    Man: I Envision THE INTERESTING Thing ABOUT THOM IS THAT THE WAY HE TALKS ABOUT HIS BUILDINGS IS THAT THEY REPRESENT FREEDOM AND OPENNESS AND A KIND OF OPTIMISTIC SPIRIT ABOUT WHAT ARCHITECTURE CAN DO, AND I Envision MOST PEOPLE, INCLUDING ME, SEE THEM AS MUCH MORE AGGRESSIVE, AND THEY HAVE A KIND OF BROODING QUALITY, OFTEN, AND SO, YEAH, I Necessitate, IT WOULD TAKE A PSYCHOLOGIST TO SORT OF UNTANGLE ALL THE CONTRADICTIONS IN THE WORK, BUT THAT’S WHAT MAKES IT REALLY FASCINATING. EVEN THOUGH I’VE BEEN, PROBABLY, MORE CRITICAL OF HIS WORK THAN MOST CRITICS, I ALSO Envision HE’S ONE OF THE MOST FASCINATING ARCHITECTS BECAUSE OF ALL THOSE CONTRADICTIONS. Mayne: I Envision ALL ARCHITECTS ARE THE SAME IN SOME WAY. I Envision WHEN I WAS A KID, I Appeared OUT THE WINDOW AND I JUST SAID, “THAT SUCKS.” I PROBABLY Told IT IN THOSE EXACT WORDS, ACTUALLY.

    I CAN DO THAT BETTER, OR I Crave TO CHANGE SOMETHING. I ALSO GREW UP IN THE’ 60 s, AND THAT HAD TO HAVE AN EFFECT ON ME. THE WORLD WAS CHANGING HUGELY. Of course, THERE WAS AN EXPLOSION IN CULTURE AT EVERY LEVEL. CLEARLY, I’M A PRODUCT OF THAT. WE NEED ARCHITECTURE WHICH IS THOUGHTFUL AND RESPONSIVE TO THE NATURE OF THE SPECIFICS OF THE PLACE, BOTH IN HUMANISTIC AND URBAN TERMS, AS WELL AS IN CLIMATOLOGICAL TERMS. YOU TAKE THIS BUILDING THAT’S VERY GENERIC AND YOU START WITH ANOTHER SET OF QUESTIONS, AND THE FIRST QUESTIONS ARE CHALLENGING ITS GENERICNESS.

    ARE THESE BUILDINGS — WHY ARE THEY GENERIC, AND IS THAT A NECESSITY AND DOES THAT REALLY — IS THAT USEFUL FOR THE NATURE OR THE CULTURE OF A WORKPLACE? AND AS WE STARTED ASKING QUESTIONS, IT JUST BECAME REALLY INTERESTING BECAUSE YOU’RE GOING, WELL, ACTUALLY, THE WORKPLACE IS A PROBLEM WE HAVEN’T REALLY LOOKED AT, AND WHY DON’T WE JUST KIND OF REFOCUS ON KIND OF WHAT IT Entails AS YOU SPEND YOUR 8, 9, 10 HOURS A DAY IN THIS PLACE, RIGHT? I Envision, IF WE’RE REALLY SUCCESSFUL, IT WOULDN’T EVEN BE ABOUT THE BUILDING, “It wouldve been” AS A REAL SUCCESS, AS REPLACING THE MODEL WITH A NEW MODEL. AND THAT WOULD BE A MUCH, MUCH MORE AMBITIOUS GOAL THAN JUST MAKING A BUILDING. SO, WE’RE STANDING ON THE 13 th FLOOR OF THE SAN FRANCISCO FEDERAL BUILDING. THIS IS A 600,000 -SQUARE-FOOT OFFICE Build THAT SITS RIGHT AT THE CORNER OF 7th AND MISSION, AND WE ARE IN THE TOWER PORTION OF THE BUILDING. THE PROJECT IS DEFINITELY SPECIFIC TO THE TEMPERATE CLIMATE IN SAN FRANCISCO. AS DESIGNERS, ONE OF THE FIRST QUESTIONS WE BEGAN TO ASK IS, WHAT ARE THE SPECIFIC ENVIRONMENTAL CONDITIONS ON THIS SITE? WHAT ARE THE ORIENTATIONS WITH REGARD TO SUN? WHERE ARE THE MAJOR SOLAR GAINS GOING TO BE HAPPENING ON THE PROJECT? AND WHAT ARE THE WIND CONDITIONS? WE KNOW THAT SAN FRANCISCO, AS A PENINSULA, HAS REALLY GOOD PREVAILING WINDS.

    SO, WE STARTED, By the start, TO CANVASS 50 YEARS’ WORTH OF WEATHER DATA IN ORDER TO OPTIMIZE SOME OF THE BASIC DESIGN MOVES AND TIE THEM TO THIS SITE. IN THE CASE OF THIS PARTICULAR PROJECT, WE WERE VERY INTERESTED IN THE IDEA OF WORKPLACE QUALITY, WHICH IS TO SAY, HOW DO PEOPLE ACTUALLY ENGAGE IN AN EXPERIENTIAL WAY, THEIR ENVIRONMENT AS THEY ARE WORKING. THIS IS LIKE DOING A SMALL CITY, IN A WAY. THERE’S 2,000 PEOPLE COMING TO WORK IN THE BUILDING EVERY SINGLE DAY, AND WHERE WE BEGAN AS DESIGNERS WAS TO TAKE A REALLY HARD LOOK AT WHAT THE EXPERIENCE WOULD BE OF THE INDIVIDUAL WHO’S COMING TO SIT AT A WORKSTATION AND SPEND MAYBE THE NEXT 25 YEARS OF THEIR LIFE WORKING FOR A PARTICULAR FEDERAL AGENCY.

    THE BUILDING’S SITING AND ORIENTATION MAXIMIZE THE AMOUNT OF SUNLIGHT THAT CAN FILTER IN , AND THE STRUCTURE’S UNUSUALLY NARROW FOOTPRIT HELPS THAT SUNLIGHT PENETRATE DEEP INTO THE BUILDING . Christ: THERE IS A SERIES OF VERY INEXPENSIVE SENSORS THAT ARE GOING TO BE MONITORING THE DAYLIGHT ENTERING THE SPACE, AND WHEN THE LIGHTS ARE NOT REQUIRED, THEY WILL BE DIMMED DOWN TO ZERO. THE ESTIMATES FOR LIGHTING IN OFFICE BUILDINGS, THEY RANGE BETWEEN 30% TO 40% OF THE TOTAL ENERGY USE. SO, IF WE CAN ABSOLUTELY OBVIATE THE NEED FOR THEM AND ALSO GET RID OF THE HEAT GAINS THAT THE LIGHTS MAY BE PUTTING INTO THE SPACE, WE’VE GONE A LONG, LONG WAY TOWARDS A SENSIBLE SOLUTION FOR THE BUILDING. ANYONE WHO’S WORKED INSIDE A MODERN OFFICE HAS BEEN SUBJECTED TO THE OVER-CHILLED AIR OF SUMMER AND THE DRY, STUFFY HEAT OF WINTER — BOTH MAJOR USES OF ENERGY . THE SAN FRANCISCO FEDERAL BUILDING’S SOPHISTICATED TECHNOLOGY ALLOWS FOR SOMETHING UNPRECEDENTED — NATURAL VENTILATION . IT ALSO GIVES THOSE WHO Operate THERE SOMETHING ELSE UNPRECEDENTED — CONTROL . THERE’S A GREAT PSYCHOLOGICAL BENEFIT TO HAVING CONTROL OVER YOUR ENVIRONMENT.

    WE’VE KNOWN THIS FOR A LONG Day, BUT IT’S A VERY DIFFICULT THING TO ACHIEVE IN BIG OFFICE BUILDINGS. LOCAL BUILDING CODES ALL AROUND THE UNITED STATES TYPICALLY PROHIBIT THE USE OF OPERABLE WINDOWS IN COMMERCIAL OFFICE BUILDINGS, AND WHAT WE WERE ABLE TO DO WAS SHOW THE GSA’S FIRE PROTECTION ENGINEER THAT WE WERE MEETING A HIGHER OR EQUIVALENT LEVEL OF LIFE SAFETY IN THE BUILDING, EVEN THOUGH ALL THE WINDOWS OPEN. AND SO, WE’RE ON A MODEL WHICH IS CLOSER TO A EUROPEAN MODEL. Mayne: ONE OF THE FIRST THINGS WE ASKED OUR MECHANICAL ENGINEER — COULD WE Envision ABOUT TAKING THE AIR CONDITIONING OUT? IS IT EVEN POSSIBLE? JUST ASK THE DUMBEST QUESTION. THEY GO, OH, ACTUALLY, UM, ACTUALLY, IT COULD BE — IT’S PLAUSIBLE. Christ: THE BUILDING RELIES ON THE DIURNAL SHIFT BETWEEN DAYTIME AND NIGHTTIME TEMPERATURE.

    SO, IN A NUTSHELL, DURING THE WARM WEATHER IN SAN FRANCISCO, THE BUILDING AUTOMATION SYSTEM, IN THE EVENING, WILL OPEN THOSE VENT WINDOWS. THERE ARE SMALL MOTORS THAT ARE ATTACHED TO THEM AND ALLOW COOL NIGHT AIR TO ENTER THE BUILDING, WHICH IS MAYBE 20 TO 25 DEGREES COOLER THAN THE DAYTIME TEMPERATURE, AND BATHE ALL OF THESE CONCRETE CEILINGS IN COOL AIR. THERE ARE SENSORS WHICH ARE BURIED INSIDE THIS CONCRETE CEILING, AT WHICH TIME WE HAVE ABSORBED ENOUGH COOLING ENERGY INTO THE STRUCTURE THE WINDOWS WILL CLOSE AND SEAL THAT COOLING ENERGY IN.

    SO, PEOPLE COME TO WORK THE NEXT DAY, AND THE CONCEPTUAL BASIS OF THE BUILDING IS THAT WE WILL HAVE STORED ENOUGH COOLING ENERGY IN THE STRUCTURE ITSELF TO OFFSET THE HEAT GAINS OF The following. SO, AS PEOPLE COME TO WORK AND THE SUN COMES UP AND STARTS SHINING IN THE BUILDING AND THEY TURN THEIR Computer ON, THEY START MAKING COFFEE AND TURNING MICROWAVES ON TO WARM UP THEIR DANISH OR SOMETHING, YOU START TO ACCUMULATE A LOT OF HEAT GAIN DURING THE DAY. WELL, THE FOLLOWING EVENING, THE BUILDING WILL OPEN AND ALL THOSE GAINS WILL BE FLUSHED OUT AGAIN. WE CALL IT A NIGHT FLUSH. NOW SOMETHING THAT IS VERY, VERY IMPORTANT IN THE WHOLE CONCEPT OF THE DESIGN AS WELL IS The facts of the case THAT WE HAVE A PERFORATED STAINLESS STEEL SCRIM ON THE SOUTH SIDE OF THE BUILDING WHICH IS Shadowing THE GLASS AND REPELLING ABOUT 50% OF THE SOLAR GAIN, AND ON THE NORTH SIDE, WE HAVE A SERIES OF GLASS SUNSHADES THAT ARE FIXED AGAINST LOW SUN ANGLES IN THE SUMMERTIME.

    SO, WE’VE DONE TWO SPECIFIC SOLUTIONS ON THE EXTERIOR OF THE BUILDING TO HELP MODULATE THE HEAT GAINS BECAUSE THAT’S THE BIGGEST ISSUE IN DOING LOW-ENERGY COOLING. MAYNE’S TEAM USED DESIGN Is not simply TO SAVE ENERGY , BUT ALSO TO RESHAPE THE CULTURE OF THE WORKPLACE AND PROMOTE INTERACTION AND CONNECTION BETWEEN PEOPLE . WE REVERSED THE ORDER OF MANAGEMENT AND STAFF — WE PUT THE MANAGEMENT ON THE INSIDE AND THE STAFF ON THE OUTSIDE. THEY DON’T GET THE CORNER VIEW, THE LITTLE OFFICES THAT ARE ON THE EDGES, WHERE THEY CAN HIDE AWAY AND LOOK OUT THE WINDOW. THEY ARE ON THE INSIDE, WHERE THEY CONNECT AND HAVE INTERCONNECTION. ONE OF THE MORE UNIQUE INNOVATIONS OF THE SAN FRANCISCO FEDERAL BUILDING IS ITS SKIP-STOP EXPRESS ELEVATORS , WHICH STOP EVERY THIRD FLOOR AND ENCOURAGE WORKERS TO WALK EITHER UP OR DOWN A FLIGHT OF STAIRS . WHEN WE TALKED ABOUT A HEALTHY ENVIRONMENT, WHAT CONSTITUTES A HEALTHY WORK ENVIRONMENT, WE TALKED ABOUT WALKING.

    THERE’S ONE THIRD THE AMOUNT OF STOPS. YOU GET EFFICIENCY, AND YOU PRODUCE THESE SECOND KIND OF ORDER OF LOBBIES. IT’S PART OF A SOCIAL MODEL, AN INTERACTIVE MODEL, AND WE’RE GETTING INTERESTING RESPONSES BACK THAT THEY LIKE IT, THAT IT PROMOTES INTERCONNECTION. I Envision THIS IS A Build THAT’S GOING TO HAVE TO BE LEARNED, AND I Envision IT WILL BE LEARNED VERY QUICKLY BY THE PEOPLE WHO WORK WITHIN IT. IT’S NOT MEANT TO CALM US AS MUCH AS IT IS TO INSTRUCT US. IT’S SOMETHING, I Envision, TO MAKE US WAKE UP BECAUSE THERE ARE SO MANY IDEAS EMPLOYED IN THIS BUILDING THAT WE’VE NOT REALLY SEEN TYPICALLY EMPLOYED, CERTAINLY IN FEDERAL CONSTRUCTION OR EVEN IN THE AVERAGE OFFICE Build. Ciprazo: THIS IS A NEIGHBORHOOD THAT I’VE WORKED IN AND GROWN UP IN, IT HAS BEEN KIND OF NEGLECTED BY THE CITY.

    SO, A BIG ISSUE, WHEN WE DO BUILD IN A CITY, IS TO LOOK AT A PLACE WHERE PEOPLE HAVE NEGLECTED. IF WE INVEST THE DOLLARS IN THAT AREA, THEN WE SEE THAT AS A GENESIS OF OTHER PEOPLE INVESTING IN THAT AREA. MAYNE AND HIS TEAM SOUGHT TO INTEGRATE THE NEW BUILDING INTO ITS NEIGHBORHOOD BY USING THE BUILDING’S AMENITIES TO CREATE LINKS BETWEEN THE PEOPLE WHO Operate THERE AND THE COMMUNITY . WE TOOK THE CAFE WHICH IS USUALLY INSIDE THESE AND PUT IT ON THE STREET, SO THEY COME OUT OF THE BUILDING, THEY JOIN THE WORLD.

    THEY SIT IN THE PLAZA. THEY INTERACT WITH THE REST OF THE COMMUNITY, AND USE THAT ACTUALLY TO ACTIVATE THE COMMUNITY. Ciprazo: MY VISION WAS TO ACTUALLY BRING INTO THIS NEIGHBORHOOD A PLACE THAT HAD OPEN SPACE THAT PEOPLE COULD FEEL SAFE IN, WAS TO BRING FACILITIES FOR THE NEIGHBORHOOD THAT THEY COULD USE, LIKE, SAY, OUR CONFERENCE CENTER AFTER HOURS FOR, You are familiar with, COMMUNITY GROUPS TO HAVE PLAYS. TO Deliver THE CHILD CARE CENTER THAT IS OPEN TO THE PUBLIC, SO THAT WE’RE NOT JUST AN ISOLATED FEDERAL COMPLEX IN THE MIDDLE OF A NEIGHBORHOOD. WE BECOME A PART OF THE FABRIC OF THE NEIGHBORHOOD. Mayne: I Envision, Is not simply DOES IT HAVE AN OPPORTUNITY OF BEING A MODEL FOR OTHER GOVERNMENT BUILDINGS OF THIS TYPE — OR OTHER TYPES, EVEN, AS FAR AS THAT GOES — IT ACTUALLY HAS AN OPPORTUNITY OF RETHINKING OFFICE BUILDINGS IN GENERAL FOR THE PRIVATE SECTOR.

    BUT WE HAVE TO WAIT A WHILE TO SEE IF THAT’S TRUE OR NOT. I Pass YOU THE PRITZKER-AWARD-WINNING THOM MAYNE.[ APPLAUSE] SOMEBODY PUT LITTLE METAL PIECES IN ALL THE BENCHES, AND I Envision IT DOESN’T ALLOW KIDS TO SKATEBOARD. AND I’M GOING TO SAY NO. WE WANT CHILDREN. WE WANT YOUNG PEOPLE IN THIS CITY. WE Crave SKATEBOARDERS — THEY ACTIVATE THE CITY.

    IT’S FANTASTIC. TIMOTHY LEARY ONCE SAID , “THINK FOR YOURSELF AND QUESTION AUTHORITY.” FOR THOM MAYNE AND HIS BUILDINGS , IT IS ABOUT QUESTIONING WHAT THE STATUS QUO IS , EVEN IN THE WAY WE THINK ABOUT SUSTAINABILITY . Mayne: SUSTAINABILITY — FINALLY, IT HAS TO START WITH AN INTELLIGENCE OF HOW WE USE ENERGY. IT’S AS SIMPLE AS THAT. AND IN TODAY’S WORLD, IT’S NOT ROCKET SCIENCE. TO THE EMBARRASSMENT OF OUR CULTURE, THE U.S.

    USES JUST ABOUT TWICE THE AMOUNT OF ENERGY OF THE AVERAGE EUROPEAN. THEY SEE US AS GLUTTONS, AND THEY SHOULD. AND WE HAVE TO SOLVE THIS, AND THIS SEEMS TO BE AN ISSUE THAT PEOPLE ARE EXTREMELY INTERESTED IN TODAY, AND IT BECAME AN ABSOLUTE PRIORITY IN THIS BUILDING. Ciprazo: WHEN I Envision ABOUT SUSTAINABILITY, I Envision ABOUT IT IN A LARGER VIEW. IT ISN’T ABOUT JUST ENERGY SAVINGS. IT ISN’T JUST ABOUT HOW MANY BTUs PER SQUARE FOOT WE’RE SAVING. SUSTAINABILITY IS ABOUT, HOW IS THIS BUILDING SUSTAINABLE IN THE NEIGHBORHOOD? HOW, IN 100 YEARS, IS IT STILL SUSTAINABLE IN THE NEIGHBORHOOD? Ivy: I Envision PEOPLE’S PERCEPTION OF THIS BUILDING WILL SHIFT RADICALLY AS THEY GET TO KNOW IT. IT’S GOING TO BECOME AN ICONIC STRUCTURE WITHIN THE CITY, AND, I Envision, PERHAPS, In different countries. IN THE State, WE’VE NOT HAD A MAJOR OFFICE Build THAT ATTEMPTS THIS LEVEL OF FULLY INTEGRATED ENERGY SAVINGS AND SUSTAINABILITY THROUGHOUT THE ENTIRE FABRIC OF THE BUILDING. I DO Envision IT REPRESENTS A REALLY SIGNIFICANT STEP FORWARD IN INTEGRATING SOME OF THESE IDEAS ABOUT SOCIAL INTERACTION AND ALSO ABOUT SUSTAINABILITY INSIDE THE BUILDING.

    IT’S NOT PERFECT AS A GREEN BUILDING — THERE ARE LOTS OF INEFFICIENCIES ABOUT IT, STILL. I MEAN, THERE’S A LOT OF STEEL IN THAT BUILDING THAT’S USED IN A PRETTY ORNAMENTAL WAY TO DO THESE KINDS OF FOLDED PLANES THAT HAVE ALWAYS BEEN AN IMPORTANT MOTIF IN HIS WORK, BUT THEY DON’T SERVE ANY PURPOSE. SO, I Envision IT’S TOUGH FOR SOME PEOPLE WHO ARE INTERESTED IN GREEN DESIGN TO LOOK AT THAT BUILDING AND REALLY SEE IT AS, You are familiar with, AS A MODEL OF SUSTAINABILITY OR EFFICIENCY.

    IN THE END, You are familiar with, THE SUSTAINABILITY OF A BUILDING HAS A LOT MORE TO DO WITH THE FEELINGS OF THE PEOPLE WHO USE IT, I Envision, THAN WE SOMETIMES REALIZE. BECAUSE IF A BUILDING BECOMES SORT OF BELOVED AND IT’S A GREAT PLACE TO WORK, WHETHER OR NOT IT’S EFFICIENT, You are familiar with, IN TERMS OF ITS MECHANICAL SYSTEMS, THEN IT’S GOING TO BE MORE LIKELY TO LAST. IT’S GOING TO BE MORE LIKELY TO BE PRESERVED AND NOT KNOCKED DOWN TO, You are familiar with, MAKE WAY FOR ANOTHER BUILDING, WHICH USES ENTIRELY NEW MATERIALS. SO I Envision THAT’S ONE WAY WE HAVE TO THINK ABOUT SUSTAINABILITY, TOO. IT’S NOT ALWAYS AN AESTHETIC ISSUE. SOMETIMES, IT’S A PHILOSOPHICAL ISSUE THAT MAKES A BUILDING VERY UNIQUE TO ITS COMMUNITY AND ITS ENVIRONMENT. PEOPLE WOULD WRITE AND THEY’D CALL AND THEY’D SAY, “IT DOESN’T LOOK LIKE A SAN FRANCISCO BUILDING.” AND, You are familiar with, THAT’S A REAL TOUGH ONE. SOMETIMES IT’S HARD TO SAY WHAT DOES LOOK LIKE ANY CITY’S BUILDING.

    TRUTHFULLY, JUST THE OVERALL EFFECT, IT FEELS PRETTY UNFINISHED. Man: I Necessitate, I Crave TO LIKE IT, BECAUSE I UNDERSTAND, LIKE, IT REPRESENTS, LIKE, REALLY MODERN TECHNOLOGY AND, You are familiar with, THE NEXT STEP IN BUILDING, AND THINGS LIKE THAT. BUT I HAVEN’T FALLEN IN LOVE WITH IT BY ANY MEANS. Woman: I Envision THAT IT’S WONDERFUL THAT HE USED NATURAL LIGHT. I REALLY DESPISE FLUORESCENT LIGHT, AND IT’S JUST A SUPER STEP IN THE RIGHT DIRECTION REGARDING ARCHITECTURE AND The environmental issues. IT’S VERY CLEAR. IT’S NOT PARTICULARLY INVITING. YEAH, IT’S NOT INVITING, IT’S LIKE — WHEN YOU CAN’T SEE INTO ANY OF THE WINDOWS, THERE’S NO PHOTOGRAPHY FROM ANYWHERE AROUND. IT’S LIKE, WE’RE WATCHING YOU. THAT’S THE FEELING YOU GET. AND YOU CAN’T SEE US. You are familiar with, SO IT’S GREAT THAT IT’S GREEN, BUT I Envision IT’S OVER — You are familiar with, IT’S IN THIS NEIGHBORHOOD AND IT’S LIKE, YEAH, WE’RE WATCHING YOU NOW.

    YEAH, WE’RE HERE. I REALLY DON’T CARE IF SOMEBODY LIKES OR DOESN’T LIKE MY BUILDING — WE DON’T TALK ABOUT, LIKE, BEAUTY OR LOOKS OR — IT’S NOT A DISCUSSION HERE. WE TALK ABOUT THE QUALITY OF THE THING. AGAIN, GOING TO THE HELICOPTER. THEY’RE KIND OF ODD-LOOKING THINGS, AND THE MORE YOU LOOK AT THEM, THE MORE YOU KNOW ABOUT THEM, IT’S VERY POSSIBLE YOU’LL FIND THEM MORE INTERESTING THAN YOU DID THE FIRST TIME YOU SAW IT, INSTEAD OF Reasoning ABOUT IT’S UGLY OR BEAUTY. IT GETS IMMEDIATELY CONTAMINATED BY YOUR KNOWLEDGE, AND NOW, YOU’RE FINDING IT MAYBE NEITHER UGLY OR BEAUTY, BUT JUST INTERESTING. AND AGAIN, I’M MUCH MORE INTERESTED IN THAT. I WOULD BE VERY DISAPPOINTED IF IT’S NEUTRAL AND IT GOT NO RESPONSE. Ciprazo: LET’S PUSH THE ENVELOPE A LITTLE SO PEOPLE ARE OUT OF THEIR COMFORT LEVEL, BUT IT’S NOT FOR ANYTHING NEGATIVE. IT’S ABOUT CREATING SPACES THAT ARE BETTER FOR THEM. AND Formerly THEY’RE OUT, TAKING THAT RISK, AND THEN UNDERSTANDING WHAT YOU’RE DOING, THEN THEY CAN EMBRACE IT. ONE OF THESE THINGS ABOUT ARCHITECTURE, YOU CAN CHANGE YOUR ENVIRONMENT AND CHANGE BEHAVIOR.

    I Envision THE WORK WE’RE PRODUCING NOW, THE WORK WE’LL PRODUCE IN THE FUTURE, IT’S GOING TO AFFECT THE CULTURE OF THE WORKPLACE IN TERMS OF THE INHABITANT. I HAVE NO QUESTION THAT IT’S PART OF A THINNING DOWN OF THIS COUNTRY, WHICH HAS TO TAKE PLACE. WE’VE GOT PEOPLE THAT EAT TOO MUCH — ENERGY, IN THIS CASE — AND THEY HAVE TO BE RETRAINED. AND THEY HAVE TO UNDERSTAND THAT IT’S IMPORTANT, AND THEY DO UNDERSTAND, REALLY, I Envision — RIGHT? AND IT’S IMPORTANT GLOBALLY, IN TERMS OF HOW WE BEHAVE IN A GLOBAL CULTURE, IN OUR ROLE IN THAT GLOBAL CULTURE.

    AT THAT LEVEL, IT MAKES THE PROJECT MOST INTERESTING BECAUSE NOW, WE’RE MOVING FROM ARCHITECTURE TO HUGE MACRO IDEAS AND WE’RE STARTING TO UNDERSTAND THE IMPORTANCE OF A SINGLE BUILDING. AND AS THAT BUILDING ACCRETES TO MAKE LARGER THINGS LIKE CITIES, AND THEN THAT TURNS INTO A CULTURE OF A COUNTRY OR ET CETERA, IT CONNECTS NOW TO HUGE, HUGE ISSUES THAT ARE GLOBAL. FOR MORE Datum ABOUT E-SQUARED , VISIT OUR WEBSITE AT PBS.ORG . E-SQUARED IS AVAILABLE ON DVD . TO ORDER, CALL PBS HOME VIDEO AT 1-800-PLAY-PBS .

    As found on Youtube

    ( MUSIC, HAMMERING .) >> DR CHURCHILL: Currently we’re in the disused Myer building in Fremantle. Last-place week there was nothing here — “its been” derelict. This week, the Interior Architecture and Architecture students from Curtin University have moved in with the most appropriate task and established this amazing exhibition.( MUSIC) >> DR NEILLE: This is their given an opportunity to applied that nonsense on the wall up an open forum and display their reasoning, their ability, their detections.( MUSIC) >> LAUREN: It feels like quite an accomplishment actually.

    It’s really nice to have the opportunity to appearance something that we’ve worked on so difficult. >> CAMDEN: You’re creating this really great task and you’ve got to show it off, to not only in the future content your buyer, because it’s not just for yourself and it’s not just like an essay, it’s really for a lot of people to verify. >> JADE: It’s such an achievement to have gotten this far. It’s a the highest ferocity direction, um, it’s a personal accomplishment that I definitely won’t forget. >> BRETT: It’s good to get that the information received from the public, whether they like it or not. And I guess that’s the measure of good building.( MUSIC) >> LAUREN: I’ve got a panelling structure over in the corner there. It’s a screen that sits in front of a leave or disused room. And it opens and shuts for responding to the consumer, so it’s robotic. The abstraction came from a conjecture called third room, which looks at realized room which is the room we touch and treated with every day.

    And conceive room which is the room of anticipate. And the idea of a third room in between those two, that is a superory standing, or some sort of strange concerning the relationship between the two of them. >> KATRINA: I’m trying to see how a spacial interior could elicit a sublime suffer. The impression is that you’re supposed to just forget your inhibitions and only feel the landscape and take off your shoes. Absolutely go into it. It’s darkness and there’s pebbles around. A few open walls. I’m pretty excited to examine what it’s going to wreak. Assure how they were react to my room. >> JESSICA: You know when you’re in the industry for a while you tend to get a bit, I conclude sometimes things can get a bit stale or you get bogged down in the real life issues such as funds, and you know, clients.

    But when you’re, patently looking around you can see that the students don’t have those various kinds of stress and they’re really free in their thinking and the style we are really approach blueprint is really different. >> BRETT: I believe that the work should be understood by the broader populace. I don’t think it should just be academic or theoretical. >> CAMDEN: If you’re going to create a room for someone to explore and to employ and create an experience in, you need to have that suffer as well to generate that. So, you find yourself actually immersed in what you’re doing and what you’re testing. >> JADE: The style that it opened me up to my creativity.

    I didn’t realise that I had certain skills before I started. I didn’t realise that I could depict, I didn’t realized that I could articulate my suggestions. >> KELISE: The style that you understand the world, it’s changed once you’ve various kinds of spend five years or six years, kind of developing preference and understand better the constructed situation and everything around you and why it is the way it is. >> JESSICA: My outlook and the style that I react to the well-developed situation — that’s completely changed. I can’t step down a street and not be examining in the air!( chortles) >> JADE: Always being able to experiment something, and experiment it, and pushing further.

    And never only kind of be comfortable with the first idea. >> JESSICA: I actually think there’s a number of wizards in the room tonight. >> DR NEILLE: It’s really not about the ordinary, it’s about trying to oblige something special for everyone. >> JESSICA: I’ve come out knowing enough of certain things to interject them into my blueprint. And make sure that they’re workable and understandable and the government had the possibility to be built. >> CAMDEN: I feel like I’ve got enough within myself to contribute to the field.

    >> KATRINA: Yeah, I’m hoping for large-scale happenings, yeah.( MUSIC ).

    Architectural services

     

    For a very long time, we have believed that the hand of an architect should look like this. It is known that architects are smart and sophisticated. They ever wear black, and they know better than anyone else how our metropolitans has been in operation. They build modelings, and they look at them from above. An architect’s hand is like the hand of God. This particular hand belongs to Le Corbusier, and in this iconic photo, he is presenting a model of Plan Voisin, a utopian modernist vision for Paris that fortunately was never built, but the impact of his ideas was enormous. In reality, urban planners today are trying to fix what this person, with his hands from above, did to metropolitans. Modernist city planning produced rooms specially designed for cars, a city where different functions like stores, bureaux and dwelling, are strictly divided; a city where the traditional street, together with all street life, is stimulated obsolete.

    Contrary to Le Corbusier, I deeply care about streets, and I wish that the street of our metropolitans offered a more balanced room for mobility and for social life. I likewise believe that the hand of an architect can look like this, and he, or she, can be working inside of the model, immediately on wall street. For the past five years, I’ve had the opportunity to work in several urban design programmes in public rooms. I’ve employed my own hands to build these things. I’ve expended many hours on the website, and, while there, I’ve stimulated some interesting observations. It all started with a project in Bastejkalns Park in Riga, that’s when I expended a week crawling on the floor, painting light-green circles, and constantly clarifying to curious passers-by why I am doing this. I was actually setting up an outdoor exhibition which was dedicated to a Latvian columnist. My experiments with coloring resumed in Sarkandaugava neighbourhood in Riga, and this time I painted everything cherry-red, and, of course, I carried on please explain why. It was to differentiate the first public square in Riga, co-designed with a brave neighbourhood community. But today, I’d like to tell you more about the project in Miera Street.

    The call of wall street intends’ serenity’ in Latvian, and the call of the project “Mierigi” carries as’ peacefully’ or’ easily ‘. At our studio, Fine Young Urbanists, all my fellow members Toms Kokins and I started working with Miera Street 3 years ago. Now, this was when I had just returned from Rotterdam, the Netherlands, where I had expended several years learning and working. When the time comes to street designing, the Netherlands is genuinely a superpower. There are so many different kinds of streets in the Dutch metropolitans: with beautiful large-hearted trees, with canals, with wide sidewalks – and I know you’re probably belief this already – with cycling paths, of course. Living in Rotterdam stimulated me recognise that healthy lifestyles and vibrant street life can be incorporated within urban design. Without even thinking of practice, I rode my bicycle for at least 20 times every day. Without even looking for a park, I had access to greenery right there on wall street. I assured people barbecuing, watching Tv, or selling their furniture on wall street, and I gladly took part in that.

    I felt that I had the freedom to move around the city whichever way I liked, I was fit, and I was happy. And then I returned to Riga. I assured the street here from a new perspective: how sad they genuinely are, how empty, specially the ones that have been constructed recently. Cycling experienced uncomfortable, and quite soon I switched to a car because it’s so easy. Riga today recurs the same mistakes that American metropolitans stimulated back in the 1950 s: it constructs freeways to solve traffic problems, it allows large-hearted shopping centers to pop up next to these freeways, and for suburban villages to grow just outside the borders of Riga. At the same time, the historical center is rapidly loosing residents, the breath excellence is the worst in the Baltic Country due to traffic congestion, and there is an empty structure on almost every block.

    Riga stimulated me, an urban planner, feel limited in my selects and unconsciously switch to a lifestyle that induces me unfit and unhappy. With all this in brain, we chose we are to be able do something about at least one street in Riga. The reasons set out above we decide to Miera Street was that there was an active neighbourhood community which is quite exceptional for a street in the center of Riga, there was a great spatial potential for a high-quality street life, and there was a very obvious trouble: 90% of the cars go on tram-rails leaving the paths designed for them empty. At the same time, pedestrians and the increasing number of cyclists have to share a narrow sidewalk and navigate between signposts, open door, and parked cars. We were sure that the available street room can be used in a more balanced path. By generate a shared car and tram lane in the middle, room would free up for a cycling lane on each side of the street.

    That would in turn allow us to vacate the side strolls for walking, for sitting, for bicycle parking, for outdoor coffeehouse, for plants and for trees, for beautiful, light-green, leafy trees. Did you know that in those nearly 700 meters of Miera Street that are considered to be a hip, creative quarter, there are only 15 trees? That is one tree for 45 meters, on only one back of wall street. That doesn’t seem so hip, does it? With a better designed street profile, it would become easier and safer for pedestrians to cross the street, small business would have better spatial circumstances to develop, and there would still be car parking available where needed, the livability of Miera Street aimed at improving, and all this would in fact leave the current traffic situation practically intact.

    People is as simple as feel better, more at home on a street that accommodates more choices. What we also wanted to explore with this project was the ties between an architect and these communities. The locals are surely experts of their street, and we, urban planners, want to know what they know because we want to create a designing that are appropriate the needs and requirements and actually improves their street. So at first we stimulated these pulls and photo-montages to have something to talk about. Then we tried involving people on wall street by showing them our visions. The answer was primarily positive, but we still weren’t really sure if the proposed answer was the best fit or if we were even understood. So eventually, we chose to test the idea spatially, and we did what architects commonly do: we built a model. But instead of structure something tiny and looking at it from above, we decided that we would become those tiny plastic people inside of the model and test the idea in real circumstances on a scale one to one, immediately on the street.

    The mock-up established in three days, and it remained in place for almost a week. It changed wall street instantly. On one back, we added merely 30 centimeters to the sidewalk, and that was enough to create room for terraces and tiny cafe tables next to the wall; which is very convenient if you crave to sit down and wait for somebody, have a dinner, reorganize your suitcases after grocery browse, remainder after a long go, or simply enjoy sitting down and looking at other people. On the other side, as soon as we put down tables and chairs, people from a nearby coffeehouse started serving coffee and cakes. People instinctively know how to use a good street when they see it. We at Fine Young Urbanists belief these sorts of urban prototyping with mock-ups is the cheapest, fastest and most reliable path for experimenting changes in the urban settings. Urban prototyping is collective envisage, collective wishful thinking. It allows you to feel the room with your body to see if you can find a comfortable home for yourself, if you want to stay there. It is also a path to eschew expensive designing blunders later.

    We have learned that these small actions in a public room is a great way to involve the public in designing process. During construction time, we were constantly there: structure, painting and talking about here people that were interested in this. The most frequently asked query was, “Why is this thing blue? ” Well, the vivid coloring provoked people to start a discussion with strangers about street designing; that are actually the daydream of an urban planner come true. And this time we got all kinds of questions: from extremely positive, very supportive to instead critical, and even aggressive.

    It is comprehensible that not everyone corroborates the notion of more cyclists on the street, it is a nuisance. Not everybody wants to give up their parking space for an outdoor coffeehouse or potted flowers. But here I would like to refer back to a smart advice that my mother formerly shared with me: “No we are capable of withstand good manners. People are entitled to have an opinion that is different from yours, but be polite, talk calmly, and listen to what others have to say. Perhaps you’ll learn something, and perhaps they will start listening to you.” As urbanites, we must understand that cycling paths are not built merely to delight cyclists, and street furniture is not installed for the profit of shopkeepers, and streets in general do not subsist merely for the convenience of cars. Envisioning that would be like still expressed his belief that telephones are only stimulated for calling. Metropolis are not that simple-minded. Metropolis are very complex creatures where everything needs to be in equilibrium and where everyone – young, healthy and financially procure, as well as those whose income is modest and whose movements are limited – can equally take part in mobility and in social life.

    Why do I see that streets are so important? The American urbanist and famous people watcher William H. Whyte formerly beautifully used to say streets are the rivers of life in the city. Of course, streets help us effectively move around, but streets are also a stage where public life can take place. And public life really is the essence of metropolitans. People have not built urban agreements to persist concealed from each other in their homes or in their cars.

    They have come together to exchange knowledge, to share assets, and to develop something collectively, and the very best metropoli has a capability to embrace all the various selects of the person or persons that lives there and to help balance them spatially. After finishing the “Mierigi” project, a video was stimulated, and we posted it online. The idea resonated with people worldwide. Our little video has now been viewed, tweeted, shared, liked over 60 000 times.

    That can show that urban planners, activists, and community leaders all over the world “re even looking for” new ways to let their metropolitans know that there is a desire to take street room back from cars and profit-hungry developers. And we are definitely not alone: there is a whole new engender of architects and urban planners that are less related with designing iconic buildings and more very interested in humanizing the rigid, unbalanced metropoli. They are not “afraid youre going to” take risks, working in cooperation with their own hands, and “they il be” masters in detecting loopholes in regulations and alternative ways of communication. Forget about the arrogant modernist. This new architect is more of a hacker. Practices like Exist in France, or Raumlabor in Germany, or Assemble in the UK, are successfully transforming the responsibilities of architects and changing the path we seem at congested streets, empty buildings, and undesired areas in our metropolitans. For example, Parkind Day started as a small initiative of Rebar Art and Design Studio in San Francisco, and in 10 years, it has grown into a global motion, and several metropolitans have even incorporated it into their urban plans. Or the architectural firm ZUS in Rotterdam managed to transform an undesired role pulley-block that had stood empty for 15 times into a creative hotspot and a testing website for new ideas.

    That is a place now that many other metropolitans are envious of. How could we persuasion even more architects and urban planners to become actively involved in metropoli construct? I see one of the ways is through education. Every year, we plan a summertime academy for students and young professionals of architecture, urban development and designing. And in this summer academy, they get a chance to go through a full designing cycle in only 2 week. This is something rare in architectural education. The players do research, come up with a conception, and experiment it immediately by building it in a public domain.

    Through this, they learn how heavy real substances are and how frightening power tools can sometimes be. And they don’t only build for the sake of practice; they create something that the neighbourhood borough – in our case, Cesis – or a neighbourhood organisation is genuinely very interested in. Ultimately, at the end of the summer academy, they envision the finished building being appropriated by the public. They see whether it runs as intended or it fails to live up to the concept. This hand-on experience wholly changes the path these young architects view their profession. In our summertime academy, we teach that architecture reaches beyond buildings and that urbanism is not just the room between them. We believe that building is a social act, but let’s not forget that prototypes are just a stair towards making real public rooms, and a summertime academy will probably never supplant a university. I don’t really think that Miera Street should be painted all blue, and I know that professional builders have much more skill operating a screw handgun than architects ever will. What I am suggesting is that to keep a clear and critical brain we often require a change of perspective.

    To build better metropolitans, we need both: a thorough to better understand street life and a position from above. I believe that taking small steps can lead to major conversions in our metropolitans. And I genuinely, genuinely hope that in the future there will be more architects and urban designers that rely less on Mega Lo Mania visions and more on their humanity. Thank you.( Applause ).

    As found on Youtube

    Let’s go way back! Look back and reminisce on how it began And how I became the designer that I am I knew I was an architect since the age of two, Standing in my cot I had a mesmerizing view. Going in my stroller the batches were astounding Everywhere I gazed was stone, brick, and glazing My second word form, first message role My mothers were amazed i could connect that conjugation Lookin like a zebra, yeah I’m wearin grey and pitch-black, Too busy building organizations ain’t got no time to nap. We’re architects oh! and we knew it from the start A perfect compounding of house and artistry We’ve been making, since the age of two And now we’re intent, a better metropoli, for you My abilities blossomed, at the age of six Sagging instant motifs with getaway protrudes Announce me Abraham, I had skill with the Lincoln Logs, Designed a mini-house, for my dog. I was a boss at Jenga, schooling all your best friend, Check out my desk, my enormous potpourrus of writes, Attracted my first all nighter by the age of nine With Legos I constructed an immaculate pattern We’re architects oh! and we knew it from the start A perfect compounding of house and artistry, yeah We’ve been making, since the age of two And now we’re intent, a better metropoli, for you Construct a doll room, out of sud core timber For my Architect Barbie, she was floored! Skipped a family trip to disappear appreciate Mickey Mouse, Rather go to Falling Water to see Franks famous house.

    Donned a outlining tubing, instead of a journal container It was the start of my architect swag Sorted all my clothes, according to hues And made a sketch up of my bedroom with a 3d view We’re designers, and we knew it from the start A perfect compounding of house and artistry We’ve been making, since the age of two And now we’re intent, a better metropoli, for you Structuring skylines within Sim City And in Minecraft I constructed a dwelling that was pretty Designed a treehouse, and to be submitted to enjoyment But I had to cut costs, to save for my tuition Mowed a hundred lawns to buy a 3d printer And took up woodworking, ow! A splinter! Love to design and improve, it’s what I do.

    I’m gonna be an architect, how about you? So get up! Grab your pencils, let’s pattern the city Inspire the world, as we make it pretty We are creators! As you are able to derive Come join us! and DISCOVER ARCHITECTURE.

    As found on Youtube

    hqdefault - I am an Architect - thoughts part 1

    Yo! Where my red strands at? I paint Frank Lloyd Wright, while you think I’m Mike Brady And operators down our run and call us crazy We get rounded specs, but they ain’t for looks It’s from staring at our screens and all those history of the world We alter an empty space, into a world of alternative Maintaining privacy, and tranquility Graduate from school, get changed the world, But I’m stuck designing thrones with a clockwise twirl We’re architects oh! With creative flair Re-designing the world, from structures to chairs It’s a daily grind, but we desire what we do A fulfilling job giving you a better opinion Lord of the Elmer’s, and emperor of scraps Building modelings our of paper, and bottle caps I’m a master of BIM, drawing strands with sprints, Except I’ll lose my mind, if Revit clangs GREEN is amber, and LEED is big, Know the golden triangle, and discover your trig Challenge the formula, push the envelope, Threw more glazing over here.

    That is totally drugs! We’re architects oh! With creative flair Re-designing the world, from structures to chairs It’s a daily grind, but we desire what we do A fulfilling job giving you a better opinion Crank the A/ C in the agency merely to stay awake, Espresso and Red Bull till I get a stomach ache With our cotton blazers high, we have a sense of style, But to the rest of the world we are only detail and smile I read code books, while I’m on vacation Take pictures of, my recent invention We wear black and grey-haired, with no logos on our yarns So numerous sleepless nights we’re like the marching dead We’re architects oh! With creative flair Re-designing the world, from structures to chairs It’s a daily grind, but we desire what we do A fulfilling job giving you a better opinion Got so many magnitudes, myswell( might as well) call me a fish Does your lawn appear carrying? I’ll design you a dish Starchitects , no !, call them Hollywood performers, Cause they can’t deal with general contractors Spec book wasn’t clear so I got these RFI’s Patrons drawing changes that we all despise.

    We get better FORM, than Jordan’s jump shot And designs that role like a million dollar yacht. We’re architects oh! With creative flair Re-designing the world, from structures to chairs It’s a daily grind, but we desire what we do A fulfilling job giving you a better opinion I’m an architect, “Oh you entail like Ted Mosby? “.

    As found on Youtube