Showing posts with label design. Show all posts
Showing posts with label design. Show all posts

Neighborhood Building in the Northeast


Being an architect can be a vocation, not just a career.  Week five of the Change the World Novena looks at an architect whose career spans many cities, yet has learned how to make an impact in all of them.

Arturo Vasquez is passionate about the built environment.  The architect and social media master scans various articles daily and poses meaningful questions to tweets and posts.  We first encountered each other on twitter and later, as fellow healthcare architects, collaborated on an entry for Kaiser Permanente’s Prototype hospital.  His kind of vigilance pays off.  As someone who has integrated his volunteer efforts seamlessly with private practice, Arturo is an example of how to be involved in your profession as well as your community- a model for how to change the world one place at a time. 

Save Fenway Park meetings and model
The ability to grasp the character of places and the issues that confront them, has allowed Arturo to play a meaningful role in many major projects in two northeast cities.   He practiced for many years in Boston, MA before moving to Upstate New York and forming SAS/Design Inc. fourteen years ago.  In learning about his perspective of both big city and small city concerns, it is interesting to note that destinations and landmarks play a major role in both locations, “Boston’s unique character and charm is the seamless blend of its historic buildings, great streets, public places, neighborhoods and waterfront with its integrated public transportation system. You can get anywhere without a car. Add to that, the Charles River, which traverses through the city creating a continuous accessible green promenade. Albany’s greatest asset is the quality of its arts and cultural venues providing access to world-class classical music, theatre, opera and entertainment.”  

Cities are constantly faced with a “change or die” dynamic and need to balance maintaining their character and landmark destinations with staying relevant to the needs of citizens.  “In Boston, the City has recognized the value of the neighborhoods and their intrinsic importance in the image and definition of the city. Added to that, has been the resurgence of public realm – the 12 key streets and corridors, or “crossroads” are being transformed into Complete Streets providing a seamless pedestrian armature that links civic spaces with the historic downtown and harbor.”  Arturo notes that  Boston’s cost of living is its biggest detractor, necessitating neighborhoods to get directly involved in their own revitalization efforts, “The most successful project was the creation of a community-based education center and Community Campus of the former Our Lady of the Presentation School in the historic Oak Square, Brighton, MA.  Approximately seven years ago, the Boston Archdiocese closed this important neighborhood school and put the property up for sale. This decision destabilized the entire community and created a stir in Boston. Several community leaders, local businesses, elected officials and organization came together to form the Presentation School Foundation, which through hard work, determination, and fundraising convinced the Archdiocese to sell the property to the Foundation. I worked with the community pro-bono to create the vision for this building as a Community Campus and also used my architectural expertise to establish the economic and infrastructure feasibility for the project’s implementation. This success of this experience brought together community leaders, elected officials, the Mayor, several educational organizations, and business leaders to realize the value and power of community engagement.”

 Although not faced with cost of living challenges, Albany’s stability is threatened by its lack of street life activity in the downtown core.  “Equally considerable [to the Boston effort], in Albany, the current Capital South Campus Center is a catalyst project that is bringing together citizens, public officials, neighborhood groups, and educational organizations to create an educational hub that will revitalize the surrounding neighborhoods. I worked with the various groups to establish the vision and master plan for the facility.”

I think it is interesting to note that both urban areas relied on revitalization projects that involve intense engagement with the community.  I asked Arturo if he felt these efforts have paid off in a larger scale for either city.  “The biggest physical change in Boston, from the perspective of a neighborhood resident, has been the impact of institutional development (universities and hospitals) in the neighborhood fabric. Boston’s neighborhoods exist in concert with many institutions, some within the neighborhoods, some at the edges, but all intrinsically connected, physically, socially and economically.

Managed institutional growth has been paramount to the stabilization of the neighborhoods, and the sustained relationship of the various universities and hospitals with these neighborhoods and their citizenry, has led to a better quality of life, public realm improvements, and environmental mitigation. Often, this town & gown dilemma has had a positive, or negative impact in the neighborhoods, largely depending on the level of engagement by the community, the city and the institution – and by the institution’s level of commitment towards the neighborhood with which they co-exist.

A corollary physical change has been the increase of the student population in the neighborhoods which in some cases has destabilized home ownership, spurred by speculative developments from absentee landlords who have capitalized on the opportunity, and created multi-unit housing from existing, formerly single-family homes. While this is not the fault of the institutions, the lack of student housing within institutional lands has contributed to the imbalance. The lack of available space within an institutional campus is often cited as the key factor. Institutions continue to look for opportunities to create more student housing, but often this is done by purchasing properties away from the campus core, well within the neighborhoods, thus continuing the friction created by institutional expansion – a catch 22.

The Boston Redevelopment Authority, the city’s planning agency, has to their credit, solidified measures to address these issues by establishing rigorous planning processes that require community and elected official’s input and participation, and zoning mechanism that prevent the deterioration of the existing neighborhood fabric. The positive outcomes have depended entirely on the transparency of the planning process and the continued involvement by the community, the institutions, and the City to monitor the agreed upon commitments and objectives. This, in itself, is difficult, given the magnitude of development throughout the City, and multiple community engagements by those involved. Often, there are overlapping meetings and commitments to consider, and in some cases, the length of the planning process makes it difficult to sustain the level of engagement.

Comparatively, the biggest physical change in Albany has been the lack of cohesive, sustained growth particularly in the downtown core. While there is positive economic and physical growth in the region, spurred by the global high tech research and manufacturing industry developing north of the city, very little of this growth has had corollary physical and economic positive impact in the downtown. The population increase and demographic of higher wage earners lack opportunities for appropriate housing, quality schools, and access to goods and services within the city. Instead, these quality of life requirements are found in the suburban environment outside the city or in the adjacent less towns. A further physical challenge has been the lack of good regional integrated transportation infrastructure. Instead the over-reliance on the car has created a poor web of interstate roadways that are disconnected from the pattern of existing local roads and the streets and avenues in the city.”

As Arturo states time and again, the biggest factor in the success of these projects was the level of engagement of the community.  If you are interested in being part of the change you wish to see in your city, you need to understand several issues related to engaging with the community that Arturo has learned:

Give guidance to the grass roots “Based on my direct experience both working professionally and as a community activist I have seen how grass roots interventions are most successful, where there is a coordinated process of engagement between citizens, business leaders, elected officials and city agency representatives to make positive change in the urban environment – whether it be for the creation of a community park, a streetscape improvement, a community building, or an institutional development. Conversely, when the initiative is government led, this has most often been seen as conflicted or lacking the voice and support of the community’s best interest. In Boston, the Presentation School Foundation is a powerful example of this process. In Albany, with the Capital South Campus Center, the same can be said.

As a concerned resident, while living in Brighton for 22 years and after seeing the difficulty and lack of parity in the discussion between residents, developers, elected officials, city agency representatives and institutions, I decided to join a large neighborhood organization, which I later led for a number of years. I established a clear method of engagement with protocols for communication and set up well-understood criteria for evaluating projects, and this empowered the neighborhood to provide a more “professional” review and discussion on issues and development projects in the neighborhood. This led to a more positive, civilized and less fractious engagement with more desirable results.”

Provide a conduit for meaningful involvement “After many years of working through the community processes, task forces and successes with grass roots efforts, I have seen more citizens with diverse professional expertise become involved bringing their experience and knowledge into the process. Getting involved in your community, while maintaining a professional life, is no longer cautionary issue as it was years ago. The City of Boston requires community participation as part of the planning and development process that gives the citizens a voice and platform to get involved.”

Seek out the quiet community “The average citizen is not typically engaged in the community, partly due to a general lack of understanding of how one can participate most productively – often there are too many groups to join, with overlapping agendas and territoriality to be effective. In upstate New York, there are no less than eight Chambers of Commerce and a dozen associations, spread out through eight counties, four towns, and 20 plus municipalities all within a 5-10 mile radius. This is a key aspect to the problem of community participation. There are simply too many groups to join to be effective. Instead I advocate for the creation of regional councils to channel and coordinate the various overlapping efforts.”

Don’t hold out for the silver bullet “In Albany, the question of a single project that is transformational has been discussed for years with the proposed development of a convention center downtown. In Boston, for many years discussion centered on a similar single project that could transform City Hall Plaza. But, we have learned that effective change does not come from a silver bullet approach – instead, incremental projects, with thoughtful, accretive agendas have a better chance to succeed. For Boston, this is now being implemented with the reconfiguration of the plaza as a series of discrete public spaces and pedestrian promenades with civic amenities. For Albany, the emphasis is shifting towards improving the public realm along the key streets and avenues with increased transit access and related transit-oriented development incentives, bringing street life and activity to the downtown core.”
As someone who has been actively involved in urban redevelopment, Arturo has so many great stories to tell.  He understands how vitally important it is to be engaged in your community as an architect and as a citizen.  His favorite story of urban revitalization, Save Fenway Park, is the perfect example of how we can work with rather than impose our ideas on a community. “A group of concerned citizens gathered 30 design professionals, (I led the urban design group) to establish a credible alternative to demolishing Fenway Park, which was the desire of the former owners, several years ago. Instead, we created a vision to literally save Fenway Park by extracting administrative programs into ancillary structures, inserting a concourse level with modern amenities into the guts of the existing structure, conceiving the now famous “monster seats” that added brand value and capacity, and integrating the ballpark into its surrounding neighborhood context with streetscape amenities and public transportation improvements that led to the preservation and resurgence of the historic park by its new owners to what we have now.”  Anyone can be concerned.  There are lots of ways you can volunteer your time.  But when your life’s mission in the built environment, your efforts can be transformational. 

Arturo Vasquez, AIA is an accomplished architect, urban designer and educator with extensive knowledge in architecture + urban planning history and design theory. His built projects have received numerous awards and he has lectured, taught and spoken at prominent colleges and universities locally and abroad. He is a Co-Founder/Executive Director of the Chicago Integrated School of Building (InSB), and an Advanced Architectural Design Faculty, Thesis Representative/Thesis Studio Instructor at the Boston Architectural College (BAC). Arturo has over twenty eight years of experience integrating design, master planning, and urban design for healthcare, educational, and cultural mixed-use projects. His experience includes working with private and public sector clients, civic institutions, community-based organizations, non-profits and city agencies. He is the Principal/Founder of SAS/ Design, Inc. and is a Registered Architect in New York State and Massachusetts.

Liberation: six steps to set your creativity free

Does your thinking always default to “fault?” Are you trapped in an endless game of “gotcha” with yourself?  Have you imprisoned your creative spirit in a cage of self doubt? As someone who expects perfection out of myself I can relate to the fears and desire to overachieve and exceed expectations that hold creative people back.  I recently read an excellent article on letting go by Tony Schwartz that got me thinking about how we can set ourselves free of things that don’t serve our highest self in order to make room for the things that do.  Sounds like a scary proposition- but it’s not.  What it is is nothing short of liberation.  Just as fear of failing can immobilize us and keep us stuck in a rut, letting the perfect be the enemy of the good causes us to aim low, and apologize for taking chances.  It causes that judge and jury in our heads to consistently level a guilty verdict. This is my list of six common creative prisons and recommendations for breaking out:

Shackled to the past
Maybe it took you a while to really get the hang of model building, or a design program.  Maybe you got some harsh criticisms of your work.  Maybe that first internship was a bit rocky as you learned the ropes.  Maybe, just maybe you learned from all of this and are now competent.  However, you got used to viewing yourself as inexperienced and mistake prone.  That self-image no longer is a true representation of the architect you are today.  Like the person who’s conquered a lifelong weight problem, and can’t stop seeing themselves as fat, you are locked inside your initial years as a fledgeling architect. Re-write your resume, update your LinkedIn profile, do something to affirm the architect you are today and keep celebrating that in order to change your self image so that you can feel empowered to make decisions from the point of view of who you are, not who you were.

Confined by busywork
No one ever says on their deathbed that they wished they’d worked more.  If anything they probably wished they’ed enjoyed life more and made more of an impact.  No, you can’t blow off deadlines, but you can prioritize.  Are you letting your to-do list be your excuse?  Whether it’s deadlines at work or personal projects, not giving yourself permission to move forward is not only silly, but it makes you feel so uninspired that you probably won’t actually get all those tasks done anyway.  You eat a pie one bite at a time.  At the beginning of each day, look at what parts of your life goals you can accomplish on that day.  It may be a single task and that’s fine because it advanced your agenda.  Contract, distill and excel.  When you say no to the expansive opportunities before you in order to scratch off some (insignificant in a global view) task, you are really saying no to your own expansion.

Locked into Entitlement
Do you brood about what’s not right or not fair in your career?  The client who treated you poorly, the promotion you didn’t get?  Do you beat yourself up over every real or imagined misstep?  The root of those feelings is an unyielding and harsh view of yourself as all or nothing.  Like a teenager, you believe that you deserve certain things and that life is lived at the extremes of always and never.  As your mother probably told you then, “life’s not fair.”  She was right.  Life’s not just about you.  The people you interact with have their own motives- you are far better served when you focus on understanding them because what really matters is the result and how you respond to a situation, not all the things that happened along the way to cause it.

Energetically in Isolation
You might think you took the high road by not telling your boss off, or giving that unappreciative client a lecture on the value of your service.  But you are still holding on to the resentment and it colors all of your future interactions not only with the individual in question but with others in your professional and private life as well.  Realize that by being non-confrontational, you are choosing to make yourself invisible- no wonder you aren’t on these people’s A-List.  Think about your passion for what you do as a ball of energy that lives at your core.  The more expansive the energy, the further out the glow extends.  Other people are attracted to that glow and want to work with you.  The greatest architects have such expansive energy that people will crowd into lecture halls to hear what they have to say, buy their monographs and wish they could work for or with them.  When you can’t let go of all of your resentments or regrets, you diminish your energy.  Think about that glass-half empty colleague or friend  How drawn to that person do you (or clients) feel?  Then realize that, at times, we are all that person.  Choose to be aware of when you are letting your anger, doubts and fears diminish your energy.  Then take steps to let go.  Stop suppressing your emotions and instead think about whether you actually made your point of view heard.   Calmly and with an open mind approach the person and ask them to recount their decision/actions from their point of view.  You may be surprised at what you learn.

On the chain gang of Trying Too Hard
Are you trying to make your clients like you more by practically wiping their noses for them?   Score points with your boss by being a workaholic?  Being a doormat diminishes your expertise and loses any respect people will have for you.  A project is a partnership and all involved have to understand their roles and responsibilities.  Decisions and directives (or lack of them) have consequences.  Don’t try to sweep client driven issues or office problems under the rug and cheerfully try to compensate by doing others work for them.  So often, we try to just make our situation work and do it all. You never want to put yourself in a position of being held accountable for an outcome in an areas where you have no responsibility. Your boss and your client’s main objective is to have a successful project.  If they aren’t giving you what you need to accomplish this, the greatest service you can provide is one of coaching them on how they can help make the outcome a success. 

Rotting in the dungeon of the Status Quo
What’s good for General Bullmoose is not necessarily what’s good for you.  If you are trying to live up to the expectations of your family, co-workers, society, you are engaged in conformance.  Conformity erodes creativity.  I am not suggesting that you have to be an angry, angry artist who rejects the world in order to be successful.  I am telling you that you need to know yourself and make decisions because they are right for you.  Unfortunately, we’re all likely to hit cruise control when we feel that our lives are basically going in a good direction.  It usually takes some disruptive event to create a breakthrough.  Why?  Because being shaken out of your status quo stupor makes you refocus on what really matters to you.  In the disruptive state, you reject limits and question rules.  Make bold, purposeful moves in your life and you will fail, but you will also succeed beyond your wildest dreams.    When you take actions with purpose, not just because you can or should, miracles can happen.
Who caged your creativity? Who cares?  What’s important to remember is that you hold the key to your own creative freedom. Unlock your own liberation.

The Art in Craft

I wanted to be an artist for almost as long as I could remember- way before it ever occurred to me to be an architect.  And, while I found the process of building models to be rather hateful (not to mention somewhat perilous), I made my peace with it during those hours spent in studio, learning the zen of making several light, carefully precise scores instead of trying to rip through a material in one slice.  My love of art made preparing presentation drawings for a crit as much fun as design, and I experimented with a different style and even different media for each project.

However, we no longer practice architecture as a craft, but as a concept. From my very first internship, I was drawing on a computer, except for those rare moments when I could do a hand rendering for a presentation.  I found myself expressing my creative side more digitally too, migrating from drawing and painting to photography and quickly on to digital images that I could manipulate on the computer.  I still valued the handmade, though, and would export these images to craft items large and small, but now for more utilitarian instead of purely artistic purposes.  It was kind of fun to be able to meld the 3-D world with the added capabilities of digital. Then I had kids and sick parents and barely had time to keep up with life.  Handmade cards morphed into store-bought ones and if I couldn’t find it off the shelf, I didn’t bother with it.

This year, I have decided to make a commitment to art and craft as a means of reclaiming my own identity.  I made a painting for the first time in more years than I care to think about with my husband as part of a fun exercise (he needs to get back in touch with his inner artist too).  Then I decided to design and make our Christmas cards this year.  While I love to dabble in graphic design, what makes these cards special is the fact that the artwork is a painting I commissioned from myself.  High art, it’s not.  Craft and artistic expression it is.  Best of all, I had a lot of fun making it.  It is a digital painting, but created using painterly techniques one stroke at a time. Once the cards were designed and printed 3 up on a page, it was time to cut them out.  I used an X-acto blade for the first time in way too long and found it surprisingly satisfying.  This tool, one the bane of my existence, then a secret weapon for all kinds of crafty undertakings, had lain at the bottom of my art bin for years.  Scissors, while nowhere near as precise, had become the lazy substitute.  I took an odd pleasure out of having to get out my cutting mat, precisely line up an edge with a steel ruler, and once again make the series of scores that result in a precise cut.  It was mindless yet mindful all at the same time and I realized how much I missed this kind of work. 

Challenge yourself to a greater expression of your creativity and to bring out your inner artisan in the coming year.  Not just for your life as an architect but for your whole creative person.  The art of craft is something not to be lost, even if we move seamlessly between digital and 3-D life to invent new processes. We are not virtual beings, but physical ones who do our best work when we don’t forget how to translate the ephemeral and conceptual back to the tactile. 

I wish all of you a happy and wonderful Christmas and a 2012 filled with possibilities.  Please leave a comment to share your aspirations for cultivating more creativity in your life in the upcoming year.

What’s Disprupting You?

We’re at week three of novena one: Turning Points and Breaking Points.  We’ve focussed on week one in negative influences that arise in the workplace, and in week two on how personal setbacks can affect us.  This week, the spotlight turns within as we explore the ways we limit ourselves.

What’s your excuse?  We all have one, “I could do more if...” We blame our busy schedule; stress, the fact that we needed to do a load of laundry, on why we aren’t making time to be our creative best.  The trouble with seeing your job, energy level, or other commitments as roadblocks is that these things are just never going to go away.  If you stay stuck in this thought process, you will never achieve your goals, never advance your career.  So, if we have to accept a certain amount of life to get in our way as a constant, how do we contain all those time and energy demands so that they don’t drain us?

See things that never were

I love the concept of the “disruptive hypothesis,” as discussed by Luke Williams for Fast Company.  A disruptive hypothesis essentially involves framing a question not around a reasonable cause and effect prediction as with traditional research, but questioning why the relationship between A and B needs to exist at all.  There are several steps to creating that innovative spark and they all involve challenging the status quo:
1.   Is your industry really your industry? We’ve discussed how blue ocean strategy thinking can be used to lead us away from competition and towards creative solutions that get traction because they serve previously undefined markets and needs.  http://thepatronsaintofarchitecture.blogspot.com/2010/09/is-your-ocean-red-or-blue.html The assumption isn’t that everyone needs to compete with the same resources in the same way for the same market.  Instead, you can create new markets and new relationships.

2.   Remember what they say about making assumptions... Disruptive hypotheses provoke us to question standards and norms, the assumptions that put us in a box and disrupt innovation.  As Williams puts it- question the chiches.  Sometimes these “norms” we work within are so second nature that questioning them can be difficult.  You really have to diagram every step of the process, of say designing a project, and ask yourself what would happen if you shortened, lengthened, or eliminated one or more of the steps.  This works well as a tool for diagramming how you typically spend your day as well.  How many needless steps are you taking that eliminate time for things that would feed your soul and spark your creativity?

Time, managed
Our biggest downfall as creatives is our ingrained failure to place a value on our time.  Perhaps this comes from our days in the studio where professors encouraged the all-nighter and we were introduced to the idea of constantly second guessing our ideas.  As we move forward into practice, we repeatedly provide clients with multiple options and encourage the design and redesign cycle.  This is enough of a downward spiral, but is becomes completely toxic when we cross over into devaluing our time in every aspect of our lives.  Mike Myatt, a leadership coach, has some great insights into this phenomenon and how to better value the resource that is our time that I have adapted to relate to our life as architects:
1.   Make space for creativity by allowing yourself to focus.  It can be difficult enough to hit your “zone” without being constantly being dragged down by distractions.  I know it’s bad when I read and reread the same sentences over and over without comprehending them because I am reading with my eyes while my mind is literally thinking of a hundred other things (how is that even possible?). I start to seek out activities that are distractions as a cover for the fact that I am distracted.  Multitasking is overated.  Make the time to do just one thing and allow yourself to be in that moment. That includes unplugging yourself from the world of electronica and its siren call to check the latest updates.

2.   Be organized and plan.  It seems counterintuitive to plan creativity, but this seeming oxymoron is actually the formula for jumpstarting your brain.  Make a plan and stick to it. We trawl around in our heads constantly monitoring our every movement, word and gesture.  The running loop of “shoulds” inside our heads so restricts our behavior that we exhaust ourselves doing it all yet getting nowhere - or at least not to any truly fulfilled somewhere.  It also leads us right to the derailment of procrastination.

3.   Meaningfully connect- and disconnect.  Engaging others fuels your thought process.  Collaboration is essential for architects.  But there is a difference between collaborating and sitting through the time suck of a boring unproductive meeting.  If an activity isn’t going to further an effort, don’t go there.  Learn how and when to say yes and no to avoid being sidetracked into activity that doesn’t accomplish your project goals, organizational goals or life goals.

Boom! and the aftermath

It's week two of novena one: Turning Points and Breaking Points.  This week, we focus on how to survive, even thrive, in the face of setbacks.


What do you do when the bottom falls out of your world?  When things in your personal life have sent you into an emotional tailspin?  You have to move on and keep functioning, but it’s not likely that your current state of mind will equip you for your high stress, creative job. We are often so demanding of ourselves that we don’t give our psyche the time and space it needs to recover.  I have been on kind of a marathon of life change and crisis that began nine years ago with the birth of my daughter.  A happy occasion, but a life changing one  followed closely by my chronically ill mother becoming critically ill, my chronically ill father needing support and assistance, a cross-country move, starting the highest stress job I ever had.  And things kept happening.  Repeated hospitalizations for both of my parents, my mother’s death just a month before my son was born, my father’s sudden death two years later, being the executor of his estate, going through a house full of 30 years of living, emptying and dispersing the contents.  This series of events only primed the pump for even more calamity in the form of dealing with a loved one’s addiction and mental illness and losing my job in the last year.

Sometimes losing myself in my work was the only way to stay sane.  At others, focusing on personal accomplishment made me feel like the rest of my life wasn’t so out of control.  I came across an excellent article on the subject of personal crisis for creatives on the 99%, one of my favorite websites.  Author Bernie Michalik makes some excellent points about forgiving yourself and allowing yourself to work through crisis. 

Letting go: the short term crisis
When something bad happens in our lives, we feel dislocated, removed from space and time of everyday events.  Michalik explores how to use this time outside of time to redefine who you are, and what you really want in life.  I will summarize some of the salient points here, but highly recommend you read his article:
1. This is an exceptional time in your life, don’t expect to be able to perform at the same level.
2. Pare down your life, focus only on what Michalik calls your “must-do-to-survive” list
3. Nurture yourself, in particular, get enough sleep to keep your reserves high.
4. Find your go-to people and use them.
5. Stay positive.  This too shall pass and you need to look for the good in every moment and allow yourself to appreciate even things as simple as a kind word or compliment.
6. Reassess.  You have just encountered a life-altering event.  Use the big-picture perspective that such times inspire to thin about your priorities, what they are now and what you want them to be.
7. Be grateful and acknowledge the kindness of others in your time of need.

Making piece: the long term chronic illness or situation
Yes, piece as in a portion of something.  Being disabled or chronically ill, or having to be a caretaker for someone who is, alters your energy, and availability for a long time, maybe even years. You need to put in place routines and support that allow you to compartmentalize your day enough that you can be fully present while you are in work mode and devoted to taking care of yourself/someone else at other times.  The trick is to be as fully present as possible in each situation. Some important resources I have found helpful include:
1. Finding a support group: you will be surprised at the advice, examples and knowledge of resources you can gain.  A group that I have been working with over the last few months has a great saying, “take what you like and leave the rest.”  This is the ultimate value of support groups- their ability to expose you to information.  Not all of it will apply to your specific situation, but some of it will, and you may find the portion that does immensely helpful.
2. Keep track of your goals and your path to reach them.  You may need to give yourself more time than you did in the past, but track at least once a week what you have done to work toward accomplishing each goal.  Why? Because our self-critical mind is impatient.  We feel like failures when we can’t just go out there and live our dreams.  We ignore all of the small things that we do, or wonderful things that are happening in our lives every day.  When focussed on our meta-goals, we also often lose sight of all the small accomplishments it takes to set us on our way. Taking weekly inventory helps us not only see what we ARE accomplishing, but helps us see the little ways we can challenge ourselves further.
3. Nurture yourself.  This seems counterintuitive, we don’t have time with all of the other demands, we don’t feel like it, we don’t deserve it.  However, the best way you can cope with any bad situation is by taking care of yourself, body, mind and soul.  It’s not selfish, in fact it is the only way you will truly shepherd yourself or your loved ones out of this time in your lives.
4. See that the struggle is the growth.  This term comes from a lecture I attended that covered the work of  Dr. Becky Bailey on Conscious Discipline.  I have written previously on how to use this approach to deal with clients, but think it is also applicable in situations where the “rules” of engagement don’t really apply anymore.  Instead of staying stuck in a situation that stifles your creativity, look at other non traditional ways you can find your creative outlet.  Try making a list of your definition of an architect.  Then look at it critically and determine whether some of these conventionally accepted definitions are even valid.  Define what it means for you to be an architect and how you, right now, can work toward that  goal.  A great recommendation from Bernie Michalik is to frame your goals in terms of 1,000 days.

It can seem overwhelming and like things will never get better when bad things happen.  But by staying positive and in the moment, adjusting yourself to what you can do right now, you may accomplish more than you think.  As much of a trial by fire as the last nine years has been, they have also been a time of my greatest personal growth, self discovery, and some huge professional accomplishments.  In the end, you may have to do some reassessing and redefine your role, but you only have to stop being creative if you want to.  Please share your moments of creative crisis and how you worked or are working through them.

Thoughts on Commencement

Graduation ceremonies are marked by commencement- a ceremony that celebrates not the ending of the educational process, but the beginning of a new life as a professional.  But what exactly are these new graduates setting out to do?  In the spirit of the season, I wanted to take on some of the myths that are born in our architectural education system and carry forward into professional life:



Myth #1 Winning is everything
No matter how many group projects are assigned, the fact that our individual grades make or break us can lead many students to be more concerned with proving their own worth than harnessing the power of collaboration.  That is a lesson that has no place in the working world, where your fellow staff members and you are all on the same team. Yet, many managers, principals and other firm leaders did not get this memo.  So while they pay homage to the idea of interdisciplinary collaborative work, the culture of the firm is set up to reward individual achievement, and the design process is sliced and diced into so many factions that no one has a grasp on the whole project.  As we train young professionals to negotiate their success, are we teaching them to do it through collaboration or compromise?  Schools never discuss this nor do they address the real “career questions” that many young architects face: Will you be placed in the management track, the coveted designer/primadonna track, the business development track or the construction administration track?  Perhaps you are best suited to production, specifications and detailing and will remain a background support person.  Just like choosing a major, pick your specialty now and stay with the program if you want to get ahead. 

TIP: Reject this mindset now, no matter what stage of your career.  Collaboration has been shown to be a much more powerful negotiating tool than compromise, and a collaborative approach isn’t competitive, so it brings out the best in the entire team.

Myth #2 Time + Energy= Creativity
My Dad used to always tell me “work expands to the time allotted” in a scolding tone whenever I complained about the long hours I had to spend getting studio projects done.  Despite many discussions about its abolition, the all-nighter remains a staple of students’ academic experience.  They sacrifice most other coursework for studio and many professors also perpetuate the myth that spending more time on an assignment is critical to a successful outcome.  We whisper about the student who “hasn’t been in studio at all over the weekend,”  or who “left at 9:00 pm” the night before the deadline.This expectation that our time and energy have no value and that creativity is a byproduct of lavish overspending of both moves with us into the work world where interns work long hours, often for no extra pay.  This carries forward- with the expectation that senior staff is available on-call 24/7 and that overtime will be worked to meet impossible deadlines.  While the staff grumbles, they don’t bat an eye because they are conditioned, as are the firm owners, that this is the proper way to work.

TIP: It turns out that Dad was right. The myth that quality, let alone creative or innovative, work is linked to exhaustion has been dispelled in numerous studies from sleep researchers to business performance analysts.  You will be happier and better performing in general, not to mention more creative and willing to try new ventures, when you have a balance in your life and actually take care of yourself.  Your clients and colleagues will notice the change in your attitude and be much more receptive to your ideas.


Myth #3 The task knows no limits
Sure, you can always do more, but didn’t our pal Mies van der Rohe  already prove that to be a blind alley?  This is a bit of a corollary to Myth #2, but how we define the problem goes a long way to what it will take to solve it.  Often, students are not taught how to define a problem at all.  As they toil away during studio class, they are visited by their professor who will often ask a series of questions or react to an unfinished scrap of idea at their drafting table, then move on.  Because the student does not have a clear idea of what to solve, let alone how to solve it, they can’t communicate with any clarity, and the professorial reactions only serve to muddy the waters further.  Instead of developing a concept and building on it through design, the student embarks in a series of tailspins hoping for a eureka moment during one of those all night sessions.  Isn’t that what we do with our clients too?  We freak out and prepare dazzling overkill presentations instead of taking the time at the front end to clearly understand their needs and gather the proper information to define the project properly and in terms of their time and budget constraints.  We get caught in the redesign loop, frantically hoping to impress them, just like we hoped to impress without knowing why during all those crit sessions.

TIP: If you were really paying attention in all those studio classes, you should have learned that aesthetics are secondary to how well you defined the problem presented to you and what design measures you took to address the issues you identified.  If you couldn’t present a good argument for the design measures you took, it was all too likely you were going down in that crit regardless of your impressive manipulation of “architectonic elements”.  This works with clients and employers as well.  Take the time to clearly define the problem, the stakeholders in its solution and what role each, including yourself, will play in achieving the solution.

My congratulations and best wishes go out to all who are graduating this spring, as well as anyone ready to embark on a little career commencement of their own.  With self-awareness, clarity and conviction, you will achieve your  dreams.  Please share updates on your commencement experience with the Patron Saint of Architecture community.

Alchemy and Architecture: How rich is your perspective?

What’s your point of view? How is it the same as or different from that of the users who will inhabit your design? How is it perhaps still different from that of your client?

In quite a few recent posts, I’ve discussed the idea that architects need to provide a value beyond just our traditional scope of services in order to stay relevant. This value often comes with the ability to harness and master data from its collection to application on the project. However, as we go boldly forward with integrated project delivery, evidence based design and quantifications of value associated with sustainability (green) and productivity (lean), it is all too easy to feel that creativity must emerge in spite of - not because of - these constraints. No, you are not off the hook in terms of shifting your practice model to incorporate the aforementioned value streams. You are being challenged to be more than an information generator and processor (overwhelming and boring). Too much of our time and energy is wasted feeling besieged yet unchallenged and uninspired.

The value of the architect in today’s world lies in his or her ability to synthesize. An excellent series of articles by Jon Kolko for Fast Company based on his book, Exposing the Magic of Design, caught my attention because they address precisely what makes us creative, as well as how we can allow our creativity to get lost in translation by being overly concerned about process and data. Kolko uses the term “sensemaking,” which has its roots in behavioral psychology, even going so far as to term the act of design as applying bias. We’re conditioned to view it as a four-letter word, but it’s impossible for anyone not to process the world through their individual filters. Bias represents the personal perspective of the individual designer, and the more interesting their perspective, the more likely they are to bring an exciting design solution to the table. Neutralizing your bias is the equivalent of dumbing down your work. Allow yourself to value the explorer inside of you, to question the status quo and to feel that pushing the envelope is not just OK but necessary.

Being creative begins with being inspired. Being inspired comes from allowing yourself to ask what if? That’s a scary concept, and when we don’t know where to begin, we start following all the rules of design and allow constraints to eliminate creativity by a depressing process of attrition. We fail to approach the subject with fresh eyes, disgruntled that we are doing “another” (fill in blank) and have clients that only care about getting the most amount of building for the least amount of cost. How could anything innovative ever hope to arise out of this attitude?

While budget is certainly a serious concern on every project, our clients want to build the best buildings they can, not the cheapest or most adequate. They want a solution that works for them and supports the activities that need to take place. They understand the difference between cost and value, but they will also uphold cost as a determinant when design seems too wayward and devoid of value. They are relying on your vision to take a quagmire of facts, needs, data and requirements and start to connect the dots to form a solution. That is the alchemy of architecture, to transform a bunch of information into a design strategy that supports an underlying project mission. To apply your vision and design the spaces that make people better.

Those voices you hear are the angels in the architecture, and you have to let them sing.

Green Fades to Blue: Would you rather sustain or be restored?

Mention restoration and most minds go to some historical building project. I subscribe to a much broader definition that encompasses the ability of a building to generate a positive effect. Beyond green design, which at best seeks neutrality, and at worst comes with practically a whole religion’s worth of moral baggage, restorative design, including “blue” principles, seeks to replenish us in body, mind and spirit. William McDonough has written about the power of architecture to be restorative and at the 2008 Sustainable Brands International Conference, Bob Isherwood introduced the term Blue design, to reflect the need for strategic and innovative solutions that give something back. In other words, it’s not enough to have the cache of being sustainable. To really impact people’s lives, we have to show them what’s in it for them- we need to provide restoration.
Think about the buildings in which we live, work and play: How do these environments contribute to the stress in our lives? How do they cost us too much money to maintain while giving us largely inadequate shelter and support to live our lives? How often might they actually be harmful to our well being through contaminants in the air or water, noise or light pollution? 



Blue as an expansive approach
Many early adopters of the term Blue Design or the phrase “green to blue” focus on the power of design to give something back to the community by having a net positive effect on air quality and energy (in the meantime, we have been hard pressed to even design net-zero, or energy neutral buildings). This narrow definition of blue loses sight of a much larger goal that we should be striving for in our built environment, the ability to be restorative, even therapeutic. While contaminants in that environment can contribute to a lack of focus and well being, cultural impacts are far greater. We inhabit a world of sensory overload. We lead isolated and independent lives in the processed, overproduced stage set of life. Depleting days feature streaming information in the form of constant interruptions and demands on our attention. The resulting level of stress that we experience impacts our ability to focus our attention, creating a state of persistent mental fatigue that impairs our quality of life. The antidote: a restorative environment.

Building for the senses

It’s unlikely that life in the information age is going to change anytime soon, or that its cultural impacts are necessarily negative. They just feel that way because there is such disconnect between our lifestyles and the spaces in which we live. The industrial age city and post-industrial sprawl has created both interior and exterior spaces that exacerbate our state of depletion. Our built world needs an overhaul.
Architecture, landscape and urban design elements can recharge our direct attention capabilities and restore balance and wellness in our lives if our designs reconnect users with nature and other living things through biophilic design strategies. Work towards solutions that encourage interaction and that provide relief from unwanted or irrelevant stimuli. While specific design strategies will arise from specific design problems, you should approach every project with the goal of restoration in mind. Some characteristics of restorative environmental design as defined by Stephen Kellert in his book Linkages: Understanding and Designing Connections between the Natural and Human Built Environments include:
  1. Prospect- the vista
  2. Refuge- the safe place
  3. Water-actual water or design elements that provide glimmer, movement or symbolic images representing water
  4. Biodiversity- a rich palette of natural materials supplied through both interactive spaces (gardens, planters) and views.
  5. Sensory Variability- response to the changing times of day and seasons
  6. Biomimicry-natural materials, natural forms and structures
  7. Sense of playfulness-things that delight, surprise and amuse
  8. Enticement-complexity that encourages exploration
When was the last time a building brought you joy? What if every building could?

The Liability of Expertise

I recently read Presentation Zen, a great book by Garr Reynolds, and was struck by his discussion of the zen concept of the Beginner’s Mind. The beginner’s mind is not judgmental therefore it dares to question norms, to ask why not? The argument goes that as we acquire expertise, our thinking becomes more rigid and we are more apt to categorize, marginalize and apply overly rigid ideology or process to our work. Especially in the creative world of architecture, this is a liability as it precludes innovation and fresh thinking. It also can cause us to disregard ideas brought up by our client if they come across as “too amateur” So we live in our ivory towers, our silos of specialization. And it’s boring. For us and for our clients. However, we have mutually pushed the design process to this point.


Seen that recent request for proposals? If you haven’t done at least 50 projects EXACTLY like the one that is planned, you can forget being considered (oh, and with the exact same team if possible please). And then there are our attempts at business development that involve seeking out niche markets and super-specialization. A creative, innovative design is a happy accident in this climate, when it should be the number one goal for the whole team. It's time to abandon the red-ocean thinking that pervades our industry and think a bit more about alternative strategies. I am not saying that experience is irrelevant, or that there are not some very highly sensitive building types that require expertise in order to ensure that they are compliant and functional. But, when we let mastery of the rules drive the bus, it’s like failing to see the forest for the trees. Instead, let your experience be what leads you to ask the broader questions, instead of accepting the status quo.

During the planning stage of your project, ask:
1.Who is using the space? What specific needs do they have?
 2. What are you really trying to achieve with this project?


3. Why this project? Do you really need more space, or space that is organized differently? Are there other overall issues with the campus or facility that should be solved first?

4. Where are supplies and materials coming from? Distributed to? What is the flow of patients in the space?

5. How do things need to operate? Does this need to be a separate function (departmental silos), or could a better solution involve combining uses and bringing a larger spectrum of services to a single location on-demand?

6. When will you know you have solved the problem?

Biophilic Design: More Than a Distraction?

When you first started your architecture education, you were no doubt exposed to concepts tying the built and natural environments such as the chambered nautilus, bi-lateral symmetry, golden section, and of course Le Corbusier's Modular Man.  It seemed like cracking the code of nature would give some kind of magical solution to any design problem.  Then you probably forgot all about that stuff as you began a career and had to deal with real program requirements and code constraints.  Nature-inspired design is back, and this time its about more than just proportion or organic shapes a la Bruce Goff. It's also more than just putting up some twinkly LED lights in the ceiling or an illuminated photograph of a natural scene to simulate an outdoor view.

Incorporating evidence based design principles, biophilic design looks to meld the materials, process and cycles of nature into architecture.  It links our health, job performance and well being directly to the built environment. Design that takes into account natural processes and cycles feels better to inhabit. And now, it has evidence behind it.

In his popular book Biophilia, Edward Wilson, a biologist and social researcher describes a connection that humans innately seek with other living things.  The deep psychological connections that we have formed with nature influence us in primal and subconscious ways.  As behavioral psychologists began to study biophilia in greater detail, the applicability to healing environments became evident. Roger Ulrich has shown direct correlations between connections to nature and reductions in pain and depression, both of which lead to fewer complications and faster recovery. His work in particular seems to indicate that the most beneficial type of stimulation comes from evoking nature, as in artwork, or through actual exposure to nature itself. The growing amount of research into the impact of biophilic concepts on the built environment has included work with actual patients and hospital staff, such as the Ambient Experience created by Phillips, focused on building systems that provide a multi-sensory environment for patients, families and staff.  


This seems intuitive.  However, what exactly to implement in each type of space you are creating is not.  Your game plan:
  1. As part of your space program, create a column for what you are trying to promote in each space.  In corridors, you may want to promote wayfinding and reduce noise; in staff work areas, reduce errors; in patient rooms, promote healing; and reduce stress in procedure rooms.  
  2. Look at existing research on what will best produce the desired effects in each space.  For example, stress and anxiety contribute strongly to high pain levels.  Views of nature create a  positive diversion that helps to keep people focused on things other than pain or anxiety and promote healing.
  3. Brainstorm as a team about ways these effects can manifest themselves in each space- can you provide views to a landscaped area?  Should artwork of natural landscapes be a focal point? What about lighting and acoustics?  What opportunities are there to get natural light, especially sunlight, into the space?  Can the space adapt to the time of day or season?  Are there opportunities to actually bring nature inside through plants or water features?
  4. Determine how you can measure the results of your strategies and incorporate them into your evidence-based design plan.
Why does it work?  Some speculate that reducing anxiety is all about distracting people, but I think it goes further than that and taps into a primordial state of balance that helps inhabitants to feel calmer, more focused and invigorated.  Being in a biophilic environment is enriching and by stimulating our senses, we stimulate the soul.  

Tricks in the Trade

For anyone out there who wants to hang out their own shingle and not have to answer to anyone else's ideas or lack thereof regarding design and management of projects,  you'll want guard against becoming like the company you just left.  Psychology Today had a great article recently http://www.psychologytoday.com/em/45382 that focussed on exactly how our visionary spirit can get us into trouble.  Recognize anyone?

Can You Transcend Your Genes?

We've all heard the nature/nurture debate (nature seems to be winning by the way). But genes are not destiny.  I have always believed that you can make what you want for yourself, out of yourself.  To segue back to design, this poses the question of what, really, is talent?  Is it the ability to be a trend-master who can constantly be provocative, or the expert who becomes so well-versed in a specialized arena that they are sought after?  Can anyone get there?  Is is more about networking and marketing than what you have to offer (provided of course that what you have to offer is reasonably competent and interesting)?


Design is at its best when it reflects clarity of purpose.  Mirror that clarity of purpose in who you are as an architect and you realize that you have a distinct voice.  Now go yell unabashedly from the nearest mountaintop!

Finding Evidence of Culture part 2


So back to the conundrum of placing value on design, not just functionality, which I think is a pitfall into which Evidence-Based Design devotees often stumble.  If we weave in culture and not just evidence, a philosophy of patient-centered care can be mapped to a process of approaching design. This has the potential to lead us to a design solution that has measurable positive effect on those who use the space as well as the organization’s bottom line. 
These are my thoughts on how to begin relating methods of healthcare delivery to a design approach for new construction and renovation projects, determine ways to streamline costs and maximize efficiency through patient flow, staffing and treatment models reflected and reinforced by the built environment.  Oh yeah, and be something worth calling architecture too.
  1. Establish a connection between the culture of a healthcare organization and its ability to formulate and communicate delivery of care goals with successful built projects
  2. Illustrate the role that design professionals can play in structuring a design process that facilitates translation of delivery of care goals to the built environment
  3. Empower the design process to protect design philosophies and elements that will successfully support the organization’s delivery of care goals.

    Taming the Many-Headed Monster

    Let's face it as designers, we often get no respect.  Organizations already have their own standards and teams in place to address more parts of the project than you probably knew needed that close of a look.  Instead of being demoralized by the many headed monster that most corporate machine clients have become, try introducing some innovative management strategies to engage an organization's many project stakeholders in an integrated and productive way, allowing disparate concerns to be addressed without compromising sustainable goals or good design.

    Get comfortable with the fact that there are multiple masters to serve with healthcare organizations and other large insitutional clients, each with their own set of design priorities for a particular project. From construction departments trying to enforce the bottom line to physicians concerned about cutting edge technology, infection control directors, facilities managers, security offices, CEO's concerned about market drivers and patient satisfaction, and perhaps even a sustainability officer struggling to be heard over all of the other voices. While there may be a desire to have an innovative or sustainable project, simply setting an executive level directive won't lead to the desired outcome. Reaching design goals depends you taking a leadersip role with an approach to design that integrates all of the voices influencing design priorities into a framework of sustainable design and operation:
    1. Discuss specific ways to organize a project, map out sustainable goals that factor in divergent needs and cut through the red tape of complex projects to realize your green goals.
    2. Establish deep and integrated sustainable approaches across the entire project team that create the buy-in and ownership necessary for true innovation.
    3. Identify everyone who will be a stakeholder and engage them early. Be a conduit to foster communication among competing interests on a construction project.
    4. Define sustainable project strategies that the entire team will buy into and work to develop
    5. Learn how to look at cost in a multi-dimensional manner to avoid value engineering away your most economical and innovative sustainable components
    6. Assess the organization's mission and goals and learn how they can relate to specific sustainable strategies that resonate with the entire staff.

    Confidence vs. Arrogance

    Clients expect us to know something, even the ones that think they know everything.  Caving to a client's every whim diminishes the project and probably leaves them less satisfied with the end result than if we had really been advocates for the approach that all of the experience and knowledge we have leads us to believe is best.  I recently ran across several articles whose authors must have mind melded with me:

    from  Mary Breuer's article "Hire the People Your Clients Value" (who herself cites two other design professionals):
    Clients can perceive a personal conviction that an individual has about his/her ability to bring value to the project and to the relationship. For reasons too complex to go into here, the design professions have tended to become insecure and somewhat timid. Art Gensler … again in The Executive Architect: “People in the profession don’t value what they provide. They’re so eager to provide something, that they don’t place an economic value on it” Jim Cramer argues for the importance of conviction in his book Design Plus Enterprise: “Clients are not looking for architects who pressure the design process with a peacock display of ego or, more troublesome, jerk around the design team. Instead, they’re in the market for professionals who know their own strengths and deliver the goods with full confidence.”
    and from (of all places) the July 2010 issue of Vogue in Patrick Kinmonth's profile of garden designer Jinny Blom:
    Blom says, "In the early days, when perhaps I was too eager to please, I was walking with {a client} and she said, "You know, Jinny, you must never let the client get the upper hand- it's the garden that matters.'"

    Capture Organizational Goals in the Built Environment

    Design's role in the healing process is complicated.  Simply having talented and experienced practitioners execute floor plans and exterior forms based upon a program will produce a beautiful building, but not yield the intended result.  Instead, there must be an internal commitment to providing patient centered care. 
    1.       Hospitals must cultivate a culture that values patient centered design. 
    2.       Hospitals must commit themselves and their staff to the design process so that it can be fully communicated to and studied by the design professionals. A true dialogue must be established for the intent to be realized in the built environment. 
    3.       The care model must look at design from the point of view of patients, family and staff.
    4.       Design features that will specifically enhance the care of patients must be identified and a commitment must be made to keep them as part of the project.