tag:blogger.com,1999:blog-56469717951383462232024-03-18T12:28:45.220-07:00SW Oregon ArchitectArchitecture and urban design in Oregon's southern Willamette ValleyRandy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.comBlogger1003125tag:blogger.com,1999:blog-5646971795138346223.post-10714140922754440602024-03-17T11:03:00.000-07:002024-03-17T12:17:48.290-07:00Eugene/Architecture/Alphabet: R<div style="margin-bottom: 3pt; text-align: left; text-indent: -0.25in;"><div style="text-align: center;"><span style="text-indent: -0.25in;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGpjGN4m_U_nTWC1IInzALhAAJwDd9Co8A6qFzii90atl6AK_LQAnaOhcTF_oUATnK5jB_hYqClAaTDh6X59XilFWEiPG7VJJsIZac-8zkqHiqMttAAsZllZN6caY89lzweiXU4RjCMTWyhwleU96AmkeZTNU9vhORk7JGUUoJBXbgx3qxyRK7MiuwJb7x/s3540/PXL_20240317_144058077.jpg" style="margin-left: 1em; margin-right: 1em; text-indent: -0.25in;"><img border="0" data-original-height="1833" data-original-width="3540" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGpjGN4m_U_nTWC1IInzALhAAJwDd9Co8A6qFzii90atl6AK_LQAnaOhcTF_oUATnK5jB_hYqClAaTDh6X59XilFWEiPG7VJJsIZac-8zkqHiqMttAAsZllZN6caY89lzweiXU4RjCMTWyhwleU96AmkeZTNU9vhORk7JGUUoJBXbgx3qxyRK7MiuwJb7x/w400-h208/PXL_20240317_144058077.jpg" width="400" /></a></div><div style="text-align: center;"><span style="text-indent: -0.25in;"><span style="color: red; font-family: times;"><i>Romania Building, Franklin Boulevard side (my photo)<br /></i></span><br /></span></div><span style="font-family: helvetica;"><span style="background: white; color: #2b2b2b;">This is the next in my <b><a href="http://sworegonarchitect.blogspot.com/search/label/Eugene%2FArchitecture%2FAlphabet" target="_blank"><span style="color: #3b72d8;">Eugene/Architecture/Alphabet</span></a></b> series
of blog posts, the focus of each being a landmark building here in Eugene. Many
of these will be familiar to most who live here but there are likely to be a
few buildings that are less so. My selection criteria for each will be
threefold:</span></span></div><div style="margin-bottom: 3pt; text-align: left; text-indent: -0.25in;"><ol style="text-align: left;"><li><i style="background-color: white; color: #2b2b2b; font-family: helvetica; text-indent: -0.25in;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">The
building must be of architectural interest, local importance, or historically
significant.</span></i></li><li><i style="text-indent: -0.25in;"><span style="color: #2b2b2b;"><span style="font-family: helvetica;">The building must be extant
so you or I can visit it in person.</span></span></i></li><li><i style="text-indent: -0.25in;"><span style="color: #2b2b2b;"><span style="font-family: helvetica;">Each building’s name will
begin with a particular letter of the alphabet, and I must select one (and only
one) for each of the twenty-six letters. This is easier said than done for some
letters, whereas for other characters there is a surfeit of worthy candidates
(so I’ll be discriminating and explain my choice in those instances).</span></span></i></li></ol><span style="font-family: helvetica;"><span style="background: white; color: #2b2b2b;">This entry’s selection begins with the letter R, for which
my choice is the<b> Romania Building</b>.<br /></span><o:p> <br /></o:p><b><span style="font-size: large;">Romania
Building</span><br /></b>The
Romania Building at 2020 Franklin Boulevard is perhaps Eugene’s best-known (if
not best-preserved) example of 1950s-style “<a href="https://en.wikipedia.org/wiki/Googie_architecture" target="_blank">Googie</a>” architecture. Its elliptical
plan, sweeping “potato chip” roof, and once expansive glass walls are characteristic
of the futuristic Googie designs—many of which employed gravity-defying
cantilevers, bold geometric shapes, and vibrant colors—that exuberantly celebrated
the car-centric culture of the era. Located as it was and is at the east end of
Franklin Boulevard, the building functioned as a gateway and symbol of the city’s
rapidly expanding transportation infrastructure and commercial development upon
its opening in 1960. Though its original dynamism is a thing of the past, current
plans promise new life for the forlorn structure.<br /><o:p> <br /></o:p>The
firm of <b>Balzhiser, Seder, and Rhodes </b>designed the showroom, initially for the<b>
Lew Williams Chevrolet </b>dealership. The late <b>Grant Seder</b> served as the building’s
principal designer. Grant intended its curved form to be reminiscent of the
energy of automobiles in motion, rather than as Eugene’s own faddish take on
the Googie style. The design team considered various structural solutions (including
a tension structure suspended from a perimeter compression ring), ultimately settling
upon a relatively conventional and economical system that nevertheless managed
to realize the striking aesthetic they wished for.</span></div><div style="margin-bottom: 3pt; text-align: left; text-indent: -0.25in;"><span style="font-family: helvetica;"><br /></span></div><div style="margin-bottom: 3pt; text-align: left; text-indent: -0.25in;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqUFcssvLal5yLU5ZoHqW4Sstt3dbEsUrpi8F2qZ7VmCz6aKWcJUDfcXiFdUSuhlAIEwIV_7pHW4ZGgGR0tZyaFDZRAdcCzO0PJsiyovLGSrcTsDdpfCFYUa90wXESeZPzI7C0XQduXFk9fPCFg-OZ8MJe9w7nZN18XFoXhXoMCeqD-UhgW4oUAcUPP0u3/s1250/lew_williams_01.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="983" data-original-width="1250" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqUFcssvLal5yLU5ZoHqW4Sstt3dbEsUrpi8F2qZ7VmCz6aKWcJUDfcXiFdUSuhlAIEwIV_7pHW4ZGgGR0tZyaFDZRAdcCzO0PJsiyovLGSrcTsDdpfCFYUa90wXESeZPzI7C0XQduXFk9fPCFg-OZ8MJe9w7nZN18XFoXhXoMCeqD-UhgW4oUAcUPP0u3/w400-h315/lew_williams_01.webp" width="400" /></a></div><span style="color: red; font-family: times;"><i>P</i></span><i><span style="font-family: times;"><span style="color: red;">hoto from the National Register of Historic Places (<a href="https://www.flickr.com/photos/nationalregister/6035198053/in/photostream/" target="_blank">https://www.flickr.com/photos/nationalregister/6035198053/in/photostream/</a></span><a href="https://www.flickr.com/photos/nationalregister/6035198053/in/photostream/">Lew Williams Chevrolet Dealership | Eugene, Lane County, OR … | Flickr</a><span style="color: red;">)</span><br /></span></i><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">Lew
Williams sold the business to Joe Romania in 1969 (Joe was general manager of
the dealership under Lew). What grew to become the Romania group of car
dealerships was a force on the local scene when I first arrived in Eugene in
1980, and it remained so up until the time the Romania family sold the land and buildings its Chevrolet
dealership occupied to the University of Oregon in 2005. Since purchasing the strategically
important location, the university repurposed the 4.0-acre site for storage and
parking use, with the former showroom serving for a while as studio space for its
Product Design program.<br /><div style="text-align: center;"><span style="text-indent: -0.25in;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa0kOfwL6Zt1ZYono1lBHym5qoEo38qWB7QGyJtx4s7Jn1esKMcx_7mtYIVGeL2evwqGSkYaP42ZSfezBZIkSNlZV7ZzC6CictJqDBncd9nd_DV-PpyVqKb4vy1mLJxEeZmNtQJPw98n1DcKbpq-gVD-HEEt-PhF66PzPBKKDdYWeJKykQWjzbjgTnpwT/s3081/PXL_20240317_144151685.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2268" data-original-width="3081" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa0kOfwL6Zt1ZYono1lBHym5qoEo38qWB7QGyJtx4s7Jn1esKMcx_7mtYIVGeL2evwqGSkYaP42ZSfezBZIkSNlZV7ZzC6CictJqDBncd9nd_DV-PpyVqKb4vy1mLJxEeZmNtQJPw98n1DcKbpq-gVD-HEEt-PhF66PzPBKKDdYWeJKykQWjzbjgTnpwT/w400-h295/PXL_20240317_144151685.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="color: red; font-family: times;">Romania Building, east end (my photo)</i></div><br /></span></div>As
of 2011, the showroom has been listed on the National Register of Historic
Places. According to the <a href="https://www.docomomo-oregon.org/wp-content/uploads/2015/05/NR_Noms_11000329.pdf" target="_blank">listing</a>,
the display pavilion “served to attract customers driving along Franklin
Boulevard with its modern, futuristic, and aerodynamic design.” Notably, the
dealership was the first to be situated outside of Eugene’s downtown core,
which no longer can boast any such businesses.<br /> <o:p> <br /></o:p>An
interesting tidbit I wasn’t familiar with is that the showroom was an addition
to a former Coca Cola bottling plant, as opposed to the facility entirely being
purpose-built as an automobile dealership. As the NHRP listing details, Lew
Williams converted the bottling plant into the dealership’s service center, later
adding a paint shop, body shop, and collision repair center office in quick succession
to the building. So adaptive reuse is part of the dealership’s history, and as
I will address next, will be part of its future as well.<br /><o:p> <br /></o:p>The
UO solicited proposals from developers in 2019 for exploration of a potential public/private
ground lease arrangement that would include, among many other features, the
preservation of the historical integrity and Googie style of the former dealership
showroom commensurate with its placement on the NRHP. The goal was to strike a
balance between honoring its past and embracing future opportunities for
growth.<br /><o:p> <br /></o:p>The
university selected <a href="https://around.uoregon.edu/content/developer-shares-possible-vision-former-romania-property" target="_blank">the proposal presented by <b>Project^</b></a>, a Portland-based developer whose Eugene
portfolio includes the nearby <i>Skybox</i>, <i>Courtside</i>, and <i>K14</i> student apartment
buildings. The proposal for the Romania site by Project^ aims to retain the
iconic features of the Romania Building while revitalizing the surrounding
area. As a development partner, the UO would lease the land to Project^. The university’s
continued involvement would underscore its commitment to enhancing the campus
and its neighboring communities. In this scenario, the Romania Building holds
immense potential as a catalyst for the property’s transformative change. By
preserving its architectural heritage and integrating it into a modern urban
development, we would be able to celebrate the Romania Building’s past while
embracing the future.<br /><o:p> </o:p></span></div><div style="margin-bottom: 3pt; text-align: left; text-indent: -0.25in;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqH-TDEJFDSRUV7GXvWQ2oSEso_k-HH_o679TlQVV0frj2XRHhK5sdaRYsjf7wJm4UskQEyfGA2pGRTkbS3pcuJjsuzfTYMv-9a8vbFdS618gPhium1jdPkCN8vjp0bbriAonZAY5Va1AJU2ZAIzyLRtjrO11VFOf6wrHN-AF9qOPt7OcgwzBa4od7lGQS/s1200/romania_aerial_final_crop.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqH-TDEJFDSRUV7GXvWQ2oSEso_k-HH_o679TlQVV0frj2XRHhK5sdaRYsjf7wJm4UskQEyfGA2pGRTkbS3pcuJjsuzfTYMv-9a8vbFdS618gPhium1jdPkCN8vjp0bbriAonZAY5Va1AJU2ZAIzyLRtjrO11VFOf6wrHN-AF9qOPt7OcgwzBa4od7lGQS/w400-h225/romania_aerial_final_crop.webp" width="400" /></a></div><span style="color: red; font-family: times;"><i>Redevelopment proposal by Project^.<br /></i></span><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">I
believe the Project^ proposal for the Romania site is proceeding (someone
correct me if I’m mistaken, and it is instead stillborn). The rendering shown
here hints at its large scope, which will entail a mixed-use development, the centerpiece
of which will be the former automobile display pavilion, returned to its former
glory, perhaps functioning as a restaurant. If the entire plan is realized, the
project will be the type of neighborhood node improvement called for by the
City of Eugene’s <a href="https://www.eugene-or.gov/DocumentCenter/View/44057/Walnut-Station-Specific-Area-Plan?bidId=" target="_blank">Walnut Station Specific Area Plan</a>.<br /><o:p> <br /></o:p>Safeguarding
the Romania Building’s historical significance while embracing an opportunity
for sustainable growth and development makes sense, so I’m hopeful the
University of Oregon’s partnership with Project^ will move forward along the
lines of the vision presented. This community hasn’t been the best when it
comes to preserving its architectural heritage. With luck, the
Romania Building will be fully restored and again be the captivating presence
along Franklin Boulevard it once was.</span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-28097917866135305752024-03-10T11:10:00.000-07:002024-03-10T11:10:03.645-07:00Complicity and Conviction: Steps toward an Architecture of Convention<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhWdEopTWrdhuMHjmWBGUCSndIWd5g3jXycH0pbv7caSOTAKgOWAfuFFi5dD6QKzZdmSDG_Q6qkXJv3pLvdVndnVskHhyIdUKPD9QfA02mQ-Z_0J-J7WuzUVL5OKV7WeE2ui38DJECi3Xa_o4J-312sX1ACD20XGCO3A0-ALgNZRaX_w7AhlkEXO12kMk/s500/51iT+NEP-5L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="391" data-original-width="500" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhWdEopTWrdhuMHjmWBGUCSndIWd5g3jXycH0pbv7caSOTAKgOWAfuFFi5dD6QKzZdmSDG_Q6qkXJv3pLvdVndnVskHhyIdUKPD9QfA02mQ-Z_0J-J7WuzUVL5OKV7WeE2ui38DJECi3Xa_o4J-312sX1ACD20XGCO3A0-ALgNZRaX_w7AhlkEXO12kMk/w400-h313/51iT+NEP-5L.jpg" width="400" /></a></div><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">I dusted off one of the old books from my collection
this weekend. I originally found </span><b style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><i><a href="https://www.amazon.com/Complicity-Conviction-Toward-Architecture-Convention/dp/0262580578" target="_blank">Complicity and Conviction: Steps toward an Architecture of Convention</a></i></b><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> by
retired architect and M.I.T. professor </span><b style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">William Hubbard</b><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> a challenge to
read. By the time I purchased it in 1981, both </span><b style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><a href="https://sworegonarchitect.blogspot.com/2017/09/influences-charles-w-moore.html" target="_blank">Charles W. Moore</a></b><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> and </span><b style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><a href="https://sworegonarchitect.blogspot.com/2010/11/influences-william-kleinsasser.html#.WBYXVNLruUk" target="_blank">Bill Kleinsasser</a></b><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">, among others, had lauded </span><i style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">Complicity and Conviction</i><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">.
Charles regarded it as “the most illuminating and convincing description of
what architecture is really about,” while Bill directly excerpted quotes for
inclusion in his textbook </span><a href="https://sworegonarchitect.blogspot.com/search/label/Synthesis" style="background-color: #fcfcfc; font-family: helvetica;" target="_blank">SYNTHESIS</a><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">.
So, I was determined to give it another go, but I immediately struggled with it
again.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">If I understand Hubbard’s thesis correctly, </span><i style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">Complicity
and Conviction</i><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> was his critique of contemporary architecture at the height
of the 1970s-1980s modernism vs. post-modernism debate. Specifically, he
perceived a failure of nerve within both ideologies, which imposed restrictive
forms on individuals, ones shaped by extra-personal forces rather than evolving
from human volition. According to Hubbard, this imposition not only threatened the
creative essence of architecture but also the embodiment of essential human
values in built structures.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">The book’s central argument revolved around
the need to rescue architecture from this failure of nerve stemming from the
detachment between architectural form and human values. Hubbard proposed applying
the notion of conventions to architecture, positioning them not as mindless
habits but as pragmatic tools for giving concrete form to shared human values.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">He explored three systems of
conventions—games, typography, and the law—to illustrate how structured rules
and conventions can embody human values. Despite the potential for these
conventions to be different, Hubbard argued that society willingly accepts and
gives complicity to them, convinced of their rightness. He extended these
principles to propose strategies for producing architecture that actively
engages with and reflects human concerns.</span></div><div style="text-align: center;"><i><span style="background: rgb(252, 252, 252); color: red; line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: center;"><i><span style="background: rgb(252, 252, 252); color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOgB3j5JpUeRGBBGe6VGU7QaqQRxWeBT7pHMpo74pBjUqubySvzTtNcZ7Wr9SHOXE681dZAXDzsIztnikR6OyaFkdJK5VZ_xiSdjapS8Av0rRYhTlIDylWRO-GZn4AnQjb04MdvS6MO2m9Dco2l28WWUgnR7JEBcvZ2KRDGHxkYzaR_yVgrQ9ROEBTEB_R/s1920/The_Rotunda_and_Lawn_University_of_Virginia_Charlottesville_VA_March_2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1097" data-original-width="1920" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOgB3j5JpUeRGBBGe6VGU7QaqQRxWeBT7pHMpo74pBjUqubySvzTtNcZ7Wr9SHOXE681dZAXDzsIztnikR6OyaFkdJK5VZ_xiSdjapS8Av0rRYhTlIDylWRO-GZn4AnQjb04MdvS6MO2m9Dco2l28WWUgnR7JEBcvZ2KRDGHxkYzaR_yVgrQ9ROEBTEB_R/w400-h229/The_Rotunda_and_Lawn_University_of_Virginia_Charlottesville_VA_March_2011.jpg" width="400" /></a></div></span></i></div><div style="text-align: center;"><i><span style="background: rgb(252, 252, 252); color: red; line-height: 150%;"><span style="font-family: times;">The Lawn, University of Virginia (photo by Phil
Roeder, CC BY 2.0 <https://creativecommons.org/licenses/by/2.0>, via
Wikimedia Commons)</span></span></i></div><div style="text-align: center;"><i><span style="background: rgb(252, 252, 252); color: red; line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: center;"><i><span style="background: rgb(252, 252, 252); color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxt-Q7sJ3b7yZYchTE8m0JIHCM-Cu1EQSX1ns9L-TQerNf3Dx1Dy-gQMQymX6JDxQTdeA-mFuN4vtloTUknmbBT8EPFYyt8XFzv_N8FBK5c1zuqiEZknmu1wQ6otowhjA2rVmCRFiK93VND4RQALy4wmrDCz0ecIBs4DALZYEH_pqX97C3uceYsHWHxPLo/s1280/Kresge_College_2016-05-25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxt-Q7sJ3b7yZYchTE8m0JIHCM-Cu1EQSX1ns9L-TQerNf3Dx1Dy-gQMQymX6JDxQTdeA-mFuN4vtloTUknmbBT8EPFYyt8XFzv_N8FBK5c1zuqiEZknmu1wQ6otowhjA2rVmCRFiK93VND4RQALy4wmrDCz0ecIBs4DALZYEH_pqX97C3uceYsHWHxPLo/w400-h300/Kresge_College_2016-05-25.jpg" width="400" /></a></div></span></i></div><div style="text-align: center;"><i><span style="background: rgb(252, 252, 252); color: red; line-height: 150%;"><span style="font-family: times;">Kresge College (photo by Ponderosapine210, CC
BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia
Commons)</span></span></i></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">To illustrate his point, Hubbard presented
two building projects he considered successful: </span><a href="https://en.wikipedia.org/wiki/The_Lawn" style="background-color: #fcfcfc; font-family: helvetica;">Thomas Jefferson's Lawn at the
University of Virginia</a><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> and </span><a href="https://en.wikipedia.org/wiki/Kresge_College" style="background-color: #fcfcfc; font-family: helvetica;">Kresge College at the
University of California at Santa Cruz by MLTW</a><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">. Hubbard presented the two as
tangible examples of how architecture can embody convention as a design
strategy. Specifically, he analyzed how both share characteristics that embody </span><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> </span><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">ideals, build upon an esteem for past works and
conventions, and widen the range of ways we experience built forms.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">The book’s closing chapter analyzed additional projects
by renowned contemporary architects (among them Robert Venturi, Philip Johnson,
Michael Graves, Richard Meier, and Peter Eisenman) revealing specific ways in
which Hubbard believed their work both supported and challenged prevailing
convictions about architecture.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">The interdisciplinary approach of </span><i style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">Complicity
and Conviction</i><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">, drawing inspiration from unconventional sources like
scenographic architecture, typography, games, and laws, did nothing if not underscore
the complexity of Hubbard's argument. For example, his correlation of the convention
of games with architecture, emphasizing unconscious patterns in how individuals
navigate built environments, was a useful and creative means to support his primary tenet.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">A reason why I continue to find </span><i style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">Complicity
and Conviction</i><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> challenging to read was Hubbard’s tendency toward
labyrinthine prose and profound convolution; here’s a case in point:</span></div><div style="text-align: left;"><i><span style="background: rgb(252, 252, 252); color: #3d3331; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="background: rgb(252, 252, 252); line-height: 150%;"><span style="color: #800180; font-family: helvetica;">“But in order to use buildings in this way we
must open up our attitudes about unconsciously enacted patterns. We must avoid
both the putatively humanistic attitude that confers esteem upon any pattern
that results from human action, as well as the seemingly scientific attitude that
denies the worth of any pattern that is other than the one consciously intended
by the actor. For when we make such blanket judgments beforehand, we abdicate our
freedom by surrendering our capacity to make decisions to a standard outside
the direct control of our will. What we want is the ability to stand as free
critics of our own actions, to judge our own actions on the basis of our
reaction to the consequences those actions are likely to produce. To do that,
we need to know the unseen connections between what we do and what eventually
happens. To disclose those unseen connections is, I think, the proper role of
analysis. Analysis ought to arm us with that knowledge so that we can decide
which of our actions we want to keep up, which we want to stop, even which ones
we might want to adopt from other circumstances. But what standard of judgment
can we use to make such decisions? Quite apart from finding a standard we can
agree upon, what standard of judgment could avoid that surrender of the other, “beforehand”
standards?”</span></span></i></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">You get the picture.</span></div><div style="text-align: left;"><i style="font-family: helvetica;"><span style="background: rgb(252, 252, 252); color: #3d3331; line-height: 150%;"><br /></span></i></div><div style="text-align: left;"><i style="font-family: helvetica;"><span style="background: rgb(252, 252, 252); color: #3d3331; line-height: 150%;">Complicity and Conviction</span></i><span style="background: rgb(252, 252, 252); color: #3d3331; font-family: helvetica; line-height: 150%;"> is a difficult read, but it offers rewards
to those who are willing to invest the necessary time and effort. It most definitely
demanded my careful attention and multiple readings to fully grasp. Would I prefer
that Hubbard’s writing style was simpler and more accessible? Yes, but perhaps having
to actively participate in the process of understanding and interpreting the
text was the point. Perhaps Hubbard wanted his readers to engage more thoroughly,
rather than compromising the depth of his philosophical exploration.</span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">On balance, </span><i style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;">Complicity and Conviction</i><span style="background-color: #fcfcfc; color: #3d3331; font-family: helvetica;"> is
a significant work because at the time of its publishing it did help prompt a
reconsideration of the intersection between architectural ideologies and human
values. Hubbard's dispassionate analysis of modernism and postmodernism's
impact on architecture served as a valuable contribution to the ongoing
discourse in the field. The book's exploration of unconventional perspectives,
coupled with an emphasis on the influence of external domains, positioned it as
a thought-provoking work within the realm of architectural criticism and
theory.</span></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-39956890281842577392024-03-03T11:22:00.000-08:002024-03-03T17:09:01.336-08:00Urban Growth Strategies: Homes & Jobs for 2045<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXx5gN2zNbIjhWJEybktMpINk9UF0vaqIVIDBdF4ds3QXhUpzXRBPYth93bxToOYIldBDWh0ZQgcTUfkref0CDkbeBSoXVuCEW5X54vViuN4NflU_YACvPQ_Ze7iCEn8hkJ2jVoz9gZorGSj631eGn2Px1fiQiEPwp2HFa0LOpU9nnGA9UbVxC40Ik8KU/s908/Screenshot%202024-03-03%20105516.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="908" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXx5gN2zNbIjhWJEybktMpINk9UF0vaqIVIDBdF4ds3QXhUpzXRBPYth93bxToOYIldBDWh0ZQgcTUfkref0CDkbeBSoXVuCEW5X54vViuN4NflU_YACvPQ_Ze7iCEn8hkJ2jVoz9gZorGSj631eGn2Px1fiQiEPwp2HFa0LOpU9nnGA9UbVxC40Ik8KU/w400-h193/Screenshot%202024-03-03%20105516.jpg" width="400" /></a></div><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">I
participated this past Thursday in the kickoff meeting for the City of Eugene’s </span><b style="font-family: helvetica;"><i><a href="https://www.eugene-or.gov/5202/Urban-Growth-Strategies" target="_blank">Urban Growth Strategies</a></i></b><span style="font-family: helvetica;"> project. The goal of the project is to identify the
essential tools, actions, policies, and land required over the next two decades
to support housing and living wage jobs in our community. Given the number of
ongoing projects related to housing and economic development, City staff
reached out to a broad list of housing and development experts, employers, and
business owners to help inform the <i>Urban Growth Strategies</i> project’s priorities and outcomes. They saw
fit to include me among those they invited to be a member of the project’s </span><i style="font-family: helvetica;">Housing
and Development Working Group</i><span style="font-family: helvetica;">.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Our
homes are essential for providing us with shelter, safety, gathering, and
comfort. They are the foundation upon which any stable, livable community is
built. As we know all too well, securing affordable housing in Eugene has
become progressively challenging. The simple fact is an insufficient number of new
homes have been added to Eugene’s residential stock in recent decades, which in
turn has spurred a crisis of affordability. A comprehensive understanding of the
problem is essential, and in turn the crafting of efficient strategies and
policies that will optimize land use and address the desperate need for more
and diverse types of housing.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The kickoff meeting introduced the </span><i style="font-family: helvetica;">Urban Growth Strategies</i><span style="font-family: helvetica;"> project and its
components. The meeting included the presentation of some eye-opening data regarding
housing needs and the barriers to the provision of affordable housing in Eugene
and Lane County.</span><i style="font-family: helvetica;"><span style="color: red;">(1) </span></i><span style="font-family: helvetica;">Additionally, we
reviewed the various statewide mandates related to urban growth, as well as recent
policy work directed by the City Council.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaB8Gw4MDB4ZYY6LXapanL7iS3oygF3W9XbyaXzhIB7sHW5AwcM_99nWvR9eM71g6iWuMH6ZD67I9WZiS0CPd4MRxrfPG2jPM8ePj1t7fQdLrBlAWLBG0Ei-2B1xbHSfo4cUIb0Kyvmeu1XhrXrt8L_JYJ4bkDNF6SAIZ8AjUsyB09DXpZs36MyVUSi89d/s3920/PXL_20240229_183025704.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2205" data-original-width="3920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaB8Gw4MDB4ZYY6LXapanL7iS3oygF3W9XbyaXzhIB7sHW5AwcM_99nWvR9eM71g6iWuMH6ZD67I9WZiS0CPd4MRxrfPG2jPM8ePj1t7fQdLrBlAWLBG0Ei-2B1xbHSfo4cUIb0Kyvmeu1XhrXrt8L_JYJ4bkDNF6SAIZ8AjUsyB09DXpZs36MyVUSi89d/w400-h225/PXL_20240229_183025704.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;"><a href="https://econw.com/staff/beth-goodman/" target="_blank">Beth Goodman</a> of ECOnorthwest explains the City's role in housing development.</span></i><br /><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The
State of Oregon requires municipalities to provide enough buildable land within
their urban growth boundaries to accommodate estimated housing needs for 20
years. Moreover, </span><a href="https://olis.oregonlegislature.gov/liz/2019R1/Downloads/MeasureDocument/HB2003" style="font-family: helvetica;" target="_blank">House Bill 2003</a><span style="font-family: helvetica;"> requires cities with populations greater than 10,000 to update their
housing needs and capacity analysis every eight years, while </span><a href="https://www.oregon.gov/lcd/UP/Documents/HB2001OverviewPublic.pdf" style="font-family: helvetica;" target="_blank">HB 2001</a><span style="font-family: helvetica;">,
known as the </span><i style="font-family: helvetica;">Oregon Housing Needs Analysis (OHNA)</i><span style="font-family: helvetica;">, directed the
Department of Land Conservation and Development to implement rules to increase
housing production, affordability, and choice. On top of this, the Department established
the </span><i style="font-family: helvetica;"><a href="https://www.oregon.gov/lcd/cl/pages/cfec.aspx#:~:text=The%20Climate%2DFriendly%20and%20Equitable,equitable%20land%20use%20planning%20outcomes." target="_blank">Climate Friendly and Equitable Communities Program</a></i><span style="font-family: helvetica;">, which requires Oregon
cities to comply with requirements for the establishment of compact, walkable
development standards. </span><span style="font-family: helvetica;"> </span><span style="font-family: helvetica;"> </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Crucial
to the </span><span style="font-family: helvetica;"><i>Urban Growth Strategies </i>project</span><span style="font-family: helvetica;"> is an evaluation of whether
Eugene's Urban Growth Boundary (UGB) will require expansion to meet land needs
over the next two decades. The City’s technical analysis will provide insights
into the current adequacy of land within the UGB and explore additional tools
to address any unmet land needs. The project will help identify a supply of
land for residential use for the next twenty years by integrating housing
capacity analyses, residential efficiency measures, and the current inventory
of buildable lands. Importantly, it will also help establish a 20-year supply
of land for non-residential use, incorporating data from an economic
opportunities analysis, employment efficiency measures, and urban land needs.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Each
Oregon municipality has its own unique challenges when it comes to the
provision of an adequate inventory of affordable housing. These include
constraints on how accessible federal funding is, infrastructure and site development
needs, the lack of development-ready tracts, neighborhood resistance and the
threat of delayed processes and appeals, and of course national market factors
(high costs for labor, land, materials, and financing). The City of Eugene’s
role in housing development is restricted to public policy matters related to
the use of land and infrastructure, as its influence on market feasibility is
limited. Nevertheless, the development of favorable city policies is crucial to
helping address the housing crisis.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The
desired policy outcome is revisions to the </span><i style="font-family: helvetica;"><a href="https://www.eugene-or.gov/DocumentCenter/View/37261/Envision-Eugene-Comp-Plan-FINAL-Adopted-no-Appendicies?bidId=" target="_blank">Envision Eugene Comprehensive Plan</a></i><span style="font-family: helvetica;"> (EECP) and draft amendments to the Eugene
Code, including creation of new parcel-specific land use designation maps and
new chapters dedicated to housing, compact development & urban design,
community health, and community engagement. The revisions to the plan—that the
Working Group will influence—will provide Eugene with a roadmap toward market
stability and long-term systemic change.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">I
found the kickoff meeting encouraging. In addition to the valuable background
information that provided me with a much-needed contextual understanding, the
opportunity to discuss current barriers to housing production in breakout groups
was very welcome. How can the City support production of more housing
affordable to households with incomes at 60% of the Area Median Income (AMI) or
below? What about incomes in the 60%-120% range?</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATc3IYjIYxAn_miYz9dshyphenhyphenD0YKs9ZGGZImcB1EVgMiw8L7sPf6i_gQwqdRuIR9AYWiR7qigoNBkhLYnm0pF2bz2KfsphYy5dEVULnAtqrtMePjuNX410l5mgeSJIxDIfy6dih4-sRkMd1SmeH8-kmgquWQJhLeIIbieD06XFb9evu1KP-qcF8nf9In3JR/s931/Screenshot%202024-03-03%20110842.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="931" height="114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhATc3IYjIYxAn_miYz9dshyphenhyphenD0YKs9ZGGZImcB1EVgMiw8L7sPf6i_gQwqdRuIR9AYWiR7qigoNBkhLYnm0pF2bz2KfsphYy5dEVULnAtqrtMePjuNX410l5mgeSJIxDIfy6dih4-sRkMd1SmeH8-kmgquWQJhLeIIbieD06XFb9evu1KP-qcF8nf9In3JR/w400-h114/Screenshot%202024-03-03%20110842.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">Two connected Point Access Blocks,
showing unit diversity and typical vertical
circulation.
Source: Point-access block policy brief by Michael Eliason (</span><a href="https://www.larchlab.com/wp-content/uploads/2023/01/Larch-Lab-PAB_Policy-Brief.pdf" target="_blank"><span style="font-family: times;">Larch-Lab-PAB_Policy-Brief.pdf </span></a><span style="color: red;">)</span></i><br /><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">I am
by no means an expert on affordable housing, but from my perspective as an
architect, I see the building typology limitations baked into the current
version of the International Building Code as a significant barrier to the
production of more and varied types of housing. Specifically, the code does not
allow multi-story “</span><a href="https://www.larchlab.com/wp-content/uploads/2023/01/Larch-Lab-PAB_Policy-Brief.pdf" style="font-family: helvetica;" target="_blank">point access blocks</a><span style="font-family: helvetica;">” of more than three stories in height. Taller point-access
block buildings—such as those up to six stories in height now allowed by the
City of Seattle in its modified version of the IBC—are organized as compact
plans around a single stairway and elevator core, as opposed to the
dual-stairway and double-loaded corridor layouts typical of all new multifamily
developments in Eugene. The benefits of point-block developments include the
fact that they minimize the need for parcel assemblage, a process which increases
costs and the time of development.</span><i style="font-family: helvetica;"><span style="color: red;">(2)</span></i><span style="color: red; font-family: helvetica;"> </span><span style="font-family: helvetica;">Whether the City of Eugene (or the State of Oregon)
will implement similar code revisions to those adopted by Seattle remains to be
seen, but doing so would undoubtedly improve the odds of meeting the housing
affordability challenge. </span><span style="font-family: helvetica;"> </span><span style="font-family: helvetica;"> </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">I plan
to attend the full series of Housing and Development Working Group meetings. Future
events will address gaps in existing housing policies, discuss potential
strategies for housing production, and review draft revisions to the EECP. By
prioritizing community input, technical analysis, and policy integration, the </span><i style="font-family: helvetica;">Urban
Growth Strategies</i><span style="font-family: helvetica;"> project aspires to shape a future for Eugene that is not
only resilient but also responsive to the diverse needs of its residents. For
your own opportunities to engage and contribute to this transformative endeavor,
be sure to follow the project on </span><i style="font-family: helvetica;"><a href="https://engage.eugene-or.gov/urban-growth-strategies" target="_blank">Engage Eugene</a></i><span style="font-family: helvetica;">.</span></div><div style="text-align: left;"><i style="font-family: helvetica; text-indent: -0.25in;"><span style="color: red; line-height: 150%;"><br /></span></i></div><div style="text-align: left;"><i style="font-family: helvetica; text-indent: -0.25in;"><span style="color: red; line-height: 150%;">(1)<span style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"> </span></span></i><i style="text-indent: -0.25in;"><span style="line-height: 150%;"><span style="font-family: times;">Among
the more shocking statistics are that at 60% of the AMI ($53,460 per year), a
family in Eugene can afford a monthly rent of only $1,340 or a home priced in
the $134,000 to $160,000 range; however, the average monthly rent is $1,829 and
the median home sale price is $479,500. Even households at 120% of the AMI are
priced out of the Eugene market. The source for these figures is the US
Department of Housing and Urban Development and are correct as of December
2023. </span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica; text-indent: -0.25in;"><i><span style="color: red; line-height: 150%;"><br /></span></i></span></div><div style="text-align: left;"><span style="text-indent: -0.25in;"><i style="font-family: helvetica;"><span style="color: red; line-height: 150%;">(2)<span style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"> </span></span></i><b><i><span style="line-height: 150%;"><span style="font-family: times;">Michael
Eliason</span></span></i></b></span><i style="text-indent: -0.25in;"><span style="line-height: 150%;"><span style="font-family: times;">, an architect and urbanist based in Seattle,
is the leading evangelist for and proponent of point-block housing in the U.S. In
recent years, he has written extensively on the topic, as well as penning pointed
critiques about the current state of multifamily housing development in North
America. In response to <a href="https://commonedge.org/in-praise-of-5-over-1-buildings/" target="_blank">a piece I wrote a few years back regarding 5-over-1 construction</a>, he unleashed <a href="https://twitter.com/holz_bau/status/1499185054630625280" target="_blank">a flurry of tweets on Twitter</a> (now “X”).</span></span></i></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-69555576451674584802024-02-25T11:31:00.000-08:002024-02-26T06:14:22.829-08:001,000 Blog Posts!<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju-UjGoT9oi9NW_poYDuMAJL7hx-qC-TUzt1DbIPVIPovXtR6VbgMHD6kn7DefV4efCwmCLL1_Ar-vsNGPzB8T1UwxZoFFIYp6MfusFddRYpohT_YIBoI-1mTut9NCCu03bL4X4FTDLUL7IRcFqcPxeOPjnWVV4tVeM8mPoi9DUAKZ9R1s5XSKougR9Aud/s797/Screenshot%202024-02-25%20110221.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="797" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju-UjGoT9oi9NW_poYDuMAJL7hx-qC-TUzt1DbIPVIPovXtR6VbgMHD6kn7DefV4efCwmCLL1_Ar-vsNGPzB8T1UwxZoFFIYp6MfusFddRYpohT_YIBoI-1mTut9NCCu03bL4X4FTDLUL7IRcFqcPxeOPjnWVV4tVeM8mPoi9DUAKZ9R1s5XSKougR9Aud/w400-h373/Screenshot%202024-02-25%20110221.jpg" width="400" /></a></div><span face="Arial, sans-serif"><br /></span></div><div style="text-align: left;"><span face="Arial, sans-serif">Yes, it’s true! This post marks my one
thousandth entry since I started </span><i style="font-family: Arial, sans-serif;">SW Oregon Architect</i><span face="Arial, sans-serif"> back in 2008. Though
the accomplishment hardly ranks up there with the greatest of human
achievements, I will pat myself on the back for my dedication to writing on a
regular basis.</span></div><p><span face="Arial, sans-serif" style="line-height: 150%;">I embarked on my blogging journey with
only modest goals. Initially, <i>SW Oregon Architect</i> primarily served as a means
for me to communicate with the membership of the Southwestern Oregon Chapter of
the American Institute of Architects (now the </span><a href="https://www.aiaoregon.org/about-aia-eugene" target="_blank"><span face="Arial, sans-serif" style="line-height: 150%;">Eugene Section of AIA Oregon</span></a><span face="Arial, sans-serif" style="line-height: 150%;">) on
chapter matters during my tenure on the SWO board of directors. Since then, I
have turned to a broad range of topics related to architecture and urban
design, while maintaining a weekly writing cadence.</span></p><p><span face="Arial, sans-serif">It seems many of the prolific
architecture-oriented blogs that flourished during blogging’s heyday (roughly
the mid-2000s to the early 2010s) have become inactive, including several of
those listed here on my sidebar. With the rise of social media and a
concomitant reduction in attention spans, long-form blogging lost its appeal for
some audiences, prompting many bloggers to abandon the platform in favor of
alternative outlets for their content.</span></p><p><span face="Arial, sans-serif">For me, blogging is not about garnering followers
and page views, but rather about being an enjoyable and satisfying hobby. I do
not intend to give it up anytime soon, especially now that I am on the glide
slope toward retirement. Writing is good exercise for my brain. Regular
blogging will support my cognitive health as I age, so I figure the more words
I write, the better.</span></p><p><span face="Arial, sans-serif" style="line-height: 150%;">Assuming an average of 600 words per post,
my cumulative word count has now reached approximately 600,000.<i><span style="color: red;">(1)</span></i><span style="color: red;"> </span>For some
perspective, that is more than such prodigious works of literature as Leo Tolstoy’s
</span><a href="https://en.wikipedia.org/wiki/War_and_Peace" target="_blank"><i><span face="Arial, sans-serif" style="line-height: 150%;">War
and Peace</span></i></a><span face="Arial, sans-serif" style="line-height: 150%;"> (587,287 words), Ayn Rand’s </span><a href="https://en.wikipedia.org/wiki/Atlas_Shrugged" target="_blank"><i><span face="Arial, sans-serif" style="line-height: 150%;">Atlas Shrugged</span></i></a><span face="Arial, sans-serif" style="line-height: 150%;"> (561,996
words), and the entire </span><a href="https://en.wikipedia.org/wiki/The_Lord_of_the_Rings" target="_blank"><i><span face="Arial, sans-serif" style="line-height: 150%;">Lord
of the Rings</span></i></a><span face="Arial, sans-serif" style="line-height: 150%;"> trilogy by J.R.R. Tolkien (481,103 words). If I
continue blogging as I plan to, my word count will one day surpass that of the
King James version of <i>The Bible</i> (783,137 words), if it hasn’t already.</span></p><p><span face="Arial, sans-serif">While my musings across 1,000 posts do not
rise anywhere close to the profundity of renowned authors, I occasionally
surprise myself by generating a piece I’m particularly pleased with. This is
mostly the case when I avoid being too guarded about expressing my thoughts on
a subject. It has been good to stick my neck out on occasion.</span></p><p><span face="Arial, sans-serif">To commemorate achieving this milestone, I
offer the following selection of posts because they offer a sampling of my
views on architecture and urban design. Consider this an immodest list of </span><i style="font-family: Arial, sans-serif;">SW
Oregon Architect</i><span face="Arial, sans-serif">’s “greatest hits." I
invite you to randomly read a few of them if you have some time and missed the
opportunity to do so when they first appeared (click on the title you select, which will appear in a new window):</span><span face="Arial, sans-serif"> </span></p><p></p><ol style="text-align: left;"><li><span face="Arial, sans-serif" style="text-indent: -0.25in;"> <a href="https://sworegonarchitect.blogspot.com/2023/11/architecture-and-culture-wars.html" target="_blank">Architecture and the Culture Wars</a></span></li><li> <a href="https://sworegonarchitect.blogspot.com/2023/04/the-timelessness-of-libraries.html" target="_blank">The Timelessness of Libraries</a></li><li><a href="https://sworegonarchitect.blogspot.com/2023/02/hyperlocal-identity-strategy-for-small.html" target="_blank"> Hyperlocal
Identity:<span face="Arial, sans-serif" style="text-indent: -0.25in;"> </span><span face="Arial, sans-serif" style="text-indent: -0.25in;">A Strategy for Small Cities
and Towns</span></a></li><li> <a href="https://sworegonarchitect.blogspot.com/2022/09/commonsense-architecture.html" target="_blank">Commonsense Architecture</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2022/04/the-worrying-absence-of-housing-choice.html" target="_blank">The Worrying Absence of Housing Choice</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2021/10/challenging-our-biases.html" target="_blank">Challenging Our Biases</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2020/12/philosophy-and-metaphysics-of.html" target="_blank">Philosophy and the Metaphysics of Architecture</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2020/10/the-better-angels-of-our-nature.html" target="_blank">The Better Angels of our Nature</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2020/09/oregon-is-burning.html" target="_blank">Oregon is Burning</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2020/06/corner-stores.html" target="_blank">Corner Stores</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2020/06/a-moral-obligation.html" target="_blank">A Moral Obligation</a></li><li> <a href="https://sworegonarchitect.blogspot.com/search?q=Eugene+and+the+Menace+of+the+Black+Swan" target="_blank">Eugene and the Menace of the Black Swan</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2020/02/architecture-on-frontline-of-culture-war.html" target="_blank">Architecture on the Frontline of the Culture War</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2019/11/private-good-and-public-space.html" target="_blank">Private Good and Public Space</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2019/09/does-eugene-really-have-affordable.html" target="_blank">Does Eugene really have an affordable housing crisis? Yes, but . . .</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2019/08/light.html" target="_blank">Light</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2019/04/restoring-related-wholeness-of-notre.html" target="_blank">Restoring the Related Wholeness of Notre-Dame de Paris</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2019/02/in-praise-of-5-over-1-construction.html" target="_blank">In Praise of 5-over-1 Construction</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2018/12/looking-beyond-2019-way-way-beyond.html" target="_blank">Looking Beyond 2019 (Way, Way Beyond)</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2018/06/we-shouldnt-fear-change-diverse-housing.html" target="_blank">We Shouldn’t Fear the Change Diverse Housing Types Herald</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2018/04/riding-rails.html" target="_blank">Riding the Rails</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2018/03/morality-and-architecture.html" target="_blank">Morality and Architecture</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2018/03/sunlight-is-powerful-healer.html" target="_blank">Sunlight is a Powerful Healer</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2017/05/the-fine-grain-of-cultural-diversity.html" target="_blank">The Fine Grain of Cultural Diversity</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2017/05/the-obama-presidential-center.html" target="_blank">The Obama Presidential Center</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2016/09/architectural-records-top-125-buildings.html" target="_blank">Architectural Record’s Top 125 Buildings</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2016/04/rip-zaha-hadid.html" target="_blank">R.I.P. Zaha Hadid</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2016/03/architecture-is-awesome-11-sense-of.html" target="_blank">Architecture is Awesome: #11 Sense of Place</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2016/01/the-pritzker-prize-and-neural-nostalgia.html" target="_blank">The Pritzker Prize and Neural Nostalgia</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2015/08/the-future-of-architectural-craft.html" target="_blank">The Future of Architectural Craft</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2014/08/architecture-is-awesome-6-space.html" target="_blank">Architecture is Awesome #6: Space</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2014/08/debate-and-discourse-hallmarks-of.html" target="_blank">Debate and Discourse: Hallmarks of a Healthy Community</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2014/01/the-perils-of-building-cheaply.html" target="_blank">The Perils of Building Cheaply</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/11/self-actualization.html" target="_blank">Self-Actualization</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/09/revenge-of-specifiers.html" target="_blank">Revenge of the Specifiers</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/08/awe-wonder-and-curiosity.html" target="_blank">Awe, Wonder, and Curiosity</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/06/pitfalls-of-public-planning-processes.html" target="_blank">The Pitfalls of Public Planning Process</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/04/incremental-growth.html" target="_blank">Incremental Growth</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/04/progress.html" target="_blank">Progress</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2012/03/revitalization-reinvention.html" target="_blank">Revitalization + Reinvention</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2011/12/automobiles-and-architecture.html" target="_blank">Automobiles and Architecture</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2011/05/monarchy-and-architecture.html" target="_blank">Monarchy and Architecture</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2010/05/influences-christopher-alexander-peter.html" target="_blank">Influences:
Christopher Alexander & Peter Eisenman</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2010/01/what-is-architecture.html" target="_blank">What is Architecture?</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2009/05/san-francisco-walkabout.html" target="_blank">San Francisco Walkabout</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2009/03/influences-frank-lloyd-wright.html" target="_blank">Influences: Frank Lloyd Wright</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2008/12/ecopolis-and-american-dream.html" target="_blank">Ecopolis and the American Dream</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2008/06/utopianism-cynicism-and-sincerity.html" target="_blank">Utopianism, Cynicism, and Sincerity</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2008/05/authenticity.html" target="_blank">Authenticity</a></li><li> <a href="https://sworegonarchitect.blogspot.com/2008/05/eugene-genius-loci-and-butterfly-effect.html" target="_blank">Eugene, Genius Loci, and the Butterfly Effect</a></li></ol><div><span face="Arial, sans-serif">The ride </span><i style="font-family: Arial, sans-serif;">SW Oregon Architect</i><span face="Arial, sans-serif"> has taken me on has been both humbling and invigorating. What began as a channel for communication with the local architectural community is now increasingly a repository for my personal thoughts, topical insights, and occasionally whimsical digressions. I look forward to continuing this adventure, exploring new topics, and—with good luck and health—reflecting again upon reaching the 2,000-posts mark.</span></div><div><i style="text-indent: -0.25in;"><span style="color: red; font-family: "Times New Roman", serif; line-height: 150%;"><br /></span></i></div><div><i style="text-indent: -0.25in;"><span style="color: red; font-family: "Times New Roman", serif; line-height: 150%;">(1)<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"> </span></span></i><i style="text-indent: -0.25in;"><span style="font-family: "Times New Roman", serif; line-height: 150%;">I
am not going to bother to accurately tally my total word count. I may not make
the most of my free time, but I do value it enough not to undertake the task. A
600-word per post average is a fair guess; if anything, this number might be on
the low side.</span></i></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com2tag:blogger.com,1999:blog-5646971795138346223.post-80524052216384222432024-02-18T10:39:00.000-08:002024-02-18T10:49:11.705-08:00COTE Book TALK: People, Planet, Design<div style="text-align: center;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcYoPSkLgjSKp52N6fm0qXaWn-DOYru0XakVp6fkvP7ltlnAtZwOaRBms6jvZZ7EBxJI5-bANqye9-I84_QEf3txHr9amqnyz3PU4rb4p__jCCdtF5TFHPSins9FnJOwqxjt4VauQ4L75uJmS419U2AN_NBogs2ahjoGZTEL54DFhV41nVbXI-dhwOq1m/s1500/71CKIiElFJL._SL1500_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcYoPSkLgjSKp52N6fm0qXaWn-DOYru0XakVp6fkvP7ltlnAtZwOaRBms6jvZZ7EBxJI5-bANqye9-I84_QEf3txHr9amqnyz3PU4rb4p__jCCdtF5TFHPSins9FnJOwqxjt4VauQ4L75uJmS419U2AN_NBogs2ahjoGZTEL54DFhV41nVbXI-dhwOq1m/w426-h640/71CKIiElFJL._SL1500_.jpg" width="426" /></a></div><br /></span></div><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">I
attended the latest <a href="https://www.aiaoregon.org/cote" target="_blank">Committee on the Environment</a> (COTE) book talk hosted by AIA Oregon back on February 8. The virtual
presentation, produced by Island Press, featured author <b><a href="https://islandpress.org/author/corey-squire?tab=book" target="_blank">Corey Squire</a><span style="color: #2b00fe;">,
AIA</span></b> and his new book <b><i><a href="https://islandpress.org/books/people-planet-design#desc" target="_blank">People, Planet, Design: A Practical Guide to Realizing Architecture’s Potential</a></i></b>. Corey’s
compelling presentation, along with the subsequent question-and-answer period
moderated by AIA COTE Leadership Group member <b>Lyndley Kent AIA</b>, focused
on the idea that successful buildings should not only be beautiful but also positively
impact the community, the planet, and the people who use them.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: helvetica;"><span style="background: white; color: #0f1111; line-height: 150%;">Corey Squire is an architect
and nationally recognized expert in sustainable design who has empowered
multiple award-winning design firms to achieve high-performance projects across
their portfolios. He lectures nationally on a range of sustainable design
related topics and was a lead author of the <a href="https://www.aia.org/design-excellence/aia-framework-design-excellence" target="_blank">American Institute of Architects <i>Framework
for Design Excellence</i></a>, a resource that is actively redefining excellence in
the built environment. Corey is presently an Associate Principal and Director
of Sustainability at <a href="https://bora.co/" target="_blank">Bora Architecture and Interiors</a> in Portland</span>.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: helvetica;"><br /></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; text-align: center;"><span style="background: white; color: #0f1111; line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHpKiBYyYjhyDrgN0wa69u3CYDjatA-DGoq37_yYXhVmJsIwQKV2Mn3nZFGBKMSl3XVWgvqK86PGlLTPqhEKLl1ri13J-QdJAp8aFWf1Y8y6Ix72lGKHHduJAPgXrwM9SU3DUzFXtEbE2a4l2YpHKu2zj5sCauSBL0-MQ2Yzgk2O5QLvVhALARM89I8Ifr/s800/1698683522756.jpg" style="font-family: helvetica; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHpKiBYyYjhyDrgN0wa69u3CYDjatA-DGoq37_yYXhVmJsIwQKV2Mn3nZFGBKMSl3XVWgvqK86PGlLTPqhEKLl1ri13J-QdJAp8aFWf1Y8y6Ix72lGKHHduJAPgXrwM9SU3DUzFXtEbE2a4l2YpHKu2zj5sCauSBL0-MQ2Yzgk2O5QLvVhALARM89I8Ifr/s320/1698683522756.jpg" width="320" /></a></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; text-align: center;"><span style="background: white; line-height: 150%;"><o:p><span style="color: red; font-family: times;"><i>Corey Squire, AIA</i></span><br /><br /></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: helvetica;"><i><span style="background: white; color: #0f1111; line-height: 150%;">People, Planet, Design </span></i><span style="background: white; color: #0f1111; line-height: 150%;">is a guide for designing change, making the case
for how every design choice affects the community, the planet, and the people
who will use a given building. The book (which I have yet to read) aims to
simplify complex ideas by providing architects with a framework for transforming
their practices to meet the needs of a carbon-neutral future.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="background: white; color: #0f1111; line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="background: white; color: #0f1111; line-height: 150%;"><span style="font-family: helvetica;">Fundamentally, Corey’s
thesis revolves around the factors that empower high-performing architectural firms.
He sees these as inextricably tied to the declaration of an urgent and sustained
climate imperative, the consequent need to transform day-to-day professional practice,
and in turn aligning and using external messaging to leverage support from peers,
clients, and the broader populace. He believes some projects perform better
than others precisely because the offices who designed them are thriving
environments in their own right.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="background: white; color: #0f1111; line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; text-align: center;"><span style="background: white; line-height: 150%;"><o:p></o:p></span></p><div class="separator" style="clear: both; color: #0f1111; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2fn1Ps5kGGzQVGSAyqpBhEtj6W1o1GUNIqnhLLdnSRCYRxBCN_2Z82jBuk6rOhKNoyEMoeZudYD5R2mHt9445Ht2z8iM1-9xtkQ7G7CF563C53G44aVbv-jc4VLDrsWj_VL4l1K3zxCXdtz8Fyqs6XvjM0cD53os7LI1ftrWB-uTVTJ-G-PX9f3mAyIx/s435/p4+Earth.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="435" data-original-width="382" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2fn1Ps5kGGzQVGSAyqpBhEtj6W1o1GUNIqnhLLdnSRCYRxBCN_2Z82jBuk6rOhKNoyEMoeZudYD5R2mHt9445Ht2z8iM1-9xtkQ7G7CF563C53G44aVbv-jc4VLDrsWj_VL4l1K3zxCXdtz8Fyqs6XvjM0cD53os7LI1ftrWB-uTVTJ-G-PX9f3mAyIx/w351-h400/p4+Earth.jpg" width="351" /></a></div><div class="separator" style="clear: both; color: #0f1111; text-align: center;"><i><span style="color: red; font-family: times;">Helena Zambrano, AIA, furnished the illustrations used in the book.</span></i></div><span style="color: #0f1111; font-family: helvetica;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="background: white; color: #0f1111; line-height: 150%;"><span style="font-family: helvetica;">To excel in sustainability, a
firm committed to sustainability goals needs two things: 1) the right culture;
and 2) the right knowledge. Corey asserts that our profession already has all
the knowledge and technology it needs. If the right culture additionally exists
within a practice, implementing a unified vision for design excellence through
an understanding and prioritization of what matters is achievable.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="background: white; color: #0f1111; line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="font-family: helvetica;"><span style="background: white; color: #0f1111; line-height: 150%;">One clear mechanism for reaching
these goals is to redefine what design excellence means. It can no longer
simply be defined by aesthetic trends or by the starchitects of our world. The
impact of buildings is too great for the planet to withstand designs whose
virtues solely lie in their idiosyncrasy. Instead, we need to define the right outcomes,
align those outcomes and systems with effective design strategies, and create
an environment—the right culture—within a practice to make them happen. </span><span style="line-height: 150%;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">It really was this aspect of Corey’s talk that was my biggest takeaway. The vision thing lies at the crux of the matter
for firms who want to do the right thing but do not know where to start. Under
even the best circumstances, cultural change takes time and requires effort and
patience. Firm leaders must be the ones to establish the necessary vision. They
often know what they need to do. <u>How</u> to do it is the challenge. To date,
there has been a notable gap in professional literature addressing this. I will
reserve judgment until after I have read <i>People, Planet, Design</i> to gauge
the extent to which Corey has bridged the gap.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip9Hb0dfjia8sJJqveABavAOTSpJ60cEnBimR_wcjjeAFT560f54KF34z1ywPlSuaMOkoj09nIdJeTvjJsGNtibeqvrO1Tixs-AxrRoixKOpNIvl_8zQ97gpFi-0n9db4QRUi9TKtBiZyfaGxBQ2rdclC73AqnAPQp5_KuGBid1DlcV_r6temP6u4MnMM5/s1032/Screenshot%202024-02-18%20082953.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="1032" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip9Hb0dfjia8sJJqveABavAOTSpJ60cEnBimR_wcjjeAFT560f54KF34z1ywPlSuaMOkoj09nIdJeTvjJsGNtibeqvrO1Tixs-AxrRoixKOpNIvl_8zQ97gpFi-0n9db4QRUi9TKtBiZyfaGxBQ2rdclC73AqnAPQp5_KuGBid1DlcV_r6temP6u4MnMM5/w400-h276/Screenshot%202024-02-18%20082953.jpg" width="400" /></a></div><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">I am hopeful the book directly addresses the challenges
posed by the exponential growth of things we need to focus on when we design
buildings and the limited time within which we are afforded to do so. The sheer
volume of knowledge needed to align outcomes and systems with effective design
strategies is overwhelming. I asked Corey whether he believes we can ensure
that architects—all design professionals—can acquire the necessary knowledge
within a reasonable period of development and experience. We all know students
enter professional practice with woefully inadequate skill sets, so the problem
seems particularly pronounced for the emerging generations of designers. Corey responded by saying his hope is that <i>People, Planet, Design</i> can be part
of the solution by promoting a holistic approach to sustainable design that
avoids the need for an exhaustive knowledge base. He believes the key is to provide
every architect with a baseline understanding of what is important and with guidance
about how to proceed when applying that baseline of information to every
project.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-top: 0in; mso-add-space: auto; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">As I said, I have not yet read <i>People, Planet, Design</i>,
but hope to soon. If you’re likewise interested in the book, it is available
for purchase directly from the <a href="https://islandpress.org/books/people-planet-design#desc" target="_blank">Island Press</a>
or from <a href="https://www.amazon.com/People-Planet-Design-Practical-Architectures/dp/1642832650/ref=sr_1_1?crid=OKQAL4EPOU23&keywords=people%2C+planet%2C+design&qid=1708270421&sprefix=People%2C+Planet%2Caps%2C229&sr=8-1" target="_blank">Amazon</a>
in both e-book or hard-copy (paperback) formats. I am confident my time reading
the book will be amply rewarded. </span><span face="Arial, sans-serif" style="font-size: 10pt;"><o:p></o:p></span></span></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-45350847871516388862024-02-11T08:51:00.000-08:002024-02-11T08:56:06.857-08:00Construction Site Tour<div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia-GeOyLtNMBRqE4gyCa9tPMIcQE-CM7awQhhHqsgtJOwpC-mMQ9jtnHk25vUi7D1MLaGpNhyphenhyphen_XX8NqqYP32yBjYbNC4hyTA5xP9GG6Cw3N0WV83xVeskzthhuoaukU_Owl50MsCmEVRpNlBjPSxyvCnFZ3o419GNa2MiZ35QuovZj9lPaciGVDEpCNrWB/s4181/20240131_202714269_iOS.jpg" style="font-family: helvetica; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3136" data-original-width="4181" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia-GeOyLtNMBRqE4gyCa9tPMIcQE-CM7awQhhHqsgtJOwpC-mMQ9jtnHk25vUi7D1MLaGpNhyphenhyphen_XX8NqqYP32yBjYbNC4hyTA5xP9GG6Cw3N0WV83xVeskzthhuoaukU_Owl50MsCmEVRpNlBjPSxyvCnFZ3o419GNa2MiZ35QuovZj9lPaciGVDEpCNrWB/w400-h300/20240131_202714269_iOS.jpg" width="400" /></a><br /><i><span style="color: red; font-family: times;">The Robertson/Sherwood/Architects team during our construction tour of the new Lane Community College Health Professions Building.</span></i></div><div style="text-align: center;"><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica; line-height: 150%;">The Robertson/Sherwood/Architects
staff recently toured the new <b><a href="https://sworegonarchitect.blogspot.com/2024/01/lcc-health-professions-building.html"><span style="color: #2b00fe;">Health
Professions Building</span></a></b> (HPB) project under construction on the Lane
Community College main campus. As the design team’s project manager, I led the
tour, helping to explain what is now coming together very quickly.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">For
emerging design professionals, the opportunity to visit projects under
construction—particularly those they were involved with during the design phase—is
of immeasurable benefit. Seeing construction in progress provides them with a
tangible link between what they do in the office and its practical application.
Construction site tours help them understand why coordination, communication
and teamwork are so important, why mastering fundamental building
technology principles is critical, and why even relatively modest jobs are more
complex than they may seem at first blush. </span><br /><div style="text-align: center;"><span style="font-family: helvetica;"> </span><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOJYCqOIWKX9hfwXvRf7TA0HW65TvYVfMbaSbvOVVkS2-B4tHyysN2MkNwpWOnsvYUZZyRkCg1y-Nx11XAInac5kR4-k-KEPBRg1YKxxRChqgaHp_XaJTtyQgOrga53kYA2ywYsyOaGq6lvhnAptKTniMUzcZNyAuFqJmgJBHjFUOi04rRSFZMmPIe-fP/s4181/20240131_195248381_iOS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3136" data-original-width="4181" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOJYCqOIWKX9hfwXvRf7TA0HW65TvYVfMbaSbvOVVkS2-B4tHyysN2MkNwpWOnsvYUZZyRkCg1y-Nx11XAInac5kR4-k-KEPBRg1YKxxRChqgaHp_XaJTtyQgOrga53kYA2ywYsyOaGq6lvhnAptKTniMUzcZNyAuFqJmgJBHjFUOi04rRSFZMmPIe-fP/w400-h300/20240131_195248381_iOS.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">Kyle Stucky of Fortis Construction (right center) demonstrating the in-field use of <a href="https://sworegonarchitect.blogspot.com/2023/07/reality-capture-on-construction-jobsite.html" target="_blank">OpenSpace AI</a> to compare actual construction progress with the coordinated BIM model.</span></i></div><br /></div></span><span style="font-family: helvetica; line-height: 150%;">Joining
us on our tour were <b>Kyle Stucky</b>, superintendent for <a href="https://fortisconstruction.com/"><span style="color: #2b00fe;">Fortis Construction</span></a>, and <b>Mike
Zimmerman</b>, project coordinator for Lane Community College. The two provided
invaluable insights into the project’s challenges, nuances, and opportunities
from the Contractor’s and Owner’s perspective, respectively. They mentioned how
the entire HPB team has been able to adapt and find solutions to unforeseen
issues as they arose—real-world examples of the inevitable challenges posed by
construction projects. Having Kyle and Mike on hand helped stress the
importance of our relationships with all members of the project team.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Office
site tours certainly provide a beneficial feedback loop between the design and
construction phases. Every design decision directly impacts the construction outcome,
so seeing actual construction in progress (ideally at key intervals), provides
an iterative process that contributes to a holistic understanding of the entire
project lifecycle. The fact so many different building systems are currently
being installed in the HPB project was especially helpful.</span><br /><div style="text-align: center;"><span style="font-family: helvetica;"> </span><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmYQ86fiVT1tdWHcd2H_xijB1UuZV61kdDmYZerS8aQm3yf2C6u9IBxqVVlV8syYr78iz0DK9osilg-LkP_5k5goLLjGpLx3X_-ZYUgyBL88NSC9zV2_q_spYEw-X21VZ0czPuisykbUiKUlRMCTRs898hzPHXzl3ni5kBp0jnYVQV0ku7vbQaP6Nmsi4z/s4181/20240131_203322583_iOS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3136" data-original-width="4181" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmYQ86fiVT1tdWHcd2H_xijB1UuZV61kdDmYZerS8aQm3yf2C6u9IBxqVVlV8syYr78iz0DK9osilg-LkP_5k5goLLjGpLx3X_-ZYUgyBL88NSC9zV2_q_spYEw-X21VZ0czPuisykbUiKUlRMCTRs898hzPHXzl3ni5kBp0jnYVQV0ku7vbQaP6Nmsi4z/w400-h300/20240131_203322583_iOS.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Me explaining details of the exterior envelope mockup.</i></span></div><br /></div></span><span style="line-height: 150%;"><span style="font-family: helvetica;">If
anything, given how much there is to learn from each tour, we fail to conduct
as many of them as we should. The value inherent in the practical insights
gained strongly favor them. Visiting construction sites provides our team
members with not only an education, but also a sense of accomplishment as they
see their designs come to life. This firsthand experience contributes to
personal and professional satisfaction, motivating our staff to continually
strive for excellence in their work.</span><br /><div style="text-align: center;"><span style="font-family: helvetica;"> </span><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgESA6We-DIEIK4YfCG3hPqE3ke4bn1COwy-H0kAHRSyDMifBsS0bE2-GpZT0tgPag_qeURi5iw1-ZCe46mKKg8fKqhg9Xz_lrnQ-cQJi1KVMJaAijOIHxrzCT71_wofKNYFYwoqbk11a0rwbth4Ht6rM8mR1OKJp4BLj4xCdvfBErdvKGcfcEAWTxs8Ejw/s3727/20240131_204215568_iOS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3136" data-original-width="3727" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgESA6We-DIEIK4YfCG3hPqE3ke4bn1COwy-H0kAHRSyDMifBsS0bE2-GpZT0tgPag_qeURi5iw1-ZCe46mKKg8fKqhg9Xz_lrnQ-cQJi1KVMJaAijOIHxrzCT71_wofKNYFYwoqbk11a0rwbth4Ht6rM8mR1OKJp4BLj4xCdvfBErdvKGcfcEAWTxs8Ejw/w400-h336/20240131_204215568_iOS.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">Another shot of the RSA team, this time in front of the new LCC Health Professions Building under construction.</span></i></div><div style="font-family: helvetica; text-align: center;"><br /></div></span><span style="font-family: helvetica; line-height: 150%;">The
HPB project is on its home stretch now, with completion targeted for this May. The
RSA staff will likely visit it together one more time, perhaps just prior to
the building’s occupancy, to see how everything has come together. Again, there
will be lessons to be learned as we’ll be able to gauge how well the design has
achieved its goal of being an exemplary facility for the LCC Health Professions
Division.</span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-78403907744244286672024-02-04T10:04:00.000-08:002024-02-04T10:04:51.038-08:00A Splendid Torch: Henry Mercer’s Historical Connections (Part 2)<div style="text-align: center;"><span style="font-family: times;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6eFbyEsCW9boTgCpan-HbFx1TI9-DlLv_JN23E-3cjtSvCsHzqZWajvxs3AEnyxLJEJOE40pi2mKx8EahvWsgRKsrVhVzMZGVFLHgJq2GDmrMF_Ox3R83Ixjs_phO-VouS4iR9rZXdSav4SJQCwvTE7TP0nmeSQvjMjHziGxVzl7XeeXLFUgfpjreouNr/s900/Moravian_Pottery_and_Tile_Works_5_2015_007.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="675" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6eFbyEsCW9boTgCpan-HbFx1TI9-DlLv_JN23E-3cjtSvCsHzqZWajvxs3AEnyxLJEJOE40pi2mKx8EahvWsgRKsrVhVzMZGVFLHgJq2GDmrMF_Ox3R83Ixjs_phO-VouS4iR9rZXdSav4SJQCwvTE7TP0nmeSQvjMjHziGxVzl7XeeXLFUgfpjreouNr/w480-h640/Moravian_Pottery_and_Tile_Works_5_2015_007.JPG" width="480" /></a> </div></span></div><div style="text-align: center;"><span style="font-family: times;"><i><span style="color: red; line-height: 150%;">Moravian Pottery and
Tile Works (photo by Concord, CC BY-SA 4.0
<https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)</span></i></span></div><div style="text-align: left;"><i style="font-family: helvetica;"><span style="line-height: 150%;"><br /></span></i></div><div style="text-align: left;"><i style="font-family: helvetica;"><span style="color: #800180; line-height: 150%;">The following is the second of
two posts devoted to a lengthy passage from </span><a href="https://sworegonarchitect.blogspot.com/2010/11/influences-william-kleinsasser.html#.YUdoYSuSlPY" target="_blank"><b><span style="line-height: 150%;"><span style="color: #2b00fe;">Bill Kleinsasser</span></span></b></a></i><i style="font-family: helvetica;"><span style="color: #800180; line-height: 150%;">’s
1981 edition of his self-published textbook, </span><a href="https://sworegonarchitect.blogspot.com/search/label/Synthesis#.YUdixSuSlPY" target="_blank"><b><span style="line-height: 150%;"><span style="color: #2b00fe;">SYNTHESIS</span></span></b></a></i><i style="font-family: helvetica;"><span style="line-height: 150%;"><span style="color: #800180;">. (Read
Part 1 </span><a href="https://sworegonarchitect.blogspot.com/2024/01/a-splendid-torch-henry-mercers.html" target="_blank"><span style="color: #2b00fe;">here</span></a><span style="color: #800180;">).
His fascination with the work and interests of </span></span><a href="https://en.wikipedia.org/wiki/Henry_Chapman_Mercer" target="_blank"><b><span style="line-height: 150%;"><span style="color: #2b00fe;">Henry
Chapman Mercer</span></span></b></a></i><i style="font-family: helvetica;"><span style="line-height: 150%;"><span style="color: #2b00fe;"> i</span><span style="color: #800180;">s perhaps no more evident than in this
reading. Like Mercer, Bill disdained the downsides of modernization and
industrialization upon design and construction, particularly the primacy of
standardization and the loss of rich diversity associated with many historical
buildings. Like other followers of the </span></span><a href="https://en.wikipedia.org/wiki/Arts_and_Crafts_movement" target="_blank"><span style="line-height: 150%;"><span style="color: #2b00fe;">Arts
and Crafts Movement</span></span></a></i><i style="color: #800180; font-family: helvetica;"><span style="line-height: 150%;">, Mercer sought to extol the virtues of
vernacular architecture, patterns inspired by nature, and the work of the
craftsman-designer; however, what sets Mercer apart is the extent to which
legend, literature, Americana, and archaeology influenced his approach to
architecture.</span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="color: #800180; font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="color: #800180; font-family: helvetica;">Henry Mercer’s three major
building designs—Fonthill Castle, the Mercer Museum, and the Moravian Pottery
and Tile Works—are peculiar and idiosyncratic, but they are also distinctive,
evocative, and highly personal. In this regard, it’s not surprising Bill would
be fascinated by their appearance, the lessons to be learned from them, and
their eccentric author.</span></span></i></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica; font-size: x-large;"><br /></span></span></b></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica; font-size: x-large;">Part 2: Layering, Light, and Caves</span></span></b></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica;"><span style="font-size: medium;"><br /></span></span></span></b></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica;"><span style="font-size: medium;">Layering</span></span></span></b></div><div style="text-align: left;"><span style="font-family: helvetica;">The second kind of imagery
appearing in Mercer’s stories concerns the layering of places and objects in
space, the effect of this visual complexity, and how that effect is heightened
under certain circumstances.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">He wrote in </span><i style="font-family: helvetica;">Castle Valley</i><span style="font-family: helvetica;">:</span></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“The boughs frame the picture.
Look under them. They give distance to the meadow, the bridge, and the hill yonder.
The scene has a curious effect on me. I hardly know how to describe it.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“When I awoke I found myself
lying upon a pile of straw on the floor of a barn, through the open door of
which I saw a red glow, with clouds of smoke, and moving figures of men.”</span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">In </span><i style="font-family: helvetica;">The Blackbirds</i><span style="font-family: helvetica;">:</span></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“He was standing by an open
window, looking out across the city roofs and river at the magnificent up-rolled
clouds that deepened the distant blue and cast their majestic shadows over the far-off
suburb of Fairfield.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“There, on mounting to the top
of a flat rock, the trees opened upon an enchanting view of distant meadow,
cliffs, and a village, seen across an expanse of water. The eastern sky had
changed to rose color. The water’s shimmer was broken by the breeze into
deep-blue paths of ripples. Clouds, more gorgeous than ever, robed in white, gold,
and lavender, floated overhead.”</span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Descriptions similar to these
appear many times in the seven stories and all of Mercer’s buildings show his
response to this interest: in the deliberate creation of vistas and spatial
layering inside the buildings, by preserving and emphasizing the same phenomena
outside, and by uniting inside and outside through the device of in-between
elements and spaces.</span></div><div style="text-align: left;"><i><span style="color: red; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisrtgPT4VBQOPOPrLUCGcoEv1LCZ5oHOx0Z3EGjvlcVf6RH2LY__nN6sIlsIXS4I2KnL27NF26yb79-xhkW5nmLPxo7mophnOXc7ZM-KlAAutMv84BW8o6B60hAo05i7HzeJp3hIgGIIDBcoj1909L5-oWjC-mBrlLDQj-VZgeqBaB5kKFAXLMhbLdsD7H/s1024/1024px-View_of_Atrium_in_Mercer_Museum,_Doylestown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="978" data-original-width="1024" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisrtgPT4VBQOPOPrLUCGcoEv1LCZ5oHOx0Z3EGjvlcVf6RH2LY__nN6sIlsIXS4I2KnL27NF26yb79-xhkW5nmLPxo7mophnOXc7ZM-KlAAutMv84BW8o6B60hAo05i7HzeJp3hIgGIIDBcoj1909L5-oWjC-mBrlLDQj-VZgeqBaB5kKFAXLMhbLdsD7H/w400-h383/1024px-View_of_Atrium_in_Mercer_Museum,_Doylestown.jpg" width="400" /></a></div></span></i></div><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Mercer Museum (photo
by Bestbudbrian, CC BY-SA 3.0
<https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)</span></span></i></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></b></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica; font-size: medium;">Light</span></span></b></div><div style="text-align: left;"><span style="font-family: helvetica;">The third kind of imagery brought
to mind by Mercer’s short stories is about light and the effects of light, particularly
on things and spatial organizations whose meaning the mystery are magnified by
it, such as forms and spaces within other spaces, forms juxtaposed against
other forms (layering again), ruins, junk, metal, textures, colors, water,
landscape, and distance.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">In </span><i style="font-family: helvetica;">North Ferry Bridge</i><span style="font-family: helvetica;">:</span></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“The place I got into showed a
vast roof space, with overhanging floors and galleries, extending back into the
darkness, and looked as if it might be one of the wings of a deserted foundry.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“By the light of a hanging
lamp I saw piles of lumber, rusty machinery, and casters’ flasks. Another lamp,
with a half-barrel and some bottles and dishes, stood on a workbench behind me.
Across the floor, near a pile of boxes stuffed with straw and close to a
cupboard, I saw a long wire cage, built against a wall.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“A platform leading backwards
brought us to a rotting staircase choked with rubbish, and thence upward into a
long, narrow yard between high walls. Passing piles of waste iron and then a labyrinth
of ruinous sheds faintly lit by the moon, we reached a gate at the end of a
paved alley and pulled back its rusty bolt.”</span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">In </span><i style="font-family: helvetica;">The Blackbirds</i><span style="font-family: helvetica;">:</span></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“As they hurried down Merchant
Street to the ferry, a lurid glare had suddenly caught the eastern house
fronts. Against the deep shadows in the cross streets, it gave the city a threatening,
unfamiliar look, as if the lights were out of order.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“Near a rusty derrick and some
blocks of stone they stopped before a black, rotting shed, with a partly collapsed
roof, built close against the rock. The dismal ruin had lost its lower wall of
boards, a pile of which lay along its open front in the high grass. Its dark
interior, half concealed by weeds and poison ivy, revealed faint outlines of
rusting machinery and contending with the glare of an opening in the rear, the
flicker of a fire.”</span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">In </span><i style="font-family: helvetica;">The Wolf Book</i><span style="font-family: helvetica;">:</span></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“Moments passed as he looked
outward upon the evening lights that streamed across the tree tops and inward beyond
the borderland of dreams. The place seemed confused with things astonishing,
contradictory, casual, human feet floating in the air, a cave lit by glowworm,
an ash tree, the Castle of Golubacz.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“The professor pointed at the
darkening sky. ‘I believe in that, no beginning, no end. What are miracles to
that?”</span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Descriptions similar to these
appear sixteen times in seven stories. Views of Mercer’s buildings, showing
elements defined by light, organization in response to light, and the
consequent sensorial complexity of the buildings show his embodiment of this
imagery.</span></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></b></div><div style="text-align: left;"><b><span style="line-height: 150%;"><span style="font-family: helvetica; font-size: medium;">Caves</span></span></b></div><div style="text-align: left;"><span style="font-family: helvetica;">As pervasive and intriguing as
the imagery of light, layering, and castles in Mercer’s work, and perhaps combining
all of these, is the imager of caves. This imagery is obvious in the
labyrinthian arrangement of Fonthill and reappears in all three buildings.
Mercer visited many caves during his archaeological days, and he was alert to
literary descriptions of them. His construction notebooks contain references to
the “cave temples” of Ellora and Elphanta in India, and there are photographs
of caves and cave-like places from his journey along the three rivers in
France.</span></div><div style="text-align: left;"><i><span style="color: red; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW1JfYDF5w0B-FtSB1Wt6RL0SoZSZ-i7AIw7XqldbVHpS5hHCUOpDxYmpt4Rf6svpM2os46y2KDXaVZ6WMEyJIwFypD1dQNKu7PKGzEqlVuE0oxAnLV1oF9OlMwD6YDmlkEU4CxcvXz7HpLRgTFWTNgUflCqNP-C-poYZjN0DK4TuS2wsUaqKnEb5eFo-P/s1920/Ellora_Caves,_India,_Kailasanatha_Temple_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW1JfYDF5w0B-FtSB1Wt6RL0SoZSZ-i7AIw7XqldbVHpS5hHCUOpDxYmpt4Rf6svpM2os46y2KDXaVZ6WMEyJIwFypD1dQNKu7PKGzEqlVuE0oxAnLV1oF9OlMwD6YDmlkEU4CxcvXz7HpLRgTFWTNgUflCqNP-C-poYZjN0DK4TuS2wsUaqKnEb5eFo-P/w400-h266/Ellora_Caves,_India,_Kailasanatha_Temple_2.jpg" width="400" /></a></div></span></i></div><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Ellora Caves, India (photo
© Vyacheslav Argenberg / http://www.vascoplanet.com/, CC BY 4.0
<https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons)</span></span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">But the cave image of greatest
importance to Mercer was of a gigantic chamber in Yucatan, near the Mayan ruins
of Uxmal and Chichen Itza. He saw it while on an archaeological search in 1885.
The Mayans call it “Loltun,” which means “rock of flowers.” Because sunlight and
water come in through ground-surface openings in its roof, the cave is alive
with luxuriant plants, oversized butterflies, bats and bees, and schools of
birds flying fish-like in the moist, hazy air. The main room is pierced with
dozens of water-seeking tree roots which drop, column-like, through the entire
hundred and eighty feet of the space. Mercer was astounded by this cave. He
made drawings of it. He took many photographs of it. Over 14 years he wrote
several descriptions of it, each richer than the last. There is no proof, but
these descriptions suggest that he found the memory of this cave to be a
perfect framework for the spatial arrangements of his Museum, whose many
separate exhibit spaces presented a difficult organizational problem. Here is
his final description of Loltun, written in 1914 just as the museum was under
construction:</span></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“. . . the third garden of my
story remains in my memory rather than as a work of enchantment than a fact, a
thing as far beyond the reach of our efforts at imitation as a coral grows in
the depths of ocean. I saw it as an unexpected wonder in the underground world
of Yucatan, when we were searching in a maze of tropical caverns for geological
proof of the presence and antiquity of the ancient people who had built the
ruins of Uxmal and Chichen Itza.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“No one had told us of the sight,
which we saw after a dark walk underground. It came upon us a surprise, for
here at first the unfathomed cave with its white stalactites revealed by candlelight,
was not more remarkable than the Wyandotte or Mammoth Caves, or Luray, or any
other of the underground labyrinths of North America. But suddenly as we
proceeded through the eternal gloom of a long gallery, the resemblances ceased.
A brilliant expanding spot of light appeared in the distance, which for some moments
seemed like a round glass aquarium full of goldfish, hanging in a dark room,
upon which a ray of bright sunlight had been focused. As we came nearer, the fish
turned to trees and flowers, birds and plants. We saw before us, as if looking
through blue water, a vast domed room, lit only from above by a window in its
ceiling, down which came the light and air of the upper world.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“Here, incomprehensible sight!
Underground, out of place, was a garden, where from the subterranean soil,
externally moist in a parched land, sprang a floral paradise, watered by the
dripping of stalactites which unlike those other caverns, because exposed light
and air, had lost their pallor and taken on rainbow hues. But stranger still,
the trees of the upper forest, whose roots clasped the edge of the skylight,
swung loose in mid-air like cables, or shooting down many feet, took root gain
in the floor of the cave. Sounds had lost their reality by the dark doorways of
this underworld. We heard the murmur of approaching voices, as of spied who had
dogged our footsteps. But no one came. It was the rustling of the palm trees
that reverberated in unnatural echoes, when cooled gusts of the tropical air below
down from above. More real was the sight of birds that flew in and out and of
butterflies that fluttered from plant to plant, while behind the light and
color was a blue blackness of cave walls in fantastic shadow, as of indistinct
monstrous forms of animals and reptiles sculptured in the rock. Undecipherable
hieroglyphics and the massive stone bowls which stood in damp spots full of
dripping water, showed that the ancient people of Yucatan had been there, perhaps
as worshipers. But their hands had not made the garden. That was hewn from
living rock and planted by the vast forces which make the sea and sky and roll
the Earth in space.</span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">“For many days we worked in
sight of it, while it wrought its spell upon us, until at last our task was
done. Then looking upon it for the last time, a feeling like regret or longing
seized us, as if we might have preferred to sit down in the unearthly light forever
gazing. As we hesitated, the smoke of one of the perfumed woods, which the
Indians burn in the evening floated down the skylight, while it seemed that the
realities of the future were slipping from our grasp. Had we, like the fabled
Lotus Eaters, tasted some enchanted fruit, which lured us to forget the way
home? Had the refreshing water in the stone bowls enervated us, as still waiting,
knowing not why we strove as it were against an occult force, to yield at last
only to the necessity, which dragged us unwillingly away.”</span></span></i></div><div style="text-align: justify;"><i style="text-align: center;"><span style="line-height: 150%;"><span style="color: red; font-family: times;"><br /></span></span></i></div><div style="text-align: justify;"><i style="text-align: center;"><span style="line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaC8sJ5w89E-0H898ojJ3psLdVpYQTlHBJ7hJ4fydgu0gh_qq7h9wIUQqJs3kRzhHc9ZJiMA1rptmhsA9_DB9QtI2fnZCDjmf15JqkhuCpoShaqKYaxy8Ohyh6QQsfZKZMo7pO4S88B1IvYkprLPdd2uDiPGC9c9cu6VIKwm6tOiiHAllpOMqA-WIEue1x/s1000/Loltun_cave,_Mexico.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="762" data-original-width="1000" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaC8sJ5w89E-0H898ojJ3psLdVpYQTlHBJ7hJ4fydgu0gh_qq7h9wIUQqJs3kRzhHc9ZJiMA1rptmhsA9_DB9QtI2fnZCDjmf15JqkhuCpoShaqKYaxy8Ohyh6QQsfZKZMo7pO4S88B1IvYkprLPdd2uDiPGC9c9cu6VIKwm6tOiiHAllpOMqA-WIEue1x/w400-h305/Loltun_cave,_Mexico.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="line-height: 150%;"><span style="color: red; font-family: times;">Loltun Cave, Yucatan
(lostpylon, CC BY-SA 2.0
<https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons)</span></span></i></div></span></i></div>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: helvetica;">Found attached to page four of
Mercer’s construction notebook for Fonthill was this poem written in longhand by
Mercer’s friend and fellow archaeologist, Dr. Charles C. Abbott, dated </span><span style="font-family: helvetica;">August
14, 1910:</span></p><p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">“Reincarnation of the storied
past,</span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Skyward in majesty thy walls
arise;<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">In strength assuring us that
they shall last,<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Not crumble as the common
structure dies.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">They tower mantled with the morning
light<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Proudly acclaims the past
still alive,<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Where Prose, grim visaged (O,
the sorry sight)<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Would have the world in soulless
fashion thrive.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">All honor then to him who raised
the pile<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Where daydreams wander through
each classic room,<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Where honest speech is never
brought to trial<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Nor trustful candor hears its
certain doom.<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Defying critics, faithfully
thou wrought,<o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><i><span style="line-height: 150%;"><span style="font-family: times;">Thou Master Builder of a fruitful
thought.”</span><span style="font-family: helvetica;"><o:p></o:p></span></span></i></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: helvetica;"><i>Proudly acclaims the past still
alive</i>, indeed. Mercer’s historical connections were many and clear. Written
with the poem was the notation, “. . . for HCM . . .in recollections of a
pleasant day.”</span></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: helvetica;">(WK/1981)</span><span style="font-family: Arial, sans-serif; font-size: 10pt;"><o:p></o:p></span></span></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-88679938179859266252024-01-28T08:41:00.000-08:002024-01-28T08:47:19.772-08:00A Splendid Torch: Henry Mercer’s Historical Connections (Part 1)<div style="line-height: 150%; text-align: left;"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOSzcm1DsJHnhQf9zIw6JgpUrKLfoOsTbuyw6zTZZ-XJc7YlcXFzLvyPl18yi4RLKwTLfMytgU7IZrBJQn4JTMkJFEDjIf2VyivGSZIAtVIWR0XK-is1PTcj-omg5rQJlKt-xL15i9zVNCVj7ZLwcNao6cIinGBHnsATFNN33yCtEopBrZH3BHGDaBqJE0/s1067/800px-Doylestown_5_2015_001.jpg" style="font-family: helvetica; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOSzcm1DsJHnhQf9zIw6JgpUrKLfoOsTbuyw6zTZZ-XJc7YlcXFzLvyPl18yi4RLKwTLfMytgU7IZrBJQn4JTMkJFEDjIf2VyivGSZIAtVIWR0XK-is1PTcj-omg5rQJlKt-xL15i9zVNCVj7ZLwcNao6cIinGBHnsATFNN33yCtEopBrZH3BHGDaBqJE0/w480-h640/800px-Doylestown_5_2015_001.jpg" width="480" /></a></div><div style="text-align: center;"><i style="text-align: left;"><span style="color: red; line-height: 150%;"><span style="font-family: times;">Fonthill, the home
of Henry Chapman Mercer, Doylestown, Pennsylvania (photo by Concord - Own work,
CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=40253187)</span></span></i></div><span style="font-family: helvetica;"><span style="line-height: 150%;"><br /></span></span></div><div style="line-height: 150%; text-align: left;"><i><span style="font-family: helvetica; line-height: 150%;"><span style="color: #674ea7;">The following is the first of
two posts devoted to a lengthy passage from </span><span style="color: #2b00fe;"><b><a href="https://sworegonarchitect.blogspot.com/2010/11/influences-william-kleinsasser.html#.YUdoYSuSlPY" target="_blank">Bill Kleinsasser</a></b><b>’</b></span><span style="color: #674ea7;"><b>s</b> 1981 edition of his self-published textbook, </span><b><a href="https://sworegonarchitect.blogspot.com/search/label/Synthesis#.YUdixSuSlPY" target="_blank"><span style="color: #2b00fe;">SYNTHESIS</span></a></b><span style="color: #674ea7;">.
His fascination with the work and interests of </span><b><a href="https://en.wikipedia.org/wiki/Henry_Chapman_Mercer" target="_blank"><span style="color: #2b00fe;">Henry Chapman Mercer</span></a></b><span style="color: #674ea7;">
is perhaps no more evident than in this reading. Like Mercer, Bill disdained
the downsides of modernization and industrialization upon design and
construction, particularly the primacy of standardization and the loss of rich
diversity associated with many historical buildings. Like other followers of
the </span><a href="https://en.wikipedia.org/wiki/Arts_and_Crafts_movement" target="_blank"><span style="color: #2b00fe;">Arts and Crafts movement</span></a><span style="color: #674ea7;">, Mercer sought to extol the virtues of vernacular
architecture, patterns inspired by nature, and the work of the
craftsman-designer; however, what sets Mercer apart is the extent to which
legend, literature, Americana, and archaeology influenced his approach to
architecture.</span><br /></span><span style="color: #674ea7; font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span></i><span style="font-family: helvetica; line-height: 150%;"><i><span style="color: #674ea7;">Henry Mercer’s three major
building designs—Fonthill Castle, the Mercer Museum, and the Moravian Pottery
and Tile Works—are peculiar and idiosyncratic, but they are also distinctive,
evocative, and highly personal. In this regard, it’s not surprising Bill would
be fascinated by their appearance, the lessons to be learned from them, and
their eccentric author.</span></i><br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><b style="font-family: helvetica;"><span style="line-height: 150%;"><span style="font-size: large;">Part 1:<span style="mso-spacerun: yes;"> </span>Imagery of Many Times and Many Places</span><br /></span></b><span style="font-family: helvetica; line-height: 150%;">Henry Mercer believed in
knowledge as a means of establishing historical connections. He often repeated
the verse:<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: times;"><i><span style="line-height: 150%;">Happy the man who sees in
things<br /></span></i><i><span style="line-height: 150%;">Their causes gone before<br /></span></i><i><span style="line-height: 150%;">All fear he spurns beneath his
feet<br /></span></i><i><span style="line-height: 150%;">Nor dreads inexorable fate<br /></span></i></span><i><span style="line-height: 150%;"><span style="font-family: times;">And Acheron’s hungry roar.</span><br /> </span></i><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Mercer knew and respected what
had existed before. Not only was he a great student of his place, but also an
active archaeologist and ethnologist for many years before he built his
buildings. His Museum extended and expanded an earlier one. Fonthill gave new
life to the colonial farmhouse it joined. The Tileworks made possible the
preservation and development of the art of the Pennsylvania German potters. The
Museum contained thousands of artifacts that portray history from the
standpoint of toil by human hands, and on its grounds Mercer reconstructed a
pioneer log cabin so that its eloquent example would not be lost. Fonthill
preserves and displays native trees and plants, and contains another colonial
farmhouse, repaired and given to the local nature club to be used. His
buildings look old and feel old. They contain many old things, and they evoke
old forms and old places. Made on the strength of knowledge and respect, they
continue the past rather than destroy it.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Mercer was devoted to the
study of all manifestations of life, and he argued that:</span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="line-height: 150%; text-align: left;"><span style="line-height: 150%;"><span style="font-family: times;">“<i>We are here to protect
humanity from mistakes, and if we do nothing better, we thoroughly justify our
existence:<span style="mso-spacerun: yes;"> </span>research, discovery,
investigation, and longing to open a new door and to find out something never
known before. What a burning fire it is and how it seizes upon us. I do hope
that some of you have this fire lit within you. If so, add fuel, get hold of
the splendid torch of knowledge and wave it about.”</i><br /></span></span><span style="line-height: 150%;"><o:p><span style="font-family: times;"> </span><br /><div style="text-align: center;"><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8fLWkfuHW52nscSEH9qiN_cGVdy3VlsKWTvvOS3f-2lnARmrg4ll_YIkq0do2tq_K8I9I2AI7-VaCLKtOWbq85JujY5Xd2SgE61SDVj7jeNgR48v7SXPix_XIjzqgpLfXdJrXF5eYNa5HOuuHj1Cv365lqlLWrQDPYmClB14-pj-3w5MWMvWyoizIADp/s1920/1920px-Courtyard_of_Moravian_Pottery_&_Tile_Works.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1273" data-original-width="1920" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8fLWkfuHW52nscSEH9qiN_cGVdy3VlsKWTvvOS3f-2lnARmrg4ll_YIkq0do2tq_K8I9I2AI7-VaCLKtOWbq85JujY5Xd2SgE61SDVj7jeNgR48v7SXPix_XIjzqgpLfXdJrXF5eYNa5HOuuHj1Cv365lqlLWrQDPYmClB14-pj-3w5MWMvWyoizIADp/w400-h265/1920px-Courtyard_of_Moravian_Pottery_&_Tile_Works.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="color: red; line-height: 150%;"><span style="font-family: times;">Moravian Pottery
& Tile Works, Doylestown, Pennsylvania, by Henry Mercer (photo by Bestbudbrian,
CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via
Wikimedia Commons)</span></span></i></div></div></o:p></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;"><span style="line-height: 150%;"><br /></span></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica; line-height: 150%;">Mercer’s historical awareness
was an inspiration and a great source of ideas. Consequently, his buildings
have a kinship with many places and different lives. Drawings and notations in
his notebooks, written descriptions from his stories and papers, and
photographs and drawings from his library all confirm that much of the character
of his buildings resulted from images, first recalled and then carefully
developed, from his travels and studies. These images include dimensions of
spaces and small details, special qualities and entire places, places known
only by literary descriptions, places real, and places imaginary. In <i>The
Building of Fonthill</i>, Mercer wrote that: <span style="mso-spacerun: yes;"> <br /></span></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><i><span style="font-family: times;">“The plan of the whole house
was an interweaving of my own fancies blending with memories of my travels and
suggestions from several engravings, in particular The Dutch Houskeeper
by Gerard Dow, The Great Barn by Wovermans, and a lithograph now in my
morning room, also a woodcut illustrating a story called Haunted in a
book published about 1865 by Tinsleys magazine named A Stable for
Nightmares. This picture gives me the night lighting of the morning room. The
first interior imagined and clearly seen was that of the west side of the
saloon seen when standing near the large window about eight feet from the door
to the library. The arrangement of the rooms at different levels seen over the
gallery in the saloon is a memory of a Turkish house seen by me from a rear
garden in Salonica in 1886.”</span></i><br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Mercer did not write directly
again of the inspiration of images and memories, but their importance is
strongly suggested by mention in his notebooks, writings, and travel
photographs of many places, imaginary and real. Included among these are:<br /><ul style="text-align: left;"><li><span style="font-family: helvetica;"><span style="line-height: 150%;">The cave temples of Ellora and
Elephants in India.</span></span></li><li>The sunken city of Epidaurus
near the Pelloponesus.</li><li>The home of Carabas (in <i>The
Book of Fools</i> by Thackery).</li><li>The chapels of San Luis Rey,
San Juan Capistrano, and San Miguel in California (which reappear in the
elements and shape of the Tileworks.</li><li>The imaginary cities of
Avalon, Antiglia, Montezuma, Huitzilo-Pochtli, and Manoa (in the tiles of
Fonthill).</li><li>Several caves of France and
the southern United States.</li></ul></span><span style="font-family: helvetica; line-height: 150%;">Two years before his death in
1930, Henry Mercer wrote seven strange short stories described as “tales of
wonder, in which the inexplicable is made to seem the probable, beyond heaven
and earth, whose imaginative settings seemed to have appealed to his fancy as
much as the threads upon which they are strung.” These seven stories reveal
much about Mercer: his interest in coincidence and coincidental experience, his
interest in crime, misfortune, pestilence; his interest in legends and the
supernatural.<br /></span><i style="font-family: helvetica;"><span style="color: red; line-height: 150%;"><br /></span></i></div><div style="line-height: 150%; text-align: center;"><i><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG9Rq2imTu7btmVjRAQGS8ryBoeRAzkNv90a6Vn6wiGmAXZ6GD7n4BIbvzKWau6YLqnM16NSkCpWIW-8FDDuHlmgdVNnVnEMRhbUeGdZA3sCVw2b-Q67GgIKFo9dg4CjssAM1z8AYt4RfTUi9ikHVMFOddtfpQnBtbV-Bn46FldWJXpOMbYF7mi0J3VDlp/s1183/Burg_Vichtenstein.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="1183" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG9Rq2imTu7btmVjRAQGS8ryBoeRAzkNv90a6Vn6wiGmAXZ6GD7n4BIbvzKWau6YLqnM16NSkCpWIW-8FDDuHlmgdVNnVnEMRhbUeGdZA3sCVw2b-Q67GgIKFo9dg4CjssAM1z8AYt4RfTUi9ikHVMFOddtfpQnBtbV-Bn46FldWJXpOMbYF7mi0J3VDlp/w400-h306/Burg_Vichtenstein.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="color: red; line-height: 150%;"><span style="font-family: times;">Burg Vichtenstein, a
12th century castle in Austria (photo by C.Stadler/Bwag, CC BY-SA 4.0
<https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)</span></span></i></div></i></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;"><b><span style="line-height: 150%;"><br /></span></b></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;"><b><span style="line-height: 150%;"><span style="font-size: medium;">Castles</span><br /></span></b><span style="line-height: 150%;">They (Mercer's stories) also contain repeated
references to important memories and images, especially castles. In the story <i>Castle
Valley</i>, Mercer recalls the often-told Bucks County legend of James
Meredith, who tried to build a castle overlooking Castle Valley, failed in the
attempt, and went mad. It is said that some of the castle stones are still in
the foundation of a nearby bridge, which itself has long been a ruin. Henry
Mercer was in fact a relative of the legendary James Meredith, and as Joseph
Sandford writes in <i>Mercer as Seen in His Fiction</i>, “. . . we may wonder
how much the family tradition may have contributed to the building of Fonthill
and the Museum, or whether its architect has ever toyed with the idea of
placing it on that hilltop overlooking the Neshaminy. It needs such a setting,
but the hard practicality which had permitted its builder to dare without
destruction must have forbidden it. Yet we cannot help but feel that in his
successful accomplishment he has built a memorial to the vision of his thwarted
kinsman.”<br /></span><span style="line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;">Here are Mercer’s words from <i>Castle
Valley</i> (the first speaker is the character, Charles Meredith, representing
Mercer himself):<br /> </span><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Very delightful,” I said,
“but I don’t quite understand. You have idealized things, not too much perhaps,
but why the castle on the hill? Isn’t that going a little too far?<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“I expected you to say that”
he returned, laughing.<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“The legend,” I continued, “is
somewhat vague and hardly justifies you in deliberately putting it on canvas.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“What legend?” he asked. “I
know of no legend.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Do you mean to say,” I
returned, “that you have painted a castle on that hill, without knowing that
there was a castle there at one time, or the beginning of one, at least?”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Never heard a word of it,”
said he in astonishment.<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Why, the place is called
Castle Valley,” I exclaimed, “from that fact, and I ought to know something of
it, as the builder is supposed to be one of my ancestors. But it’s all gone
long ago, the stones were used to build the bridge yonder.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">Pryor listened in surprise as
I went on to explain that my ancestor in question, according to family
tradition, had been in some way thwarted in the singular project of building a castle
on the hill before us. Whether because of the hostility of his father and
friends, or his own mental derangement, his architectural dream had never been
realized. The walls had hardly risen above their foundations when the poor
fellow died.<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“I always felt very sorry for
this,” I added. “But it is one of hose unfortunate memories that lose their
tragedy and blend into folklore as time goes on. What strikes me as very
remarkable though is the fact that you should be ignorant of the castle story
and yet paint the castle one hundred and fifty years later. The castle became
an ideal that we hold on to, in spite of the Devil and all his angels.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Just as I thought it was from
the first, without knowing why.“ said Pryor.<br /> </span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Now that the stone is gone,
it is fortunate that I have seen your castle, thunderstorm included,” I
continued, “or I should never have known what you were talking about. So much
for hypnotism. But how wonderful, how astonishing it is, merely as a picture!
Don’t you think so? Those unearthly pinnacles that pierce the clouds! If I were
a painter, as you are, and saw a thing like that, I would feel that I had got
hold of my ladder of fortune and only need to climb up, up, up.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“But the ladder is yours as
well as mine.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“Why” I am not the painter,
and never could be.”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: times;"><i><span style="line-height: 150%;">“What are you?”<br /></span></i><i><span style="line-height: 150%;"><br /></span></i></span></div><div style="line-height: 150%; text-align: left;"><i><span style="line-height: 150%;"><span style="font-family: times;">I got up, seized his hand, and
looked deep into his glowing eyes. </span></span></i><i><span style="line-height: 150%;"><span style="font-family: times;">“I didn’t know, till just
now,” said I. “I thought I was a politician. But I have decided that I am an
architect!”</span><br /></span></i><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Though without the same
ecstasy, castle imagery appears again and again in Mercer’s notes and records
of travels. He photographed many real castles in France, Germany, and Austria;
he drew them floating in the air and emerging half-hidden from forests. He
collected etchings and engravings of them, and he wrote of them in several
other short stories. He was also most interested in hose buildings bearing the
greatest resemblance to castles: factories, coal breakers, grain elevators,
blast furnaces, and, at least in form, skyscrapers. (WK/1981)<br /></span><i style="font-family: helvetica;"><span style="line-height: 150%;"><br /></span></i></div><div style="line-height: 150%; text-align: left;"><i style="font-family: helvetica;"><span style="line-height: 150%;">To be continued . . .<br /></span></i><i style="font-family: helvetica;"><span style="line-height: 150%;"><br /></span></i></div><div style="line-height: 150%; text-align: left;"><div style="text-align: center;"><i style="font-family: helvetica;"><span style="line-height: 150%;">* *
* * *
*</span></i></div><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><i><span style="color: red;">Next: Part 2: Layering, Light, Caves</span></i></span></div>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 150%;"><o:p> </o:p></span></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-29397523273861495582024-01-21T11:09:00.000-08:002024-03-17T08:39:00.909-07:00Eugene/Architecture/Alphabet: Q<div style="line-height: 150%; text-align: center;"><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv8AtafJSW_OutPKS71pBR1W0_KX5XvdMc1jtbHogu81W49zur5dnVLDAONYv9nLqc66wykar9qOueeQ42haEjTDn_x9LhuDTS-41qxOXdsRmVtUn0kdoesnkBlGvQvgHi53P5ZbEruE1wHYlyjw3owzLUOEq69Hex-CCSaV_OhiEaTJYZXYua6k2e6ju_/s1310/PXL_20240120_190410510.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="824" data-original-width="1310" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv8AtafJSW_OutPKS71pBR1W0_KX5XvdMc1jtbHogu81W49zur5dnVLDAONYv9nLqc66wykar9qOueeQ42haEjTDn_x9LhuDTS-41qxOXdsRmVtUn0kdoesnkBlGvQvgHi53P5ZbEruE1wHYlyjw3owzLUOEq69Hex-CCSaV_OhiEaTJYZXYua6k2e6ju_/w400-h251/PXL_20240120_190410510.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">Quackenbush Building (my photo)</span></i><br /><span style="background-color: white; color: #2b2b2b; font-family: helvetica;"><br /></span></div><div style="line-height: 150%; text-align: left;"><span style="background-color: white; color: #2b2b2b; font-family: helvetica;">This is the next in my </span><b style="color: #2b2b2b; font-family: helvetica;"><a href="http://sworegonarchitect.blogspot.com/search/label/Eugene%2FArchitecture%2FAlphabet" target="_blank"><span style="color: #3b72d8;">Eugene/Architecture/Alphabet</span></a></b><span style="background-color: white; color: #2b2b2b; font-family: helvetica;"> series
of blog posts, the focus of each being a landmark building here in Eugene. Many
of these will be familiar to most who live here but there are likely to be a
few buildings that are less so. My selection criteria for each will be
threefold:<br /><ol style="text-align: left;"><li><span style="font-family: helvetica;"><i><span style="background: white; color: #2b2b2b; line-height: 150%;">The building must be of architectural interest, local importance, or
historically significant.</span></i></span></li><li><i style="background-color: transparent;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">The building must be extant so you or I can visit it in person.</span></i></li><li><i style="background-color: transparent;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 150%;">Each building’s name will begin with a particular letter of the alphabet,
and I must select one (and only one) for each of the twenty-six letters. This
is easier said than done for some letters, whereas for other characters there
is a surfeit of worthy candidates (so I’ll be discriminating and explain my
choice in those instances).</span></i></li></ol></span><span style="background: white; color: #2b2b2b; font-family: helvetica; line-height: 150%;">This entry’s selection
begins with the letter Q, for which my choice is the<b> Quackenbush
Building</b>.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><b style="font-family: helvetica;"><span style="background: white; color: #2b2b2b; line-height: 150%;"><span style="font-size: large;">Quackenbush Building</span><br /></span></b><span style="font-family: helvetica; line-height: 150%;">Located at 160 E. Broadway in
downtown Eugene, the Quackenbush Building stands as an all too rare surviving example of
the city’s early 20th century commercial architecture.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">J. W. Quackenbush opened his
hardware store in the building soon after its construction in 1902. Initially,
the establishment primarily catered to the agricultural community, offering
farm implements, hardware, and horse-drawn vehicles. By the 1930s and 1940s,
the store diversified its offerings, emphasizing dinnerware and gift items as
hardware sales declined. Quackenbush’s uniqueness lay not just in its products
but in the personalized service it offered, a stark contrast to the rise of
impersonal discount stores. Despite challenges in the face of big-box retailers
and shopping centers, it remained a community institution, known for its family
atmosphere and traditional charm. It was a beloved fixture in the community right
up until its closure in 1980, holding the distinction of being Eugene’s
longest-running family business in a single location.</span><br /><div style="font-family: helvetica; text-align: center;"> </div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSzFFnYBiBkcFC6Z5J3t8SZS2hQj_BT__uvLykhypxKWGfuzVG9Hk_AJBJZXA-D7aOwVbE0M27CRbe5FEKkDmZwd4a5E0Etd1cM0WUTOFIHXI70nFboUphOcXL2NTdcD5d0ginR_d2gY2qc93zAgJF_GDY2kKICpzxmXy_UsYYvlcJt_VzBfQtPAyORZok/s1145/circa%201940%20photographer%20unkonwn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="1145" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSzFFnYBiBkcFC6Z5J3t8SZS2hQj_BT__uvLykhypxKWGfuzVG9Hk_AJBJZXA-D7aOwVbE0M27CRbe5FEKkDmZwd4a5E0Etd1cM0WUTOFIHXI70nFboUphOcXL2NTdcD5d0ginR_d2gY2qc93zAgJF_GDY2kKICpzxmXy_UsYYvlcJt_VzBfQtPAyORZok/w400-h253/circa%201940%20photographer%20unkonwn.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i><span style="color: red;">Quackenbush Hardware Store, circa 1940 (photographer unknown; source </span><a href="https://npgallery.nps.gov/GetAsset/58d88c0b-c017-4a58-ab5c-053e32975a15">National Park Service.gov</a><span style="color: red;">)</span></i></span></div><div style="font-family: helvetica; text-align: center;"><br /></div> </span><span style="font-family: helvetica; line-height: 150%;">Since the store’s closing, the
building—still associated with the Quackenbush name—has been home to a
succession of businesses. Today, its tenants include <a href="https://www.jmichaelsbooks.com/" target="_blank">J. Michaels Books</a>, <a href="https://porterhouseclothing.com/" target="_blank">Porterhouse Clothing & Supply</a>, <a href="https://sternerstuff.dev/" target="_blank">Sterner Stuff</a>, <a href="https://www.artcityeugene.com/artcity-studios" target="_blank">ArtCity Studios on Broadway</a>, and <a href="https://www.cameronmccarthy.com/" target="_blank">Cameron McCarthy
Landscape Architecture & Planning</a>.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Because I have reasons to
conduct business there and my office is next door in the 1920s vintage <a href="https://sworegonarchitect.blogspot.com/2022/12/eugenearchitecturealphabet-m.html" target="_blank">Miner Building</a>, I am quite familiar with the Quackenbush Building. I have always thought
of it as a charming blend of history and architecture. I’ve spent plenty of
time both inside and out, whether in meetings with Cameron McCarthy, perusing
the shelves of J. Michaels, or window shopping from the sidewalk.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Constructed in the so-called “Commercial
Style,” with red brick in a stretcher bond, the 2-story tall north-facing façade
on Broadway boasts ribbon windows on the upper story and large display windows
on the lower level. Two-foot-high brick walls sit beneath the display windows, which replaced original wooden panels. Overall, the Quackenbush Building’s
well-preserved original design is architecturally simple in form but skillfully
executed. Later additions on the building’s south side facing the mid-block
alley are nondescript concrete block construction possessed of far less
distinction.</span><br /><div style="font-family: helvetica; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iGsCDlQ7V9xxd4AA3ajR5MuAl3wlKFoH7PH5XNZrUyGDFTS7cZokTM0P-sLmfS5ETsVEDTnrChI_GKisS84lLP2z6rmbhh9JB-Zo3uDqg4IqRMjAG5uEXXDLCJC9Q7Z1XnkV7e1xwFt-EDPnWotQHZMkFcuWI1-r9L7ahUohDv48NVaYadkWeGxdLQ5O/s1280/Quackenbush_Building-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iGsCDlQ7V9xxd4AA3ajR5MuAl3wlKFoH7PH5XNZrUyGDFTS7cZokTM0P-sLmfS5ETsVEDTnrChI_GKisS84lLP2z6rmbhh9JB-Zo3uDqg4IqRMjAG5uEXXDLCJC9Q7Z1XnkV7e1xwFt-EDPnWotQHZMkFcuWI1-r9L7ahUohDv48NVaYadkWeGxdLQ5O/w400-h266/Quackenbush_Building-6.jpg" width="400" /></a></div></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Upper floor of the Quackenbush Building, home to Cameron McCarthy Landscape Architecture & Planning (photo by Visitor7, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)</i></span></div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><br /></div></span><span style="font-family: helvetica; line-height: 150%;">Even today, walking into the
Quackenbush building is like stepping back in time. Despite the subdivision of
its first-floor level to suit the needs of its current tenants, the store’s
original spacious interior layout is evident. This is even more so within Cameron
McCarthy’s second-floor office, which encompasses the entirety of that level. The original exposed wooden posts adorned with simple capitals, tongue
& groove paneling, and built-in cabinets highlight the store's enduring
design. Studying photographs of the old store during its heyday, it is apparent
how much of its original character lives on.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">One notable feature is the
rare, intact money-carrying apparatus, once a common sight in department
stores. The apparatus, with wires extending from the basement to the mezzanine
level, recalls a bygone era when intricate
systems for transferring money within the store complemented cash registers.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Due to its historic
significance and architectural quality, the Quackenbush Building is listed on
the National Register of Historic Places. Interestingly, I could find no record
of its original designer, nor who built it. My information sources for this
blog post include the building’s <a href="https://en.wikipedia.org/wiki/Quackenbush_Hardware_Store" target="_blank">Wikipedia entry</a>,
the <a href="https://www.eugene-or.gov/828/Eugene-Cultural-Resource-Program" target="_blank">Eugene Cultural Resource Inventory</a>, and the <a href="https://npgallery.nps.gov/NRHP/GetAsset/NRHP/82003734_text" target="_blank">National Register of Historic Places Inventory nomination form</a>, none of which list
the architect or builder. <span style="mso-spacerun: yes;"> </span></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><span style="mso-spacerun: yes;"><br /></span></span></div><div style="line-height: 150%; text-align: center;"><span style="font-family: helvetica; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_j7G1cmMqHdHZn5RLtJzcxtnv9NbNtIzbs7spH-oqkufI1N3eRfevwkzinwZKNg1ImYDj8gXSWUBz_1GZnWK1UR6uz2St5fBQsUed0jKXjb-M1k864GXoy2Hmi2DWQn_I_CUu7SRg0OakqpLRTZ24TmwFQVkMS-keIRK0APyEP00HRWXwmsQrFBA1BV5/s1280/Quackenbush_Building-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1280" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE_j7G1cmMqHdHZn5RLtJzcxtnv9NbNtIzbs7spH-oqkufI1N3eRfevwkzinwZKNg1ImYDj8gXSWUBz_1GZnWK1UR6uz2St5fBQsUed0jKXjb-M1k864GXoy2Hmi2DWQn_I_CUu7SRg0OakqpLRTZ24TmwFQVkMS-keIRK0APyEP00HRWXwmsQrFBA1BV5/w400-h320/Quackenbush_Building-5.jpg" width="400" /></a></div><i style="color: red; font-family: times;">Commemorative plaque on the Quackenbush Building (photo by Visitor7, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons).</i></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="line-height: 150%; text-align: left;"><span style="font-family: helvetica; line-height: 150%;">In 1969, facing urban renewal condemnation,
the store garnered support from the community. <b>Unthank Seder Poticha
Architects</b> accordingly determined the Quackenbush Building could be upgraded
to comply with then current building codes without adversely altering its
character; it was subsequently renovated in 1971. The old building became not
just a relic of the past but a resilient symbol of community spirit.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">I’m glad citizens rallied to
save the Quackenbush Building from the wrecking ball. Along with its neighbors,
the Miner Building and the <a href="https://sworegonarchitect.blogspot.com/2021/06/eugenearchitecturealphabet-e.html" target="_blank">Eugene Hotel</a>, the Quackenbush Building provides us
with a glimpse of what Eugene’s central commercial district looked like before the
urban “renewal” of the 1960s and 70s irreparably transformed the character of
the city’s downtown. </span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-65523507615185576172024-01-14T10:15:00.000-08:002024-01-14T10:15:50.933-08:00Architecture is Awesome: #35 Problem Solving <div style="text-align: center;"><i style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpc3LmIKGGsVz4XgoMG17z8mRXTmHH665CPp2VgkKHbVOc1R1k6nG-CUTI4CJlrMxRxKxqyb2PbztTQECh-8DzYLruS9KQx9dN1Uueli7v-RxJGkEOVsm8DSxqTvBIaReXyCWReC0ZPFCpuHu8nqA2iv53702veSGxO_JfR567bhdQJ_aJR3FPzBqxG65p/s857/HPB.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="857" data-original-width="638" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpc3LmIKGGsVz4XgoMG17z8mRXTmHH665CPp2VgkKHbVOc1R1k6nG-CUTI4CJlrMxRxKxqyb2PbztTQECh-8DzYLruS9KQx9dN1Uueli7v-RxJGkEOVsm8DSxqTvBIaReXyCWReC0ZPFCpuHu8nqA2iv53702veSGxO_JfR567bhdQJ_aJR3FPzBqxG65p/w476-h640/HPB.JPG" width="476" /></a></div><span style="background: white; color: #800180; line-height: 150%;"><br /></span></i></div><div style="text-align: left;"><i style="font-family: helvetica;"><span style="background: white; color: #800180; line-height: 150%;">This
is another in my </span></i><span style="background: white; color: #2b2b2b; font-family: helvetica; line-height: 150%;"><a href="http://sworegonarchitect.blogspot.com/search/label/Architecture%20Is%20Awesome#.ZFR1afzMJPY" target="_blank"><i><span style="text-decoration-line: none;"><span style="color: #3b72d8;">series
of posts</span></span></i></a></span><i style="font-family: helvetica;"><span style="background: white; color: #800180; line-height: 150%;"> inspired by <b><a href="https://1000awesomethings.com/" target="_blank"><span style="color: #3b72d8;"><span style="text-decoration-line: none;">1000 Awesome Things</span></span></a></b>,
the Webby Award-winning blog written by <b><a href="https://www.ted.com/speakers/neil_pasricha" target="_blank"><span style="color: #3b72d8;"><span style="text-decoration-line: none;">Neil Pasricha</span></span></a></b>.
The series is my meditation on the awesome reasons why I was and continue to be
attracted to the art of architecture.</span></i></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">At its core, architecture is about
problem-solving. In the process of solving specific design problems, architects
overcome challenges, innovate, and bring visions to life. With each project, they
must understand their client’s needs, contextualize the project within its
environment, and identify constraints before embarking on a journey of creative
exploration.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Defining the problem often
involves extensive research. For example, architects will exhaustively study
the subject site, investigating its history, topography, regulatory framework,
and cultural context. They will also analyze the functional requirements in detail,
considering factors such as spatial organization, patterns of circulation, accessibility,
desired adjacencies, and more. Budget limitations add a significant layer of complexity.
Defining the problem sets the stage for problem-solving, as architects must first
appreciate this breadth of concerns before reliably being able to formulate a
cohesive design solution.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Fundamentally, every project
has its own set of constraints. However, it is within these that architects
find opportunities for ingenuity. Instead of viewing them as roadblocks,
architects see constraints as parameters that fuel creativity. Limited
resources may inspire the innovative use of materials, while zoning
restrictions can lead to unique spatial configurations. Navigating these
constraints requires a deep understanding of the entirety of the project's
context and a willingness to embrace challenges as catalysts for innovation.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Once the design problem is adequately
defined, the fun begins. The process of design involves brainstorming,
sketching, and experimenting with different ideas. Experienced architects push
the boundaries of conventional thinking in pursuit of the best solutions, often
seeking inspiration from diverse sources, such as nature, art, and technology. By
drawing parallels between unrelated concepts, they address aesthetic and
functional aspects through innovative means.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Most often, the key to solving
the design problem requires striking a balance between form and function. A
visually stunning building loses its significance if it fails to meet the
practical needs of its users. Conversely, a highly functional space may lack
the aesthetic appeal that elevates it to a work of art. Architects must find
harmony between the functional requirements of the space and the emotional
experience it evokes. They do this by means of thoughtful design decisions,
material choices, and spatial arrangements that cater to both the pragmatic and
sensory aspects of architecture.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The ability to think outside
the box is a hallmark of architectural problem-solving. Exploration does not
occur along a linear path but rather resembles a dynamic dance of ideas that
evolve and adapt. Problem-solving is also iterative. Through each iteration,
architects assess the impact of their design decisions on the overall vision.
They consider feedback from clients, engineers, and other stakeholders,
refining the design to address concerns and optimize outcomes. This flexibility
and openness to refinement are integral to the success of any architectural
project. The iterative approach stirs continuous improvement, ensuring that the
final solution is a well-crafted response to the design problem.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Architects find immense
satisfaction in the process of problem-solving. That satisfaction is
multifaceted. It arises from the fusion of creativity, analytical thinking, and
the profound impact their designs have on the built environment. The AWESOME art
of architectural problem-solving is an utterly unique and deeply rewarding
aspect of the profession. It encompasses the joy of creativity, the thrill of
overcoming challenges, and the impacts on the lives of others. There are few accomplishments
more fulfilling than the process of transforming design problems into lasting,
meaningful, and successful works of architecture.</span></div><div style="text-align: left;"><i><span style="color: red; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="color: red; line-height: 150%;"><span style="font-family: helvetica;">Next Architecture is
Awesome: #36 Architectural Oddities</span></span></i></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-63612799244342382992024-01-07T11:41:00.000-08:002024-01-07T17:10:03.703-08:00LCC Health Professions Building<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZaIS6Up1kr19C7qLYgjjnGCeVpeWFdrEH7j5sKlzAd4QnXce7lPC4jBDzep-McldTVgJPsmHxQIqRV0avOOgqYD3LqJYjjJru2kdBldRLCqNirArcS13O1RsEAyS-cAFRWnzI12jCHPxDONFi5UXgtl6Lgaqgf19KtDJ5wDoXIPaEIhQlIqAi7PEBoqXn/s2988/20231009_HPB%20sunrise%201%20cropped.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2084" data-original-width="2988" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZaIS6Up1kr19C7qLYgjjnGCeVpeWFdrEH7j5sKlzAd4QnXce7lPC4jBDzep-McldTVgJPsmHxQIqRV0avOOgqYD3LqJYjjJru2kdBldRLCqNirArcS13O1RsEAyS-cAFRWnzI12jCHPxDONFi5UXgtl6Lgaqgf19KtDJ5wDoXIPaEIhQlIqAi7PEBoqXn/w400-h279/20231009_HPB%20sunrise%201%20cropped.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">Sunrise over the Lane Community College campus.<br /></span></i><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">I have
enjoyed the opportunity to work on a variety of significant projects throughout
my career. The latest is the new </span><b style="font-family: helvetica;">Health Professions Building</b><span style="font-family: helvetica;"> (HPB) for
<a href="https://www.lanecc.edu/" target="_blank">Lane Community College</a>. Now under construction, it has proven to be one of the
most rewarding assignments I have ever had the pleasure to be involved with.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Lane
County voters passed a general obligation bond in May 2020 to fund the project,
as well as an assortment of campus-wide improvements addressing classroom needs,
safety and accessibility deficiencies, workforce retraining, and Career Technical
Education. The HPB will provide space for the college’s <a href="https://inside.lanecc.edu/hp/dental-assisting" target="_blank">Dental Assisting</a> and
<a href="https://www.lanecc.edu/programs-academics/areas-study/health-medical-and-fitness/dental-hygiene" target="_blank">Dental Hygiene</a> programs, <a href="https://www.lanecc.edu/programs-academics/areas-study/health-medical-and-fitness/medical-assistant" target="_blank">Medical Assistant</a> program, and <a href="https://inside.lanecc.edu/hp/emt" target="_blank">Emergency Medical Technician</a> program, in addition to the administrative offices for the Health
Professions Division. Beyond providing the programs with state-of-the-art
teaching facilities, the key project goals include prominently showcasing the
LCC health & wellness community and improving visual and physical connections
with the overall campus.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">My
office, <b><a href="https://www.robertsonsherwood.com/" target="_blank">Robertson/Sherwood/Architects pc</a></b> (RSA) teamed with our frequent
collaborators at </span><b style="font-family: helvetica;"><a href="https://www.mahlum.com/" target="_blank">Mahlum Architects</a></b><span style="font-family: helvetica;"><a href="https://www.mahlum.com/" target="_blank"> </a>to secure the project. RSA is serving
the role of executive architect/architect-of-record, providing project
oversight, technical expertise, and leadership to ensure an integrated project
process, while Mahlum provided the design muscle. As with our previous collaborations,
the split of project duties and our associated fees shifted from greater
involvement by Mahlum during programming, Conceptual Design, and Schematic
Design, through a more equal division of labor during Design Development and
Construction Documents, to heavier responsibilities for RSA during the permitting
and Construction Contract Administration phases. For all intents and purposes,
we have functioned as a single office on the Health Professions Building
project rather than as two separate firms.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Our
team additionally includes the following consultants:</span></div><div style="text-align: left;"><ul style="text-align: left;"><li><span style="font-family: helvetica;"><a href="https://www.capitalengineering.co/" target="_blank">CAPITALEngineering</a> (civil)</span></li><li><span style="font-family: helvetica;"><a href="https://www.cameronmccarthy.com/" target="_blank">Cameron
McCarthy Landscape Architecture & Planning</a> (landscape)</span></li><li><span style="font-family: helvetica;"><a href="https://www.catenaengineers.com/" target="_blank">Catena Consulting Engineers</a> (structural)</span></li><li><span style="font-family: helvetica;"><a href="https://interfaceengineering.com/" target="_blank">Interface Engineering</a> (mechanical/plumbing)</span></li><li><span style="font-family: helvetica;"><a href="https://www.stantec.com/en" target="_blank">Stantec</a>
(electrical)</span></li><li><span style="font-family: helvetica;"><a href="https://brightworks.net/" target="_blank">Brightworks</a> (sustainability)</span></li><li><span style="font-family: helvetica;"><a href="https://studiopacificaseattle.com/" target="_blank">Studio Pacifica</a> (accessibility)</span></li><li><span style="font-family: helvetica;"><a href="https://www.rlb.com/americas/" target="_blank">Rider Levett Bucknall </a>(costs)</span></li></ul></div><div style="text-align: left;"><span style="background-color: white; color: #2b2b2b; font-family: helvetica;">The first phase of the project involved site
selection, extensive stakeholder engagement, confirmation of the functional
program, and conceptual design. LCC formed a Steering Committee—comprised of college
and Health Professions Division administrators and Facilities & Maintenance
staff—to function as the decision makers. The entire project team developed a
mission statement, which reads as follows:</span></div><div style="text-align: left;"><i><span style="background: white; color: #2b2b2b; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="text-align: left;"><i><span style="background: white; line-height: 150%;"><span style="color: #a64d79; font-family: helvetica;">“The new Health Professions Building will be a
center for excellence, supporting Lane County in the responsible stewardship of
our investment to co-locate critical applied learning programs, to train the
health professionals of tomorrow, and to center equity and inclusion as a core value
in the process.”</span></span></i></div><div style="text-align: left;"><span style="background-color: white; color: #2b2b2b; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; color: #2b2b2b; font-family: helvetica;">A touchstone throughout this initial phase was
LCC’s metrics for success. These metrics were:</span></div><div style="text-align: left;"><ul style="text-align: left;"><li><span style="background-color: white; color: #2b2b2b; font-family: helvetica;">The degree to which the new building succeeds
as a tool for teaching and learning.</span></li><li><span style="font-family: helvetica;">Whether the project effectively reflects LCC’s
core values.</span></li><li><span style="font-family: helvetica;">The project’s visibility and accessibility; and</span></li><li><span style="font-family: helvetica;">Whether<span style="line-height: 150%;"> the community’s bond dollars
were spent efficiently and wisely.</span></span></li></ul></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDLdwe6c0bZQjpM0QYTGFxDSPjYQXL7Yh2gpFntISXbMf302XkRF1b2Y1242kxcY7iRve_v1NCet0txWdcmsJ6Ij-AJQvqP8-zj_BhzqG4pM0398zYWh2WJfvjYhoynK-92zbTvUE5KR0YkBBRVPqHUcBzzeUvEINKZnezymg816Xs8e-7kCIHnA4bBNQA/s1139/Screenshot%202024-01-07%20110008.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="1139" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDLdwe6c0bZQjpM0QYTGFxDSPjYQXL7Yh2gpFntISXbMf302XkRF1b2Y1242kxcY7iRve_v1NCet0txWdcmsJ6Ij-AJQvqP8-zj_BhzqG4pM0398zYWh2WJfvjYhoynK-92zbTvUE5KR0YkBBRVPqHUcBzzeUvEINKZnezymg816Xs8e-7kCIHnA4bBNQA/w400-h311/Screenshot%202024-01-07%20110008.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Campus map showing the various sites considered during the site selection process.</i></span></div><br /><div style="text-align: left;"><span style="font-family: helvetica;">The
site selection process proved eye-opening. We studied several candidate sites,
but the Steering Committee ultimately chose one that wasn’t initially on anyone’s
radar screen. While more challenging to work with than the others, Site N.3 (as
we dubbed it) offered the potential of being “transformational” for LCC. Its
potential as a highly visible and symbolic gateway on the north side of the
core campus, while providing clear circulation and visual connections to it,
proved most compelling. Constructing the building there would reinforce and
more clearly reveal the existing campus open space framework. Site N.3’s
limitations (which included its constrained area, narrow proportions, and web of
existing buried utilities) were not so onerous as to outweigh its considerable promise.</span></div></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Mahlum’s
resultant design concept is largely shaped by the selection of Site N.3. Circulation
to and through the building from all directions is a primary form-giver, with
both north- and south-facing main entry porches linked by a central lobby. The scale
of the north porch is grand, a two-story tall portico providing a vast canvas
for a future mural that will be prominently visible from 30<span style="font-size: 13.3333px;">th </span></span><span style="font-family: helvetica;">Avenue.
The south entrance leads to a new campus plaza and a soon-to-be-installed
pedestrian bridge connecting to Bristow Square in the heart of the campus.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzKU7aVvw15jYS7eb3xkWMFsrKZh4tM2sszq77G9y-XjTws73KawmSyk2ltzUX5yf6Zof6dIqz8pm8XCA1Oxm2Z_2m9DlVXYGUmw3pEOm8kv4yBZhGhqHsUlc6Ih6uoB3arVYaz3GEQ1vUDIiQWw2Bpy55LnVPcfzj75NgBpEkrSVrMvCjROQZxg3Eq9Y4/s960/Picture1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="429" data-original-width="960" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzKU7aVvw15jYS7eb3xkWMFsrKZh4tM2sszq77G9y-XjTws73KawmSyk2ltzUX5yf6Zof6dIqz8pm8XCA1Oxm2Z_2m9DlVXYGUmw3pEOm8kv4yBZhGhqHsUlc6Ih6uoB3arVYaz3GEQ1vUDIiQWw2Bpy55LnVPcfzj75NgBpEkrSVrMvCjROQZxg3Eq9Y4/w400-h179/Picture1.png" width="400" /></a></div><span style="color: red; font-family: times;"><i>Rendering of the north-facing elevation. Note the proposed mural within the portico.</i></span><br /></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The
second phase of design developed this concept in detail. Our team went to great
lengths to optimize the program areas, while being attentive to budget limitations
exacerbated by cost escalation within the construction industry (the project’s current
Guaranteed Maximum Price is $26,588,920). We organized the building’s layout,
structural system, and exterior expression in accordance with the 40' grid that
overlays the entire campus, an artifact of the mid-century planning principles
that governed its initial form. Mahlum further broke the 40' grid down to
three sections of 13’-4”. This smaller module presents a more human-centered
scale, further subdivided into 4' segments that better align with typical
building product dimensions and construction practices. The overall design
effect is at once unique but also consonant with the new building’s campus
neighbors.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_-EPF6J3EOX4D4c-eFGTzuuP98RnfFK7VrbT_QVx6pjZMtJPPYFk3xiJS-j5lsXdsdvIhVopxwUZaHKnsl23Bky1ChFUJ6KwQzN-8K_3fYXLQ0L_bEiNZnmdiQDrqysWLFRmuJuUVx70iUo3J5EfjLnyV2lALt7FYVADyb59DBtlsGNeuDHnVqAtk8L0J/s812/Screenshot%202024-01-07%20092834.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="812" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_-EPF6J3EOX4D4c-eFGTzuuP98RnfFK7VrbT_QVx6pjZMtJPPYFk3xiJS-j5lsXdsdvIhVopxwUZaHKnsl23Bky1ChFUJ6KwQzN-8K_3fYXLQ0L_bEiNZnmdiQDrqysWLFRmuJuUVx70iUo3J5EfjLnyV2lALt7FYVADyb59DBtlsGNeuDHnVqAtk8L0J/w400-h304/Screenshot%202024-01-07%20092834.jpg" width="400" /></a></div><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Inside,
the design further emphasizes connections and crossovers between the Dental
Assistant, Dental Hygiene, Medical Assistant, and EMT programs, which are
arrayed across 31,280 square feet on three floors. Space for breakout groups
and chance interactions between students will be available throughout the building.
The second phase of the design process afforded the Steering Committee the
opportunity to reassess and refine programmatic needs considering budget
factors, departmental relationships, scale, and the appropriate sizing
of spaces.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguVbyPWmBxkUe-5wblnpFYnzRIt60G9QIQsmGRbN0sEnMreRH1dMddJTQGLZEspSy0NcHbbj4ksxj1N5ESu5hLykGJYB88UCVq8HbA5Ecg2dtJ_S-a4zGZ1_SnMSsRqju-1SgPlLiWS_U6JRpjAFxCbhz1myqmkr6nFz-JiKNB55himtdgcx3WenPPq6SH/s1024/Screenshot%202024-01-07%20110321.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="1024" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguVbyPWmBxkUe-5wblnpFYnzRIt60G9QIQsmGRbN0sEnMreRH1dMddJTQGLZEspSy0NcHbbj4ksxj1N5ESu5hLykGJYB88UCVq8HbA5Ecg2dtJ_S-a4zGZ1_SnMSsRqju-1SgPlLiWS_U6JRpjAFxCbhz1myqmkr6nFz-JiKNB55himtdgcx3WenPPq6SH/w400-h271/Screenshot%202024-01-07%20110321.jpg" width="400" /></a></div><br /><div style="text-align: left;"><span style="font-family: helvetica;">LCC set
a goal of LEED certification at the Gold level, utilizing design strategies
that are practical, cost-effective, and low maintenance. Toward this end, our
design emphasizes indoor air quality and thermal comfort, optimizes use of materials
with limited life-cycle impacts, takes advantage of daylight and quality views,
and maximizes energy performance. The HVAC design consists of a Dedicated
Outside Air System (DOAS) with energy recovery and fan-coil units for zone
heating and cooling. Interface Engineering used computer software to model the
performance of the mechanical system, which is projected to provide annual
energy savings of 22 percent compared to a comparable multi-zone variable air
volume system. </span><span style="font-family: helvetica;">Overall, the project is on
track to achieve LEED Gold certification.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSu22NWHpRsrgSiKWqB2qYOi_syRsWlDXDkzGACraq0WF83dm32447OkfWljY11YHQOVSdvkYXYkSAW_t0xABNJGHRSGuqkT0bf5cZ2TM9gJN4gUt6s3c9J3ooAcn4G9dkvk_bFfVas_oda_3LOHo-CrfPQ9xhp1mceCdBeF2DVuSQcE4jesajsiGacR8I/s2000/Mahlum%20Architects_LCC%20HPB%20Flex%20Classroom.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSu22NWHpRsrgSiKWqB2qYOi_syRsWlDXDkzGACraq0WF83dm32447OkfWljY11YHQOVSdvkYXYkSAW_t0xABNJGHRSGuqkT0bf5cZ2TM9gJN4gUt6s3c9J3ooAcn4G9dkvk_bFfVas_oda_3LOHo-CrfPQ9xhp1mceCdBeF2DVuSQcE4jesajsiGacR8I/w400-h320/Mahlum%20Architects_LCC%20HPB%20Flex%20Classroom.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Rendering of the proposed multipurpose classroom.</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv-ITR3NsRF9547rA4UdT9y8jHsT8gtr7bcgWw1o0kqAqq4pxcAJLCy-n64vJmK_vztLnROqOqAz-1hsCui6TBt9S7pJBaJ9R_SSvCsVnBNh5Y4eZJq1IWuaJzaDY0HiPj73zsjbmJpZ6pdZW-ObcUgIxujI-JNUhcefJQ6rernEQwDI2WMPyKM2XFkbSI/s2000/Mahlum%20Architects_LCC%20HPB%20Dental%20Operatory.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="2000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv-ITR3NsRF9547rA4UdT9y8jHsT8gtr7bcgWw1o0kqAqq4pxcAJLCy-n64vJmK_vztLnROqOqAz-1hsCui6TBt9S7pJBaJ9R_SSvCsVnBNh5Y4eZJq1IWuaJzaDY0HiPj73zsjbmJpZ6pdZW-ObcUgIxujI-JNUhcefJQ6rernEQwDI2WMPyKM2XFkbSI/w400-h225/Mahlum%20Architects_LCC%20HPB%20Dental%20Operatory.jpg" width="400" /></a></div><span style="color: red; font-family: times;"><i>Rendering of the future dental clinic.</i></span></div></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;"><b><a href="https://fortisconstruction.com/" target="_blank">Fortis Construction</a></b> is the Construction Manager/General Contractor (CM/GC) for the
project. From the outset of their involvement at the beginning of Phase 2, the
company provided invaluable cost estimating, value engineering, constructability
review, and design coordination assistance. They’ve been tremendous and
exemplary team members; I cannot commend them highly enough. Their technical
savvy is second to none: Fortis exploits the benefits of digital coordination
and collaboration tools, including clash detection software, reality capture on
the construction jobsite, and customizable markup, measurement, and document
management processes.</span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlxPt4p_0-pvgbWTpVC1tK7NSI_jMxFxKnAzUYB42Ad9S8QtyW5YCkYKw6czLTF6iRS0bpPN4rpMSu2iuOX-Wp79uHReA7k3R8NswLC1O7TKdWfMcdHnVMj917u83PlYHVnF5R525Urc5Xab8dJkdN9yJtSjwqc3a9aZX6n3Xy0TXen0yLCTBab-px850Z/s1724/Screenshot%202024-01-07%20111359.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="1724" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlxPt4p_0-pvgbWTpVC1tK7NSI_jMxFxKnAzUYB42Ad9S8QtyW5YCkYKw6czLTF6iRS0bpPN4rpMSu2iuOX-Wp79uHReA7k3R8NswLC1O7TKdWfMcdHnVMj917u83PlYHVnF5R525Urc5Xab8dJkdN9yJtSjwqc3a9aZX6n3Xy0TXen0yLCTBab-px850Z/w400-h210/Screenshot%202024-01-07%20111359.jpg" width="400" /></a></div><span style="color: red; font-family: times;"><i>Construction progress - December 2023 </i></span><br /><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Thanks
to Fortis’ diligence, the HPB is on schedule for completion in May of this year,
coinciding with my planned departure from professional practice. Once in use, I
am confident it will long and beneficially serve the Health Professions’
students, faculty, and the broader Lane County community, fulfilling the vision
outlined by LCC. Because this is the last substantial project I will have a major
hand in, I am especially grateful to have been part of its genesis and
realization. The LCC Health Professions Building is a design truly marked by
collaboration, innovation, and a shared commitment to excellence.</span></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-82800455752347308212023-12-31T12:38:00.000-08:002023-12-31T13:28:43.053-08:00A New Year, A New Chapter<p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_N4qxa7BiNFnJI0snZTDrPeH3bk85VNzvaW-dFgK9nE6YKRQnA8JBlvtGUoIkaa__6w_MW8rqeoKdRTWx-o4HLzdf-ViYVs_Cv-9rieb18bV6ct-_O6viRpgk9PwgumkojO8-KT1CtTa8XAV7DGP1_Ak1VJy-LvH1kdY_QO6hYDaw2iS-OaXUQXX7UmR/s1024/_41bfa719-7f23-4fe9-857c-3085ac5b69d6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_N4qxa7BiNFnJI0snZTDrPeH3bk85VNzvaW-dFgK9nE6YKRQnA8JBlvtGUoIkaa__6w_MW8rqeoKdRTWx-o4HLzdf-ViYVs_Cv-9rieb18bV6ct-_O6viRpgk9PwgumkojO8-KT1CtTa8XAV7DGP1_Ak1VJy-LvH1kdY_QO6hYDaw2iS-OaXUQXX7UmR/w400-h400/_41bfa719-7f23-4fe9-857c-3085ac5b69d6.jpg" width="400" /></a></div><p></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">It is
New Year’s Eve as I write this, and people everywhere are or will shortly be
celebrating the turn of the calendar to 2024. By marking the end of one year
and the beginning of another, they reflect on the past and look forward to the
future with hope and optimism. It is a time to embrace new beginnings and
anticipate what lies ahead. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">This
year’s celebration is a particularly momentous one for me, as I intend to
retire next spring, shortly after I turn 65. While others reflect on the events
and achievements that defined 2023, I cannot escape looking back on my four-plus
decades in the architectural profession and what leaving active employment will
mean for me. As is the case for many retirees-to-be, the transition promises to
be profound, one that will shape who I am and what I become through my remaining
years.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">Attitudes
toward retirement have evolved significantly over recent generations,
influenced by various social, economic, and cultural factors. In the past,
retirement often meant a sharp exit from the workforce. Many individuals now choose
to work beyond the “traditional” retirement age (hello, 65!) for financial security,
personal fulfillment, and to stay active. My plan is to fully commit to the
next phase of my life and not extend my professional career, even on a
part-time basis. This may seem uncharacteristic for an architect, as I can
point to countless role models who practiced well into their golden years.</span><i style="font-family: helvetica;"><span style="color: red;">(1)</span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">Plenty
of literature exists about the emotions and anxieties associated with arriving
at retirement. According to the </span><a href="https://en.wikipedia.org/wiki/Holmes_and_Rahe_stress_scale" style="font-family: helvetica;" target="_blank">Holmes-Rahe Life Stress Inventory</a><span style="font-family: helvetica;">, the milestone ranks 10th on the list of life’s most
stressful events.</span><i style="font-family: helvetica;"><span style="color: red;">(2)</span></i><span style="color: red; font-family: helvetica;"> </span><span style="font-family: helvetica;">It’s not uncommon to feel apprehensive about exiting
the workforce. Am I stressed about what is ahead of me?</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">I am
concerned I will initially struggle to “switch off” from work mode and relax. Will
the loss of routine and structure be a problem? Will I find it difficult to fill
my extra hours with activities that are truly meaningful? I know I will dearly
miss the social interaction with my fantastic coworkers at
Robertson/Sherwood/Architects, as well as with the clients, consultants, and
contractors with whom I have collaborated. I worry most about the extent to
which I have tied my sense of identity to being an architect and the degree to
which my vocation has defined who I am. I suspect letting go of my professional
being will be hard.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">On the
other hand, life is too darn short, and I have not lived as much of it as I
should. I too often have overcommitted to work obligations and neglected my
personal side, so it has not been unusual for me to approach burnout in recent
years. I do feel good about the contributions I have made professionally—how I
have helped clients and the community through my work—so I will leave my career
with a clear conscience, free of regret. Simply put, the time is right for me
to move on. I want to stop and smell the roses.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">I look
forward to leaving behind the demands of a full-time job, checking things off
my </span><a href="https://sworegonarchitect.blogspot.com/2013/12/the-bucket-list.html" style="font-family: helvetica;" target="_blank">bucket list</a><span style="font-family: helvetica;">, attending to my personal well-being (with an emphasis on staying mentally
and physically active to ensure the best health outcome for myself as I age), staying
curious while being a life-long learner, and trying new hobbies. First and foremost,
I want to spend quality time with my wife so that I can likewise help her enjoy
life to the fullest.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">This
blogsite, </span><i style="font-family: helvetica;">SW Oregon Architect</i><span style="font-family: helvetica;">, will continue to be a focus. I’ll need to
change its name, as I intend to relinquish my professional licensure, change my
State of Oregon registration status to “Architect Emeritus,” and no longer actively
practice as an architect (the title of “Architect” is reserved for individuals
properly licensed and regulated under </span><a href="https://oregon.public.law/statutes/ors_671.010" style="font-family: helvetica;" target="_blank">ORS 671.010</a><span style="font-family: helvetica;">). Besides
a name change, my guess is my blog will increasingly shift away from content
tied to architecture toward a broader range of topics, including more personal musings.
It will continue to provide me with a creative platform on which to express my thoughts,
self-reflect, and exercise my gray matter.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">I have
abandoned the concept of New Year’s resolutions in the past, knowing my
penchant for inevitable failure. But this time is different. My imminent retirement
demands that I recalibrate my goals. I want this next chapter to be extraordinary—rich
with new adventures, important connections, and the pursuit of passions beyond
the proverbial drafting table—while I adapt to a new lifestyle, free from the
daily grind yet brimming with possibilities.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">Happy
New Year to everyone! May your 2024 be as gratifying as I hope my time in retirement
will prove to be, full of whatever comes my way.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><i style="text-indent: -0.25in;"><span face="Arial, sans-serif" style="color: red; line-height: 150%;"><br /></span></i></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><i style="text-indent: -0.25in;"><span face="Arial, sans-serif" style="color: red; line-height: 150%;">(1)<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"> </span></span></i><i style="text-indent: -0.25in;"><span style="line-height: 150%;"><span style="font-family: times;">Famous
architects who continued to work right up to the end of their long lives
include Frank Lloyd Wright (age 92), Oscar Niemeyer (105), Philip Johnson (99),
and I.M. Pei (102).</span></span></i></p>
<p class="MsoListParagraphCxSpMiddle" style="line-height: 150%; margin-bottom: 0in; mso-add-space: auto;"><i style="text-indent: -0.25in;"><span face="Arial, sans-serif" style="color: red; line-height: 150%;">(2)<span style="font-family: "Times New Roman"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"> </span></span></i><i style="text-indent: -0.25in;"><span style="line-height: 150%;"><span style="font-family: times;">Indeed,
a <a href="https://en.wikipedia.org/wiki/Health_and_Retirement_Study">study</a>
by the Institute for Social Research at the University of Michigan has found
that the risk of a heart attack or stroke is especially acute during the first
year of retirement and then starts to level off. My plan is not to contribute
toward reinforcing that statistic.</span></span></i></p><br /><p></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com1tag:blogger.com,1999:blog-5646971795138346223.post-83342242243326865112023-12-24T11:59:00.000-08:002023-12-26T06:31:49.292-08:00Solstice Architecture<div style="text-align: left;"><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAZdTCxrZL3HQUFJMhm2caX2yq5zV3GVSRiLm5tV4LRDZgvrl8Tjo154AonmsdBmwGpWzMy-3cjCH6WFpAa96u63sC2Up213vWBLb7uFNW4JBe8HAPJGRjMrhyphenhyphenk7EKj_ETZ4ad-JCUIM7dQ3JPFF3cNYNqtUkREt8fkdizGd4maSHter3cfCjOSqw5SwX/s2048/411631266_10225411055080285_8047166751001936505_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAZdTCxrZL3HQUFJMhm2caX2yq5zV3GVSRiLm5tV4LRDZgvrl8Tjo154AonmsdBmwGpWzMy-3cjCH6WFpAa96u63sC2Up213vWBLb7uFNW4JBe8HAPJGRjMrhyphenhyphenk7EKj_ETZ4ad-JCUIM7dQ3JPFF3cNYNqtUkREt8fkdizGd4maSHter3cfCjOSqw5SwX/w400-h400/411631266_10225411055080285_8047166751001936505_n.jpg" width="400" /></a></div></span></i></div><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Long winter solstice
shadows, Howard Buford Recreation Area, December 21, 2023 (photo by R. Fletcher).</span></span></i></div><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">I played hooky
from work this past Thursday afternoon to join a group of friends on a hike at
the </span><span style="font-family: helvetica;"><a href="https://www.lanecounty.org/government/county_departments/public_works/parks/our_parks/howard_buford_recreation_area" target="_blank">Howard Buford Recreation Area</a></span><span style="font-family: helvetica;"><a href="https://www.lanecounty.org/government/county_departments/public_works/parks/our_parks/howard_buford_recreation_area" target="_blank"> </a>near Eugene. We couldn’t have asked
for better conditions as the weather was unseasonably dry and sunny, perfect for
a pleasant stroll along some of the park’s forest and oak savanna trails at the
base of Mt. Pisgah (I got my 10,000 steps in for the day and then some). Our gathering
for the hike is a winter solstice tradition, annually bringing this circle of
friends together. We not only observe the solstice and celebrate the holiday
season, but also take the opportunity to connect with nature and welcome the return
of longer days. </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">The winter solstice
is tremendously significant as it is the shortest day and the longest night of
the year. In the Northern Hemisphere, it occurs when the sun is directly over
the Tropic of Capricorn, which is located 23.5 degrees south of the equator. Ceremonies
held during the winter solstice often center around themes of renewal, hope,
and the triumph of light over darkness. Many people view these events, which observe
key points in Earth's orbit around the sun, to be of substantial cultural,
religious, and practical importance. </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">Unsurprisingly, humans
have long used architecture to mark important astronomical occurrences such
as the solstices and equinoxes. Certain ancient societies built prominent edifices
to serve as tangible connections between the earthly realm and the celestial
sphere, particularly those associated with the apparent path of the sun. </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUawA7_suTr1sce2ZJXzS0wow1_Zmje0cCYKHKU43sX4UJpJQZ7fbxKldC-w-MnES8Oci9IBXkTNT5FCIWjNI5Lxqcx4Rnn0mNjeruKBP-bJfsK-Rahvzq7jeeo4fHas17DovM5zhTHbA2zfwxsAq9TVf9doTIhBKnmV1STGPsJM8eTpow6oSKgCSpvIlY/s1113/Screenshot%202023-12-24%20103600.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="836" data-original-width="1113" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUawA7_suTr1sce2ZJXzS0wow1_Zmje0cCYKHKU43sX4UJpJQZ7fbxKldC-w-MnES8Oci9IBXkTNT5FCIWjNI5Lxqcx4Rnn0mNjeruKBP-bJfsK-Rahvzq7jeeo4fHas17DovM5zhTHbA2zfwxsAq9TVf9doTIhBKnmV1STGPsJM8eTpow6oSKgCSpvIlY/w400-h300/Screenshot%202023-12-24%20103600.jpg" width="400" /></a></div></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Stonehenge
(photo by garethwiscombe, CC BY 2.0
<https://creativecommons.org/licenses/by/2.0>, via Wikimedia Commons)</span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><br /></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">The first instance
that comes to everyone’s mind is <a href="https://en.wikipedia.org/wiki/Stonehenge" target="_blank">Stonehenge </a>in England, a prehistoric monument
whose massive stones align with the sunrise on the summer solstice. Its purpose—a
blend of religious and ceremonial significance—speaks to the ancient human impulse
to seek meaning in the heavens above. Similarly, <a href="https://en.wikipedia.org/wiki/Newgrange" target="_blank">Newgrange </a>in Ireland, with its
passage tomb designed to capture the winter solstice sunrise, attests to the
careful observation of celestial cycles and their integration into cultural
practices. </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><i><span style="color: red; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM_x1qUHhkmio0bXEgcLMQ02sE9lfIBShaR9FxWoBGNZPOvIulkcY9O410Tk9mFL-rzOaKzCjIuASuonzK-94PGJK_yFNvya78hWzSw6_jRraIyK4oVM6qJzVP3wNg29F6KWNjaH9_Up_ck_zWog9k4uZaH3E_OFULSkTdnQMZJDPqmqrcSkGCP3ljubJr/s937/Newgrange,_Meath.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="937" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM_x1qUHhkmio0bXEgcLMQ02sE9lfIBShaR9FxWoBGNZPOvIulkcY9O410Tk9mFL-rzOaKzCjIuASuonzK-94PGJK_yFNvya78hWzSw6_jRraIyK4oVM6qJzVP3wNg29F6KWNjaH9_Up_ck_zWog9k4uZaH3E_OFULSkTdnQMZJDPqmqrcSkGCP3ljubJr/w341-h400/Newgrange,_Meath.jpg" width="341" /></a></div></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Entrance
passage and entrance stone to Newgrange (photos by spudmurphy, CC BY-SA 2.0
<https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons</span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; line-height: 150%;">Other notable examples
include the solar temples of <a href="https://en.wikipedia.org/wiki/Machu_Picchu" target="_blank">Machu Picchu</a> in Peru, the great structures of <a href="https://en.wikipedia.org/wiki/Abu_Simbel" target="_blank">Abu Simbel</a> in Egypt, the
temple complex of <a href="https://en.wikipedia.org/wiki/Angkor_Wat" target="_blank">Angkor Wat</a>
in Cambodia, the pyramid at </span><span style="background: white; color: #1f1f1f; font-family: helvetica; line-height: 150%;"><a href="https://en.wikipedia.org/wiki/Chichen_Itza" target="_blank">Chichén Itzá</a></span><span style="font-family: helvetica; line-height: 150%;"> in Mexico, and
the <a href="https://en.wikipedia.org/wiki/Cahokia" target="_blank">Cahokia Mounds</a> near St.
Louis, Missouri.</span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">The reasons for
constructing such structures are diverse and often involve a combination of
religious, spiritual, agricultural, and social motivations. The ancient
cultures saw celestial events as critical markers in their calendars. Aligning
structures with the solstices and equinoxes served practical purposes such as
determining planting and harvesting seasons, as well as reinforcing cultural
and religious beliefs. </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">Modern-day examples of the design and construction of structures that acknowledge and interact with celestial events include </span><span style="font-family: helvetica;"><a href="https://instanthouse.blogspot.com/2011/08/solar-hemicycle-usonian-homes.html">Frank Lloyd Wright’s Usonian hemicycle homes</a></span><span style="font-family: helvetica;"> and the various installations of the </span><span style="font-family: helvetica;"><i><a href="https://en.wikipedia.org/wiki/Sky_Mirror" target="_blank">Sky Mirror</a></i></span><span style="font-family: helvetica;"> sculpture. The arcing plan of Wright’s Jacobs II passive solar home acknowledges the sun’s changing aspect through the seasons, alternately welcoming its warmth during the winter and sheltering its glass wall from solar gain during the summer. The </span><i style="font-family: helvetica;">Sky Mirror</i><span style="font-family: helvetica;">, by artist </span><b style="font-family: helvetica;">Anish Kapoor</b><span style="font-family: helvetica;">, is a large stainless-steel mirror that reflects the sky and its changes, capturing the movements of the sun, clouds, and celestial occurrences.</span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><i><span style="color: red; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMcMsPwuEJlMaRWEMUiUk49nOIAwkwv1_8ZKP59oZSBsd0U-E7HYNJG-SXvG66d8ch2Fit_eM5OVGuDoTDODQwiNw8Poh1AL_JXXhIxcGjqVaRsla-knnGgUeHVnXuJ1JCqwVtIq51U83OyaWc_PvSvLCDPT5DFp5hE1OsFQ3BD5INiPPFWJdz83iwFtLi/s532/Screenshot%202023-12-24%20112909.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="532" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMcMsPwuEJlMaRWEMUiUk49nOIAwkwv1_8ZKP59oZSBsd0U-E7HYNJG-SXvG66d8ch2Fit_eM5OVGuDoTDODQwiNw8Poh1AL_JXXhIxcGjqVaRsla-knnGgUeHVnXuJ1JCqwVtIq51U83OyaWc_PvSvLCDPT5DFp5hE1OsFQ3BD5INiPPFWJdz83iwFtLi/w400-h244/Screenshot%202023-12-24%20112909.jpg" width="400" /></a></div></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Plan of
the Jacobs II House, a hemicycle home by Frank Lloyd Wright. </span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXsQWneIxot3kX66nzlqpFdaV6EIUx1SE4Cf6jG-bgRnCHPUdBdZHMgOT9Oa-p2XN3uWFBIxCw7sOdiVpauheSHSP8Nfd8caqltAC0oMRDx87LjrburDm-59HtJvc1sfUBrbbDQY4NmVr1EctSWObD-3fG34B32EWxjOX47gP5Eq97laKFy_bVSzDkpsiM/s837/Screenshot%202023-12-24%20104836.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="837" data-original-width="574" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXsQWneIxot3kX66nzlqpFdaV6EIUx1SE4Cf6jG-bgRnCHPUdBdZHMgOT9Oa-p2XN3uWFBIxCw7sOdiVpauheSHSP8Nfd8caqltAC0oMRDx87LjrburDm-59HtJvc1sfUBrbbDQY4NmVr1EctSWObD-3fG34B32EWxjOX47gP5Eq97laKFy_bVSzDkpsiM/w274-h400/Screenshot%202023-12-24%20104836.jpg" width="274" /></a></div></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Sky Mirror,
Kensington Gardens, London (photo by Gaius Cornelius, CC BY-SA 3.0
<https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons) </span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><br /></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="background: white; font-family: helvetica; line-height: 150%;">While we did not climb Mt. Pisgah during our hike Thursday through the Buford Recreation Area, its grassy summit area notably features a
bronze sighting pedestal by sculptor <b>Pete Helzer</b> that aligns itself with
the winter and summer solstices. It is a memorial that honors <b>Jed Kesey</b>
(son of famed Oregon author <b>Ken Kesey</b>) who, along with another member of
the University of Oregon wrestling team, died at the age of twenty in a 1984
automobile accident. Two slots in the monument capture the sun's path on the solstices. At sunrise and sunset on those days, you can stand with the pedestal between
you and the horizon to see the rising or setting sun.</span><span style="font-family: helvetica;"> Ken Kesey said the
sculpture represents "the impermanence of life and the infinity on either
side of it." </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="background: white; color: red; line-height: 24px;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh_6GWEo3GrP4rvSQMiG6fBasowKKv1S07PrVyvAe45NoQzz4FKsVP6i3W25qZCAiZVMsx2Ih7rhNtgXkAkvZcQxae-FkKnzgt4JN1yslAp7jLis-4MinVMbuQz-ofVXjYnnXtr9eiGw2eOy1Dmp-A4dWuWayjV83AopNhYMKuGxqziTjvu_uyPXzUjC4N/s959/Screenshot%202023-12-24%20113244.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="959" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh_6GWEo3GrP4rvSQMiG6fBasowKKv1S07PrVyvAe45NoQzz4FKsVP6i3W25qZCAiZVMsx2Ih7rhNtgXkAkvZcQxae-FkKnzgt4JN1yslAp7jLis-4MinVMbuQz-ofVXjYnnXtr9eiGw2eOy1Dmp-A4dWuWayjV83AopNhYMKuGxqziTjvu_uyPXzUjC4N/w400-h303/Screenshot%202023-12-24%20113244.jpg" width="400" /></a></div></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="background: white; color: red; line-height: 24px;"><span style="font-family: times;">Mt. Pisgah Sighting Pedestal, Pete Helzer, sculptor (photo from the artist’s <a href="https://www.petehelzer.com/Pisgah.htm">website</a>) </span></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">The winter solstice
holds cultural and religious significance across various civilizations and
belief systems. The connection with the celebration of Christmas is
particularly fascinating, with numerous historical, symbolic, and cultural overlaps.
Though the winter solstice was initially a pagan celebration, Christianity absorbed
and repurposed existing cultural practices and festivals associated with it. In
particular, the symbolism of light is central to both the solstice and Christmas.
For pagans, it is the return of sunlight after the darkest day of the year,
whereas in Christianity, it is the arrival of Jesus as a divine light into the
world, bringing hope and salvation to believers. The symbolism of light, themes
of renewal, and the adaptation of ancient practices have contributed to the
rich tapestry of winter celebrations, making the season a time of joy,
reflection, and shared cultural heritage. </span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;">Solstice
architecture is a bridge between our shared past and the boundless
possibilities of our future. As my friends and I soaked in the last rays of
sunlight on the year’s shortest day, I couldn’t help but reflect on the
enduring connection between humanity and the cosmos, a bond that has found a sometimes-powerful
expression through architecture. May your coming days likewise be filled with
the warmth of connection, the brilliance of new experiences, and the enduring
light of shared joy as we navigate the seasons of life with gratitude and
wonder. Happy Holidays!</span></div><br /></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-32835229817002512702023-12-17T09:13:00.000-08:002023-12-17T09:13:55.677-08:00Pergolas<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj624w8Axsiz0b2mchylQ-swTPMc3RnxhY4jl_WpiUPcgVGq3_fvS9TjPjyODKcABThq6fdRKCyMC6EUB3oZMCWraXnnl2bTLGV6Blb-jhyphenhyphen-TZFiSlZ2OqL8G7G8ZjaEdkCT0_pCxHnFgLFYuI1v6uK8AMB-SG_Aux_GyVXhN99026KYFYjTDEs4MNKI6CK/s1904/PXL_20231216_214359541.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1904" data-original-width="1071" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj624w8Axsiz0b2mchylQ-swTPMc3RnxhY4jl_WpiUPcgVGq3_fvS9TjPjyODKcABThq6fdRKCyMC6EUB3oZMCWraXnnl2bTLGV6Blb-jhyphenhyphen-TZFiSlZ2OqL8G7G8ZjaEdkCT0_pCxHnFgLFYuI1v6uK8AMB-SG_Aux_GyVXhN99026KYFYjTDEs4MNKI6CK/w360-h640/PXL_20231216_214359541.jpg" width="360" /></a> </div></div><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Pergola, Hendricks Park, Eugene (my photo)</span></span></i></div>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">My wife
and I took advantage of the clear, crisp weather here in Eugene yesterday by taking
a leisurely stroll through Hendricks Park. Hendricks Park was the site of our
wedding back in 1988, so it is a special place for us. We frequently visit to enjoy the
rhododendron garden (when in season), the native plant garden, the mature
forest, and the views overlooking the city. One of the features of the rhododendron
garden is a serene and contemplative outdoor room defined by a pergola. We
paused there yesterday to enjoy the elemental structure and the sense of
tranquil connection with nature it evokes. </span><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: helvetica;">Pergolas are ages old,
dating back to ancient Egypt and Rome. The word "pergola" is derived
from the Latin word "pergula," meaning a projecting eave. In ancient
times, pergolas were often used in gardens to provide support for climbing
plants, creating a shaded walkway or passageway. Today, pergolas are likewise
used as decorative elements in gardens, parks, and yards. Pergolas also offer a
shaded space for outdoor activities, such as dining or relaxation. In some
cases, they may be attached to a building, extending living spaces outdoors.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">Pergolas typically consist of
vertical posts or pillars that support crossbeams and often an open lattice or
roof. The open structure allows for sunlight and airflow while providing
partial shade. Materials for construction vary and can include wood, metal,
vinyl, or a combination of these. The design can range from simple and
functional to intricate and decorative.</span></p>
<div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6KYw-dY4zvGzbXhBgD9gsXNHr72Datm2QNQpid8sZKv1ve7yT-0yyIZYN7TU25DxgWwRngt2nc2RVGlq0jkfviper0T5rX6PhYVn1Ozzljw1sQ5GLBE4XJRJJe9BwBQ3_S_aMDzvhyg4PuCSPopC_n6Ju4cpghmUpBHisWehEg5UNdlxWhPKr0pnoNwfR/s1750/PXL_20231216_231525135.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1033" data-original-width="1750" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6KYw-dY4zvGzbXhBgD9gsXNHr72Datm2QNQpid8sZKv1ve7yT-0yyIZYN7TU25DxgWwRngt2nc2RVGlq0jkfviper0T5rX6PhYVn1Ozzljw1sQ5GLBE4XJRJJe9BwBQ3_S_aMDzvhyg4PuCSPopC_n6Ju4cpghmUpBHisWehEg5UNdlxWhPKr0pnoNwfR/w400-h236/PXL_20231216_231525135.jpg" width="400" /></a></div></span></o:p></span></i><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Pergola, Owen Rose Garden, Eugene (my photo)</span></span></i></div>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">Pergolas carry symbolic
meanings in many cultures, such as representing a connection between heaven and
earth or serving as a metaphor for growth and transformation through the
climbing plants that adorn them.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">An
aspect of pergolas (and likewise arbors and gazebos) I’ve always found attractive
is their primitive, elemental quality. There are some conceptual parallels
between the proverbial “</span><a href="https://en.wikipedia.org/wiki/The_Primitive_Hut" style="font-family: helvetica;">primitive hut</a><span style="font-family: helvetica;">” and pergolas,
particularly in terms of simplicity and the use of basic structural elements. Like
pergolas, the primitive hut highlights a connection to nature, and an
acknowledgment of the fundamental elements that contribute to the essence of
architectural form. I’ve spent much time during my professional career seeking
to understand that essence.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">Famous pergolas include those
on the Biltmore Estate in North Carolina, the Pioneer Park Square pergola in
Seattle, and the </span><a href="https://www.facebook.com/hearstcastle/photos/a.159475765996/10153258861145997/?type=3" style="font-family: helvetica;" target="_blank">mile-long pergola at Hearst Castle in San Simeon, California</a><span style="font-family: helvetica;">. Further afield there
are the particularly </span><a href="https://thegardenstrust.blog/2020/06/06/the-pergola-hampstead/" style="font-family: helvetica;" target="_blank">extensive pergola located at the Gardens of the Hill in Hamstead Heath (London)</a><span style="font-family: helvetica;"> and
the </span><a href="https://en.wikipedia.org/wiki/Wroc%C5%82aw_exhibition_ground#/media/File:Wroc%C5%82aw,_Hala_Stulecia,_pokaz_-_panoramio.jpg" style="font-family: helvetica;" target="_blank">pergola on the Wroclaw exhibition ground in Poland</a><span style="font-family: helvetica;">. There are also structures akin to pergolas, such as the “chhatris” of traditional Indian gardens, Japanese
torii gates, Arabesque archways in Islamic gardens, and African lath houses. </span><span style="font-family: Arial, sans-serif;"> </span></p>
<div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVkJuP8ivZgnb_Qip8Gvgen9W6Ml94bWlOxz7DYt8LUZYAziA_ybhalwR1VJvJqrxQIBS7R95J-hlTPY8m-jjaUekWgdsU2Bgh_6Lj6sJr2b981BOj8k6jAAld7qPTUQC4jgbsLR5vOYpOzptBQ0J6tBMdOarlU8v4DPWI0dASGjsFNki-rfRWtfiRk6Cj/s1626/Biltmore_Estate_26.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1072" data-original-width="1626" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVkJuP8ivZgnb_Qip8Gvgen9W6Ml94bWlOxz7DYt8LUZYAziA_ybhalwR1VJvJqrxQIBS7R95J-hlTPY8m-jjaUekWgdsU2Bgh_6Lj6sJr2b981BOj8k6jAAld7qPTUQC4jgbsLR5vOYpOzptBQ0J6tBMdOarlU8v4DPWI0dASGjsFNki-rfRWtfiRk6Cj/w400-h264/Biltmore_Estate_26.jpg" width="400" /></a></div></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Pergola of the Walled Garden, Biltmore
Estate, North Carolina (CC BY-SA 3.0
<http://creativecommons.org/licenses/by-sa/3.0/>, via Wikimedia Commons)</span></span></i></div>
<div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><o:p><span style="font-family: times;"> </span></o:p></span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 150%;"><o:p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrnIeSV69GAS-SwlLpg4Crm7Uc-1nedg-A-HW4GLa-2K8XdR-9Qacy-OIdKxLeK_GeIaL1U-25bCseojGPY1f7y9Yd-7nq3eqxkbBy0j_qZ-DKp-qHGhOZ6qcAiwL9t8MlZ8qafSXPpFA9oMRIIWPpf-YW6AOTWnHpGwWZEQobYm5mBr_8JpifuWiWfRuQ/s2592/Pioneer_Square_Pergola_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2592" data-original-width="1944" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrnIeSV69GAS-SwlLpg4Crm7Uc-1nedg-A-HW4GLa-2K8XdR-9Qacy-OIdKxLeK_GeIaL1U-25bCseojGPY1f7y9Yd-7nq3eqxkbBy0j_qZ-DKp-qHGhOZ6qcAiwL9t8MlZ8qafSXPpFA9oMRIIWPpf-YW6AOTWnHpGwWZEQobYm5mBr_8JpifuWiWfRuQ/w300-h400/Pioneer_Square_Pergola_01.jpg" width="300" /></a></div></o:p></span></i><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">Pioneer Square Pergola, Seattle (photo by
Joe Mabel CC BY-SA 3.0 <http://creativecommons.org/licenses/by-sa/3.0/>,
via Wikimedia Commons)</span></span></i></div>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">Pergolas continue to evolve in
design and purpose, adapting to contemporary styles while maintaining a
timeless appeal. Their historical significance, combined with their aesthetic
and functional qualities, ensures their enduring popularity in various cultures
worldwide.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">The following is an ode to the
pergola, which I asked ChatGPT to write:</span></p>
<div style="line-height: 150%; text-align: left;"><b><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica; font-size: large;">Ode to
the Pergola<br /></span></span></i></b><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">O graceful
frame, beneath the open sky,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A dance of
light, where vines and breezes sigh.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Pergola, noble
structure, standing tall,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">In gardens fair,
you weave a timeless thrall.<br /></span></span></i><i><span style="color: #7030a0; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Through wooden
arches, sunlight gently weaves,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A tapestry of
shadows 'midst the leaves.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">With pillars
strong, a sanctuary true,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">You beckon us to
skies of endless blue.<br /></span></span></i><i><span style="color: #7030a0; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">In whispers
soft, the climbing tendrils play,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A symphony of
green in the light of day.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Entwined with
nature's grace, a living cloak,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Each vine a
tale, in every leaf, bespoke.<br /></span></span></i><i><span style="color: #7030a0; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Beneath your
arms, a haven takes its form,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Where dreams
unfurl, and hearts in quiet storm.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A sanctuary for
lovers' whispered words,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">In your embrace,
the song of nesting birds.<br /></span></span></i><i><span style="color: #7030a0; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Oh, pergola, in
gardens rich and wide,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Your lattice
tales, with every knot, confide.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Symbol of
growth, of nature's firm embrace,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A timeless art,
where moments find their place.<br /></span></span></i><i><span style="color: #7030a0; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">In moonlit
nights, a silhouette so grand,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A celestial
dance, as stars command.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A quiet witness
to the passing years,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">You stand
unmoved, as laughter turns to tears.<br /></span></span></i><i><span style="color: #7030a0; line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">So here's to
you, dear pergola of grace,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">A timeless
structure in this boundless space.<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">In gardens,
parks, or memories untold,<br /> </span></span></i><i><span style="color: #7030a0; line-height: 150%;"><span style="font-family: helvetica;">Your open arms,
a story to unfold.</span></span></i></div>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">I find this a surprisingly good result by an A.I. bot, based as it is on such a simple prompt. It </span><span style="font-family: helvetica;">eloquently</span><span style="font-family: helvetica;"> </span><span style="font-family: helvetica;">captures much of what I find appealing about such outwardly simple structures. </span></p><p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: helvetica;">I do like pergolas!</span></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-67309886788161277802023-12-10T11:41:00.000-08:002023-12-11T06:22:48.055-08:00Eugene/Architecture/Alphabet: P<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2rSP99ypNitNZeD_N_Xu2RaNTOelnM6x2xUPK6BTpjgywoh_8AV-kWrGhNmzAmTA2hgtk431qOwgFsm6jcu2X3jfO2rlmd3gp06hPf5jDNgJln9KB9oXgp-4xdZosrLL4Gtq2delmvISOOK1zLxa5nN4Do-pxNXVm4bci0rxW3d0Baxv93g7C_81_Foe-/s1756/PXL_20231209_233431434.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1756" data-original-width="1134" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2rSP99ypNitNZeD_N_Xu2RaNTOelnM6x2xUPK6BTpjgywoh_8AV-kWrGhNmzAmTA2hgtk431qOwgFsm6jcu2X3jfO2rlmd3gp06hPf5jDNgJln9KB9oXgp-4xdZosrLL4Gtq2delmvISOOK1zLxa5nN4Do-pxNXVm4bci0rxW3d0Baxv93g7C_81_Foe-/w414-h640/PXL_20231209_233431434.jpg" width="414" /></a></div><span style="background-color: white;"><i><span style="color: red; font-family: times;">Prince Lucien Campbell Hall (all photos by me)</span></i></span></div><p style="text-align: left;"><span style="background-color: white; color: #2b2b2b; font-family: helvetica;">This is the next in my </span><b style="background-color: white; color: #2b2b2b; font-family: helvetica;"><a href="http://sworegonarchitect.blogspot.com/search/label/Eugene%2FArchitecture%2FAlphabet" target="_blank"><span style="color: #3b72d8;">Eugene/Architecture/Alphabet</span></a></b><span style="background-color: white; color: #2b2b2b; font-family: helvetica;"> series
of blog posts, the focus of each being a landmark building here in Eugene. Many
of these will be familiar to most who live here but there are likely to be a
few buildings that are less so. My selection criteria for each will be
threefold:</span></p><p style="text-align: left;"></p><ol style="text-align: left;"><li><i style="font-family: helvetica; text-indent: 0in;"><span style="background: white; color: #2b2b2b; line-height: 150%;">The
building must be of architectural interest, local importance, or historically
significant.</span></i></li><li><i style="font-family: helvetica; text-indent: 0in;"><span style="background: white; color: #2b2b2b; line-height: 150%;">The
building must be extant so you or I can visit it in person.</span></i></li><li><i style="font-family: helvetica; text-indent: 0in;"><span style="background: white; color: #2b2b2b; line-height: 150%;">Each
building’s name will begin with a particular letter of the alphabet, and I must
select one (and only one) for each of the twenty-six letters. This is easier
said than done for some letters, whereas for other characters there is a
surfeit of worthy candidates (so I’ll be discriminating and explain my choice
in those instances).</span></i></li></ol><p></p>
<div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="background: white; color: #2b2b2b; line-height: 150%;"><span style="font-family: helvetica;">This entry’s selection begins with the
letter P, for which my choice is <b>Prince Lucien Campbell Hall</b>.<br /></span></span><b><span style="background: white; color: #2b2b2b; line-height: 150%;"><span style="font-family: helvetica;"><span style="font-size: large;"><br /></span></span></span></b></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><b><span style="background: white; color: #2b2b2b; line-height: 150%;"><span style="font-family: helvetica;"><span style="font-size: large;">Prince Lucien Campbell Hall<br /></span></span></span></b><span style="font-family: helvetica;">It was
clear to me during my years as a student at the University of Oregon in the
early 1980s that few among the campus community regarded Prince Lucien Campbell
Hall with affection. Being both a high-rise—the 10-story structure was by far the
tallest building on campus until the construction of the <a href="https://sworegonarchitect.blogspot.com/2022/03/the-worlds-finest-theater-for-track.html" target="_blank">Bowerman Tower</a> at Hayward Field—and
an anomalous modernist design sited on the Memorial Quadrangle, “PLC” was particularly
derided by my fellow students in the School of Architecture & Allied Arts. My
guess is the level of animus has waned somewhat, as the passage of time and the
acquisition of patina have softened some of the building’s hard edges. Additionally,
PLC’s eventful history has become the stuff of UO legend, perhaps contributing
to its acceptance as an iconic piece of the campus fabric.<br /></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Architects
<b>Glenn Stanton</b> and <b>Keith Robert McGuire</b>, both graduates of UO’s
architecture program, designed Prince Lucien Campbell Hall to provide substantial
office space for university faculty, classrooms, and a large auditorium on a
limited footprint. Named after the <a href="https://en.wikipedia.org/wiki/Prince_Lucien_Campbell" target="_blank">fourth president of the university</a>, construction of the building occurred in two phases. The
first, consisting of the five-story south wing and two stories forming the base
of the future west wing, opened its doors in 1963. The second phase, completed
in 1968, realized completion of the 108-foot-tall slab-like tower along Kincaid
Street as well as the auditorium (now the <a href="https://classrooms.uoregon.edu/180PLC" target="_blank">PLC 180 Hyflex 2 Classroom</a>). <span style="mso-spacerun: yes;"> <br /></span></span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3l381SbS9xs0goUDSkyOaN7MV8fk20RY6q3yjBslIHBpP-Tba8JiklilnIshrO_6TtAXxKEZ6jgsip2j3lk0pU2CF8rSdhgUgcOKZj_4lU_qSiJFk1uNS7dZML27dvCcRuhBEpZkUt1Bmb-fyH8ML2hq19YKXUQZjkpJlKwcy5RqZZQUi06-RRYvnEL_/s1960/PXL_20231209_233312512.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1960" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3l381SbS9xs0goUDSkyOaN7MV8fk20RY6q3yjBslIHBpP-Tba8JiklilnIshrO_6TtAXxKEZ6jgsip2j3lk0pU2CF8rSdhgUgcOKZj_4lU_qSiJFk1uNS7dZML27dvCcRuhBEpZkUt1Bmb-fyH8ML2hq19YKXUQZjkpJlKwcy5RqZZQUi06-RRYvnEL_/w400-h225/PXL_20231209_233312512.jpg" width="400" /></a></div><span style="color: red; font-family: times;"><i>View from the Memorial Quadrangle.</i></span><br /><span style="font-family: helvetica;"><br /></span></div><span style="line-height: 150%;"><span style="font-family: helvetica;">Given
its mid-century provenance, it isn’t surprising Stanton and McGuire worked
within a modernist idiom, specifically the <a href="https://en.wikipedia.org/wiki/International_Style" target="_blank">International Style</a>,
which eschewed historical forms in favor of simplified shapes and the adoption
of glass, steel, and concrete as preferred building materials. PLC stands apart
from its neighbors around the Memorial Quadrangle by virtue of its absence of
ornamentation and asymmetrical massing.<br /> </span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">The large
English oak trees on the east side of PLC help give shape and form to the Memorial
Quadrangle while also somewhat mitigating PLC’s bulk. The university planted the
trees in 1940, so they would have been forty years old when I was in school,
and perhaps much less substantial than they appear today. <span style="mso-spacerun: yes;"> <br /></span></span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">The incorporation
of brick and colored tile on the façades does help PLC harmonize with the other
buildings, as does setting the tower back toward the west edge of its site. In
my opinion, while this aspect of its design works well on the quadrangle, the unrelieved
form of the tower as seen from the west is its most objectionable attribute. This
is exacerbated by the scaleless repetition of the graph paper-like composition
across the entire façade. <span style="mso-spacerun: yes;"> <br /></span></span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNj6MI0XwMVYjI5M29hG3bIIUOPSNH1WXGDBUYsqRkulBdDzYRVm4_L-7hXfq_46kdEk-ir2vzJ6yP9yfsHiAJ-9pfDLYyCURyGTjMq5Tr69o_JTo7u9z80FFzpu27tngdGsBqSsmt6G36A4dI8ICddLAMTJ_8xoXLA2ItuipCO8Onp6Z8p8shKGscxlp2/s2016/PXL_20231209_233555636.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="2016" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNj6MI0XwMVYjI5M29hG3bIIUOPSNH1WXGDBUYsqRkulBdDzYRVm4_L-7hXfq_46kdEk-ir2vzJ6yP9yfsHiAJ-9pfDLYyCURyGTjMq5Tr69o_JTo7u9z80FFzpu27tngdGsBqSsmt6G36A4dI8ICddLAMTJ_8xoXLA2ItuipCO8Onp6Z8p8shKGscxlp2/w400-h225/PXL_20231209_233555636.jpg" width="400" /></a></div><span style="color: red; font-family: times;"><i>West fa<span style="text-align: left;">ç</span>ade. </i></span><br /><span style="font-family: helvetica;"><br /></span></div><span style="line-height: 150%;"><span style="font-family: helvetica;">I
alluded to PLC’s eventful past. One memorable event occurred in October of
1970, when someone planted and detonated a substantial amount of dynamite
(estimated at between 20 and 24 sticks) in a ground floor restroom. While no one
was hurt, <a href="https://www.newspapers.com/article/the-boston-globe-50000-damage-caused-b/71883913/" target="_blank">the destruction was substantial</a>, including burst plumbing and damage to four
adjacent restrooms and ten offices. The Eugene Police and the FBI never found
the perpetrator or perpetrators, and while researching for this blog post I
could not find anything about the possible motives for the blast. This was the
era of escalating student demonstrations during the Vietnam War, so perhaps the
bombing was related to those protests.<br /> </span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">PLC
has unfortunately also been the site of multiple suicides. Desperate individuals
have leaped to their death from the building’s highest balconies. Undoubtedly
due to this tragic history, there are tales of people seeing ghostly figures at
the top of PLC, experiencing chills, or feeling as if they are being watched when
no one is there. According to <i><a href="https://folkloreflags.wixsite.com/folkloreflags/prince-lucien-campbell-hall-plc" target="_blank">Folklore Flags</a></i> (a UO student-run project to connect folklore back to the context
of place) the elevators in the building “are where some of the creepiest experiences
have happened, especially when riding them alone and at night. Phenomena
include hearing voices and whispers, feeling breath on the back of one’s neck,
and feeling something brush against one’s body.”<br /></span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoXhajet96aJ_uCA-tJ-3EVmyx0_xu7_1dqip8QKcLFHC4EtgLNuQEGoRr_f_eDDfX1F3t64ALaRx9CHvjbm6u92KrfrVISjmbKxZcNfZd3zjf8rsYaiOgEPr2s66fP_iaJLbuHm0CDZroKICTtLK-V08pDqIM40d3tVL-F9Rws4PvfRY5Ea2wuSb-e-ec/s1734/PXL_20231209_233339964.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1734" data-original-width="995" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoXhajet96aJ_uCA-tJ-3EVmyx0_xu7_1dqip8QKcLFHC4EtgLNuQEGoRr_f_eDDfX1F3t64ALaRx9CHvjbm6u92KrfrVISjmbKxZcNfZd3zjf8rsYaiOgEPr2s66fP_iaJLbuHm0CDZroKICTtLK-V08pDqIM40d3tVL-F9Rws4PvfRY5Ea2wuSb-e-ec/w230-h400/PXL_20231209_233339964.jpg" width="230" /></a></div><span style="color: red; font-family: times;"><i>"The Falconer" statue by James Lee Hansen.</i></span><br /><span style="font-family: helvetica;"><br /></span></div><span style="line-height: 150%;"><span style="font-family: helvetica;">In
2008, someone stole “The Falconer” statue from its pedestal in the courtyard on
the Memorial Quadrangle side of PLC. The work of sculptor <b><a href="https://jamesleehansen.com/" target="_blank">James Lee Hansen</a></b>, the abstract
bronze was donated to the university by <b><a href="https://www.wweek.com/arts/2022/12/06/jordan-schnitzer-is-the-ultimate-patron-of-the-arts/" target="_blank">Jordan Schnitzer</a></b> and installed in 1974. My research suggests that it was never
recovered, but I did find it (or a reproduction) sitting on its pedestal; see my
accompanying photo (if someone knows this is the original, let me know).<br /></span></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> <br /></span></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Unlike
many of my schoolmates and laypersons, I don’t think I ever disliked Prince Lucien
Campbell Hall as a piece of architecture. It is a competent example of the International
Style, which was the prevailing design philosophy of its time for institutional
and commercial buildings. I view it now through rose-colored glasses, with fond
memories of my time at the University of Oregon and the classes I attended
within the building. </span></span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com1tag:blogger.com,1999:blog-5646971795138346223.post-79783543581013432092023-12-03T12:16:00.000-08:002023-12-04T06:27:27.691-08:00Concept to Completion: A Tale of Tenacity in Small Community Architecture<div style="text-align: left;"><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><span style="line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgNoUjjLSxDDIS2R8A5MVpuWqPkd_thW89NOsEBMwUiWCpH6ewYlAG7xj4nxaxJMkAqOnkLJmpwwslsRt-JezSp2g_eWfjna9C2azPrp2XCBIQiT5Jr6xm7cv6WLZTfoZGsnUgooolURI-PzUQhk2YxkR3aaSLKXAYcYUNzKK2C1v58dhGFd78e6VxBjl/s1066/Screenshot%202023-12-03%20115848.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="1066" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgNoUjjLSxDDIS2R8A5MVpuWqPkd_thW89NOsEBMwUiWCpH6ewYlAG7xj4nxaxJMkAqOnkLJmpwwslsRt-JezSp2g_eWfjna9C2azPrp2XCBIQiT5Jr6xm7cv6WLZTfoZGsnUgooolURI-PzUQhk2YxkR3aaSLKXAYcYUNzKK2C1v58dhGFd78e6VxBjl/w400-h246/Screenshot%202023-12-03%20115848.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">Rendering of the Flora M. Laird Memorial Library Expansion & Renovation <br /></span></i><span style="font-family: helvetica;"><br /></span></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="line-height: 150%;"><span style="font-family: helvetica;">Building
projects do not happen overnight. Indeed, many only unfold over a protracted period,
shaping and reshaping themselves as functional needs evolve and the
vicissitudes of the construction marketplace dictate. I’ve been involved in several
such projects, one of which—the expansion and renovation of the <b><a href="https://www.facebook.com/MyrtlePointLibrary/" target="_blank">Flora M. Laird Memorial Library</a> </b>in Myrtle Point, Oregon—was more than two decades in the
making. I attended its grand reopening celebration this past Friday, the deeply
satisfying culmination of an epic journey for one small community’s library.</span></span><span style="font-family: helvetica;"> </span></div>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">The
City of Myrtle Point initially retained my firm, Robertson/Sherwood/Architects,
in November of 2002 for the purpose of designing a new building to replace its aging
and undersized<b> </b>public<b> </b>library. The modest mid-century Modernist
design was originally constructed in 1953 in accordance with plans developed
by Max P. Williams & Robert B. Martin, Architects of Portland, and William
A. Coffindaffer of Coos Bay. The building originally accommodated about 2,000
square feet of floor area, and subsequently expanded in 1984 by an additional
1,500 square feet, primarily to accommodate a conference room, staff workspaces,
and the Children’s collection. Harlan/Miller Associates pc of Coos Bay prepared
the design for that expansion.</span></span><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">Our
charge back then was to assist the City with the evaluation of alternative
sites for the construction of the new library; however, after studying the assorted
options, we concluded that none of the available properties ticked all the
necessary boxes.</span></span><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">The
City identified another development option in March of 2004. This prospect
ambitiously proposed the vacation of 5th Street between the existing Flora M.
Laird Memorial Library and Myrtle Point’s City Hall for the purpose of
constructing a new 6,657 SF addition connecting both buildings. The City found
the concept appealing because it would address program needs for both
facilities, while additionally keeping the Library in its familiar location. Furthermore,
such a project would retain a sound existing asset, a more cost-effective
strategy than constructing the equivalent new space from scratch.</span></span><span style="font-family: helvetica;"> </span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizATUHHnnmNcM_F6F0YVB_v0WSyQeo4EYEDTWQPm6_jDOG2SD-IJRQtaP3Cli7m2T9zww27jaWMli-vb_f60ZTtg9Wrto5u3RCbk-RkVjox7-afBUD09SAlZWmRKQ2od9Q0wN8lPN3V_Fhi6mah8jLzY5X2aSIw0sstwhp6FSIx_ndnqGAEn4eoLT_CW3x/s1272/Screenshot%202023-12-03%20084118.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="1272" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizATUHHnnmNcM_F6F0YVB_v0WSyQeo4EYEDTWQPm6_jDOG2SD-IJRQtaP3Cli7m2T9zww27jaWMli-vb_f60ZTtg9Wrto5u3RCbk-RkVjox7-afBUD09SAlZWmRKQ2od9Q0wN8lPN3V_Fhi6mah8jLzY5X2aSIw0sstwhp6FSIx_ndnqGAEn4eoLT_CW3x/w400-h279/Screenshot%202023-12-03%20084118.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><span style="color: red; font-family: times;"><i>The 2004 "Civic Center" concept.</i></span></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="line-height: 150%;"><span style="font-family: helvetica;">We
characterized our resultant design as a new “Civic Center” for Myrtle Point,
with aspirations as lofty as the moniker suggested. Alas, budget constraints loomed
large. The 2004 estimate of the probable construction cost exceeded $3 million,
which at the time was far more than could be matched by fundraising efforts.
The City had no recourse but to place the project on hold and recalibrate its hopes
for an expanded and modernized library.</span></span><span style="font-family: helvetica;"> </span></div>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">We updated
the project’s cost estimate in 2006 and once more in 2008. Additional years would
pass before we received a call from the City in 2014 to resume design work on a
reduced scope option that omitted the improvements and expansion directly
associated with the City Hall. We abandoned the idea of closing off 5th Street
entirely, instead limiting the roadway to a single lane of traffic to provide the
real estate necessary to accommodate the desired library program area. The new
design reduced the area of new construction to half that of the 2004 scheme,
but due to inflation the estimated cost remained virtually unchanged. Once
again, the City shelved the project.</span></span><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">Fast
forward to 2020. The City and the Myrtle Point Library Foundation were
determined to make the library expansion a reality, albeit in a significantly abridged
form. The diminished program included a new <i>Oregon Collection Room</i>, a
new main entrance vestibule, a covered outdoor reading patio, removal of
barriers to accessibility (including provision of a new ADA-compliant restroom),
refurbishment of the building’s exterior envelope, replacement of existing
light fixtures with new energy-efficient LED fixtures, and interior repainting
and replacement of ceiling and floor finishes. The total budget for the scaled-back
design would be $850,000.00.</span></span><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">This
is the project we see today. It may not possess the grandeur of the initial
concept, but it stands as a testament to the resilience, adaptability, and
spirit of Myrtle Point’s citizenry. The project weathered the storms of budget
constraints, shifting needs, and the passage of time. The most meaningful
projects do not always adhere strictly to the initial blueprint but instead adapt
and evolve, doing as much as possible to serve the needs of the people they are designed for. The expansion and renovation of the Flora M. Laird Memorial
Library certainly fits this bill.</span></span><span style="font-family: helvetica;"> </span></p><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsg7lRsCygvjXxM2WnJmeFLvN_5FxNI269A35F4V7psZ9BWiEqsfqLKwqe5S45T7lQnvhYwctf1ok9Vy6V2-DXpoqk1mJHU5gHM4qu8pu_-hsXQR8q_w9HaNh0Ow-JPOdPstTkruYFGCUm9n74s5B1BuyvgJBOHJij1YeGzDMwyMOFml62WshRBn730HlN/s2016/PXL_20231202_023451304.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="2016" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsg7lRsCygvjXxM2WnJmeFLvN_5FxNI269A35F4V7psZ9BWiEqsfqLKwqe5S45T7lQnvhYwctf1ok9Vy6V2-DXpoqk1mJHU5gHM4qu8pu_-hsXQR8q_w9HaNh0Ow-JPOdPstTkruYFGCUm9n74s5B1BuyvgJBOHJij1YeGzDMwyMOFml62WshRBn730HlN/w400-h225/PXL_20231202_023451304.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">View looking toward the new covered reading patio (left) and the new main entrance (center).</span></i></div><div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTF5wp2iaJ5iM5jyBShd7RtSCd9pYX41ezlLOaVelJgX6ioNpPQxxtdvtX6RegeoktnYfAQO137uCAFEWfbqCBRwY1uJMAJmzeclzvVgBkjYtraQspz2C0SCbqw44ZDLkLTx35BIqePdbc1UsB-p2MXEpGqjXuTAcWDG2Ern1oB1sbU9teMyhPXC2XRAyM/s2004/PXL_20231202_023619212.MP.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1127" data-original-width="2004" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTF5wp2iaJ5iM5jyBShd7RtSCd9pYX41ezlLOaVelJgX6ioNpPQxxtdvtX6RegeoktnYfAQO137uCAFEWfbqCBRwY1uJMAJmzeclzvVgBkjYtraQspz2C0SCbqw44ZDLkLTx35BIqePdbc1UsB-p2MXEpGqjXuTAcWDG2Ern1oB1sbU9teMyhPXC2XRAyM/w400-h225/PXL_20231202_023619212.MP.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>A barbershop quartet provided entertainment for the grand reopening celebration.</i></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH59ov0kWkzWybQm5H-9yi35zvyxDaOVgDZL0f4gruNOfgNJfnwTUFsFVa5jYQlLk-Vff44_X67smfBAWxgh_4Dz5giwjrHABqe9LbLTgPzxuepmWZ5eaSi8UKGtEdi71znHnLZpGzU1jS9R2-FJksVpvDwPZlgK-XvaYg2muWEplRqGKaLCpWQvfzirP3/s2016/PXL_20231202_023238941.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="2016" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH59ov0kWkzWybQm5H-9yi35zvyxDaOVgDZL0f4gruNOfgNJfnwTUFsFVa5jYQlLk-Vff44_X67smfBAWxgh_4Dz5giwjrHABqe9LbLTgPzxuepmWZ5eaSi8UKGtEdi71znHnLZpGzU1jS9R2-FJksVpvDwPZlgK-XvaYg2muWEplRqGKaLCpWQvfzirP3/w400-h225/PXL_20231202_023238941.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">The new Oregon Collection Room.</span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGbDHXrdubn_xfkWUvwuNkrmwUYE0xW8qYKVzhFhv701Kt4KO6YqzUkThslMDM_0rPOl8ThXIDHkijKolFAoaow3lTQfHV_gghrtHxM9CFBTG78nyvjIvKlnG6qSLfXLFyCnVNiKy8vr9asRJO6ejuTTsbIBdnuoRlX9l7RsRcB_gEhjMMzCerkh6rjPoh/s2016/PXL_20231202_023758619.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="2016" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGbDHXrdubn_xfkWUvwuNkrmwUYE0xW8qYKVzhFhv701Kt4KO6YqzUkThslMDM_0rPOl8ThXIDHkijKolFAoaow3lTQfHV_gghrtHxM9CFBTG78nyvjIvKlnG6qSLfXLFyCnVNiKy8vr9asRJO6ejuTTsbIBdnuoRlX9l7RsRcB_gEhjMMzCerkh6rjPoh/w400-h225/PXL_20231202_023758619.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">Guests at the reopening celebration decorated tiles for installation in the renovation of the existing public restroom. </span></i></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrR-e8NvWS-h8sRP1krO2vhbwW3elvIqzNGpk8lHm8oFwPWYlac5XFvZl5p3c7KKUwllkSb1dE4yjsuYFKwzK6UC2-Cgu3OH_wrQ4lvgeoQL7OMhN-fBsMOz_hyphenhyphenRhsK_TXsQXxcGZla8E-qRpqlfMaSWb9PMXqAGlDUQWpcazf3ZwiWTkUY7P2IxkA1sR5/s2016/PXL_20231202_023405971.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1134" data-original-width="2016" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrR-e8NvWS-h8sRP1krO2vhbwW3elvIqzNGpk8lHm8oFwPWYlac5XFvZl5p3c7KKUwllkSb1dE4yjsuYFKwzK6UC2-Cgu3OH_wrQ4lvgeoQL7OMhN-fBsMOz_hyphenhyphenRhsK_TXsQXxcGZla8E-qRpqlfMaSWb9PMXqAGlDUQWpcazf3ZwiWTkUY7P2IxkA1sR5/w400-h225/PXL_20231202_023405971.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>The reinstalled building signage.</i></span></div><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">There
is a profound sense of responsibility that comes with working on projects for a
small municipality like Myrtle Point. I developed a connection with the folks
there over the years. I felt accountable to them, and wanted to go the extra
mile to ensure the expanded and renovated library would not only be aesthetically
pleasing but functional, sustainable, and in harmony with the community ethos.</span></span><span style="font-family: helvetica;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="line-height: 150%;"><span style="font-family: helvetica;">As I
wrote in my <a href="https://sworegonarchitect.blogspot.com/2023/10/architecture-is-awesome-33-happy-clients.html" target="_blank">Architecture is Awesome #33 post</a>, there are few things more rewarding for me as an
architect than witnessing the genuine smiles and expressions of delight from
clients and user groups upon first enjoying a project I had a hand in
designing. Happy smiles and thanks for a job well-done were in abundance during
the grand reopening celebration for the Flora M. Laird Memorial Library. Architects impact lives in many profound ways,
most significantly by helping others. Friday evening validated my decision to
become an architect and served as a powerful reminder of why I do what I do.</span></span></p></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com1tag:blogger.com,1999:blog-5646971795138346223.post-1705593587752436702023-11-26T11:35:00.000-08:002023-11-26T11:35:16.389-08:00Architecture and the Culture Wars<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImC6jxg2J7bQzlwUF1xK02ZXGxV_17X8Er4jzgi6_2VNkmoto9FZ0uLqtz2_4896rViVwdEyGJ1xZqhMVVrcAB9DRHNwEnpS3BLHI5McMBRVGamV3LNVT6xqiiIoUxmVSM8PheYKsV6syeaZFkmkwC55yDsiwP-PsJNXWTkxP54SopP-LhKJJg22GSjIO/s962/Screenshot%202023-11-26%20112743.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="962" data-original-width="940" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhImC6jxg2J7bQzlwUF1xK02ZXGxV_17X8Er4jzgi6_2VNkmoto9FZ0uLqtz2_4896rViVwdEyGJ1xZqhMVVrcAB9DRHNwEnpS3BLHI5McMBRVGamV3LNVT6xqiiIoUxmVSM8PheYKsV6syeaZFkmkwC55yDsiwP-PsJNXWTkxP54SopP-LhKJJg22GSjIO/w391-h400/Screenshot%202023-11-26%20112743.jpg" width="391" /></a> </div><p></p><p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif; line-height: 150%;">I am both fascinated and
concerned by the voices outside of my profession who have weaponized the aesthetics
of architecture for use at the front of the culture wars. My thoughts on the topic
are hardly original as many others, such as <b>Robert Bevan</b> (author of <i><a href="https://www.amazon.com/Monumental-Lies-Culture-Truth-about/dp/1839761873" target="_blank">Monumental Lies: Culture Wars and the Truth about the Past</a></i>), have astutely
commented on what is happening. As <a href="https://www.opendemocracy.net/en/robert-bevan-traditionalist-modernist-beauty-architecture-tufton-street/" target="_blank">Bevan has written</a>, a decades-long agenda to promote traditionalist design and architecture
under the cover of “beauty” appears to be paying off. At its core, the growing appropriation
by alt-right elements of new classical architecture<i><span style="color: red;">(1)</span></i><span style="color: red;"> </span>is rooted in traditionalist appeals to nativism and preservation
of “cultural identity.”<o:p></o:p></span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">It's both disheartening and
perplexing to see architecture caught in the crossfire of political ideologies.
Architecture, a traditional reflection of culture and society, has been
co-opted by agendas that extend well beyond the discipline’s bounds. Instead of
serving as a medium for inclusive, equitable, and sustainable design,
architecture is now too often a tool of propaganda, inflamed by the cauldron of
social media. </span><span style="font-family: Arial, sans-serif;"> </span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">Even seemingly apolitical
concepts like the </span><a href="https://en.wikipedia.org/wiki/15-minute_city" style="font-family: Arial, sans-serif;" target="_blank">15-minute city</a><span style="font-family: Arial, sans-serif;"> have become battlegrounds. Conservative politicians target urban
planning initiatives, framing them as symbols of coastal elitism and
"wokeness." Misinterpretations fueled by distrust has led to the </span><a href="https://www.vice.com/en/article/wx5az9/walking-places-is-part-of-the-culture-wars-now" style="font-family: Arial, sans-serif;" target="_blank">politicization of mobility in cities</a><span style="font-family: Arial, sans-serif;">.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">The unfair tethering of new
classical architecture to far-right conservatism prompts reflections on
tradition, identity, and urban planning. It’s crucial to note that not every
advocate for new classical architecture aligns with the politics of the
far-right (nor are proponents of contemporary design idioms necessarily
left-leaning). For many architects, the new classical vocabulary is simply a
means to craft beautiful and functional structures that harmonize with the
needs of modern society. It bothers me that neo-traditional architectural
vocabularies have become tainted by political associations.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">Predictably, the alt-right has
also demonized the aesthetics of modern architecture. The clean lines and
innovative designs that define modern structures are portrayed as symbols of an
ideology they reject. This demonization creates an unfortunate binary where any
deviation from traditional styles is characterized as a symbolic threat to their
political beliefs.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">Beauty and common-sense design
are and should remain apolitical. Architectural beauty—diverse and subjective, traditional
or modern—speaks a universal language that should resonate across a spectrum of
viewpoints. Common-sense architectural design, driven by practicality and
efficiency, aims to create settings that address the basic needs and well-being
of individuals, irrespective of their political leanings.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">Architects can resist
architecture's transformation into a tool for propaganda by maintaining
professional autonomy, promoting inclusive design principles, and adopting a
strong ethical framework. Education and collaboration with varied stakeholders,
including community members and policymakers, are essential to creating spaces
that genuinely serve societal needs. Advocating for architectural freedom and
staying informed about societal changes enable architects to adapt designs in
responsive ways while building a resilient professional community to withstand
external pressures. By upholding these principles, architects can ensure their
field remains committed to inclusivity, ethics, and architectural freedom,
resisting undue politicization.</span></p>
<p class="MsoPlainText" style="line-height: 150%;"><span style="font-family: Arial, sans-serif;">Perhaps I’m being naïve. Decisions
about the location, design, and functionality of public buildings are frequently
laden with political meaning. Urban planning, zoning regulations, and the
allocation of resources in a city are inherently political processes that shape
the built environment. The ways in which buildings are conceived, designed, and
used can be implicitly or explicitly partisan in their implications. That moral
battle lines may be drawn, or that righteous contempt are potential byproducts
of architecture should not surprise me. Nevertheless, I am hopeful we can
safeguard the apolitical pursuit of beauty and common-sense design, and I hope
architecture can be a bridge that transcends political divides, creating spaces
that resonate across multiple perspectives.</span><i style="font-family: Arial, sans-serif;"><span style="color: red;">(2)</span></i></p><div style="line-height: 150%; text-align: left;"><i style="font-family: Arial, sans-serif;"><span style="color: red;"><br /></span></i></div>
<p class="MsoPlainText"><i style="text-indent: -0.25in;"><span style="color: red; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="font-family: helvetica;">(1)</span><span style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"><span style="font-family: helvetica;"> </span> <span style="font-family: times;">
</span></span></span></i><i style="text-indent: -0.25in;"><span style="font-family: times;">New classical architecture is a catch-all
term for a movement that emerged during the late 20th century and draws inspiration
from traditional architectural styles. Characterized by a return to historical
forms, proportions, and ornamentation, new classical architecture aims to
capture the elegance and timelessness associated with traditional architecture,
while adapting it to contemporary needs and contexts</span></i></p><p class="MsoPlainText"><i style="text-indent: -0.25in;"><span style="color: red; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="font-family: helvetica;">(2)</span><span style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-style: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal;"><span style="font-family: helvetica;"> </span> <span style="font-family: times;">
</span></span></span></i><i style="text-indent: -0.25in;"><span style="font-family: times;">Being as clear-eyed as possible, I do
acknowledge that even these seemingly apolitical concepts can be influenced by
cultural, social, and historical contexts. What one society deems as beautiful
or commonsensical may differ from another, and these perceptions can be shaped
by political, economic, or philosophical factors.</span></i></p>
<p class="MsoPlainText"><o:p> </o:p></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com2tag:blogger.com,1999:blog-5646971795138346223.post-17691461722668540632023-11-19T12:11:00.000-08:002023-11-19T12:11:44.730-08:00View Corridors<div style="line-height: 150%; text-align: left;"><div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-HXUhIr1c5DZ5uDyFYYjAwRE28i63ghcqOam0MsAGne_40j8oLoSYyEXPwB4HFGnFfLNAsG_XIN3XimJmV6wXXhiZzB01NKRoeoQTzp7i4MTaFI0F1m1Q0AM_pGtt3jYcVh_I7RSY1dA2v64VBNUDPwPETWQR5WUzkHx9p6MABUQi9zFFIzLOcULEvGz/s1237/Screenshot%202023-11-19%20102719.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="1237" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-HXUhIr1c5DZ5uDyFYYjAwRE28i63ghcqOam0MsAGne_40j8oLoSYyEXPwB4HFGnFfLNAsG_XIN3XimJmV6wXXhiZzB01NKRoeoQTzp7i4MTaFI0F1m1Q0AM_pGtt3jYcVh_I7RSY1dA2v64VBNUDPwPETWQR5WUzkHx9p6MABUQi9zFFIzLOcULEvGz/w400-h283/Screenshot%202023-11-19%20102719.jpg" width="400" /></a><br /><span style="color: red; font-family: times;"><i>Skinner Butte viewed from the west along 1st Avenue in Eugene. This is not a regulated view corridor. (Google Street View)</i></span></div><div style="text-align: center;"><br /></div><span style="font-family: helvetica; line-height: 150%;">View corridors are planning
tools used in urban design and city planning to protect and enhance specific
views within a city. They are meant to preserve visual connections between key
landmarks, natural features, or other important elements of a cityscape. The
goal is to maintain or create aesthetically pleasing vistas that contribute to
the overall character and identity of a city. In the context of urban planning,
municipalities implement view corridors through zoning regulations, building
height restrictions, and other planning measures.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Many cities blessed with
significant natural or built features establish view corridors to protect views
of iconic landmarks, bodies of water, mountain ranges, or other significant
natural or built features. This can contribute to the overall visual experience
of a city and enhance its attractiveness. In many instances, this involves restricting
the height of new developments within certain areas to maintain specific
sightlines. These regulations can be applied to both public and private spaces,
ensuring that designated views are not obstructed by new construction.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Vancouver,
British Columbia—a city I’m especially familiar with—is well known for its </span><a href="https://vancouver.ca/home-property-development/protecting-vancouvers-views.aspx" style="font-family: helvetica;" target="_blank">strategic use of view corridors</a><span style="font-family: helvetica;">. The city implemented regulations years ago to
preserve views of the surrounding mountains and waterfront. For example, view
corridors from certain vantage points in the city lead directly to landmarks
like the North Shore Mountains and Burrard Inlet. One famous view corridor in
Vancouver is along the Cambie Street Bridge, which offers unobstructed views of
the downtown skyline and the mountains. The city's commitment to preserving
these vistas has contributed to Vancouver's reputation as a visually stunning
and livable city.</span><br /><div style="text-align: center;"><span style="font-family: helvetica;"> </span><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9PttrCSMFzItekoR1z1-8qRQCgDiPq8HwTYAVVtV1oadywws8F6t7hU08T4L5fGrDsoNB4uFeQEQLiAuzs4yUif070U9rRcOsN0lqIW_tMpRoN_1YkBiJjQ64LEH_nmdBmsEUBYefbwl-Tmq1zWNkdbJXet1flgVyxrc1YNZQoYIcQAi2eK7Tel19ACNm/s740/van.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="740" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9PttrCSMFzItekoR1z1-8qRQCgDiPq8HwTYAVVtV1oadywws8F6t7hU08T4L5fGrDsoNB4uFeQEQLiAuzs4yUif070U9rRcOsN0lqIW_tMpRoN_1YkBiJjQ64LEH_nmdBmsEUBYefbwl-Tmq1zWNkdbJXet1flgVyxrc1YNZQoYIcQAi2eK7Tel19ACNm/w400-h280/van.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Vancouver view corridor diagram.</i></span></div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><br /></div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH4kYUCJBO0lE5uxJB7jSrRf00kC48vYIOh0FvTmtsiBigW6CzYFYLtc6wShsQXINn_-aZl6At5NPW2MlcSKMc2M4f7paDyuz0VyvellkS5aQtolmKhE5E1jf-GcuN3kZD3zuMgnvgHMv_kYDoSG_59wAyWXEguX3FSDGKYZfIz0AJJ98MEYpJdKUmSJJe/s640/van2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="640" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH4kYUCJBO0lE5uxJB7jSrRf00kC48vYIOh0FvTmtsiBigW6CzYFYLtc6wShsQXINn_-aZl6At5NPW2MlcSKMc2M4f7paDyuz0VyvellkS5aQtolmKhE5E1jf-GcuN3kZD3zuMgnvgHMv_kYDoSG_59wAyWXEguX3FSDGKYZfIz0AJJ98MEYpJdKUmSJJe/w400-h239/van2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Vancouver view corridor B.2.</i></span></div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><br /></div></div></span><span style="font-family: helvetica; line-height: 150%;">Seattle’s
municipal code likewise protects scenic view corridors toward both natural and
human-made features, including mountains and skylines from designated public
spaces. The code’s <a href="https://library.municode.com/wa/seattle/codes/municipal_code?nodeId=TIT23LAUSCO_SUBTITLE_IIILAUSRE_CH23.60ASESHMAPRRE_PT3DEST_23.60A.170STVICO" target="_blank">public view mitigation measures</a> strategically control the height, bulk, profile,
or location of new buildings to preserve key vistas.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">What about Eugene? The City of
Eugene <i>Site Development Standards</i> do include height limitation areas, whose
purpose is to protect views to and from certain geographical landmarks
considered to have scenic attributes and are of value to the community. To the
best of my knowledge, the <i><a href="https://eugene.municipal.codes/EC/9.6715" target="_blank">Skinner Butte Height Limitation Area</a></i> is presently the sole example of such an area,
though <i>the <a href="https://eugene.municipal.codes/EC/09_S-DRZone" target="_blank">Downtown Riverfront Special Area Zone</a></i> incorporates a height regulating plan and
view corridor requirements. Fundamentally, Eugene’s height limitation area
regulations seek to achieve similar ends as controlled view corridors do in
other cities.<br /> </span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Skinner Butte is a prominent
landmark named in honor of city founder Eugene Skinner. The elevation at the
top of the hill is 682 feet above sea level and approximately 200 feet above
the surrounding streets. The <i>Skinner Butte Height Limitation Area</i> restricts
the maximum height of any building within its limits to 500 feet above sea level.
The Eugene City Council recently amended the <i>Skinner Butte Height Limitation
Area</i> to increase allowed building heights of up to 530 feet in elevation on
specific properties. <a href="https://sworegonarchitect.blogspot.com/2023/01/happenings.html" target="_blank">As I reported previously</a>, the intent is to attract investment within the city’s core,
accommodate much-needed housing, enliven the pedestrian experience, and welcome
increased density and eyes on the streets. The Eugene Code additionally exempts
certain roof structures and architectural features above these height limits.<br /><div style="text-align: center;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1GBQ-PPkrN3Kt8iZoV6QRC_7zKhQp3wHFg9g-djAdM69klYLjsW-rLPZNim9BF3lNYmYGxrzTm_5TPeuaG5J8BNosR5H4Cq8zLC_zMGjgr5bZn3OZ0Tmhd-3_TfBnDe-k2xre4PqTST4WF3dYRk2kMjo6I4strZPAEihDV_IiimqRSROuRfxRg9djqmRR/s877/Screenshot%202023-11-19%20090155.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="733" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1GBQ-PPkrN3Kt8iZoV6QRC_7zKhQp3wHFg9g-djAdM69klYLjsW-rLPZNim9BF3lNYmYGxrzTm_5TPeuaG5J8BNosR5H4Cq8zLC_zMGjgr5bZn3OZ0Tmhd-3_TfBnDe-k2xre4PqTST4WF3dYRk2kMjo6I4strZPAEihDV_IiimqRSROuRfxRg9djqmRR/w334-h400/Screenshot%202023-11-19%20090155.jpg" width="334" /></a></div><br /></div></span><span style="background: white; color: #2b2b2b; font-family: helvetica; line-height: 150%;">Commonly
understood by architects is the human tendency to seek identity and orientation.
Nature and history have conspired to endow Eugene with a recognizable and
navigable structure. The pioneer citizens formalized the axis between Skinner
Butte and Spencer Butte as Willamette Street, and like the ancient Roman <i><a href="https://en.wikipedia.org/wiki/Cardo" target="_blank">cardo</a></i>, it has served
historically as the center of economic and cultural life for the city. </span><span style="font-family: helvetica;">The
two landmarks bookend the axis. They presented planners with a natural structure
about which to organize the street grid as Eugene grew.</span><br /> <span style="background: white; color: #2b2b2b; font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="background: white; color: #2b2b2b; font-family: helvetica; line-height: 150%;">Bolstering
the legibility of Willamette Street as Eugene’s principal north-south axis is thus
as important to the city’s identity as focusing upon the preservation of sightlines
toward Skinner Butte. We should selectively protect those views, but the reality
is it is challenging to fully appreciate how the diminutive butte punctuates
the north end of the axis when seen from the south along Willamette Street. Indeed,
its prominence is best grasped when approaching from the west, along the north
bank of the Willamette River, or when in its immediate vicinity. The view from
the top toward Spencer Butte rather than the ones toward Skinner Butte provides
Eugene with its signature prospect.<br /> </span><span style="background: white; line-height: 150%;"><o:p><span style="color: #2b2b2b; font-family: helvetica;"> </span><br /><div style="text-align: center;"><i style="background-color: transparent;"><span style="line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQx1P53AH438wGkqCEZtCaLKUcscL993kM_a-hMebsIU2RxAAr4cZ5io4ffpjZtKW2eSuyGdVx-r_I0EPQY-t5gmoG0pyk5Q7TicyyOV9xEArvexGdI9GWIXPK23K3-Wdh4-IQ7ydacxeygSTTxfqgNXG5KOXrAgNXrACZyBla7GBeXgrzvWqwfqCYcBki/s3456/Eugene_Oregon_from_Skinner_Butte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2304" data-original-width="3456" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQx1P53AH438wGkqCEZtCaLKUcscL993kM_a-hMebsIU2RxAAr4cZ5io4ffpjZtKW2eSuyGdVx-r_I0EPQY-t5gmoG0pyk5Q7TicyyOV9xEArvexGdI9GWIXPK23K3-Wdh4-IQ7ydacxeygSTTxfqgNXG5KOXrAgNXrACZyBla7GBeXgrzvWqwfqCYcBki/w400-h266/Eugene_Oregon_from_Skinner_Butte.jpg" width="400" /></a></div></span></i></div><div style="text-align: center;"><i style="background-color: transparent;"><span style="line-height: 150%;"><span style="color: red; font-family: times;">Spencer Butte
seen from the top of Skinner Butte (photo by Laura Alier, CC BY-SA 3.0
<https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)</span></span></i></div></o:p></span><i style="font-family: helvetica;"><span style="color: red; line-height: 150%;"><o:p> <br /></o:p></span></i><span style="font-family: helvetica; line-height: 150%;">View corridors play a crucial
role in urban design by preserving and enhancing important vistas that
contribute to the overall character and identity of a city. Implemented
judiciously, they balance the importance of those vistas with the need to
accommodate growth and densification. In the case of Eugene, it may be the establishment
of view corridors is of less importance or unnecessary so long as the city
retains its structural legibility and essential sense of identity through other
means. </span></div>
<p class="MsoPlainText" style="line-height: 150%;"><o:p></o:p></p>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-68727663929039608802023-11-12T12:03:00.000-08:002023-11-12T12:03:43.446-08:00Architecture is Awesome: #34 Adaptive Reuse<div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8O0GF9mXLR5bvTOaCnuVXyn1y9FpxCl2rvaJ8bapqjTJZEJRrm1GFMV2oduZlojczJYOCUuaHQr6r_jxP_bobwrePl67rgsaRr6iGnRe0_5AATJQhZKjJOifTdAcQgtZYjRMTjVWL4eYhLMKD92yAFMdBmh3ox5yJNb8FgSs7EifkctXsWYT3NYYc_a6w/s2288/TateModern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1712" data-original-width="2288" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8O0GF9mXLR5bvTOaCnuVXyn1y9FpxCl2rvaJ8bapqjTJZEJRrm1GFMV2oduZlojczJYOCUuaHQr6r_jxP_bobwrePl67rgsaRr6iGnRe0_5AATJQhZKjJOifTdAcQgtZYjRMTjVWL4eYhLMKD92yAFMdBmh3ox5yJNb8FgSs7EifkctXsWYT3NYYc_a6w/w400-h299/TateModern.jpg" width="400" /></a></div><div style="text-align: center;"><i style="text-align: left;"><span style="background: white; color: red; line-height: 150%;"><span style="font-family: times;">The Tate Modern, an example of adaptive reuse
(photo by MasterOfHisOwnDomain, CC BY-SA 3.0
<https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons)</span></span></i></div>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; text-align: left;"><i><span style="background: white; color: #800180; font-family: Arial, sans-serif; line-height: 150%;">This is another in my </span></i><span style="background: white; color: #2b2b2b; font-family: Arial, sans-serif; line-height: 150%;"><a href="http://sworegonarchitect.blogspot.com/search/label/Architecture%20Is%20Awesome#.ZFR1afzMJPY" target="_blank"><i><span style="color: #3b72d8; text-decoration-line: none;">series
of posts</span></i></a></span><i><span style="background: white; color: #800180; font-family: Arial, sans-serif; line-height: 150%;"> inspired
by <b><a href="https://1000awesomethings.com/" target="_blank"><span style="color: #3b72d8; text-decoration-line: none;">1000 Awesome
Things</span></a></b>, the Webby Award-winning blog written by <b><a href="https://www.ted.com/speakers/neil_pasricha" target="_blank"><span style="color: #3b72d8; text-decoration-line: none;">Neil Pasricha</span></a></b>.
The series is my meditation on the awesome reasons why I was and continue to be
attracted to the art of architecture.</span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;">Adaptive reuse is a process that adapts buildings for new uses
while preserving their original features. Adaptive reuse prolongs a building’s
life, often retaining major systems, including the original structure, the
shell, and even the interior materials. The practice </span><span style="font-family: Arial, sans-serif; line-height: 150%;">breathes life into old buildings by converting them into something newly useful,
whether it is as fresh commercial space, multifamily housing, community
centers, mixed-use facilities, or something else.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: center;"><span style="color: #111111; line-height: 150%;"><o:p><span style="font-family: Arial, sans-serif;"> </span></o:p></span></p><div class="separator" style="clear: both; font-family: Arial, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA_0KeOahxa7MvbqaiT_TgIwGhw4gP62LTdg6qd9KHRCfALxTHzxKdQj2c4TXB1Xv9Znu9Jocz-wmJgVm-LHZG1xPJauhw7aHBO0EafmC70TyI7c8piyfWvkLsGGI20ebOxM6QQGO14iS5xrfjidKBotPDVbU-qMeO1ggWntfCecwoZcwBchRjTR10eeO2/s4160/20180625_084244_HDR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2080" data-original-width="4160" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA_0KeOahxa7MvbqaiT_TgIwGhw4gP62LTdg6qd9KHRCfALxTHzxKdQj2c4TXB1Xv9Znu9Jocz-wmJgVm-LHZG1xPJauhw7aHBO0EafmC70TyI7c8piyfWvkLsGGI20ebOxM6QQGO14iS5xrfjidKBotPDVbU-qMeO1ggWntfCecwoZcwBchRjTR10eeO2/w400-h200/20180625_084244_HDR.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="text-align: left;"><span style="color: red; line-height: 150%;"><span style="font-family: times;">The High Line, New York (my photo)</span></span></i></div><p></p>
<div style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif;">Wonderful
examples of adaptive reuse abound in many cities. For example, the </span><a href="https://en.wikipedia.org/wiki/Tate_Modern" style="font-family: Arial, sans-serif;" target="_blank">Tate Modern</a><span style="color: #111111; font-family: Arial, sans-serif;"> art gallery in
London is housed in a building that was formerly the Bankside Power Station, a
decommissioned electricity plant. Taking an adaptive approach allowed builders
to create a unique and beautiful art gallery. Another noteworthy model is New York’s
</span><a href="https://en.wikipedia.org/wiki/High_Line" style="font-family: Arial, sans-serif;" target="_blank">High Line</a><span style="color: #111111; font-family: Arial, sans-serif;">, which
transformed an abandoned section of railroad on Manhattan’s west side into an
elevated linear park. Since its opening in 2009, the High Line has become a popular
and well-used city icon.</span></div>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><o:p> </o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;">Closer to home, <a href="https://theshedd.org/" target="_blank">The John G. Shedd Institute for the Arts</a> converted
the former First Baptist Church in downtown Eugene into a well-used performance
venue and music school, while the proposed redevelopment of the <a href="https://www.eugene-or.gov/DocumentCenter/View/46078/Steam-Plant-Redevelopment-Design-Proposal_Final_Oct21?bidId=" target="_blank">Eugene Steam Plant</a> is a catalyzing opportunity to provide an iconic community
destination along the city’s riverfront. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><span style="mso-spacerun: yes;"><br /></span></span></p>
<p style="-webkit-text-stroke-width: 0px; background-color: rgba(255, 255, 255, 0.7); font-variant-caps: normal; font-variant-ligatures: normal; font-variation-settings: var(--cib-type-body1-font-variation-settings); line-height: var(--cib-type-body1-line-height); margin: 0in; orphans: 2; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; user-select: text; widows: 2; word-break: break-word; word-spacing: 0px;"><span style="color: #111111; line-height: 150%;"><o:p></o:p></span></p><div class="separator" style="clear: both; font-family: Arial, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5QRTxgxvS7qiRRU7SrrvdZ6Pl8gJuP20YOcT6VP_Zdv9WgRo4_jP_ghkXFGXBT_nGOmNOEfkDUtZCcLhJcZi_6FHXTfMzNbUG8Tnk3C8BHvIEf2GTHG7jefLoHuLHEigAzbiiXh-2jlSWYxpcmEkMseWtK2ElmBfvP9HLfnMC9f2h8JhyphenhyphennA1zFrozz0sF/s870/q.243.0-shedde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="870" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5QRTxgxvS7qiRRU7SrrvdZ6Pl8gJuP20YOcT6VP_Zdv9WgRo4_jP_ghkXFGXBT_nGOmNOEfkDUtZCcLhJcZi_6FHXTfMzNbUG8Tnk3C8BHvIEf2GTHG7jefLoHuLHEigAzbiiXh-2jlSWYxpcmEkMseWtK2ElmBfvP9HLfnMC9f2h8JhyphenhyphennA1zFrozz0sF/w400-h253/q.243.0-shedde.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i style="background-color: transparent; text-align: left;"><span style="color: red; line-height: 150%;"><span style="font-family: times;">The Jaqua Concert Hall in the John G. Shedd Institute,
Eugene.</span></span></i></div><div class="separator" style="clear: both; text-align: center;"><i style="background-color: transparent; text-align: left;"><span style="color: red; line-height: 150%;"><span style="font-family: times;"><br /></span></span></i></div><div class="separator" style="clear: both; text-align: center;"><i style="background-color: transparent; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeedAjY-c_9-RruMA0GyfQlDmiR52C5fAtQpt5idjWvPf9NkybBwR-x6SSem1nRYW_ARJxSVje0pzI0Inau2oYoW5DQ_OPH3aaYuNt-F7WGn-mAKzxa4_IdyKFam60OVU8753lQueZ_nuC4ppg97XVgzAj0MtovzmA_JoZd2IFw98Devqze6qNLQ9q02a5/s1600/1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="823" data-original-width="1600" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeedAjY-c_9-RruMA0GyfQlDmiR52C5fAtQpt5idjWvPf9NkybBwR-x6SSem1nRYW_ARJxSVje0pzI0Inau2oYoW5DQ_OPH3aaYuNt-F7WGn-mAKzxa4_IdyKFam60OVU8753lQueZ_nuC4ppg97XVgzAj0MtovzmA_JoZd2IFw98Devqze6qNLQ9q02a5/w400-h206/1.jpg" width="400" /></a></div></i></div><div class="separator" style="clear: both; text-align: center;"><i style="background-color: transparent; text-align: left;"><span style="background: white; color: red; line-height: 150%;"><span style="font-family: times;">Eugene Steam Plant vision by the
deChase Miksis Development.</span></span></i></div><p></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif;">In communities
with a noteworthy heritage of historic architecture, adaptive reuse restores culturally
significant sites that otherwise would be left to decay or be razed to make
room for new buildings or wasteful parking lots. In too many cities, the loss
of such a built heritage has contributed to the systematic destruction of what
was a coherent urban fabric in favor of blockbusting, car-oriented development.
Adaptive reuse is an effective strategy for countering this detrimental trend.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><o:p> </o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;">New isn’t always
better, especially when viewed through a sustainability lens. By saving countless
solid, older buildings from demolition, adaptive reuse capitalizes on the
operational and commercial performance of valuable existing assets. It is
certainly the most environmentally sound approach to development. Adaptive
reuse decreases a building’s potential carbon footprint by reducing the need
for new construction, which in turn lessens its embodied energy (embodied
energy being the energy consumed during the extraction, manufacture, transportation,
and installation of new building materials). <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><o:p> </o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;">Adaptive reuse can
also help contain urban sprawl. When builders search for new construction
sites, they often choose land located outside of a city center because of budget
friendly considerations. While developers may find the calculus for such
development to be favorable, the fallout of sprawl is its externalized costs: <span style="mso-spacerun: yes;"> </span>the erosion of community identity, greater
fuel consumption, higher public spending on infrastructure and servicing, the
adverse impact of lowered tax bases for central cities, and harmful environmental
outcomes. Adaptive reuse leverages existing resources and is a powerful tool
for rejuvenating established neighborhoods. <o:p></o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><o:p> </o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;">Adaptive reuse
is often cost-effective. While a project to renovate an existing building may
require more labor to execute than one built from scratch, the savings in material
costs is often significant, especially as the price of new materials has
skyrocketed in recent years. Adaptive reuse also forgoes the cost of demolition,
which can represent a substantial portion of a construction budget. <o:p></o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: center;"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje7JD-OLPV9JLO1B52J8lBezOR9sXHraJwgI2YBeqxrV-aO3qeZOYSYqZ-07oLEVx9SXSpD1HBbw2pvKRKWWP4iIouVr8X8BuWwF8TBfr_yPTWjpQ-iwwrkUIrVfpTEoQjZPQcn8JV026o-uBHNurU07WYOtKV5bSMvPb5Ius8S7F85owsH5FI8fsXUB7N/s2400/b18dd246-421b-464d-9f74-f0630616c78e_19047_N47_medium.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="2400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje7JD-OLPV9JLO1B52J8lBezOR9sXHraJwgI2YBeqxrV-aO3qeZOYSYqZ-07oLEVx9SXSpD1HBbw2pvKRKWWP4iIouVr8X8BuWwF8TBfr_yPTWjpQ-iwwrkUIrVfpTEoQjZPQcn8JV026o-uBHNurU07WYOtKV5bSMvPb5Ius8S7F85owsH5FI8fsXUB7N/w400-h200/b18dd246-421b-464d-9f74-f0630616c78e_19047_N47_medium.webp" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times;"><i style="text-align: left;"><span style="color: red; line-height: 150%;">Skylab Architecture’s new headquarters (image from
Skylab’s </span></i><i style="text-align: left;"><span style="line-height: 150%;"><a href="https://skylabarchitecture.com/play/vaughn-street/" target="_blank">website</a><span style="color: red;">)</span></span></i></span></div><p></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><a href="https://skylabarchitecture.com/play/vaughn-street/"></a><o:p></o:p></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif;">Adaptive reuse
is not restricted to architecture of historic significance and can be a
strategy for extending the useful life of many obsolete buildings that have
outlived their original function. An excellent recent example is the </span><a href="https://skylabarchitecture.com/play/vaughn-street/" style="font-family: Arial, sans-serif;" target="_blank">new headquarters of Skylab Architecture</a><span style="color: #111111; font-family: Arial, sans-serif;"> in Portland. The firm chose to creatively adapt two old
steel warehouse structures in the city’s NW industrial area (one of them a
prefabricated Quonset hut), transforming them into not only its dynamic new
workspace, but also as a place to host events for the larger design community.</span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><o:p> </o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;">Adaptive reuse
is AWESOME because it gives old buildings a new lease on life by repurposing
them for uses unforeseen by the original builders, all while retaining many of their
historic and most attractive features. The process is an admirably sustainable approach
to building that preserves built heritage, reduces sprawl, and reinvigorates the
urban fabric. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><span style="color: #111111; font-family: Arial, sans-serif; line-height: 150%;"><o:p> </o:p></span></p>
<p style="line-height: 150%; margin: 0in; text-align: left;"><i><span style="color: red; font-family: Arial, sans-serif; line-height: 150%;">Next Architecture is
Awesome: #35 Problem Solving<span style="font-size: 10pt;"><o:p></o:p></span></span></i></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com1tag:blogger.com,1999:blog-5646971795138346223.post-12490926633286407622023-11-05T12:03:00.001-08:002023-11-05T15:00:09.107-08:00Adding a Touch of Dutch to Eugene’s Streets<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBOfFsCC8rq8_tA5AA57HG5lz7pqeLjViQ2tBrkEIjPgEhxmUEX-TtKe0F10ZOB4akLKUFGgK2mLNWzzBxhBLDR7QjmvE_mmVLO3vmZ8vbXMFEQdeagIzsi6QzMp5oZnMdFKsj7Vn0z_Elh_uIr6SjfMmm_dnxyRhoDjKtYCqvN9kzx7TYL3FFpeMkS32k/s906/Screenshot%202023-11-05%20102133.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="882" data-original-width="906" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBOfFsCC8rq8_tA5AA57HG5lz7pqeLjViQ2tBrkEIjPgEhxmUEX-TtKe0F10ZOB4akLKUFGgK2mLNWzzBxhBLDR7QjmvE_mmVLO3vmZ8vbXMFEQdeagIzsi6QzMp5oZnMdFKsj7Vn0z_Elh_uIr6SjfMmm_dnxyRhoDjKtYCqvN9kzx7TYL3FFpeMkS32k/w400-h390/Screenshot%202023-11-05%20102133.jpg" width="400" /></a></div><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The Dutch are renowned for
their innovative and forward-thinking approach to urban design, and
consequently their livable, sustainable, and safe cities. Their urban spaces
are frequently organized along </span><i style="font-family: helvetica;"><a href="https://en.wikipedia.org/wiki/Woonerf" target="_blank">woonerven</a></i><span style="font-family: helvetica;"> (living
streets), which prioritize cyclists and pedestrians over motorized traffic. The
corresponding impact upon the morphology of urban environments and streetscapes
in the Netherlands is profound. The prevalence of cycling contributes to
aesthetically pleasing streetscapes and encourages mixed-use, compact
development. The Dutch cycling lifestyle has become a model for other countries
looking to promote sustainable and healthy transportation options and offers a
blueprint for creating cities where cycling is not just a mode of transport but
a way of life. </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The contrast with America’s
car-centric mindset—and with it our unsustainable way of life, urban sprawl,
and absence of walkable neighborhoods—could not be starker. A radical paradigm
shift is necessary if U.S. cities are to become more sustainable, but helping people
understand why prioritizing healthier modes of transportation and development
patterns has proven challenging. </span></div><div style="text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica; line-height: 150%;">The </span><a href="https://www.holland.com/global/tourism.htm" style="font-family: helvetica;" target="_blank"><span style="line-height: 150%;">Netherlands Tourism </span><span style="line-height: 150%;">B</span><span style="line-height: 150%;">ureau</span></a><span style="font-family: helvetica; line-height: 150%;"> has developed an AI app called </span><i style="font-family: helvetica;"><a href="https://dutchcyclinglifestyle.com/" target="_blank"><span style="line-height: 150%;"><b>Dutch Cycling Lifestyle</b></span></a></i><span style="font-family: helvetica; line-height: 150%;"> that allows users to reimagine a street by replacing road space for cars
with pedestrian pathways, bike lanes, street furniture, landscaping, and/or
event-friendly spaces. The online app is accessible to anyone for free. You
simply type in an address or select the GPS option to choose a location to be
reimagined. The AI then uses Google Street View to create a “Dutch” version of
the scene, with four different results produced. The idea is to provide
users with a means to show what your own community would look like if planned with
happier and healthier streets in mind. </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">The
app’s default is to entirely abolish accommodations for automobiles in favor of
cobblestone-paved pedestrian pathways, tranquil bike lanes, and perfectly
manicured plant beds bursting with vibrant colors and fragrant blooms. Every
picture is worth a thousand words, which is certainly beneficial when it comes
to sharing grand ideas. The more compelling and attractive these images appear,
the higher the likelihood the ideas they illustrate might find traction. </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Here
are some before and after examples of Eugene streetscapes I asked it to
reimagine: </span></div><div style="text-align: left;"><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTiqh7t9x2J0JBGDYHri-sgVXUAmTwg5D5TKquLKSFfr3zlekNhc0S9oTfJ3tSnazMNBia-t3qLRe4qc9aMJR_jHWpvqWUNugSR8NzLjpp9tHT9zKfXbUjJllvHv393PbGc9_NptF6PVMF8J4VQpbK9u8jqAARP2oDqi6zZ1nkPGGeVwxmYfQIlwe95QWG/s680/Screenshot%202023-11-04%20095723.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="678" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTiqh7t9x2J0JBGDYHri-sgVXUAmTwg5D5TKquLKSFfr3zlekNhc0S9oTfJ3tSnazMNBia-t3qLRe4qc9aMJR_jHWpvqWUNugSR8NzLjpp9tHT9zKfXbUjJllvHv393PbGc9_NptF6PVMF8J4VQpbK9u8jqAARP2oDqi6zZ1nkPGGeVwxmYfQIlwe95QWG/w399-h400/Screenshot%202023-11-04%20095723.jpg" width="399" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Willamette Street near E. 26th Avenue, looking north.</i></span></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWAC-xh8tOtS2AmAQi7djGFXsIe3WmMkIOiojYphjlBUoEHjycwEuiaqau9LcI3WREDZUpolc6gZgo97IOgCyZ6qEvKjnUNsyZYH88LqMiyun28m1twtBefjixpRQO4Nou9-YZWeleQ1veB7YgCpJ1yC3RIDTMmvJrOKmCg7q0MnzR3Mx1DEjmD5Fcm1a/s640/Screenshot%202023-11-04%20095801.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="640" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWAC-xh8tOtS2AmAQi7djGFXsIe3WmMkIOiojYphjlBUoEHjycwEuiaqau9LcI3WREDZUpolc6gZgo97IOgCyZ6qEvKjnUNsyZYH88LqMiyun28m1twtBefjixpRQO4Nou9-YZWeleQ1veB7YgCpJ1yC3RIDTMmvJrOKmCg7q0MnzR3Mx1DEjmD5Fcm1a/w400-h399/Screenshot%202023-11-04%20095801.jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">Willamette Street reimagined.</span></i><br /><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXBV8bPn7a5QFHdW4YuDkTsCV2VIQmCrm8hODBAbRy0OhlCwQAX0cv_HBvAylUGG2kRLxM76pnK0QUp7DV3EpGPzLpHpPJzIKE4dP2kaWBMlHzj702DBOlImci3OwuvvolRidykjWm1w_ppraNPMd51P3VuWmRP8QpkPR1iVvK1MmpIywIUuRLSKlCB0sL/s681/Screenshot%202023-11-04%20100322.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="681" data-original-width="677" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXBV8bPn7a5QFHdW4YuDkTsCV2VIQmCrm8hODBAbRy0OhlCwQAX0cv_HBvAylUGG2kRLxM76pnK0QUp7DV3EpGPzLpHpPJzIKE4dP2kaWBMlHzj702DBOlImci3OwuvvolRidykjWm1w_ppraNPMd51P3VuWmRP8QpkPR1iVvK1MmpIywIUuRLSKlCB0sL/w398-h400/Screenshot%202023-11-04%20100322.jpg" width="398" /></a></div><span style="color: red; font-family: times;"><i>West 11th Avenue near Seneca Road, looking west.</i></span></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Ti8mZkBgOOyTSWc5-VOafVV_eorQsKPHOEDCz7SvENptSCo_OxF54F4ij-Y9V-r8WEL-q0RYTrBLfUs-IfF95sLLJ1i7KzKe_0cXVsvVR9ejlIdSloWbrOexirTKymbBGjtcAdBGAsnW9zKgJxSK3DVM5pjEfgv9TovjVmg5h8vL-dZ5bb6zRjHdc9Tu/s633/Screenshot%202023-11-04%20100522.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="633" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Ti8mZkBgOOyTSWc5-VOafVV_eorQsKPHOEDCz7SvENptSCo_OxF54F4ij-Y9V-r8WEL-q0RYTrBLfUs-IfF95sLLJ1i7KzKe_0cXVsvVR9ejlIdSloWbrOexirTKymbBGjtcAdBGAsnW9zKgJxSK3DVM5pjEfgv9TovjVmg5h8vL-dZ5bb6zRjHdc9Tu/w400-h400/Screenshot%202023-11-04%20100522.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">West 11th Avenue reimagined.</span></i></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;"><br /></span></i></div><div class="separator" style="clear: both; text-align: center;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-s6ZDSqVkCmwez5bADWtSC9a4uslAXqpuP2VU6t3q7oHjUfQNEXpRXYklpA2maEWF_W44obuxxvCL4oy4qXp8ms22qHfPuD8WF3YtSROVhXNs8oTUjklWT6l4yMAuJuAGi1iD9_u9GGTnkZOUnZopIApfalNulS5AiFDlqkfCFJiCCt9ynN1-T14u4nR4/s682/Screenshot%202023-11-04%20100948.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="682" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-s6ZDSqVkCmwez5bADWtSC9a4uslAXqpuP2VU6t3q7oHjUfQNEXpRXYklpA2maEWF_W44obuxxvCL4oy4qXp8ms22qHfPuD8WF3YtSROVhXNs8oTUjklWT6l4yMAuJuAGi1iD9_u9GGTnkZOUnZopIApfalNulS5AiFDlqkfCFJiCCt9ynN1-T14u4nR4/w400-h399/Screenshot%202023-11-04%20100948.jpg" width="400" /></a></div><span style="color: red; font-family: times;">Chambers Street near W.17th Avenue, looking south.</span><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHm2yRF4W1y-BB_gthi7mpgZLHbX3RaoDvieWl5DJNuyTPLC86EU5lWE4gewkUUrcgP6zNse-U6uZG0tJAPnKnFgdPKuBQ1T1apAfQaKQWBZq5I-SYeJU-ipAqT9SuZPGNj6hIujdt1-gTDFSim8HE67mogtddNurjf7FCGoUvnAFv9sbc2vlaboixu950/s638/Screenshot%202023-11-04%20101105.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="636" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHm2yRF4W1y-BB_gthi7mpgZLHbX3RaoDvieWl5DJNuyTPLC86EU5lWE4gewkUUrcgP6zNse-U6uZG0tJAPnKnFgdPKuBQ1T1apAfQaKQWBZq5I-SYeJU-ipAqT9SuZPGNj6hIujdt1-gTDFSim8HE67mogtddNurjf7FCGoUvnAFv9sbc2vlaboixu950/w399-h400/Screenshot%202023-11-04%20101105.jpg" width="399" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">Chambers Street reimagined.</span></i></div></div><div style="text-align: center;"><span style="font-family: helvetica; line-height: 150%;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica; line-height: 150%;">I’m an advocate for AI imaging tools and their potential to help
designers save time and effort, particularly when it comes to communicating concepts
that are otherwise a challenge to effectively illustrate. That said, it’s clear
the <i>Dutch Cycling Lifestyle</i> app </span><span style="font-family: helvetica; line-height: 150%;">is glitchy. Some of the
results are positively bizarre, with wildly distorted perspectives that remind
me of stills from the Paris-folding sequence in Christopher Nolan’s movie </span><a href="https://www.imdb.com/title/tt1375666/" style="font-family: helvetica;" target="_blank"><i><span style="line-height: 150%;">Inception</span></i></a><span style="font-family: helvetica; line-height: 150%;"> (Indeed,
the website includes a disclaimer that says “Seeing some unusual results? That’s
because our AI is new here and he’s still learning.”) Additionally, the app
translates images of Eugene low-density streetscapes into misleadingly pastoral
tableaus that ignore realities confoundingly at odds with the emulation of Dutch-style
development patterns. </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Unfortunately, the current
shortcomings of </span><i style="font-family: helvetica;">Dutch Cycling Lifestyle</i><span style="font-family: helvetica;"> undermine its utility. Playing
with </span><i style="font-family: helvetica;">Dutch Cycling Lifestyle</i><span style="font-family: helvetica;"> may be fun, but its practical value is
extremely limited. It’s patently unrealistic to push a button and proclaim a
solution to an urban design problem can be the result. Generating pretty
pictures is far from enough. The challenge is vastly more complex, and the
solutions are not facile. </span></div><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="font-family: helvetica;">Changing a deeply ingrained
cultural norm takes determined leadership and political will. Resistance from
those who rely heavily on automobiles must be met with empathy and
understanding. Incremental transformations in infrastructure and policy are
necessary to shift a populace’s mindset. Such a shift will not happen
overnight, but with concerted effort and a focus on the benefits of sustainable
transportation, it will be possible to change the way people regard and use
roadways in North America. Public opinion can and will evolve once the
benefits of that change are evident.</span></div>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-33539210712742494232023-10-29T12:12:00.003-07:002023-10-30T07:36:33.530-07:00The Boundless Dreams of a Kid<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb1k9IVkPZmhgDhzSgnMiX5ZEkeVaDPzilLsHlG8rOkpLJEAPBU4YZXxew6Y8y2jwPivaK0vA1Z-S7elggp4NACczgxNWkc_J4DsNZmnGqXuptgu91MQVKilgTDOUJ19y42u8fTt0IO-RaQP-drg5evPvMMLByVlcju18kqTa_nGuCIc7WzSHJ2858lOUv/s617/Screenshot%202023-10-28%20102137.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="493" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb1k9IVkPZmhgDhzSgnMiX5ZEkeVaDPzilLsHlG8rOkpLJEAPBU4YZXxew6Y8y2jwPivaK0vA1Z-S7elggp4NACczgxNWkc_J4DsNZmnGqXuptgu91MQVKilgTDOUJ19y42u8fTt0IO-RaQP-drg5evPvMMLByVlcju18kqTa_nGuCIc7WzSHJ2858lOUv/w320-h400/Screenshot%202023-10-28%20102137.png" width="320" /></a></div><i><span style="color: red; font-family: times;">Calvin & Hobbes (most worshipfully borrowed from Bill Watterson for fair use).</span></i><br /><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I have always loved architecture. As a child, </span><a href="http://sworegonarchitect.blogspot.com/2009/03/influences-frank-lloyd-wright.html" style="font-family: helvetica;" target="_blank">I discovered the work of Frank Lloyd Wright</a><span style="color: #111111; font-family: helvetica;">, and became utterly fascinated by
the shapes, colors, and functions of all buildings. I spent countless hours
drawing futuristic projects and planning entire cities teeming with
skyscrapers. I dreamed of designing structures that would stand the test of
time and inspire people. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I did work hard and ultimately achieved my goal of becoming an architect.
I studied diligently, gained valuable experience, and passed exams. Early on, I
secured jobs with some prestigious firms and worked on notable and challenging projects.
I have enjoyed a truly rewarding career and am proud of what I have
accomplished and have been a part of. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">But sometimes, I do wonder about how things might have been different.
What if I had followed another path? As kids are inclined to do, I often dreamed
about leading an exciting—dare I say—glamorous grown-up life. Perhaps as a heroic
spacefaring astronaut? </span><span style="color: #111111; font-family: helvetica;"> </span><span style="color: #111111; font-family: helvetica;">Or perhaps as an
adventurous marine biologist, a dashing and determined fossil hunter, or a record-setting professional
hockey player? What if I had pursued one (or more) of my other childhood
passions? </span></div><div style="text-align: center;"><span style="line-height: 150%;"><div class="separator" style="clear: both; color: #111111; font-family: helvetica; font-weight: bold; text-align: center;"><br /></div><div class="separator" style="clear: both; color: #111111; font-family: helvetica; font-weight: bold; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC625k5my_8WwFA0-l1Q4fWOu6g3cRR53wVC2pCbE5tNEvlmxLaFKGrSqUYzlVPInYwLt4GBr2Q4wEeDRCKJ7ZBAyYopUa2z_pMXp-ciZ0wfg01R-DRW4Gas2eJp0Ge0hleuRMjlQ68dQ_A-LSvwTH-XLIRT8-g9aLzTs5EQdkSYXvmbFg8Uob7zkWS4l8/s2664/photo-1541873676-a18131494184.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2664" data-original-width="1918" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC625k5my_8WwFA0-l1Q4fWOu6g3cRR53wVC2pCbE5tNEvlmxLaFKGrSqUYzlVPInYwLt4GBr2Q4wEeDRCKJ7ZBAyYopUa2z_pMXp-ciZ0wfg01R-DRW4Gas2eJp0Ge0hleuRMjlQ68dQ_A-LSvwTH-XLIRT8-g9aLzTs5EQdkSYXvmbFg8Uob7zkWS4l8/w288-h400/photo-1541873676-a18131494184.jpg" width="288" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Astronaut Buzz Aldrin on the moon, July 1969 (photo by fellow astronaut Neil Armstrong).</i></span></div><div class="separator" style="clear: both; color: #111111; font-family: helvetica; font-weight: bold; text-align: center;"><br /></div></span></div><div style="text-align: left;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica; font-size: medium;">Astronaut</span></span></b></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I was born in the era of the space race. I grew up watching the Apollo moon
missions on TV and reading about the adventures of the astronauts in magazines.
I was amazed by their courage. They had the "right stuff." I wanted to be one of
them. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I imagined myself wearing a spacesuit and boarding a rocket. I experienced
the thrill of liftoff and the surreal sensation of weightlessness once in
orbit. I saw the Earth from above and the sparkling clarity of the stars
suspended in the limitless blackness of space. I traveled to the Moon and Mars and
distant galaxies beyond. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I knew pursuing the dream of becoming an astronaut would not be an easy
path. I knew it would take years of training, education, and physical fitness. The
journey would be fraught with risks and sacrifices, but the allure of the
cosmos was undeniable. </span></div><div style="text-align: center;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></b></div><div style="text-align: center;"><span style="line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgAbjUalNLJXwccBJ3CFUKjoanGvp4nyPlY8S-OjjrUcvGv4MX0hDzOZvNhsRYpiq8tKALtdcNZYJv1PvHvMuhrvqTiLip5ielcJQu_yfmbbGf6FAabi7_UNiivnqJWu_cO9ZWjQN-wMPg-dmi4hNarzl1XNwhlmvfNPwhHh39phk95ZE-AwBsVBHzOOH/s1920/ScubaDiver.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgAbjUalNLJXwccBJ3CFUKjoanGvp4nyPlY8S-OjjrUcvGv4MX0hDzOZvNhsRYpiq8tKALtdcNZYJv1PvHvMuhrvqTiLip5ielcJQu_yfmbbGf6FAabi7_UNiivnqJWu_cO9ZWjQN-wMPg-dmi4hNarzl1XNwhlmvfNPwhHh39phk95ZE-AwBsVBHzOOH/w400-h225/ScubaDiver.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Photo by NotBurtsBees, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons</i></span></div><span style="color: #111111; font-family: helvetica; font-weight: bold;"><br /></span></span></div><div style="text-align: left;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica; font-size: medium;">Marine Biologist </span></span></b></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I was captivated by the ocean. I watched documentaries about the
underwater world and its many exotic creatures. I was inspired by </span><a href="https://en.wikipedia.org/wiki/Jacques_Cousteau" style="font-family: helvetica;" target="_blank">Jacques Cousteau</a><span style="color: #111111; font-family: helvetica;"> and
his expeditions on his research vessel, the </span><i style="color: #111111; font-family: helvetica;">Calypso</i><span style="color: #111111; font-family: helvetica;">. I wanted to be like
him. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I imagined myself diving under the waves with dolphins, sharks, whales,
and more. I felt the wonder of discovering new species and habitats. I saw the
beauty and diversity of coral reefs and kelp forests. I explored the depths and
mysteries of the sea. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I knew becoming a skilled marine biologist would be challenging. I knew it
would require years of study, exhaustive research, and fieldwork. I knew it would
involve challenges and dangers. But I also knew it would be immensely rewarding
to help expand knowledge about the diversity and complexity of oceanic ecosystems. </span></div><div style="text-align: center;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica;"><br /></span></span></b></div><div style="text-align: center;"><span style="line-height: 150%;"><div class="separator" style="clear: both; color: #111111; font-weight: bold; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1vaBnZVOa1B4Nmk8M6jRdf_F3K16haseqD8lyEpgN4E_AJUYRMrDtWQRscuoN0vRO1C2Y1M-AEWX40hIydiGsCeNb_ON6RoeEgDEl8eWQRJtVms12RRPrRYqdmP7sdHut7MmmBTut5mrgbLQWrrZOhvbrScXIhYPgBph2IxwjQYzcV23Dd-nOuGxrdICe/s2925/Paul_Sereno.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2194" data-original-width="2925" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1vaBnZVOa1B4Nmk8M6jRdf_F3K16haseqD8lyEpgN4E_AJUYRMrDtWQRscuoN0vRO1C2Y1M-AEWX40hIydiGsCeNb_ON6RoeEgDEl8eWQRJtVms12RRPrRYqdmP7sdHut7MmmBTut5mrgbLQWrrZOhvbrScXIhYPgBph2IxwjQYzcV23Dd-nOuGxrdICe/w400-h300/Paul_Sereno.jpg" width="400" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><i><span style="color: red; font-family: times;">Paleontologist Paul Serrano (Photo by Oregon State University, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons)</span></i></div><span style="color: #111111; font-family: helvetica; font-weight: bold;"><br /></span></span></div><div style="text-align: left;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica; font-size: medium;">Paleontologist</span></span></b></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">My fascination with Earth’s prehistoric past ran deep. I was spellbound
by books on dinosaurs and their fossils. I was fascinated by the size, shape,
and imagined behavior of such fantastic, long-extinct beasts. I wanted to be a
paleontologist, a contributor to the understanding of the evolutionary history
of life. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I imagined myself wearing a safari hat while patiently digging in the dirt.
I enjoyed the moment of excitement upon finding a fossilized bone, tooth, or footprint.
I saw the history and evolution of life on Earth. I revealed ancient and
extinct worlds. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I knew becoming a paleontologist would not be a straightforward path. I
knew it would require years of learning, analysis, peer-review, and publication.
I knew it would demand patience and perseverance. But I also knew the study of
ancient life would be gratifying beyond imagination.</span></div><div style="text-align: center;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica; font-size: medium;"><br /></span></span></b></div><div style="text-align: center;"><span style="line-height: 150%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5iWLPDkUxhAEgiG_UQImh4vlc6o81aUjLIcuP7Z6TUqzlh5NxZwQ60yi8YO7kwahALSyJB9iz9VDepYs03W2LL6URdrgP0I3pOi9wWe6hpBl1hx5fbF1UwiFR3pkQsUUjY1EjczCBw43jw3gQcu0Sw-Vt7099i0I_2RQCW0oRRxnudVfNCGoxOOmJAYm/s1280/Pittsburgh_Penguins,_Washington_Capitals,_Bryan_Rust_(33744033514).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="926" data-original-width="1280" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5iWLPDkUxhAEgiG_UQImh4vlc6o81aUjLIcuP7Z6TUqzlh5NxZwQ60yi8YO7kwahALSyJB9iz9VDepYs03W2LL6URdrgP0I3pOi9wWe6hpBl1hx5fbF1UwiFR3pkQsUUjY1EjczCBw43jw3gQcu0Sw-Vt7099i0I_2RQCW0oRRxnudVfNCGoxOOmJAYm/w400-h290/Pittsburgh_Penguins,_Washington_Capitals,_Bryan_Rust_(33744033514).jpg" width="400" /></a></div><i><span style="color: red; font-family: times;">(Photo by Keith Allison from Hanover, MD, USA, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons)</span></i><br /><span style="color: #111111; font-family: helvetica; font-size: medium; font-weight: bold;"><br /></span></span></div><div style="text-align: left;"><b><span style="color: #111111; line-height: 150%;"><span style="font-family: helvetica; font-size: medium;">Professional Hockey Player</span></span></b></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">Like virtually every other boy growing up in Canada, I was passionate
about hockey. It wasn’t merely a sport but a way of life. My brothers, friends,
and I played hockey in the street every day after school. We would watch game after game on TV, while attending other must-see contests in person to cheer on my
favorite team (the </span><a href="https://en.wikipedia.org/wiki/Vancouver_Canucks" style="font-family: helvetica;" target="_blank">Vancouver Canucks</a><span style="color: #111111; font-family: helvetica;">). I wanted to be like the skilled and rugged players I followed as
a young fan.</span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I imagined myself as a player in the National Hockey League, not unlike
my childhood heroes: </span><a href="http://www.greatesthockeylegends.com/2016/12/top-100-hockey-players-of-1960s.html" style="font-family: helvetica;" target="_blank">Gordie Howe, Jean Beliveau, Bobby Orr, Bobby Hull, and the other stars of the era</a><span style="color: #111111; font-family: helvetica;">.
I felt the adrenaline of skating at full speed as I weaved among defenders and
scored the game-winning goal. I saw the teamwork and strategy of the game. I was
an ardent student of the skills and tactics of the sport.</span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I knew the path toward NHL stardom would not be an easy one. I knew it would
require years of relentless practice, dedication, and raw talent. I knew it
involved keen competition and the risk of injury. But the exhilaration of hockey at its highest level enthralled me. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: center;"><span style="color: #111111; font-family: helvetica;">* * * * * *</span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">These were some of the dreams I had as a kid. They were not all realistic, but they were fun and inspiring. They showed me the possibilities of life and the power of imagination. They shaped my personality and values. They made me who I am today. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I don't for even a moment regret choosing architecture as my profession. I love my career and I'm grateful for it. But I also won't forget the other paths I could have taken. I still enjoy learning about space, the oceans, dinosaurs, and watching hockey. I still imagine what it would be like to be an astronaut, a marine biologist, a paleontologist, or a professional hockey player. </span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;"><br /></span></div><div style="text-align: left;"><span style="color: #111111; font-family: helvetica;">I think that's the beauty of being a kid. You can </span><u style="color: #111111; font-family: helvetica;">dream</u><span style="color: #111111; font-family: helvetica;"> of anything and everything. You can </span><u style="color: #111111; font-family: helvetica;">be</u><span style="color: #111111; font-family: helvetica;"> anything and everything. You can have boundless dreams.</span></div>
<p class="MsoNormal" style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span></o:p></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com2tag:blogger.com,1999:blog-5646971795138346223.post-82737627442898761522023-10-22T10:58:00.001-07:002023-10-22T15:27:36.073-07:00Architecture is Awesome: #33 Happy Clients<p style="text-align: center;"><i style="font-family: helvetica;"></i></p><div class="separator" style="clear: both; text-align: center;"><i style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJzM3o6ifvCo1ujCkONA797AES0VODSI2HGxV8pXMP-W1Q3rhvpMiHHVD1JM14vA-lBhhetzkbcK4oT8LZ-pCPLVW0sloZv2pm3k7KjGR4x6HiTPcX9xWL7EgCrZex5TtVdskla5Km4hdnx8GlYdRylD0Qg4qvztga2wRjp-5impF9a_ODXkjfIAVdy4A/s993/Screenshot%20(4).png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="991" data-original-width="993" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJzM3o6ifvCo1ujCkONA797AES0VODSI2HGxV8pXMP-W1Q3rhvpMiHHVD1JM14vA-lBhhetzkbcK4oT8LZ-pCPLVW0sloZv2pm3k7KjGR4x6HiTPcX9xWL7EgCrZex5TtVdskla5Km4hdnx8GlYdRylD0Qg4qvztga2wRjp-5impF9a_ODXkjfIAVdy4A/w400-h399/Screenshot%20(4).png" width="400" /></a></i></div><p></p><p style="text-align: left;"><i style="font-family: helvetica;"><span style="background: white; color: #800180; line-height: 150%;">This
is another in my </span></i><span style="font-family: helvetica; line-height: 150%;"><a href="http://sworegonarchitect.blogspot.com/search/label/Architecture%20Is%20Awesome#.ZFR1afzMJPY" target="_blank"><i><span style="color: #3b72d8;">series of posts</span></i></a><i><span style="background: white; color: #800180;"> inspired by </span><b><span style="color: #800180;"><a href="https://1000awesomethings.com/" target="_blank"><span style="color: #3b72d8;">1000
Awesome Things</span></a></span></b><span style="background: white; color: #800180;">, the Webby Award-winning blog written by </span><b><span style="color: #800180;"><a href="https://www.ted.com/speakers/neil_pasricha" target="_blank"><span style="color: #3b72d8;">Neil Pasricha</span></a></span></b><span style="background: white; color: #800180;">. The series is my meditation on the awesome
reasons why I was and continue to be attracted to the art of architecture.</span></i></span></p>
<p class="MsoPlainText" style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;">There are few things more
rewarding for me as an architect than witnessing the genuine smiles and
expressions of delight from clients and users upon first enjoying the projects my
colleagues and I have had a hand in designing. For me, such an experience is
affirmation our work has connected with people on a fundamental level. Their
happiness is a powerful reminder of why we do what we do, the impacts we have
on their lives, and the lasting imprint we leave on the built environment.<o:p></o:p></span></p>
<p class="MsoPlainText" style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;">Happy clients are a testament to
the commitment of the entire design team to fulfil dreams. Most every project
is one of a kind; the challenge thus lies in giving physical form to the very unique
needs of those dreams. Our clients task us with understanding their needs and
desires and translating them into practical reality. If we have done our jobs
well, we will have designed spaces that resonate with our clients, the
population they will directly serve, and the community as a whole. Their
happiness validates the effort and dedication we invest in our work.</span></p>
<p class="MsoPlainText" style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;">The process of design is a blend
of science and art, a dance between form and function. The spaces we design
have a profound impact on the daily experiences of those who inhabit or use
them, and when clients are happy, it means we achieved an appropriate balance for
them between aesthetics and functionality. You can say architects are in the
business of crafting happiness, one space at a time. Seeing the joy of happy
clients not only provides us with a momentary high, but also is the fuel that
drives us to continue moving forward, learn from our experiences, and become better
architects.</span></p>
<p class="MsoPlainText" style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;">Happy clients often return with
stories about how our designs have changed their lives for the better, whether it
is in terms of their well-being, productivity, or quality of life. We enjoy the
privilege of knowing that we have contributed to their happiness. Their joy
radiates outward, impacting communities, and even inspiring others to embark on
their own journeys of design and creativity. Happy clients not only validate
our past work but also pave the way for future success. They become trusted
advocates, returning with new projects, and referring others.</span></p>
<p class="MsoPlainText" style="line-height: 150%; text-align: left;"><span style="font-family: helvetica;">Whether it’s a family excitedly seeing
the first renderings of their new home, people of all ages enjoying a public space
for the first time, or employees discovering they can be the best they can be thanks
to their well-designed workspaces, those moments of interaction are when we
know the value of our work truly shines. The happiness of our clients is an
AWESOME reminder that architecture has the power to enhance lives and make a positive
impact.</span></p><p class="MsoPlainText" style="line-height: 150%; text-align: left;"><i><span style="color: red; font-family: helvetica;">Next Architecture is Awesome: #34 Adaptive Reuse</span></i></p><p class="MsoPlainText" style="line-height: 150%; text-align: left;"><o:p></o:p></p>Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-39972423602162161602023-10-15T10:32:00.000-07:002023-10-15T10:32:51.930-07:00Integrating Services and Environmental Control<div style="text-align: left;"><div style="margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 107%;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj_rETZSO8fondZ0GgpyLRC47jcvph9e5ZmgkVDO_XIrh77iNapwmRc9ab5cSSA5b0B3WMOJ8Q4uIQkKwGMxLO0r1Y3k8L2j1sra_CYeRKFd5QzdCflNwYPLIY-by7YG_nQiEb3QOT1oIh-dPrXTbwCjzioX41L83yJusd7r4nm-cEtzDJz50_PeNJnyWZ/s2275/Richards_Labs_Penn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1706" data-original-width="2275" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj_rETZSO8fondZ0GgpyLRC47jcvph9e5ZmgkVDO_XIrh77iNapwmRc9ab5cSSA5b0B3WMOJ8Q4uIQkKwGMxLO0r1Y3k8L2j1sra_CYeRKFd5QzdCflNwYPLIY-by7YG_nQiEb3QOT1oIh-dPrXTbwCjzioX41L83yJusd7r4nm-cEtzDJz50_PeNJnyWZ/w400-h300/Richards_Labs_Penn.jpg" width="400" /></a></div></span></i></div><div style="margin-bottom: 0in; text-align: center;"><i><span style="color: red; line-height: 107%;"><span style="font-family: times;">Richards
Medical Research Laboratories – <a href="http://sworegonarchitect.blogspot.com/2022/02/influences-louis-i-kahn.html" target="_blank">Louis I. Kahn</a>, Architect. The brick shafts on
the periphery of the Richards labs hold stairwells and HVAC ducts, providing an
effect reminiscent of the ancient towers of San Gimignano, Italy that Kahn admired.
(photo by <a href="https://commons.wikimedia.org/wiki/User:Smallbones" target="_blank">Smallbones</a>)</span></span></i></div><div style="margin-bottom: 0in; text-align: center;"><i><span style="color: red; font-family: "Times New Roman",serif; font-size: 10.0pt; line-height: 107%;"><br /></span></i></div></div><div style="text-align: left;"><i><span style="color: #7030a0; line-height: 107%;"><span style="font-family: helvetica;">Consistent
throughout <b>Bill Kleinsasser</b>’s many iterations of his self-published
textbook <a href="http://sworegonarchitect.blogspot.com/search/label/Synthesis" target="_blank"><b>SYNTHESIS</b> </a>are his reminders about how the architects’ work reveals
what they have considered and whether they have accounted for everything
necessary to create good places for people. Certainly, the successful
integration of the technical systems that support a building’s purpose is essential
to a thorough consideration of its design. </span></span></i></div><div style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><i><span style="color: #7030a0; line-height: 107%;"><br /></span></i></span></div><div style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><i><span style="color: #7030a0; line-height: 107%;">Neglecting to
adequately account for and integrate these systems can lead to inefficient and
problematic buildings. This neglect can be a result of a misalignment of
priorities, poor communication among the members of the design team (architects
and their engineers too often work in separate silos), or simply a lack of
knowledge and experience on the part of the architects.<br /></span></i><i><span style="color: #7030a0; line-height: 107%;"><o:p> <br /></o:p></span></i><i><span style="color: #7030a0; line-height: 107%;">In the following,
somewhat wanting excerpt from SYNTHESIS, Bill strove to succinctly express the
importance of considering the needs of a building’s technical systems. In my
opinion, Bill could and should have written more to expand upon the necessity
of aligning aesthetics, spatial design, and fundamentally the project’s organizational
structure with the technical demands of a building’s service and environmental
control systems. He certainly could have utilized a case study to illustrate how
exemplary projects successfully integrated a myriad of technical systems. Nevertheless,
his fundamental premise is clear: Design synthesis requires consideration of
many essential concerns if a building’s design is to be unified, eloquent, and
complete.<br /> </span></i><span style="line-height: 107%;"><o:p> <br /></o:p></span><b><span style="line-height: 107%;"><span style="font-size: medium;">Technical Systems</span><br /></span></b><span style="line-height: 107%;">Select and design environmental
control and other systems that will appropriately serve required spaces without
waste or confusion by:<br /><ul style="text-align: left;"><li><span style="font-family: helvetica;"><span style="line-height: 107%;">Determining spatial intent and
the kind of services needed.</span></span></li><li>Selecting appropriate systems.</li><li>Diagramming the essential
disciplines of each system; that is, diagramming their controlling
characteristics vis-à-vis organization of spaces.</li><li>Integrating the requirements
of the spatial system with the essential disciplines of the
service/environmental control systems. Service/environmental control systems
may include those for heating, cooling, ventilating, lighting, water supply,
waste disposal, drainage, electrical service, communication (television, radio,
TV, computer), special circulation (elevator, escalator), fire protection
(sprinklers, smoke detection), and special laboratory services.</li></ul></span><span style="line-height: 107%;"><div style="text-align: center;"> * * * * * *</div></span></span></div><div style="margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica;"><span style="line-height: 107%;"><o:p><br /></o:p></span><i><span style="color: #7030a0; line-height: 107%;"><a href="https://sworegonarchitect.blogspot.com/2017/11/synthesis-related-thoughts.html" target="_blank">As I’ve mentioned previously</a>, Bill never hesitated to use the words of others
to illuminate the frames of reference he defined as essential to the creation
of truly good architecture. He included the following quotations from Louis
Kahn in his fifth edition of SYNTHESIS to better convey the necessity of respecting
the technical systems as organizational decisions are made:<br /> </span></i><i><span style="color: #7030a0; line-height: 107%;"><o:p> <br /></o:p></span></i><span style="line-height: 107%;">“I do not like ducts, I do not
like pipes. I hate them really thoroughly, but because I hate them so
thoroughly, I feel they have to be given their place. If I just hated them and
took no care, I think they would invade the building and completely destroy it.
I want to correct any notion you may have that I am in love with that kind of
thing.”<br /> </span><span style="line-height: 107%;"><o:p> <br /></o:p></span><span style="line-height: 107%;">“CLIENT:<span style="mso-spacerun: yes;"> </span>Well, now that we have the general form, we
have to put in all the guts and see if we can fit them in.<br /></span><span style="line-height: 107%;"><o:p> <br /></o:p></span><span style="line-height: 107%;">ARCHITECT:<span style="mso-spacerun: yes;"> </span>If they don’t all fit in easily and properly,
then we have the wrong form.”<br /></span><span style="line-height: 107%;"><o:p> <br /></o:p></span><span style="line-height: 107%;">“Engineering is not one thing
and design another. They must be one and the same thing.” (Louis I. Kahn)</span></span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-43048569872798313932023-10-08T12:32:00.000-07:002023-10-08T12:32:15.944-07:00The Challenge of Budget Constraints<div style="line-height: 150%; margin-bottom: 0in; text-align: center;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzEMSY85NMnHRB3QrIuTvmMAJnUZQpK-YLSK5Kjr2Lr02bUsMjM6850SnrjtUZYChv4R9YRjAA6Iv46ZwhvEmv0Wi_2r2FePxciSgNjvhANXE5qjuDOb0IslNEuB6HcM2y3mOxdu3VWOYpwA9duw69Ju5QlNnK01rgF-wSMB-mthE3Jtd4o4O8ZFVBTKrf/s624/Picture1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="624" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzEMSY85NMnHRB3QrIuTvmMAJnUZQpK-YLSK5Kjr2Lr02bUsMjM6850SnrjtUZYChv4R9YRjAA6Iv46ZwhvEmv0Wi_2r2FePxciSgNjvhANXE5qjuDOb0IslNEuB6HcM2y3mOxdu3VWOYpwA9duw69Ju5QlNnK01rgF-wSMB-mthE3Jtd4o4O8ZFVBTKrf/w400-h400/Picture1.jpg" width="400" /></a></div><span style="line-height: 150%;"><br /></span></span></div><div style="line-height: 150%; margin-bottom: 0in; text-align: left;"><span style="font-family: helvetica; line-height: 150%;">Cost
limitations are an almost universal challenge in construction projects. Owners typically
have a predetermined budget for their project, so the realities of construction
costs force them to make difficult decisions about project scope, quality, or
even whether the project can proceed. To address cost limitations, owners may
need to work closely with their architects and contractors to identify effective
solutions.<br /> </span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica; line-height: 150%;">While
architects like to boast that creativity thrives within constraints and need not
be compromised, my experience has taught me that successful cost management usually
demands more than the architect alone can deliver. Open communication and
collaboration between the owner, architect, and contractor from the project’s
inception are clearly effective strategies for maximizing the value of
construction projects. Consequently, the choice of project delivery method may
be the single most impactful consideration influencing the outcome of a building
project, particularly in terms of cost.<br /> </span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica; line-height: 150%;">There
are various project delivery methods in common usage today, each with its own
advantages and disadvantages. The architect typically works closely with the owner
to select the one that best aligns with the project budget and expectations.<br /></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><b style="font-family: helvetica;"><span style="line-height: 150%;">Design-Bid-Build (DBB):</span></b><span style="font-family: helvetica; line-height: 150%;"> In
this traditional method, the architect completes the design before the project
goes out for bid. While it provides a clear picture of the final design, it can
be challenging to control costs once construction begins. The use of bid
alternates—optional elements that can be added to or removed from the project—is
a common practice for providing flexibility in the project pricing and
decision-making processes. Including bid alternates means that some elements of
the design are inherently uncertain until after bidding is complete.<br /><o:p></o:p></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><b style="font-family: helvetica;"><span style="line-height: 150%;">Design-Build (DB):</span></b><span style="font-family: helvetica; line-height: 150%;"> In
the design-build approach, a single entity handles both design and construction,
providing a “turnkey” service for the owner. This method can streamline the
process but may limit the architect's control over the project's budget and
design.<br /><o:p></o:p></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><b style="font-family: helvetica;"><span style="line-height: 150%;">Construction Management (CM):</span></b><span style="font-family: helvetica; line-height: 150%;">
Construction management involves hiring a construction manager to oversee the
project. It can provide more control over costs and scheduling but requires
architects to work closely with multiple parties. The CM often additionally
functions as the General Contractor, in which instances the method is referred
to as the CM/GC project delivery method.<br /><o:p></o:p></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><b style="font-family: helvetica;"><span style="line-height: 150%;">Integrated Project Delivery
(IPD):</span></b><span style="font-family: helvetica; line-height: 150%;"> IPD promotes collaboration between all project
stakeholders from the beginning and in its characteristic usage is applied on
particularly large and complex projects with high sustainability goals. It can
lead to better cost control and design outcomes but requires a high level of
coordination.<br /><o:p></o:p></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica; line-height: 150%;">According
to <a href="https://www.constructiondive.com/news/report-design-build-to-deliver-almost-half-of-us-projects-by-2021/526463/" target="_blank">a
2018 article in <b><i>Construction Dive</i></b></a>, design-bid-build remains
the most widely used construction model; however, my anecdotal accounting
suggests DB, CM, IPD and other alternative project delivery methods are since
rapidly usurping the dominance of DBB.<br /></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica; line-height: 150%;">The
choice of which delivery method is best depends on a project’s specific needs
and goals and requires a thorough understanding of the key attributes of the
various methods. That said, design and construction are notoriously complex
undertakings, more so with each passing year. Even seemingly modest projects can
benefit from using DB, CM, or IPD instead of the conventional Design-Bid-Build
process. This is particularly true when budget considerations are paramount.<br /> </span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica; line-height: 150%;">Effective value engineering,
risk assessment, regular cost monitoring, contingency planning, and
transparency in financial matters and decisions likewise flourish when open
communication and collaboration between owners, architects, and contractors exist.
Regular and timely evaluation of a project’s scope and design help identify
areas where cost savings can be achieved without compromising quality or
safety. While not always effortless, such evaluations during the design process
are far less painful than ones conducted only after a building’s plans are complete
and the bid results are an unwelcome surprise. <br /></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica; line-height: 150%;">Value engineering is a
systematic and creative approach to improving the value of a project by
optimizing its design, materials, and construction methods. One of the
challenges of value engineering is striking the right balance between cost
savings and design integrity. Careful assessment of which elements of the
design can be modified or substituted without compromising the project's
overall vision is necessary. This can be a delicate and often frustrating process
as it requires letting go of some design elements that may be personally
meaningful or artistically important. Value engineering should not be a
one-time event and it should allow for adjustments as new information becomes
available or project circumstances change.<br /></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="line-height: 150%;"><span style="font-family: helvetica;">By working
collaboratively, project teams mutually share their expertise. I have a
tremendous amount of respect for what contractors bring to the table. Their
knowledge and experience are invaluable to the design process, bolstering the
argument in favor of one of the delivery methods that is inherently
collaborative in nature. Architects (and many owners) tend to be dreamers and
visionaries, so bringing contractors—as well as the owner’s facility manager
and maintenance team—on board from the beginning injects an often sobering and
necessary dose of reality into the design or value engineering processes. </span><br /><div style="text-align: center;"><span style="font-family: helvetica;"> </span><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL2SPifVp0PRvZoiiN8L0GTyZoHBjFlvIknQ71W4i8EEXxmEVWztqS3Pj3266OOWjOa_80492V3o6LDGPRpLiUsXrBYV2bSdTw_DZWE2D7RhpE_jDoqTTGH7FTw9IMwuI-zD4C_4aVp9ahSnXXmyFV7mgQWYW3-3kF8coZIWHPRqgsXaV-ZWUozARv64Q2/s624/Picture2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="370" data-original-width="624" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL2SPifVp0PRvZoiiN8L0GTyZoHBjFlvIknQ71W4i8EEXxmEVWztqS3Pj3266OOWjOa_80492V3o6LDGPRpLiUsXrBYV2bSdTw_DZWE2D7RhpE_jDoqTTGH7FTw9IMwuI-zD4C_4aVp9ahSnXXmyFV7mgQWYW3-3kF8coZIWHPRqgsXaV-ZWUozARv64Q2/w400-h238/Picture2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>LCC Health Professions Building under construction (my photo)</i></span></div><br /></div></span><span style="font-family: helvetica; line-height: 150%;">A
useful case study of a collaborative process is the new <a href="https://www.lanecc.edu/about-lane/bond/health-professions-building" target="_blank">Lane Community College Health Professions Building</a>, currently under construction. My firm,
<a href="http://www.robertsonsherwood.com/" target="_blank">Robertson/Sherwood/Architects</a>, is the executive architect, while <a href="https://www.mahlum.com/" target="_blank">Mahlum Architects</a> is the lead design firm. <a href="https://fortisconstruction.com/" target="_blank">Fortis Construction</a> is the
Construction Manager/General Contractor. From the outset, the 31,280 SF,
3-story project has been strapped by a tight budget. Addressing the cost
limitation challenges has truly been a team effort. Fortis provided critical
cost evaluation and constructability input throughout the design phase, which
ultimately resulted in a solution that is necessarily lean yet fulfills all
programmatic requirements. Once complete, the Health Professions Building will
provide LCC with the facility it originally envisioned, a new campus gateway
centered on equity and inclusion as core values for the college’s Medical Assistant,
Dental Assisting, Dental Hygiene, and Emergency Medical Services programs.<br /></span><span style="font-family: helvetica; line-height: 150%;"> <br /></span><span style="font-family: helvetica;">The disappointments and design
compromises that do result from budget constraints can be disheartening, but
they are an inevitable part of the design and construction process. Ultimately,
the goal is to strike a balance between creativity and fiscal responsibility.
While cost limitations may necessitate concessions, they also present
opportunities for innovative and collaborative problem-solving in the creation
of designs that are both functional and budget friendly. </span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0tag:blogger.com,1999:blog-5646971795138346223.post-66007318368105573372023-10-01T11:49:00.008-07:002023-10-02T07:27:48.160-07:00Eugene/Architecture/Alphabet: O<div style="line-height: 150%; text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJSksK6OP3YYeRHBg-6UshQMSgorNMhK-5XM8BZhnG_UjbioWvbA0JJYJYyk254W4kaz5yzNasOEP0sbjqtdUPojAgvf57himDXsJeLqvACfE5VCrihljNo00gG_G-BO7IvufNOiDAsu8sX73wTuO5kBFpP4Fq5ti3nANzxtVWK-eREPEO9ktYIIcBeFq/s832/Picture1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="832" data-original-width="624" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJSksK6OP3YYeRHBg-6UshQMSgorNMhK-5XM8BZhnG_UjbioWvbA0JJYJYyk254W4kaz5yzNasOEP0sbjqtdUPojAgvf57himDXsJeLqvACfE5VCrihljNo00gG_G-BO7IvufNOiDAsu8sX73wTuO5kBFpP4Fq5ti3nANzxtVWK-eREPEO9ktYIIcBeFq/w480-h640/Picture1.png" width="480" /></a><br /></span><i style="color: red; font-family: times;">Olive Plaza (my photo)</i></div><div style="text-align: center;"><br /></div><span style="font-family: helvetica; line-height: 150%;">This is the next in my <b><a href="http://sworegonarchitect.blogspot.com/search/label/Eugene%2FArchitecture%2FAlphabet" target="_blank">Eugene/Architecture/Alphabet</a></b>
series of blog posts, the focus of each being a landmark building here in Eugene.
Many of these will be familiar to most who live here but there are likely to be
a few buildings that are less so. My selection criteria for each will be
threefold:<br /><ol style="text-align: left;"><li><span style="font-family: helvetica;"><i><span style="line-height: 150%;">The building must be of
architectural interest, local importance, or historically significant.</span></i></span></li><li><i><span style="line-height: 150%;">The building must be extant so
you or I can visit it in person.</span></i></li><li><i><span style="line-height: 150%;">Each building’s name will
begin with a particular letter of the alphabet, and I must select one (and only
one) for each of the twenty-six letters. This is easier said than done for some
letters, whereas for other characters there is a surfeit of worthy candidates
(so I’ll be discriminating and explain my choice in those instances).</span></i></li></ol></span><span style="font-family: helvetica; line-height: 150%;">This entry’s selection begins
with the letter O, for which my choice is <b>Olive Plaza</b>.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><b style="font-family: helvetica;"><span style="line-height: 150%;"><span style="font-size: medium;">Olive
Plaza</span><br /></span></b><span style="font-family: helvetica; line-height: 150%;">Olive
Plaza is located at 1133 Olive Street, at the intersection of Olive and 11<sup>th</sup>
Avenue in downtown Eugene. The twelve-story tall building accommodates very low-income
seniors and persons with physical disabilities in its 150 one-bedroom,
self-contained apartments. The National Benevolent Association constructed Olive
Plaza during the late 1970s as a <a href="https://www.hud.gov/program_offices/housing/mfh/progdesc/eld202" target="_blank">HUD <span style="mso-font-kerning: 0pt; mso-ligatures: none;">Section 202</span></a><span style="mso-font-kerning: 0pt; mso-ligatures: none;"> project. It has provided eligible
individuals ever since with the opportunity to live independently, but in an
environment that provides support activities such as cleaning, cooking, and transportation.
<b>Christian Church Homes of Oregon</b> is the building’s current owner, and <b>Viridian
Management</b> is its operator. The Portland firm of <b>Broome, Oringdulph, O’Toole,
Rudolf & Associates</b> (BOORA) was the architect.<br /><o:p></o:p></span></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Because it was an unreservedly
plain and straightforward design strapped by a miserly budget, BOORA chose to rely
upon the superficial application of a distinctive exterior color scheme to provide
Olive Plaza with visual interest. Originally sporting a decidedly Seventies palette
comprised of ochers, pinks, and reds, the current range of colors and outwardly
random patterning (developed by my firm, <b>Robertson/Sherwood/Architects</b>) are
meant to fragment one’s perception of the building’s considerable bulk. Inspired
by the <a href="https://en.wikipedia.org/wiki/Dazzle_camouflage" target="_blank">“dazzle” camouflage</a>
used on ships during World War I, the various areas of color seemingly recede
or advance even though they may occupy the same wall plane. Dazzle camouflage disrupted
an adversary's perception of a ship's size, shape, and speed. The intent was not
to hide the ship but to make it more challenging for enemy submarines to
accurately estimate its course and range. Olive Plaza’s “camouflage” likewise
isn’t intended to hide the building, but rather to disrupt the reading of its
size.<br /></span><span style="line-height: 150%;"><o:p><span style="font-family: helvetica;"> </span><br /><div style="text-align: center;"><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzRuMQXxZN02zIt-vpyKv4j1NvgSdjj5AGwjenskraPQDnVTod2NZ0urd_qbjPT7ve-5zeUCDXPftRxpaZJH1ZiQs3bLCD-zsp0VWYr0sxuYsmMwic4iAXmG-iCJvDxlRO6zf-Ch8ecxHeAjQEw_Ygp_6qI8xtLgj6QK6covJrO14rzKajKrLxGChFPLZK/s1012/Screenshot%202023-09-30%20085645.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="1012" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzRuMQXxZN02zIt-vpyKv4j1NvgSdjj5AGwjenskraPQDnVTod2NZ0urd_qbjPT7ve-5zeUCDXPftRxpaZJH1ZiQs3bLCD-zsp0VWYr0sxuYsmMwic4iAXmG-iCJvDxlRO6zf-Ch8ecxHeAjQEw_Ygp_6qI8xtLgj6QK6covJrO14rzKajKrLxGChFPLZK/w400-h296/Screenshot%202023-09-30%20085645.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Olive Plaza's "camouflage."</i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdDsv_Qy7ZqHmYsCw5i1QN5CVbz4lKGxM-1O_kYNnCGcXIfq0EFpQ6r492Xx9AHSi-z1jmR_fIf-S2paJ-dfc0cBFcysQ6w7NqpBpIrEgBVVykOkw_6EB2tQGkL52fp9fUVUZ2PhMWf93rKtc8SYlWLUne666wNQtJmKd7Fqrxg1ila1PC6Oc5R6rzoCGs/s1000/olive-plaza-2b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="1000" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdDsv_Qy7ZqHmYsCw5i1QN5CVbz4lKGxM-1O_kYNnCGcXIfq0EFpQ6r492Xx9AHSi-z1jmR_fIf-S2paJ-dfc0cBFcysQ6w7NqpBpIrEgBVVykOkw_6EB2tQGkL52fp9fUVUZ2PhMWf93rKtc8SYlWLUne666wNQtJmKd7Fqrxg1ila1PC6Oc5R6rzoCGs/w400-h211/olive-plaza-2b.jpg" width="400" /></a></div><i>Olive Plaza, Google Street view.</i><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><br /></span></div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPNtgu77ZJDyCT0KMHNdhDWXzsSyyoTgHbP_HtpS2XoxeOdzwCQOcorJ-DU258IRiogD5ebdlYHGWDwQ4em9FrT7kMQwzEP4TFsCPA0nXZS08wWtsxEtu40U7tP4VDZiUTOanGb83QlU2nFUE-flohktcOOD5mjsWUWkyCadWtNIKjTueLqh9Dm3-s0m6/s845/Screenshot%202023-10-01%20085312.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="845" data-original-width="701" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAPNtgu77ZJDyCT0KMHNdhDWXzsSyyoTgHbP_HtpS2XoxeOdzwCQOcorJ-DU258IRiogD5ebdlYHGWDwQ4em9FrT7kMQwzEP4TFsCPA0nXZS08wWtsxEtu40U7tP4VDZiUTOanGb83QlU2nFUE-flohktcOOD5mjsWUWkyCadWtNIKjTueLqh9Dm3-s0m6/w331-h400/Screenshot%202023-10-01%20085312.jpg" width="331" /></a></div></div></o:p></span><span style="font-family: helvetica; line-height: 150%;"><o:p><div style="text-align: center;"><i><span style="color: red; line-height: 150%;"><span style="font-family: times;">USS West
Mahomet in "dazzle" camouflage, circa 1918 (photo from the Naval History & Heritage Command, public domain, via Wikimedia Commons)</span></span></i></div></o:p></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="font-family: helvetica; line-height: 150%;">Olive
Plaza is otherwise most notable as an example of a multistory building that utilizes
the <a href="https://en.wikipedia.org/wiki/Lift_slab_construction" target="_blank">lift-slab type of structural system</a>. Popular at the time of its construction, the
lift slab technique has since fallen from favor. The method involved casting
and curing concrete floor slabs at ground level that were then lifted into
position using hydraulic jacks. The method was particularly suitable for large,
repetitive floor plates, which Olive Plaza possesses. The repetitive nature of
lift-slab construction made it especially efficient and economical for
constructing buildings with multiple floors.<br /></span><span style="font-family: helvetica; line-height: 150%;"><o:p> <br /></o:p></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Lift slab construction has
faced safety concerns, some of which stemmed from design flaws, inadequate
construction practices, or unforeseen complications during the lifting process.
One of the most notorious lift-slab construction failures occurred in London in
1968 when a partial collapse of the </span><a href="https://en.wikipedia.org/wiki/Ronan_Point" style="font-family: helvetica;" target="_blank">Ronan Point apartment building</a><span style="font-family: helvetica;">
took place. The building's lift-slab system was partially blamed for the
severity of the collapse. Consequently, use of lift-slab construction had
already waned considerably in the years following the Ronan Point incident when
Olive Plaza was designed.</span></span></div><div style="line-height: 150%; text-align: left;"><span style="line-height: 150%;"><span style="font-family: helvetica;"><br /></span><div style="text-align: center;"><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYGhy4Pz_IMBqEDlyErcUvvaCOolvy_IRcyNR2AoftYW9RpkLJ_fAqjPjrJx8hKmslvMlFC7TV_EOe-s6q8ugvJaGLYPZIX2Ob3ErVtpjWesY1oJJehPwy1Yv7J046OYA53-1AR-YsKNk_lViRccP7lL-pTI1sRzXnRuOc6wpxdXNGjXKIfSLXfSTUeIVj/s2184/Lift_Slab_Diagram.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1087" data-original-width="2184" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYGhy4Pz_IMBqEDlyErcUvvaCOolvy_IRcyNR2AoftYW9RpkLJ_fAqjPjrJx8hKmslvMlFC7TV_EOe-s6q8ugvJaGLYPZIX2Ob3ErVtpjWesY1oJJehPwy1Yv7J046OYA53-1AR-YsKNk_lViRccP7lL-pTI1sRzXnRuOc6wpxdXNGjXKIfSLXfSTUeIVj/w400-h199/Lift_Slab_Diagram.jpg" width="400" /></a> </div></div></span></div><div style="text-align: center;"><span style="color: red; font-family: times;"><i>Diagram by Amanda044, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons</i></span></div><div style="text-align: center;"><span style="color: red; font-family: times;"><i><br /></i></span></div></span><span style="line-height: 150%;"><span style="font-family: helvetica;">Due to concerns for the structural
integrity of Olive Plaza, especially as experts increasingly understood the risks
posed by deformation of the Cascadia Subduction Zone, HUD mandated seismic
provisions for existing buildings in accordance with ASCE 41 (a nationally recognized
standard for seismic analysis and rehabilitation). Christian Church Homes again called upon Robertson/Sherwood/Architects for design assistance to improve
the building’s ability to withstand a massive seismic event. Working with </span><b style="font-family: helvetica;">Miyamoto
International</b><span style="font-family: helvetica;"> for structural engineering services, our team’s solution employed
a cost-effective and reliable system of fiber-reinforced polymer (FRP) strips
added at critical locations to assist in the transference of lateral forces. The
2014-2016 project also involved retrofitting of steel angles at the building’s
columns to help resist uplift caused by vertical acceleration in an earthquake.</span><br /><div style="font-family: helvetica; text-align: center;"> </div><div class="separator" style="clear: both; font-family: helvetica; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHOdTnf8I7Q9DJISEDgLKYtBozfhfu0cmZPG7klhQ8o4k3r-DGJZ8-CceYKMI5MBefv5s-m1S001_u71MhtmK06ixlRINkCCVxhkp6LBpCQkN93A_nWSG_Q8CbnAYI3SKsFhpIfdsVVSbXCeqf3SJzlEyKJm_Ps8JrwLyB2XcE_85OPKHTMIcSmqIFrH-y/s605/20150817_151855-1_resized.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="453" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHOdTnf8I7Q9DJISEDgLKYtBozfhfu0cmZPG7klhQ8o4k3r-DGJZ8-CceYKMI5MBefv5s-m1S001_u71MhtmK06ixlRINkCCVxhkp6LBpCQkN93A_nWSG_Q8CbnAYI3SKsFhpIfdsVVSbXCeqf3SJzlEyKJm_Ps8JrwLyB2XcE_85OPKHTMIcSmqIFrH-y/w300-h400/20150817_151855-1_resized.jpg" width="300" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="color: red; font-family: times;"><i>Column reinforcement installed as part of the 2014-2016 seismic upgrade project (my photo).</i></span></div><div style="font-family: helvetica; text-align: center;"><br /></div></span><span style="font-family: helvetica; line-height: 150%;">While not an architectural
standout, Olive Plaza is a valuable community asset, as it provides a substantial
number of subsidized apartments for low-income residents in a downtown location.
Such buildings are far too uncommon during a time when affordable housing
options are desperately needed in Eugene. </span></div>
Randy Nishimura, AIA, CSI, CCShttp://www.blogger.com/profile/16158917130374113534noreply@blogger.com0